John De Santis | Type Book 1 Classifications
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TypeTYPE AND MEDIA COMD1127 Type by John BookBook De Santis ANATOMY Vocabulary Capline Arm Bowl Ascender Baseline Bracket Meanline Capline x-height Uppercase Arm Ascender Counter Counter Crossbar Stem Bracket Descender Shoulder baseline Stress Serif Stem Serif Serif San serif Stress Terminal Tail Work Uppercase Lowercase JOHN DE SANTIS | TYPE BOOK 1 CLASSIFICATIONS Oldstyle San Serif Modern Slab Serfif Transitional JOHN DE SANTIS | TYPE BOOK 2 KERNING Good Typography Good Typography JOHN DE SANTIS | TYPE BOOK 3 VARIATIONS WEIGHT a a a light regula bold WIDTH a a a condensed regular extended POSTURE a a regular italic CONTRAST a a a low meduim hign JOHN DE SANTIS | TYPE BOOK 4 HELVETICA 12/8 HELVETICA 12/12 LEGIBILITY What is the right amount of In typography and lettering, a sans-serif, sans serif, gothic, or simply sans letterform is one that does not In typography and lettering, a sans-serif, sans space between lines? have extending features called “serifs” at the end of serif, gothic, or simply sans letterform is one that strokes. Sans Serif type forms made their first ap- pearances around 1815-1817 and are marked by does not have extending features called “serifs” simpler letterforms with (usually) relatively uniform at the end of strokes. Sans Serif type forms made stroke weight, lacking significant contrast, often geometric in their underlying design. In most print, their first appearances around 1815-1817 and are they are often used for headings rather than for marked by simpler letterforms with (usually) relative- body text. They are often used to convey simplicity and modernity or minimalism. Sans-serif fonts have ly uniform stroke weight, lacking significant contrast, become most prevalent for display of text on com- often geometric in their underlying design. In most puter screens. Helvetica or Neue Haas Grotesk is a widely used print, they are often used for headings rather than sans-serif typeface developed in 1957 by Swiss for body text. They are often used to convey sim- typeface designer Max Miedinger with input from Eduard Hoffmann. Helvetica is a neo-grotesque or plicity and modernity or minimalism. Sans-serif fonts realist design, one influenced by the famous 19th have become most prevalent for display of text on century typeface Akzidenz-Grotesk created by Berthold around 1898. Today Helvetica is one of the computer screens. most popular typefaces in the world. Its use became Helvetica or Neue Haas Grotesk is a widely used a hallmark of Swiss designers in the 1950s and 60s, becoming one of the most popular typefaces of the sans-serif typeface developed in 1957 by Swiss 20th century. Over the years, a wide range of vari- typeface designer Max Miedinger with input from ants have been released in different weights, widths Eduard Hoffmann. Helvetica is a neo-grotesque or * and sizes, as well as matching designs for a range of non-Latin alphabets. Notable features of Hel- realist design, one influenced by the famous 19th HELVETICA 12/18 HELVETICA 12/24 In typography and lettering, a sans-serif, sans In typography and lettering, a sans-serif, sans serif, gothic, or simply sans letterform is one that does not have extending features called “serifs” serif, gothic, or simply sans letterform is one that at the end of strokes. Sans Serif type forms made does not have extending features called “serifs” their first appearances around 1815-1817 and are at the end of strokes. Sans Serif type forms made marked by simpler letterforms with (usually) relative- ly uniform stroke weight, lacking significant con- their first appearances around 1815-1817 and are trast, often geometric in their underlying design. In marked by simpler letterforms with (usually) relative- most print, they are often used for headings rather ly uniform stroke weight, lacking significant con- than for body text. They are often used to convey simplicity and modernity or minimalism. Sans-serif trast, often geometric in their underlying design. In fonts have become most prevalent for display of most print, they are often used for headings rather JOHN DE SANTIS | TYPE BOOK 5 Flush Left Old Style Typefaces Flush Right ALIGNMENT This category includes the first Roman types, originally cre- ated between the late 15th and mid 18th centuries, as well as typefaces patterned after those designed in this earlier period.. The contrast in character stroke weight is not dramatic, and hairlines tend to be on the heavy side. Serifs are almost always bracketed in old style designs and head serifs are of- ten angled. Some versions, like the earlier Venetian old style designs, are distinguished by the diagonal cross strokes. Old Style Typefaces Old Style Typefaces This category includes the first This category includes the first Roman types, originally cre- Roman types, originally cre- ated between the late 15th and ated between the late 15th and mid 18th centuries, as well as mid 18th centuries, as well as typefaces patterned after those typefaces patterned after those designed in this earlier period.. designed in this earlier period.. The contrast in character The contrast in character stroke weight is not dramatic, stroke weight is not dramatic, and hairlines tend to be on the and hairlines tend to be on the heavy side. Serifs are almost heavy side. Serifs are almost always bracketed in old style always bracketed in old style designs and head serifs are of- designs and head serifs are of- ten angled. Some versions, like ten angled. Some versions, like the earlier Venetian old style the earlier Venetian old style designs, are distinguished by designs, are distinguished by the diagonal cross strokes. Centered the diagonal cross strokes. JOHN DE SANTIS | TYPE BOOK 6 Old Style Typefaces ALIGNMENT This category includes the first Roman types, originally created Forced Justification can cause very Justified VS odd spacing between words and let- between the late 15th and mid 18th centuries, as well as type- Forced Justification faces patterned after those designed in this earlier period. The ter. axis of curved strokes is normally inclined to the left in these designs, so that weight stress is at approximately 8:00 and 2:00 o’clock. The contrast in character stroke weight is not dramatic, and hairlines tend to be on the heavy side. Serifs are almost al- ways bracketed in old style designs and head serifs are often an- gled. Some versions, like the earlier Venetian old style designs, are distinguished by the diagonal cross stroke of the lowercase e. Old Style typefaces are considered to be the best type for large amounts of body text on paper. That’s why you’ll find them used heavily in newspapers, magazines and books. Ga- ramond is an old style serif typeface. Claude Garamond, who died in 1561, was originally credited with the design of this el- egant French typeface; however, it has recently been discov- ered that the face was designed by Jean Jannon in 1615. Many present day versions of this famous typeface are based on Jan- non’s designs, although they are almost all called Garamond. Old Style Typefaces “If you must justify the text, regular justi- This category includes the first Roman types, originally created fication might be a better option. between the late 15th and mid 18th centuries, as well as typefaces patterned after those designed in this earlier period. The axis of curved strokes is normally inclined to the left in these designs, so that weight stress is at approximately 8:00 and 2:00 o’clock. The contrast in character stroke weight is not dramatic, and hairlines tend to be on the heavy side. Serifs are almost always bracketed in old style designs and head serifs are often angled. Some versions, like the earlier Venetian old style designs, are distinguished by the diagonal cross stroke of the lowercase e. Old Style typefaces are considered to be the best type for large amounts of body text on paper. That’s why you’ll find them used heavily in newspapers, magazines and books. Garamond is an old style serif typeface. Claude Garamond, who died in 1561, was originally credited with the design of this elegant French typeface; however, it has recently been discovered that the face was designed by Jean Jannon in 1615. Many present day versions of this famous typeface are based on Jannon’s designs, although they are almost all called Garamond. JOHN DE SANTIS | TYPE BOOK 7 Old Style OLD STYLE This category includes the first Ro- ten angled. Some versions, like the signed by Jean Jannon in 1615. Many man types, originally created be- earlier Venetian old style designs, are present day versions of this typeface tween the late 15th and mid 18th distinguished by the diagonal cross are based on Jannon’s designs, al- centuries, as well as typefaces pat- stroke of the lowercase e.’ though they are all called Garamond. terned after those designed in this earlier period. The axis of curved Old Style typefaces are considered to This is a typical Old Style face, hav- strokes is normally inclined to the be the best type for large amounts ing little contrast between thick and left in these designs, so that weight of body text on paper. That’s why thins, heavily bracketed serifs, and stress is at approximately 8:00 and you’ll find them used heavily in oblique stress. The letterforms are 2:00 o’clock. newspapers, magazines and books. open and round, making the face ex- Garamond is an old style serif type- tremely readable. The capital letters The contrast in character stroke face. Claude Garamond, who died in are shorter than the ascenders of the weight is not dramatic, and hairlines 1561, was originally credited with the lowercase letters.