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Home , All caps, Archer (typeface), Ascender (typography), Baseline (typography), Cap height, Counter (typography)

Type Terms #1 (p. 36) feet ('). Often times confused with the The part of a lower case that curlier and quotation 22:342 rises above the x-height. For example, marks, a condition Lupton calls “a Studio Problems in 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 chapter (p. 37) humanist / from Lupton textbook: type classi- The imaginary line upon which old style typeface (p. 15) fication; type anatomy; families & letters and words sit. According derived from hand superfamilies; mixing typefaces; use of to typographer Robert Bringhurst, . Examples: , Jenson. apostrophes/hatch marks; logotypes; “Round letters like e and o normally vs. typeface; ornaments; humanist dent the baseline. Pointed letters like humanist sans typeface ; 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 (p. 13) varies within a character. Examples: A typeface based on dense, dark , . handwritten calligraphic forms. Common in religious manuscripts. italic (p. 15) Used in German-speaking countries The italic style in most is not until the mid 20th century. Example of simply a slanted version of the roman; a blackletter typeface: Fette . it incorporates the curves, angles, and narrower proportions associated with (p. 36 – 37) forms. — Lupton Imaginary line marking the height of the capital letters in a given typeface. (p. 36) Two letters designed as one, to (p. 36) avoid spacing problems. Most good The negative inside of a letter, fonts have ligatures built right in. such as the center open space of an o. This one, H&F-J’s Archer, contains fb,ff,fh,fi,fj,fk,fl,ffb,ffh,ffi,ffj,ffk, andffl. (p. 36) The part of a character that goes lining numeral (p. 56) below the baseline, such as the lower 1234567890. Numerals that all reach parts of the y or the p. to the same cap height, and are similar in width as well. Designed to family (p.48) work better in spreadsheets. Variations of weight, proportion, posture, etc, within the same typeface. logotype (pp. 68 – 71) For example: book, italic, semibold, A logotype uses typography or bold, etc. lettering to depict the name or of an organization in a memorable geometric typeface (p. 27) way. — Lupton A sans serif typeface based primarily on geometric forms, relying heavily modern typeface (p. 46) on circles and straight lines. Stroke Sometimes called . Strokes weight varies very little if at all. feature a sharp thick/thin contrast. Examples are , Kabel, and Serifs are unbracketed: thin and Avant Garde Gothic. straight. and are the most famous examples of this style. hatch marks (pp. 58 – 59) a.k.a. marks or dumb quotes A mark to indicate inches (") and {continued} (p. 13) often squared-off serifs. Reusable printing components — is probably the most popular slab usually composed of individual serif; though Archer, the typeface used letters made of metal — that made the for this , is a contemporary mass production of the printed word interpretation of the style. possible. (p. 52) non-lining numeral (p. 56) Capital letters scaled to match 1234567890. Numbers that vary in the height of lowercase letters height. Only the 6 and the 8 reach in a typeface. Useful in a variety the cap height. 3,4,5,7, and 9 have of situations, especially to add . Sometimes called oldstyle texture. Not as jarring as A LINE figures, these numbers tend to look COMPOSED IN . better than lining numerals in blocks of text. In InDesign, you can usually superfamily (pp. 50 – 51) switch between the two by selecting A really big type family, including the OpenType within the character panel. usual players (italic, bold, etc.) along with multiple variations of optical size (p. 41) width and weight. Superfamilies often Different sizes and styles within a feature both sans and serif versions. single typeface designed for different jobs within a layout, such as headlines, weight (pp. 50 – 51) captions, or text. Usually refers to the thickness of the strokes that make up a character: thus ornaments (pp. 60 – 63) the bold weight within a typeface is fdertyuiop[]z heavier than the hairline weight. Characters that do not represent letters, , or numbers. wood type (p. 23) Decorative ornaments can often be Metal type was too soft to use for combined to create patterns. printing at large sizes. Wood type — which was often more decorative in (p. 38) nature — was used to print attention- An absolute typographic getting advertisements and posters. measurement, which consists of 12 Much of the wood type produced in points. Six picas (72 points) equal one the United States was manufactured inch. The horizontal length of a line is at the Hamilton Company in nearby usually measured in picas. Two Rivers, Wisconsin. (p. 38) x-height (p. 36 – 37) An absolute typographic The height of the lowercase letters measurement. One point equals 1/72 (excepting ascenders). Different of an inch. The baseline-to-baseline typefaces have different x-heights, measurement () is usually and this can greatly affect their measured in points, as is type size. appearance and . In general, a typeface with a large x-height serif (p. 36) () will need more line Small shapes or projections which spacing than one with a small appear on the ends of the strokes of x-height (Futura). a letterform. (Strokes are the hand gestures used to draw a letterform.) (pp. 22 – 23) Sometimes called Egyptian, slab serif typefaces are characterized by heavy,