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The Impact of the Historical Development of Typography on Modern Classification of Typefaces

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The Impact of the Historical Development of Typography on Modern Classification of Typefaces M. Tomiša et al. Utjecaj povijesnog razvoja tipografije na suvremenu klasifikaciju pisama ISSN 1330-3651 (Print), ISSN 1848-6339 (Online) UDC/UDK 655.26:003.2 THE IMPACT OF THE HISTORICAL DEVELOPMENT OF TYPOGRAPHY ON MODERN CLASSIFICATION OF TYPEFACES Mario Tomiša, Damir Vusić, Marin Milković Original scientific paper One of the definitions of typography is that it is the art of arranging typefaces for a specific project and their arrangement in order to achieve a more effective communication. In order to choose the appropriate typeface, the user should be well-acquainted with visual or geometric features of typography, typographic rules and the historical development of typography. Additionally, every user is further assisted by a good quality and simple typeface classification. There are many different classifications of typefaces based on historical or visual criteria, as well as their combination. During the last thirty years, computers and digital technology have enabled brand new creative freedoms. As a result, there are thousands of fonts and dozens of applications for digitally creating typefaces. This paper suggests an innovative, simpler classification, which should correspond to the contemporary development of typography, the production of a vast number of new typefaces and the needs of today's users. Keywords: character, font, graphic design, historical development of typography, typeface, typeface classification, typography Utjecaj povijesnog razvoja tipografije na suvremenu klasifikaciju pisama Izvorni znanstveni članak Jedna je od definicija tipografije da je ona umjetnost odabira odgovarajućeg pisma za određeni projekt i njegova organizacija s ciljem ostvarenja što učinkovitije komunikacije. Da bi korisnik mogao odabrati pravo pismo za svoje potrebe treba prije svega dobro poznavati optičke ili geometrijske značajke tipografije, tipografska pravila i povijesni razvoj tipografije. Osim toga, velika pomoć svakom korisniku bila bi i dobra i jednostavna klasifikacija pisama. Postoji mnoštvo različitih klasifikacija pisama temeljenih na povijesnim ili na optičkim kriterijima, kao i na kombinaciji istih. Posljednjih tridesetak godina računala i digitalne tehnologije otvorile su posve nove kreativne slobode. Zahvaljujući tome, danas postoji na tisuće pisama i deseci programa za digitalno kreiranje pisama. U ovom radu predlaže se nova, jednostavnija klasifikacija, koja treba biti u skladu sa suvremenim razvojem tipografije, produkcijom velikog broja novih pisama i potrebama današnjih korisnika. Ključne riječi: font, grafički dizajn, klasifikacija pisama, pismo, povijesni razvoj tipografije, slovni znak, tipografija 1 Introduction element of typeface. Arranging types creates lines, arranging lines creates columns which make a part of a Typography (greek: typos - stamp + graphein - write) block. Typeface consists of uniform and identically is a term which can be defined as follows: the art of using shaped types. Typeface consists of: uppercase types, typographic characters, the skills of creating, arranging lowercase types, extenders, punctuation types, special and and functionally using types, or the science of types. expert types as well as mathematic operations types. All Typography has its own technical, functional and esthetic types within a particular typeface have something in rules which may be broken when using modern design. common. Those are actually elements which form a type; Furthermore, typography is a unique blend of art and although it does not necessarily mean that every type technique and a proficient typographer or designer can includes all of them. The most common and most use types and create technical works of art of special important geometrical elements of types are the quality. Typography is also the art of choosing following: initial line, curve, final curve, ascender, appropriate typeface for a specific project and its descender, clip, strikethrough and serif, [4, 5]. In today's arrangement in order to achieve a more effective digital era, the word font is almost always used as a communication. [1] synonym for typeface and even for a typeface family. The Typography is the craft of endowing human language font style is a particular style of a typeface. One typeface with a durable visual form, and thus with an independent can have more than one different style and as many as existence. Its heartwood is calligraphy - the dance, on a two dozen (bold, italic, black, heavy, thin, ultra-thin, tiny stage, of the living, speaking hand - and its roots condensed...). All styles of a typeface make a typeface reach into living soil, though its branches may be hung family. each year with new machines. So long as the roots live, This paper shall analyse the most widely known typography remains a source of true delight, true typeface classifications and use them, along with the knowledge, true surprise. One of the principles of durable historic development of typography, to suggest a brand typography is always legibility; another is something new classification which must be in accordance with more than legibility: some earned or unearned interest that contemporary typography and the needs of today's users. gives its living energy to the page. It takes various forms and goes by various names, including serenity, liveliness, 2 Typographic measurement system laughter, grace and joy. [2] Keywords in typography are as follows: type, type During the hot lead typesetting era, typographic geometry, word, typeface, font, font style, typeface measurement system used to have great importance. After family, typographic measurement system, typeface size, the development of offset printing it has been used less baseline, kerning, word spacing, leading, alignment, and less, but it still has a historic value and it is accepted hyphenation and emphasis. [1, 3] Type is the main as a valid system in Europe (DIN 16507-2). In the last Tehnički vjesnik 20, 5(2013), 905-911 905 The impact of the historical development of typography on modern classification of typefaces M. Tomiša et al. thirty years, during the desktop publishing era, it is most important role of the baseline is to prevent different precisely that system that has represented in its core so it typefaces and types from appearing erratic, but to appear is important to mention its basic features. The need to unified and harmonized. Kerning is an important feature introduce a unitary system for determining typographic which greatly influences the legibility of a text. The lack and arranging materials arose as early as the Guttenberg of kerning is easy to notice in a text written on a times. The first serious attempt at standardization was typewriter or in typefaces imitating that style. That style done by Joseph Moxon in England in 1683. However, the gives the same space to each letter (for example, the same first practical results were achieved by Pierre Simon space for letter "i" as for the letter "m") so the spacing Fournier who introduced a typographic measurement between types is the same. In such a text, the letters system whose basic size is a typographic point (French should be brought closer together, which is especially point typographique) - pt. In 1775, a Frenchman Francois- visible in the following pairs: "Va", "AV", "Ti", "Ta", Ambroise Didot with his son Firmin, introduced his "Ts", but also with "V. " and "V, ". [4, 5] Nowadays, typographic system which is still accepted today. The professional digital typefaces come with kerned pairs but system is duodecimal where 12 typographic points make a graphic applications and page layout applications still cicero. offer options for manual kerning. In 1875, a German typefounder Hermann Berthold, It is difficult to pinpoint the optimal spacing between converted the Didot system into the metric system. He words. It primarily depends on the length of words, that determined the precise typo meter whose length of 30 cm is, the longer the words are in a language the smaller the divides into 133 nonpareils with 6 typographical points, space between them needs to be. However, there are two from which follows that type meter has 798 typographical main rules for the spacing between words: the space points, or 66 1/2 Cicero. Anglo-American countries use should be larger than that between individual types, and the English point system in which one point has a 0,352 yet smaller than the spacing between lines of the text; the mm or 0,013832 inches and English Cicero (Pica) is spacing should be equal to the most often used type in the 4,212 mm or 0,1666 inches. Since 1866 typographic text. The second rule depends on a language which means measure is based on a length of 35 cm divided in 166 that, statistically speaking, in a Croatian text the spacing nonpareils and 996 pt. In the past, different type sizes had should be the width of a lowercase "a", and in German it their own names which are no longer used. Type sizes on should be the width of a lowercase "n", whereas in Anglo- typesetting table drawers were marked with precisely Saxon world it is usually the width of uppercase "I". It these names. We will mention their names for historic has, however, become a non-written rule to use the width purposes: Brilliant - 3 pt, Diamand - 4 pt, Pearl - 5 pt, of a letter "n". Regardless, the spacing between words Nonpareil - 6 pt, Minion - 7 pt, Petit - 8 pt, Bourgeois - 9 should be unified or at least as consistent as possible pt, Garmond - 10 pt, Cicero - 12 pt, Mittel - 14 pt, Tertia - throughout the text. That can be achieved
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