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Approaches to Applying Spacing Methods in Seriffed and Sans-Serif Typeface Designs
Approaches to applying spacing methods in seriffed and sans-serif typeface designs Fernando de Mello Vargas January 2007 Essay submitted in partial fulfilment for the requirements for the Master of Arts in Typeface Design Department of Typography and Graphic Communication The University of Reading, United Kingdom, 2007 This paper cannot be reproduced or published, partially or integrally, without the written consent of the author. Acknowledgments The author would like to thank Nicolien Van der Keur for providing the Asa Types ‘Trinité 1, 2, 3’ catalog and Daniel Rathigan for proof reading. Set in FF Scala and FF Scala Sans in Adobe InDesign CS2. Contents 1 introduction 4 2 optical spacing concepts 5 2.1 Spacing a sequence of different shapes 5 2.2 Balancing internal and external white spaces in letterforms 6 2.3 Simultaneous contrast issue 6 2.4 Vertical optical centres 7 2.5 Influence of ascenders and descenders 7 3 applying spacing methods in seriffed and sans-serif typeface designs 8 3.1 Experiment procedures 8 3.2 Description of spacing methods used 9 3.2.1 Walter Tracy’s method 9 3.2.2 Miguel Sousa’s method 10 3.3 Analysis of the results 11 3.3.1 First approach: comparing paragraphs and phrases 11 3.3.2 Second approach: comparing words 14 4 epilogue 16 5 image sources 17 6 references 18 Approaches to applying spacing methods in seriffed and sans-serif typeface designs 1. Introduction 1 W. Tracy, ‘Letters of credit: a view The adjustment of space between letters in typeface design, a process commonly of type design’, p. -
FSI: FF Scala Sans Offc Condensed Regular
fontfont opentype® ▪▪▪��� fontfont info guide for ff Scala Sans Condensed Regular Offc | Offc Pro or Web | Web Pro Sections a | Font and Designer Information b | Language Support c | Type Specimens section a FONT & DESIGNER INFORMATION Handgloves about ff Scala Sans Condensed Martin Majoor enhanced his elegant serif ff Scala with a companion sans- Regular serif family. Again it is the simplicity that makes Scala Sans so captivating, while at the same time its distinct character is immediately recognizable. First, the family comprised six variants including an italic small caps style, a fairly rare beast in the typographic zoo. Later, two Condensed weights as well as the two missing Small Caps fonts were added making the Scala family suitable for complex book typography. There is also a collection of Scala Hands, pointing hands with and without serifs, right and left handed, feminine and masculine, thumbs up and thumbs down ... the list goes on. Finally, light and black weights were added. The design of a serif typeface and an accompanying sans resulted in a very happy combination for graphic designers around the world. about Martin Majoor has been designing type since the mid-1980s. After a martin majoor student placement at URW in Hamburg, he started in 1986 as a typographic designer in the Research & Development department at Océ- Netherlands. In 1988 he started working as a graphic designer for the Vredenburg Music Centre in Utrecht, for whom he designed the typeface Scala for use in their printed matter. Two years later FSI FontShop International published ff Scala as the first serious text face in the then- new FontFont-Library. -
Fontfont Focus Nexus.Pdf
★☆★☆★☆★☆★☆★☆★☆★☆★☆★☆★☆★☆★☆★☆★☆★☆★☆★☆★☆★☆★☆★☆★☆★☆★☆★☆★☆★☆★☆ three-way conversation in type, Threesome and The new cala? are just three qualifications that were given to Martin Majoor’s type family ff Nexus, when it was released in 2004. The fact that ff Nexus has three variants – a serif, a sanserif and a slabserif (a mix between serif and sans) – makes it a highly versatile typeface. Its third extension, the slabserif, is a logical result of Majoor’s type design philosophy which started with the release of ff Scala and ff Scala Sans some 15 years ago. first serif, then sans Almost 20 years ago, during the time Majoor started designing Scala, he almost intuitively developed a process in which the sans serif version was derived from the serif version: first the serif, then the sans. Later he called this theory, ‘2 typefaces, 1 form principle’, and the immediate success of ff Scala and ff Scala Sans was proof that he was on the right track. It turned out that his ‘theory’ wasn’t new at all, but thanks to digital techniques he was able to bring it into practice in a way that had not been seen before in type design. Features like old style figures and small caps, in all weights, in serif and sans and in 1 ★☆★☆★☆★☆★☆★☆★☆★☆★☆★☆★☆★☆★☆★☆★☆★ regular and italic, simply had not been possible in the time of hot metal type. But at the start of the digital type era, this versatility was something new. It was 1993 and it was the first time ever that italic small caps were designed for a sans serif typeface. -
Scala OT Regular Scala Pro Regular
FontFont OpenType® nnIK nnnnABEM nnnnnn1032G9 nnZ5 nnND nnnn.,cR FontFont Info Guide Scala OT Regular Scala Pro Regular Version 01 | Nov 2005 Sections a | Introduction to OpenType® b | Font and Designer Information c | Supported Layout Features d | Language Support e | Type Specimens SECTION A INTRODUCTION TO OPENTYPE® What is OpenType® is a cross-platform font file format developed jointly by OpenType? Adobe and Microsoft. The two main benefits of the OpenType format are its cross-platform compatibility (the same font file works on Macintosh and Windows computers), and its ability to support widely expanded character sets and layout features, which provide rich linguistic support and advanced typographic control. OpenType fonts can be installed and used alongside PostScript® Type 1 and TrueType fonts. The range of supported layout features may differ in the various FontFont OpenType packages, therefore each OpenType package will be accompanied by this ff Info Guide listing the layout features supported by this specific font package. You’ll find a glossary of all available OpenType layout features in Section B of the general ff OpenType User Guide. Please see the FontFont OpenType® User Guide at http://www.fontfont.com/opentype ©fsi, 2005 All rights reserved. All information in this document is provided “AS IS” without warranty of any kind, either expressed or implied, and is subject to change without notice. All trademarks mentioned in this document are the trademarks or registered trademarks of their respective holders. You may reproduce and distribute this document as long as you do not remove fsi’s copyright information and do not make any changes in the document. -
Stop Stealing Sheep & Find out How Type Works
1 Stop Stealing Sheep This page intentionally left blank 3 Stop Stealing Sheep & find out how type works Third Edition Erik Spiekermann Stop Stealing Sheep trademarks & find out how type works Adobe, Photoshop, Illustrator, Third Edition PostScript, and CoolType are registered Erik Spiekermann trademarks of Adobe Systems Incorporated in the United States and/or This Adobe Press book is other countries. ClearType is a trade published by Peachpit, mark of Microsoft Corp. All other a division of Pearson Education. trademarks are the property of their respective owners. For the latest on Adobe Press books, go to www.adobepress.com. Many of the designations used by To report errors, please send a note to manufacturers and sellers to dis tinguish [email protected]. their products are claimed as trademarks. Where those designations appear in Copyright © 2014 by Erik Spiekermann this book, and Peachpit was aware of a trademark claim, the designations appear Acquisitions Editor: Nikki Echler McDonald as requested by the owner of the trade Production Editor: David Van Ness mark. All other product names and Proofer: Emily Wolman services identified throughout this book Indexer: James Minkin are used in editorial fashion only and Cover Design: Erik Spiekermann for the benefit of such companies with no intention of infringement of the notice of rights trademark. No such use, or the use of any All rights reserved. No part of this trade name, is intended to convey book may be reproduced or transmitted endorsement or other affiliation with in any form by any means, electronic, this book. mechanical, photocopying, recor ding, or otherwise, without the prior isbn 13: 9780321934284 written permission of the publisher. -
Typeface Selection Stephen Coles Times New Roman
How To Select A Typeface? Typeface Selection photo | Holli Conger Stephen Coles www.typographyphotography.com The Font Menu Typeface Selection Stephen Coles Times New Roman Typeface Selection Stephen Coles Times New Roman Arial Typeface Selection Stephen Coles Times New Roman Arial Helvetica Typeface Selection Stephen Coles Times New Roman Arial Helvetica Courier Typeface Selection Stephen Coles Times New Roman Arial Helvetica Courier Comic Sans Typeface Selection Stephen Coles Arial Helvetica Courier Comic Sans Papyrus Typeface Selection Stephen Coles Formal aspects Typeface Selection Ikea Stephen Coles Form… Formal aspects Typeface Selection concept sketches Stephen Coles Xavier Dupré … And Function Formal aspects Typeface Selection BananaStock Stephen Coles CD | Dance Display Type Formal aspects Typeface Selection Stephen Coles La nouvelle collection printemps/été Formal aspects Typeface Selection Stephen Coles Text Type Formal aspects Typeface Selection Stephen Coles Bell Centennial Bell Centennial Bell Centennial Bell Centennial Formal aspects Typeface Selection Stephen Coles AMERICAN BROADCASTING CO 277 Golden Gate Av Applied Dynamics Corp 700 Montgomery Buckley Radio Sales Inc 2365 Mission - - CBS INC 1 Embarcadero Center CAMPBELL TOM San Francisco’s Top Radio Personality Available 24 Hou Formal aspects Typeface Selection Stephen Coles Fashion Formal aspects Typeface Selection BMW Stephen Coles Originally designedIowan Old Style by Bruce Rogerswas designedfor in the Metropolitan1990 by noted Museum insign 1914, painter John Centaur wasDowner. released Iowan Formal aspects Typeface Selection Stephenby Coles MonotypeOld in Style is a hardy Originally designedXavier Dupré’s by Bruce Rogersff Absara for is a the Metropolitantypeface of French Museum inproportions, 1914, but Centaur wasits released shapes take Formal aspects Typeface Selection Stephenby Coles Monotypetheir in cues from Its earliestff Meta™ was direct ancestor,originally (1985) known simplyconceived as a as Grotesk,typeface was for use in first introducedsmall point sizes. -
MEET YOUR TYPE a Field Guide to Love & Typography CONTENTS CONTENTS
MEET YOUR TYPE a field guide to love & typography CONTENTS CONTENTS TIME FOR “THE TALK” the elements of typography page 04 COULD THIS BE THE ONE? appropriate typeface selection page 16 MAKING IT WORK typographic details page 26 TIME TO COMMIT font licensing and creation page 38 Why settle for casual flirtation when looking for a long-lasting relationship? Finding the perfect match is easy if you know the rules. MEET YOUR TYPE will help you overcome common obstacles, and keep your heart thumping for your one true love: Ø5 THE BIRDS & THE BEES typeface vs. font typography. TIME FOR ”THE TALK” the elements of type peach MILO THIN 08 MILO REGULAR ITALIC fuMILO TEXT zz TRAINING MILOTHIN.OTF = FONT ABCDEGHIJK LMNOPQRST UVWXYZ abcdefghijkl mnopqrstuv wxyz bMILO EXTRA BOLD ra 007 THE BIRDS & THE BEES typeface vs. font You may notice that you’re changing. You’re noticing different letterforms. You may feel different around them. Don’t be embarrassed; these feelings are natural. fuzz A few basics can help you through the awkward years. TYPEFACE A typeface is a single set of characters that share stylistic unity. A typeface usually comprises an alphabet of letters, numbers, punctuation and diacritical marks. FONT Old school typographers defined a font as a complete character set of a particular typeface in one size. When type made the leap to the digital realm, a font became an electronic file that rendered the typeface in all sizes. A typeface is what you see– a font is what you use to make it happen. YOU JUST WANT ME FOR MY BODY type anatomy Double chin, big feet, or bowed legs. -
Volume 23-2 (Low Res).Pdf
ITC 10.1,matk Ty peto ■ UPPER AND LOWER CASE THE INTERNATIONAL JOURNAL OF GRAPHIC DESIGN AND DIGITAL MEDIA PUBLISHED BY INTERNATIONAL TYPEFACE CORPORATION VOLUME 23, NUMBER 2, FALL 1996 $5.00 US, $9.90 AUD, £4.95 The Image Club's free monthly catalog is the essential design tool for today's creative masters. Over 800 fonts from the best foundries, thousands of stock photos on CD ROM (royalty free!) and tons of cool digital art, along with ideas, solutions and tips & tricks from other designers. New for you every month! Order your catalog: call 1.800.387.9193 fax 1.403.261.7013 http://www.imageclub.com/ Hey! The entire FONTEK and ITC type libraries featured throughout this issue of U&lc are available from Image Club. Call 1-800-661-9410 to order! Image Club Graphics is a division of Adobe Systems Incorporated Adobe ucLo8 Circle 1on Reader Service Card ATypI I Typelab The Hague, The Netherlands, oit) The Hague 1996 October 24-28, 1996 The Association Typographique Internationale (ATyp1), The Royal Academy of Art and The Royal Conservatory of Music Typography &... is a conference gathering of Art Directors, Graphic Designers, Type Designers, Musicians, Filmmakers, Business and Legal Executives, Users and Developers of Software, and anyone to whom type and typography are essential. Typography &... focuses on how typography is developing, evolving and changing with a speakers' program, debates and discussion groups, exhibitions, studio visits, special museum programs, and TypeLab, an interactive, experimental environment for typography, -
Types and Characters – Martin Majoor
ff Scala ff Scala Sans FF Scala Jewels ff Seria ff Seria Sans ff Nexus Serif ff Nexus Sans ff Nexus Mix FF Nexus Typewriter FontFont presents to you two brochures concerning excellent type designers and their approach to designing fonts: the scribbling, the computer work, their sources of inspiration … The aim of the brochures is to provide an insight into the work of the nice people behind the letters. Have a glance at the work of the two type super heroes Xavier Dupré and Martin Majoor. types & characters Martin Majoor www.fontfont.com www.fontshop.com Æ 10 Questions to Martin Majoor What are your inspirations and Do you think there is a connection You design books. ff Scala what do you like about being a type between Dutch type designers? Do you like reading? designer? There is no jealousy between us, I don’t have enough time for reading, ff Scala Sans Old books, especially old books set rather respect, unlike in other unfortunately. But when I have time in hot metal type, are inspiring professions maybe. But after all, I love reading. Although I recently FF Scala Jewels 1988 – 1997 for me, although new books are the Netherlands are so small that noticed that I’ve become such a nerd inspiring, too, of course. What I like you see each other quite often. that I don’t see any texts but just type. in my profession is that I often see my typefaces out there used by other What problems did you have Are you living with your family in designers. -
ITC C 127 P 426 0543251 50 0 GREG DUNDIS GREG DUNDIS DESIGN & PROD 1801 HAYES ST APT 6 SAN FRANCISCO CA 94117-1250 I T C N Dsplay
UPPER AND LOWER CASE THE INTERNATIONAL JOURNAL OF GRAPHIC DESIGN AND DIGITAL MEDIA PUBLISHED BY INTERNATIONAL TYPEFACE CORPORATION VOLUME 24, NUMBER 2, FALL 1997 $5.00 US, $9.90 AUD, .£4.95 *********************5-D IGIT 54117 ITC C 127 P 426 0543251 50 0 GREG DUNDIS GREG DUNDIS DESIGN & PROD 1801 HAYES ST APT 6 SAN FRANCISCO CA 94117-1250 I T C n Dsplay. i A resource t h a t w i I I last f o nleash your creativity with the ITC On Display CD ROM. This limited edition, unlocked CD ROM contains the entire ITC Fontek Now for the first and last time, over 375 unmatched display faces from Display Library. ITC On Display the ITC® Fontek® Library are offered together on an unlocked CD Rom. has been created to provide Here's just a sampling: graphic designers with unparal- ITC A;tiftearnim leled access to typefaces that are known for their timeless Ai•ctlefgh;jkinioripv-zsfi4wxyz beauty and exceptional quality. 12-345 4 77.90!@#$%Abc()?/ Now you can design with PX-G Zfackactireim confidence, knowing that you have at your fingertips over 375 a Eccrefilii ijkimon cpyrz otuutacyz display typefaces in TrueType 12,4,5678y o .1 ® #4%; " 1 * ? / and Type 1 formats for both 11C Macintosh and Windows. The hiejg- hij%iikon.fr,ffr.2.14A),eg2 cost for this invaluable tool is $2,999. A limited number of ( 1234 5- ‘7cr9 ./@ rl 7 CDs have been produced. So when they're gone, they're gone. 1"6114 0 Tm AbC -6 fl i [ hi 11/4/1 011f:IGKA_Stk4t4 X ITC On Display. -
Ff Scala Is Named After the Teatro Alla Scala (1776–78) in Milan
=f fontfont focus nº 1 scala @ Q g < n y g F O N T F O N T F O C U S 1 ff Scala is named after the Teatro alla Scala (1776–78) in Milan. There were two reasons for this name: ff Scala was made especially for a concert hall, the Vredenburg in Utrecht, and the design has it roots in around the time Teatro alla Scala was built, the mid- eighteenth century. Furthermore the word ‘scala’ has the meaning ‘a whole range’, which ff Scala certainly is: from a to z and from serif to sans serif, from light to black and from formal to decorated. As first released (1991) ff Scala had only four styles: Regular, Italic, Bold and small caps. Since then ff Scala has grown to 28 styles. ff Scala & ff Scala Sans: two typefaces, one form principle ff Scala and ff Scala Sans are two di=erent typefaces sharing a common form principle. The character of a seri=ed typeface mainly arises from the form principle and from elements such as serifs and contrast of the strokes. A sans serif design depends almost entirely on the form principle. ff Scala Sans was made simply by cutting the serifs o= from the characters of Scala and by adjusting their contrast. So the skeletons of both ff Scala and ff Scala Sans are identical. the skeleton of both ff scala and ff scala sans F O N T F O N T F O C U bembo fournier ff scala S 2 ff scala The form principle of ff Scala find its roots in the first vertically- stressed typefaces of the French typographer Pierre Simon Fournier (mid-eighteenth-century). -
Combining Typefaces
Five Simple Steps A Pocket Guide Combining typefaces by Tim Brown 2 3 A Pocket Guide to Combining Typefaces by Tim Brown Published in 2013 by Five Simple Steps Studio Two, The Coach House Stanwell Road Penarth CF64 3EU United Kingdom On the web: www.fivesimplesteps.com and: http://nicewebtype.com/ Please send errors to [email protected] Publisher: Five Simple Steps Editor: Stephen Coles Copy Editor: Owen Gregory Production Manager: Jo Brewer Art Director: Nick Boulton Designer: Nick Boulton, Colin Kersley Copyright © 2013 Tim Brown All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopy, recording or any information storage and retrieval system, without prior permission in writing from the publisher. ISBN: 978-1-907828-17-1 A catalogue record of this book is available from the British Library. … Why combine typefaces? Why would anyone bother using more than one typeface? 6 Designers can, and often do, use a single variation of one typeface (for example, Proxima Nova Regular) for entire projects. This is a common exercise in Typography 101 classes because it helps students understand typesetting options and limitations, and it’s a popular aesthetic among professionals who are in a hurry, trying to be plain, or trying to be careful. Even sticking with a single typeface (for example, the complete Proxima Nova family) provides a multitude of possibilities, particularly if that face offers many weights, widths and styles. The act of bringing different typefaces together to convey a message is challenging, inspiring and fun.