TypeTYPE AND MEDIA COMD1127 Type by John BookBook De Santis ANATOMY

Vocabulary Capline Arm Bowl Baseline Bracket Meanline Capline x-height Uppercase Arm Ascender Counter Counter Crossbar Stem Bracket Shoulder baseline Stress 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

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 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 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 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 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 , 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 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. , 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. tend to be on the heavy side. Serifs design of this elegant French type- are almost always bracketed in old face; however, it has recently been style designs and head serifs are of- discovered that the face was de-

JOHN DE SANTIS | TYPE BOOK 8 Transitional TRANSITIONAL

Transitional typefaces are so of the Transitional Age were Baskerville’s work with calendered called because they form a bridge Baskerville and Fournier. The dis- paper and improved printing between the Old Style and the tinguishing features of transitional methods (both developed by him) Modern faces. Compared to the typefaces include vertical stress allowed much finer character Old Style, transitional typefaces and slightly higher contrast than strokes to be reproduced and shows a greater contrast between old style typefaces, combined with subtler character shapes to be the thicks and thins, serifs are less horizontal serifs. maintained. Additional examples heavily bracketed, and the stress is of transitional typefaces include: almost vertical. Baskerville one of the most pleas- and Palatino ant and readable fonts, designed Linotype. The letters are very wide for their by the English John Baskerville in x-height, are closely fitted, and are 1757, it is an excellent example of of excellent proportions. a Transitional typeface. Most notable representative fonts

JOHN DE SANTIS | TYPE BOOK 9 Modern MODERN

Modern (also referred to as Neo- Modern typefaces enjoyed great Italian typographer, Giambat- classical and ) popularity from the late 18th tista Bodoni. All older faces be- Modern typefaces are distin- through the 19th centuries. The came known as Old Style, while guishable by their sudden- term Didone is a melding of the more recent faces – just prior onset vertical stress and strong and Bodoni, the two most to the change – were referred to contrast. Modern serifs and characteristic typeface designs of as Transitional. horizontals are very thin, almost this era. Didones are character- hairlines. Although they are ized by extreme weight contrast Although Bodoni has a small very striking, these typefaces are between thicks and thins, verti- x-height, it appears very wide sometimes criticized as cold or cal stress, and serifs with little or and black. Because of the strong harsh, and may not be quite as no bracketing. vertical stress, accentuated by its readable for very extensive text heavy thicks and hairline thins, work, such as books. Bodoni is a Modern typeface, de- the horizontal flow necessary for signed in the late 1700’s by the comfortable reading is impaired.

JOHN DE SANTIS | TYPE BOOK 10 Slab Serif SLAB SERIF

Slab serif typefaces became in 1894 by L.B. Benton and popular for children’s books. popular in the 19th century for T.L.Devinne for the Century Like most members of the advertising display. These type- Magazine. After Bodoni, the Egyptian family of Typefaces, faces have very heavy serifs type designers began to search Century Expanded makes a with minimal or no bracketing. for new forms of typographic good display type because of Generally, changes in stroke expression. its boldness. and weight are imperceptible. Clarendon are also examples of Around 1815 a type style ap- Slab Serifs. To many readers, slab serif peared that was characterized You can’t go far, typographi- type styles look like sans serif by thick slab serifs and thick cally speaking, without see- designs with the simple addi- main strokes with little con- ing a slab serif. Whether in a tion of heavy (stroke weight) trast between thicks and thins. magazine article or an adver- serifs. This style was called Century Expanded has a large tisement, on a book cover or Egyptian. x-height and should be leaded. signage, slab serif designs, Century Expanded is an excel- with their geometric, block-like lent example of a refined Egyp- The large letters and simple appenditures, project solidity, tian typeface. It is based on a letterforms combine to make style and confidence. type called Century, designed it very legible and especially

JOHN DE SANTIS | TYPE BOOK 11 Sans Serif SANS SERIF

In typography and lettering, a and modernity or minimalism. Its use became a hallmark sans-serif, sans serif, gothic, or Sans-serif fonts have become of Swiss designers in the simply sans letterform is one most prevalent for display 1950s and 60s, becoming that does not have extending of text on computer screens one of the most popular type- features called “serifs” at the faces of the 20th century. end of strokes. Helvetica or Neue Haas Grotesk is a widely used Over the years, a wide range of Sans Serif type forms made sans-serif typeface developed variants have been released in their first appearances around in 1957 by Swiss typeface different weights, widths and 1815-1817 and are marked by designer Max Miedinger with sizes, as well as matching de- simpler letterforms with (usu- input from Eduard Hoffmann. signs for a range of non-Latin ally) relatively uniform stroke alphabets. Notable features of weight, lacking significant con- Helvetica is a neo-grotesque or Helvetica as originally de- trast, often geometric in their realist design, one influenced signed include a high x-height, underlying design. by the famous 19th century the termination of strokes on typeface Akzidenz-Grotesk cre- horizontal or vertical lines and In most print, they are often ated by Berthold around 1898. an unusually tight spacing be- used for headings rather than Today Helvetica is one of the tween letters, which combine for body text. They are of- most popular typefaces in the to give it a dense, compact ten used to convey simplicity world. appearance.

JOHN DE SANTIS | TYPE BOOK 12 typeface; however, it has re- Modern Typeface cently been discovered that the face was designed by Jean Jannon in 1615. Many MODERN TYPEFACE present day versions of this his category includes the serifs are often angled. Some ver- typeface are based on Jan- first Roman types, origi- sions, like the earlier Venetian old non’s designs, although they are Tnally created between style designs, are distinguished all called Garamond. the late 15th and mid 18th cen- by the diagonal cross stroke of This is a typical Old Style face, turies, as well as typefaces pat- the lowercase e.’ having little contrast between terned after those designed in this Old Style typefaces are consid- thick and thins, heavily bracket- earlier period. The axis of curved ered to be the best type strokes is normally inclined to for large amounts of body sometimes criticized the left in these designs, so that text on paper. That’s why as cold or harsh! weight stress is at approximately you’ll find them used 8:00 and 2:00 o’clock. heavily in newspapers, maga- ed serifs, and oblique stress. The The contrast in character stroke zines and books. Garamond is an letterforms are open and round, weight is not dramatic, and hair- old style serif typeface. Claude making the face extremely read- lines tend to be on the heavy side. Garamond, who died in 1561, able. The capital letters are Serifs are almost always bracket- was originally credited with the shorter than the ascenders of the ed in old style designs and head design of this elegant French lowercase letters.

JOHN DE SANTIS | TYPE BOOK 13 old style serif typeface. Claude Modern Typeface Garamond, who died in 1561, was originally credited with the MODERN TYPEFACE design of this elegant French typeface; however, it has recent- his category includes ed in old style designs and head ly been discovered that the face the first Roman types, serifs are often angled. Some ver- was designed by Jean Jannon originally created be- sions, like the earlier Venetian old in 1615. Many present day ver- tween the late 15th style designs, are distinguished sions of this typeface are based Tand mid 18th centuries, as well by the diagonal on Jannon’s designs, as typefaces patterned after those cross stroke of the sometimes although they are all designed in this earlier period. lowercase e.’ called Garamond. The axis of curved strokes is nor- Old Style type- criticized This is a typical Old mally inclined to the left in these faces are con- Style face, having lit- designs, so that weight stress is sidered to be the as cold or tle contrast between at approximately 8:00 and 2:00 best type for large thick and thins, o’clock. amounts of body harsh! heavily bracketed The contrast in character stroke text on paper. serifs, and oblique stress. The weight is not dramatic, and hair- That’s why you’ll find them used letterforms are open and round, lines tend to be on the heavy side. heavily in newspapers, maga- making the face extremely read- Serifs are almost always bracket- zines and books. Garamond is an able. The capital letters are

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JOHN DE SANTIS | TYPE BOOK 15