Design & Communications Style Guide
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Typeface Classification Serif Or Sans Serif?
Typography 1: Typeface Classification Typeface Classification Serif or Sans Serif? ABCDEFG ABCDEFG abcdefgo abcdefgo Adobe Jenson DIN Pro Book Typography 1: Typeface Classification Typeface Classification Typeface or font? ABCDEFG Font: Adobe Jenson Regular ABCDEFG Font: Adobe Jenson Italic TYPEFACE FAMILY ABCDEFG Font: Adobe Jenson Bold ABCDEFG Font: Adobe Jenson Bold Italic Typography 1: Typeface Classification Typeface Timeline Blackletter Humanist Old Style Transitional Modern Bauhaus Digital (aka Venetian) sans serif 1450 1460- 1716- 1700- 1780- 1920- 1980-present 1470 1728 1775 1880 1960 Typography 1: Typeface Classification Typeface Classification Humanist | Old Style | Transitional | Modern |Slab Serif (Egyptian) | Sans Serif The model for the first movable types was Blackletter (also know as Block, Gothic, Fraktur or Old English), a heavy, dark, at times almost illegible — to modern eyes — script that was common during the Middle Ages. from I Love Typography http://ilovetypography.com/2007/11/06/type-terminology-humanist-2/ Typography 1: : Typeface Classification Typeface Classification Humanist | Old Style | Transitional | Modern |Slab Serif (Egyptian) | Sans Serif Types based on blackletter were soon superseded by something a little easier Humanist (also refered to Venetian).. ABCDEFG ABCDEFG > abcdefg abcdefg Adobe Jenson Fette Fraktur Typography 1: : Typeface Classification Typeface Classification Humanist | Old Style | Transitional | Modern |Slab Serif (Egyptian) | Sans Serif The Humanist types (sometimes referred to as Venetian) appeared during the 1460s and 1470s, and were modelled not on the dark gothic scripts like textura, but on the lighter, more open forms of the Italian humanist writers. The Humanist types were at the same time the first roman types. Typography 1: : Typeface Classification Typeface Classification Humanist | Old Style | Transitional | Modern |Slab Serif (Egyptian) | Sans Serif Characteristics 1. -
Typo Eina 01
Disseny de publicacions modulars Fixació del text + Tria i cànon tipogràfic Infografia Treball teòric Aquesta assignatura, juntament amb la de La fixació del text tracta del que es coneix com a Introducció i panoràmica de les tècniques de Es tracta d’una recerca relacionada amb el món Disseny de publicacions per contingut, són les composició del text (typesetting), que en trets generals la infografia en sessions breus on s’avaluen els tipogràfic. La història, la tècnica, els protagonistes… dues grans assignatures pràctiques d’aquesta engloba totes les operacions que es realitzen a recursos que aquest llenguatge periodístic aporta. Una aportació al coneixement general de la segona part del curs. El disseny de publicacions l’interior de les caixes de text en qualsevol publicació. tipografia en forma de treball autònom de modulars contempla la pràctica del disseny Per la seva banda, la tria tipogràfica és un recull Planificació de publicacions l’alumne i tutoritzada per professors del curs. de pàgina des de la perspectiva d’un sistema raonat i cronològic d’aquelles lletres que hauríem Taller pràctic de conceptualització de publicacions. Al final del procés, el treball es valorat jerarquitzat i flexible que s’adapta infinitament de coneixer i com es poden fer servir. S’avaluen tots els formats analògics i digitals per un comité d’avaluació. als contiguts, com es ara el disseny d’un diari. actuals i es desenvolupa un projecte curt. Disseny de publicacions per contingut Història de la pàgina + tendècies formals La manera alternativa de plantejar el disseny de Direcció d’art L’objectiu d’aquestes dues assignatures és per una pàgina, en contrast amb el disseny modular, és En aquest taller s’analitzen les possibilitats i les maneres banda conèixer els diferents sistemes de configuració la creació d’un sistema que permeti prioritzar de fer encàrrecs a tercers (il·lustradors, fotògrafs, de pàgina que han portat els sistemes simètrics les imatges i adaptar els textos amb voluntat tipògrafs…). -
Type Anatomy
Typography Anatomy & Classification • Gregory V. Eckler Type Anatomy Beak: a single-sided upper serif Counter: a partially or fully enclosed space in a letter Upper lobe } Cap Height Spine Waist Baseline Throat } Lower lobe Spur Bowl: a curved stroke that creates an enclosed space Leg Tail: a finishing stroke at or below the baseline Serif Apex Arms Diagonals Crossbar Stem Vertex Typography Anatomy & Classification • Gregory V. Eckler Type Anatomy Terminal: finishing element to a stroke Point Size Cap Height Dot or Tittle Ascender Ear Shoulder Eye Spur } Shoulder X-Height Serif Link Finial Bowl Spur Descender Baseline Tail Loop { Hook Terminal Sheared Terminal Diagonals Leg Tail Tail Terminal Ligatures: two or more letters joined together Swash: A swash is a for practical or aesthetic reasons. flourish that replaces a terminal or serif. Typography Anatomy & Classification • Gregory V. Eckler Type Classification Fractur Sabon Baskerville Bodoni Pre-Venetian or Ancient Humanist or Venetian Transitional Didone or Modern Includes typefaces of Incised, Antique The roman typefaces of the 15th and These typefaces have sharper serifs These typefaces have thin, and Blackletter styles. 16th centuries emulated classical and a more vertical axis than Humanist staight serifs; vertical axis; and caligraphy letters. a sharp contrast in the strokes. Futura Helvetica Clarendon Gill Sans Egyptian or Slab Serif Humanist Sans Serif Transitional Sans Serif Geometeric Sans Serif Numerous bold and decorative A sans serif typeface where variations A uniform, upright character makes it Sans serif types built around typefaces introduced in the 19th century in line weight and terminal endings are similar to transitional serif letters. -
TRACING ARCHER ARTG106TRACING TYPOGRAPHYARCHER Spring 2017 ARTG106 TYPOGRAPHY Rosemary Rae Email: [email protected] Spring 2017
MiraCosta College / oceanside MAT 155 Graphic Design 2 : Typography TRACINGMin Choi // Fall 2017 ARCHER TRACING ARCHER ARTG106TRACING TYPOGRAPHYARCHER Spring 2017 ARTG106 TYPOGRAPHY Rosemary Rae email: [email protected] Spring 2017 Rosemary Rae email: [email protected] INFO ABOUT ARCHERINFO ABOUT ARCHER Archer is a slab serifArcher typeface is designeda slab serif in 2001 typeface by Tobias designed Frere-Jones in 2001 and Jonathanby Tobias Hoefler Frere-Jones for use in and Martha Jonathan Stewart HoeflerLiving magazine. for It was later released by Hoefler & Frere-Jones for commercial licensing. The typeface is a geometric or neo-grotesque slab serif, one with a geometric designuse in similar Martha to sans-serif Stewart fonts. Living It takes magazine. inspiration It was from later mid-twentieth released century by Hoefler designs & suchFrere-Jones as Rockwell. for The face is unique for combining the geometric structure of twentieth-century European slab-serifs but imbuing the face with a domestic, less strident tone of voice.commercial Balls were addedlicensing. to the The upper typeface terminals is on a geometricletters such asor C neo-grotesque and G to increase slab its charm. serif, oneItalics with are truea italic designs, with flourishesgeometric influenced design by calligraphy,similar to ansans-serif unusual feature fonts. for It takesgeometric inspiration slab serif fromdesigns. mid-twentieth As with many Hoeflercentury & Frere- INFO ABOUT ARCHER Jones designs, it was released in a wide range of weights from hairline to bold, reflecting its design goal as a typeface for complex Sweet but not saccharine, earnestmagazines. designs such as Rockwell. The face is unique for combining the geometric structure of twentieth- Archer is a slab serif typeface designed in 2001 by Tobias Frere-Jones and Jonathan Hoefler for but not grave, Archer is designed century European slab-serifs but imbuing the face with a domestic, less strident tone of voice. -
Typography in Advertising
Doctoral Thesis Typography in Advertising Typografie v reklamě Author: Aleksandar Donev, MSc Degree programme: Visual Arts (P8206) Degree course: Multimedia and Design (8206V102) Supervisor: Doc. PhDr. Zdeno Kolesár, Ph.D. Zlín, December 2015 © Aleksandar Donev Published by Tomas Bata University in Zlín in the Edition Doctoral Thesis. The publication was issued in the year 2015 Key words in English: Typography, Advertising, Visual Communication, Design, Typefaces, Fonts Key words in Czech: Typografie, Reklama, Vizuální Komunikace, Design, Písma, Fonty Full text of the Doctoral Thesis is available in the Library of TBU in Zlín ISBN 978-80-……… ABSTRACT This thesis is set to investigate the use of type and typography in advertising, the role of typography in rendering the advertising message and the effects it has on the same. Typography and advertising both have been researched significantly all over the world but mainly as a two separate disciplines without showing the importance of their connection. The aim of my thesis is to fill that gap and show the significance of typography in advertising and their relationship in the communication process. The approach undertaken in this thesis is mainly theoretical, including statistics, a survey, a case study and an analysis of literature from various sources in the field of the research. I have analysed the factors that make typography suitable and effective for advertising purposes. With this research I am able to confirm that the use of typography and type for advertising purposes is slightly different than its use for other purposes. I am hoping that my work will make designers and advertisers more aware of the importance of typography in the creation of advertisements and that they will make better use of it. -
Type Classification
Typography • Gregory V. Eckler Pre-Venetian or Ancient Humanist or Venetian Transitional Didone Slab Serifs 1400 1500 1700 1800 Humanist Sans Serif Transitional Sans Serif Geometric Sans Serif Display Typefaces 1900 2000 Typography • Gregory V. Eckler Type Classification Pre-Venetian or Ancient (Before 1400) Includes typefaces (inspired by historical forms) from before the 15th century many include the Incised and Blackletter styles. Incised: Typefaces modeled after or inspired by letters carved in stone. Blackletter: A script style of calligraphy made with a broad- nibbed pen using vertical, curved and angled strokes. Popular from the Middle Ages through the Renaissance. Fette Fractur Typography • Gregory V. Eckler Type Classification Humanist or Venetian (1400–1500) Venetian typefaces have the clearest relationship to pen- formed writing; the oblique axis is severe, the contrast is low and the letter components (serifs, bowls, etc.) display the abrupt modeling of the broad-edge pen. Contrast: Refers to the thick/thin distribution of weight in the design of a letterform. Stress: The term stress refers to the diagonal distribution of contrast in a typeface. The evolution of stress is in direct relationship to the transition from hand-lettered calligraphy to moveable type. If you have ever done calligraphy you are familiar with the broad nibbed pens used in this medium. As most calligraphers are right handed the drawing of a letter results in thin and thick lines (determined by the width of the nib) and the movement of the arm and wrist (lean of the stroke). Adobe Garamond Severe Axis Typography • Gregory V. Eckler Type Classification Transitional (1700) The transitional period is so named for its chronological position of development, which falls between the Venetian and Didone categories. -
Intermediate Graphic Design Art 3330
UNIVERSITY OF HOUSTON | SCHOOL OF ART | GRAPHIC DESIGN Fall 2015 Intermediate Graphic Design Art 3330 Tuesday/Thursday Associate Professor Cheryl Beckett Contact [email protected] | design.uh.edu/beckett | Time 8:30–11:30 AM Monday/Wednesday Associate Professor Fiona McGettigan Contact [email protected] | design.uh.edu/mcgettigan | Time 8:00–11:00 AM Typography : Research + Classification Study 1. Ed Benguiat (over 600 typefaces including Bookman, and ITC Ben- Due Monday August 31/Tuesday Sept 1 guiat) 1. 2. Morris Fuller Benton (America’s most prolific type designer, having Having been assigned one of the type designers to the left, research their completed 221 total typefaces, including: Franklin Gothic, Century typefaces and their work, their process and their design philosophy. Present Schoolbook, News Gothic, Bank Gothic) the work, the context and any other relevant narratives along with representa- 3. William Addison Dwiggins (36 completed typefaces including Electra, tions of their contribution to the world of type design. Caledonia, Metro) 4. Frederic Goudy (90 completed typefaces including: Copperplate, Present the work of the assigned type designer (5 min. max.) Goudy Old Style, Berkeley Oldstyle) Include: 5. Chauncey H. Griffith (34 typefaces including Bell Gothic, 1937; 1. A brief statement about the designer and their work specifically Poster Bodoni, 1938) related to their typographic contribution 6. Jonathan Hoefler (Knockout, Hoefler Text, Gotham, Archer, Sentinel, 2. 5 images of their work with particulars about their typeface design, partner with Tobias Frere-Jones) classifications and application. 7. Robert Slimbach (Minion, Adobe Garamond, Utopia, Garamond Premier) You may present digitally (screen) or on the wall. -
HOWARD UNIVERSITY Typeface Persona: Investigating Gotham's
HOWARD UNIVERSITY Typeface Persona: Investigating Gotham’s Suitability for Obama’s 2008 Presidential Campaign A Dissertation Submitted to the Faculty of the Graduate School of HOWARD UNIVERSITY in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY Department of Mass Communication & Media Studies by Miriam M. Ahmed Washington, D.C. December 2013 HOWARD UNIVERSITY GRADUATE SCHOOL DEPARTMENT OF MASS COMMUNICATION & MEDIA STUDIES DISSERTATION COMMITTEE ___________________________________________ Anthony McEachern, Ph.D. Chairperson ___________________________________________ Melbourne Cummings, Ph.D. ___________________________________________ Barbara Hines, Ph.D. ___________________________________________ Clint Wilson II, Ed.D. ___________________________________________ Deen Freelon, Ph.D. Assistant Professor School of Communication American University Washington, D.C. ____________________________________________ Barbara Hines, Ph.D. Dissertation Advisor Candidate: Miriam M. Ahmed Defense Date: November 26, 2013 ii DEDICATION This dissertation is dedicated to Del Harrod for inspiring my passion for typography. iii ACKNOWLEDGMENTS Thank you to God, my family, friends, colleagues and mentors for the endless sustenance, support and guidance. iv ABSTRACT The Gotham typeface received widespread media acclaim during Barack Obama’s 2008 presidential campaign. Creative professionals and critics described the typeface as having inherent personality attributes such as elegant, nostalgic, all-American and contemporary. Some claimed that Gotham was the perfect typeface for Obama’s campaign. This dissertation was a 2- part, mixed-methods study that first quantitatively investigated the actual persona of Gotham as perceived by a convenience sample, and subsequently qualitatively determined if that perceived persona matched the persona of verbal rhetoric set in Gotham in a sample of official campaign advertisements. The results showed that the sample’s perception of Gotham did not match the creative professionals’ perception. -
The Field Guide to Typography
THE FIELD GUIDE TO TYPOGRAPHY TYPEFACES IN THE URBAN LANDSCAPE THE FIELD GUIDE TO TYPOGRAPHY TYPEFACES IN THE URBAN LANDSCAPE PETER DAWSON PRESTEL MUNICH · LONDON · NEW YORK To my parents, John and Evelyn Dawson Published in North America by Prestel, a member of Verlagsgruppe Random House GmbH Prestel Publishing 900 Broadway, Suite 603 New York, NY 10003 Tel.: +1 212 995 2720 Fax: +1 212 995 2733 E-mail: [email protected] www.prestel.com © 2013 by Quid Publishing Book design and layout: Peter Dawson, Louise Evans www.gradedesign.com All rights reserved. No part of this book may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopy, recording, or any other information storage and retrieval system, or otherwise without written permission from the publisher. Library of Congress Cataloging-in-Publication Data Dawson, Peter, 1969– The field guide to typography : typefaces in the urban landscape / Peter Dawson. pages cm Includes bibliographical references and index. ISBN 978-3-7913-4839-1 1. Lettering. 2. Type and type-founding. I. Title. NK3600.D19 2013 686.2’21—dc23 2013011573 Printed in China by Hung Hing CONTENTS_ Foreword: Stephen Coles 8 DESIGNER PROFILE: Rudy Vanderlans, Zuzana Licko 56 Introduction 10 Cochin 62 How to Use This Book 14 Courier 64 The Anatomy of Type 16 Didot 66 Glossary 17 Foundry Wilson 68 Classification Types 20 Friz Quadrata 70 Galliard 72 Garamond 74 THE FIELD GUIDE_ Goudy 76 Granjon 78 Guardian Egyptian 82 SERIF 22 ITC Lubalin Graph 84 Minion 86 Albertus 24 Mrs -
Ascender (P. 36) the Part of a Lower Case Character That Rises Above The
Type Terms #1 ascender (p. 36) feet ('). Often times confused with the The part of a lower case character that curlier apostrophes and quotation 22:342 rises above the x-height. For example, marks, a condition Lupton calls “a Studio Problems in Typography the vertical stroke in the lower case k, pandemic error.” It’s up to you to get Cutler-Lake h, or b. this straight. Important concepts in Letter chapter baseline (p. 37) humanist typeface/ from Lupton textbook: type classi- The imaginary line upon which old style typeface (p. 15) fication; type anatomy; families & letters and words sit. According Typefaces derived from hand superfamilies; mixing typefaces; use of to typographer Robert Bringhurst, lettering. Examples: Garamond, Jenson. apostrophes/hatch marks; logotypes; “Round letters like e and o normally font vs. typeface; ornaments; humanist dent the baseline. Pointed letters like humanist sans serif typeface type design; geometric type design; v and w normally pierce it, while the (p. 46) experimental type. foot serifs of letters like h and m rest Sans serif typefaces derived from precisely upon it.” hand-lettering instead of geometric forms. The line weight oftentimes blackletter (p. 13) varies within a character. Examples: A typeface based on dense, dark Gill Sans, Frutiger. handwritten calligraphic forms. Common in religious manuscripts. italic (p. 15) Used in German-speaking countries The italic style in most fonts is not until the mid 20th century. Example of simply a slanted version of the roman; a blackletter typeface: Fette Fraktur. it incorporates the curves, angles, and narrower proportions associated with cap height (p. -
“What Font Should I Use?”: Five Principles for Choosing and Using Typefaces
2/10/2015 "What Font Should I Use?": Five Principles for Choosing and Using Typefaces - Smashing Magazine “What Font Should I Use?”: Five Principles for Choosing and Using Typefaces By Dan Mayer Published on December 14th, 2010 in Fonts, 131 Comments Typography with For many beginners, the task of picking fonts is a mystifying process. There seem to be endless choices — from normal, conventional-looking fonts to novelty candy cane fonts and bunny fonts — with no way of understanding the options, only never-ending lists of categories and recommendations. Selecting the right typeface is a mixture of firm rules and loose intuition, and takes years of experience to develop a feeling for. Here are five guidelines for picking and using fonts that I’ve developed in the course of using and teaching typography. 1. Dress For The Occasion Many of my beginning students go about picking a font as though they were searching for new music to listen to: they assess the personality of each face and look for something unique and distinctive that expresses their particular aesthetic taste, perspective and personal history. This approach is problematic, because it places too much importance on individuality. http://www.smashingmagazine.com/2010/12/14/what-font-should-i-use-five-principles-for-choosing-and-using-typefaces/ 1/14 2/10/2015 "What Font Should I Use?": Five Principles for Choosing and Using Typefaces - Smashing Magazine 1 The most appropriate analogy for picking type. (Photo credit: Samuuraijohnny2. Used under Creative Commons license.) For better or for worse, picking a typeface is more like getting dressed in the morning. -
Type Anatomy
Typography • GD141 • Gregory V. Eckler Type Anatomy Beak: a single-sided upper serif Counter: a partially or fully enclosed space in a letter Upper lobe } Cap Height Spine Waist Baseline Throat } Lower lobe Spur Bowl: a curved stroke that creates an enclosed space Leg SG B QRTail: a finishing stroke at or below the baseline Serif Apex Arms Diagonals E HICrossbar Stem AVYVertex Typography • GD141 • Gregory V. Eckler Type Anatomy Terminal: finishing element to a stroke Point Size Cap Height Dot or Tittle Ascender Ear Shoulder Eye Spur } Shoulder X-Height Serif Link Finial Bowl Spur Descender { Baseline Tail gaeLoop qb n ij Hook Terminal Sheared Terminal Diagonals Leg Tail Tail Terminal Ligatures: two or more letters joined together Swash: A swash is a ft ky fifor practical or aesthetic reasons. flflourish that replaces a a terminal or serif. Typography • GD141 • Gregory V. Eckler Type Classification Fractur Sabon Baskerville Bodoni Pre-Venetian or Ancient Humanist or Venetian Transitional Didone or Modern EeIncludes typefaces of Incised, Antique EeThe roman typefaces of the 15th and EeThese typefaces have sharper serifs EeThese typefaces have thin, and Blackletter styles. 16th centuries emulated classical and a more vertical axis than Humanist staight serifs; vertical axis; and caligraphy letters. a sharp contrast in the strokes. Futura Helvetica Clarendon Gill Sans Egyptian or Slab Serif Humanist Sans Serif Transitional Sans Serif Geometeric Sans Serif EeNumerous bold and decorative EeA sans serif typeface where variations A uniform, upright character makes it EeSans serif types built around typefaces introduced in the 19th century in line weight and terminal endings are similar to transitional serif letters.