Anatomy Glossary of Terms

Apex Dot, jot or

Shoulder Ear Terminal

x-height • Cross- • bar • Bowl Stroke Stem Link An Ordinary xylographOpen Loop Closed Counter Stress Double Story Letters a and g

THE TERMINOLOGY of typographic Bowl Crossbar Ear Serif Tail* anatomy has analogies with the human Found in letters b, d, o, D, B, the bowl is Found in the letters H and A, the crossbar A little stroke extending from the top of a The little lines—in many variety of shapes— Found in the letters K, , R, the tail is a form; the descriptive terms often correlate the curved, closed part of a character. is the horizontal stroke (some typeface double story g, often a teardrop terminal. that crosses the end of a stem or stroke. short stroke extending down. with the human body. Like puzzle pieces, design may indicate an angled crossbar). the named character parts help designers Brackets Eye* Shoulder Terminal articulate precise design solutions. The curved joint or junction between Cross Stroke* The top closed counter of the lower case e Found in the letters h, m, n, the stroke is The end part of a letter that does not the serif and the main stroke. In type Found in the letters t and f, the cross (the bottom space is a open counter). the letter part curving down from a stem. include a serif. A teardrop terminal is a Apex classification, Old Style brackets tend to stroke traverses the stem. Generally it is a terminal that tapers into a teardrop shape. Found in the letters A, M, N, W & w, an apex be thick, Transitional brackets are horizontal stroke, but it can also be angled. Loop Spine* is a top juncture where two strokes meet. tighter, and Modern faces are generally The enclosed, or also slightly open, lower The main stroke of the letter S. Vertex* sleek and un-bracketed. Descender portion of the double story g, under the Found in the letters M, V, W the junction Ascender Found in the letters g, j, p, q, y, the link, including the counter and the bowl. Stem where two strokes meet near the bottom. Found in b, d, f, h, k, l, ascenders are the Cap Height descender is a part of the lower case letter The main vertical stroke of a character. part of the letter that extends above the Noted by an imaginary guideline at that extends below the baseline. Old style Link x-height x-height. Old style numerals 6 and 8 also the top of capital letters, cap height is numerals 3, 4, 5, 7, 9 also have . The connecting bit which links the upper Stress Indicated by an imaginary guideline of have ascenders. the height between the baseline and and lower bowl of the double story g, An imaginary axis—the top of the thinnest the main body portion of lowercase the top of the uppercase characters. Dot, jot, or tittle connecting the parts. part of an O to the bottom of the thinnest letters (not including the ascenders or Baseline The dot on the top of a j or an i. part of the stroke—which aids in the descenders). The height of the lowercase An imaginary guideline at the bottom of Counter * determination of the type classification. x is used for purposes of measurement. the characters (the descenders—such as There are two counter variants— a Double Story Found in round or pointed letters—A, O, S, with large x-heights generally g, j, p, and y—drop below the baseline). closed counter and an open counter. A Found in the lower case a and g, the V, W—the overshoot is an imaginary line Stroke have shorter ascenders and descenders The baseline and the baseline grid play an closed counter can be found in the letters, double story letter variant has two counter found slightly above the cap height and Found in the letters M, N, Y, the stroke is and as a rule are more difficult to read as important role in the over all appearance of b, d, o. An open counter can be found in spaces rather than only one counter space below the baseline. The overshoot allows the straight, diagonal, or curved part of body copy typefaces. a design. It serves as means to align type the letters c, f, h, s. The letter e and a have found in the single story variant a and g for an optical alignment with the letters letter which is secondary to the stem (also * INDICATES TERMS THAT ARE NOT and other design elements, such as photos both a closed and an open counter. (technically the g does have two counters). aligned horizontally on the baseline. see cross stroke). ON THE VISUAL CHART ABOVE Typography Stress: An imaginary axis line drawn from top to bottom of a connecting the thinest part of an o O O Stroke Contrast: the difference in width between the thick and thin strokes

Old Style Transitional Modern

Bembo Baskerville Didot (Slight contrast between (High contrast between (Extreme contrast between athick and thin) athick and thin strokes) athick and thin strokes) Old Style Transitional Modern

Nam quistet quamus min rem qui utet aut quate volorum fugitia ex es necte eic te Nam quistet quamus min rem qui utet aut quate volorum fugitia ex es necte eic te velitaqui Nam quistet quamus min rem qui utet aut quate volorum fugitia ex es necte velitaqui volorerat od eiusda quis mo culpa core voluptaerum quist fugia soluptat ete volorerat od eiusda quis mo culpa core voluptaerum quist fugia soluptat ete vendesto molupta eic te velitaqui volorerat od eiusda quis mo culpa core voluptaerum quist fugia vendesto molupta exerro ducium quatur simi, int quos a sit, sum repe estio iustiantoria exerro ducium quatur simi, int quos a sit, sum repe estio iustiantoria invellam reium de porro soluptat ete vendesto molupta exerro ducium quatur simi, int quos a sit, sum invellam reium de porro offici ipsam, quaes conet quidus.Leseni doluptat lacie oratur offici ipsam, quaes conet quidus.Leseni doluptat lacie oratur magnis dolumquo dis aperum repe estio iustiantoria invellam reium de porro offici ipsam, quaes conet quidus. magnis dolumquo dis aperum quatis cupta doluptur aut que odi te sim nus quam quo quatis cupta doluptur aut que odi te sim nus quam quo tes eum sequi cus quias sunt, occus Leseni doluptat lacie oratur magnis dolumquo dis aperum quatis cupta doluptur tes eum sequi cus quias sunt, occus a si atum ex estisqui sunderro tem am nusaped et a si atum ex estisqui sunderro tem am nusaped et rerovitatum eniet estore derum, sollatur, aut que odi te sim nus quam quo tes eum sequi cus quias sunt, occus a si atum rerovitatum eniet estore derum, sollatur, omnimporibus dolore vendi blanihil into conse omnimporibus dolore vendi blanihil into conse voluptiis et eos arciae volorru nturias doluptas ex estisqui sunderro tem am nusaped et rerovitatum eniet estore derum, sollatur, voluptiis et eos arciae volorru nturias doluptas maiorios et lam quunt earcim nam sa maiorios et lam quunt earcim nam sa quibus min et dolorporeri quate sum et rerrovid quunde omnimporibus dolore vendi blanihil into conse voluptiis et eos arciae volorru quibus min et dolorporeri quate sum et rerrovid quunde dolor sumquo quodia nus dolor sumquo quodia nus peliam faccum labor sam, quiam, adigendest ant labo. Occus, nturias doluptas maiorios et lam quunt earcim nam sa quibus min et dolorporeri peliam faccum labor sam, quiam, adigendest ant labo. Occus, eveleseque vero essunt eveleseque vero essunt quam, te solor magniet facestio ditesseque velia corepudic toriam, quate sum et rerrovid quunde dolor sumquo quodia nus peliam faccum labor sam, quam, te solor magniet facestio ditesseque velia corepudic toriam, officiae pe vit alibus Facea vendi ratur? Gitaqua musam, sequis quam invel explate mporerem facepratiae. Harum Facea vendi ratur? Gitaqua musam, sequis quam invel explate mporerem Facea vendi ratur? Gitaqua musam, sequis quam invel explate mporerem facepratiae. fugitec epedit quia qui as asimi, il in cum, nis autatus velit, simagnim quam nobit pelesti facepratiae. Harum fugitec epedit quia qui as asimi, il in cum, nis autatus velit, Harum fugitec epedit quia qui as asimi, il in cum, nis autatus velit, simagnim quam nobit officienimus nonsequi delentintion etur assenis audit pore nisinus dolest, ut estem quasi in simagnim quam nobit pelesti officienimus nonsequi delentintion etur assenis audit pelesti officienimus nonsequi delentintion etur assenis audit pore nisinus dolest, ut estem earchilloris doluptaque culparum lis arum earcipidendi ipsa consed utatur? Qui rehenis pore nisinus dolest, ut estem quasi in earchilloris doluptaque culparum lis arum quasi in earchilloris doluptaque culparum lis arum earcipidendi ipsa consed utatur? vitiusa dolupta sequundam nonseque net qui doluptatem fugit, et aperum volorit eveliquam earcipidendi ipsa consed utatur? Qui rehenis vitiusa dolupta sequundam nonseque Qui rehenis vitiusa dolupta sequundam nonseque net qui doluptatem fugit, et aperum as everibus nonserum quam ipid ea quatestrum sin rem vollam, conet volut vid quunt que net qui doluptatem fugit, et aperum volorit eveliquam as everibus nonserum quam volorit eveliquam as everibus nonserum quam ipid ea quatestrum sin rem vollam, conet volorup istecto tatemperum qui aut reprent optate officil iquianti blande est quam expel ipid ea quatestrum sin rem vollam, conet volut vid quunt que volorup istecto volut vid quunt que volorup istecto tatemperum qui aut reprent optate officil iquianti mos eumquiatio bea essint porempo riberuptate maionsedi cuscid que num quostem que tatemperum qui aut reprent optate officil iquianti blande est quam xpele mos blande est quam expel mos eumquiatio bea essint porempo riberuptate maionsedi cuscid porio enihita teturepta eos endae andanda peruntum endempo rehenis volupta dolorrovid eumquiatio bea essint porempo riberuptate maionsedi cuscid que num quostem que num quostem que porio enihita teturepta eos endae andanda peruntum endempo quiaerro ipsantotatem re natis aut aut delecer speris magnis eum rati oditas volorepudic que porio enihita teturepta eos endae andanda peruntum endempo rehenis volupta rehenis volupta dolorrovid quiaerro ipsantotatem re natis aut aut delecer speris magnis tem. Ebitaquia que nimodi volo eate ni doluptaquia cum rem lam eos es reium anihit untur dolorrovid quiaerro ipsantotatem re natis aut aut delecer speris magnis eum rati eum rati oditas volorepudic tem. Ebitaquia que nimodi volo eate ni doluptaquia cum apis velloria vel imil inienis rerepeliquo et velitate pe Nam quistet quamus min rem qui utet oditas volorepudic tem. Ebitaquia que nimodi volo eate ni doluptaquia cum rem rem lam eos es reium anihit untur apis velloria vel imil inienis rerepeliquo et velitate aut quate volorum fugitia ex es necte eic te velitaqui volorerat od eiusda quis mo culpa core lam eos es reium anihit untur apis velloria vel imil inienis rerepeliquo et velitate pe Nam quistet quamus min rem qui utet aut quate volorum fugitia ex es necte eic voluptaerum quist fugia soluptat vendesto molupta exerro ducium quatur simi, int quos a sit, pe Nam quistet quamus min rem qui utet aut quate volorum fugitia ex es necte te velitaqui volorerat od eiusda quis mo culpa core voluptaerum quist fugia soluptat sum repe estio iustiantoria invellam reium de porro offici ipsam, quaes conet quidus.Leseni eic te velitaqui volorerat od eiusda quis mo culpa core voluptaerum quist fugia vendesto molupta exerro ducium quatur simi, int quos a sit, sum repe estio iustiantoria doluptat lacient oratur magnis dolumquo dis aperum quatis cupta doluptur aut que odi te soluptat vendesto molupta exerro ducium quatur simi, int quos a sit, sum repe invellam reium de porro offici ipsam, quaes conet quidus.Leseni doluptat lacient oratur sim nus quam quo tes eum sequi cus quias sunt, occus a si atum ex estisqui sunderro tem am estio iustiantoria invellam reium de porro offici ipsam, quaes conet quidus.Leseni magnis dolumquo dis aperum quatis cupta doluptur aut que odi te sim nus quam quo nusaped et peliam faccum labor sam, quiam, adigendest ant labo. Occus, eveleseque vero doluptat lacient oratur magnis dolumquo dis aperum quatis cupta doluptur aut tes eum sequi cus quias sunt, occus a si atum ex estisqui sunderro tem am nusaped et essunt quam, te solor magniet facestio ditesseque velia corepudic toriam, officiae pe vit alibus que odi te sim nus quam quo tes eum sequi cus quias sunt, occus a si atum ex peliam faccum labor sam, quiam, adigendest ant labo. Occus, eveleseque vero essunt Facea vendi ratur? Gitaqua musam, sequis quam invel explate mporerem facepratiae. Harum estisqui sunderro tem am nusaped et peliam faccum labor sam, quiam, adigendest quam, te solor magniet facestio ditesseque velia corepudic toriam, officiae pe vit alibus fugitec epedit quia qui as asimi, il in cum, nis autatus velit, simagnim quam nobit pelesti ant labo. Occus, eveleseque vero essunt quam, te solor magniet facestio ditesseque Facea vendi ratur? Gitaqua musam, sequis quam invel explate mporerem facepratiae. officienimus nonsequi delentintion etur assenis audit pore nisinus dolest, ut estem quasi in velia corepudic toriam, officiae pe vit alibus acea vendi ratur? Gitaqua musam, Bembo Baskerville Didot (Slight contrast between (High contrast between (Extreme contrast between thick and thin) thick and thin strokes) thick and thin strokes) Bracket: The curved shape at the junction of the serif and main stroke Old Style Transitional Modern BRACKET BRACKET NO BRACKET

Bembo Baskerville Didot r(thick bracketed curve) (tighterr bracketed curve) r(No Bracket) Head Serif angle

Old Style Transitional Modern lBembo lBaskerville lDidot OLD STYLE Late 15th and 17th Centuries (Examples of Old Style faces: Janson, Caslon, Sabon, Bembo, Garamond)

• Slight contrast between thick and thin strokes • Curved stroke with an axis to the left • Thick bracketed serifs • Head serifs are angled • Long ascenders and descenders (Capital letters generally shorter than lowercase ascenders) • Smallish spaces within the body of the face TRANSITIONAL Created in the mid 18th Century (Stylist bridge between old style and modern: Baskerville, Bell, Georgia) • Stress more vertical • Tighter bracketed curve • Sharper flatter serifs • High contrast between thick and thin strokes MODERN Created in late 18th Century (Bodoni, Didot, Modern No. 20, Arepo, New Caledonia)

• Vertical stress (imaginary line connecting the thinest parts of an o) • Ultra thin serifs generally un-bracketed which are nearly horizontal • Extreme contrast between thick and thin strokes 19th Century (Beton, Claredon, Rockwell, Memphis, Serifa, Vitesse)

• Varied genre • Serifs are generally un-bracketed and square • Lack of contrast between strokes (thicks and thins are of equal or almost equal weight) GROTESQUE SANS SERIF Late 19th Century (News Gothic, Frankin Gothic, , Akzidenz Grotesk, Univers, Verdana)

• Letters are generally fairly wide • Rounded letters are a bit squared off • Slight variation between strokes widths • Helvetic is one of the most widely used typefaces in the world HUMANIST SANS SERIF Common in 20th Century (Gills Sans, Myriad, Optima, Frutiger)

• Proportions of classical Roman letters… • Hand-drawn feel, calligraphic touch • Varying contrast and shapes of letters GEOMETRIC SANS SERIF Created in early 20th Century (Futura, Kabel, Century Gothic, Avant Garde)

• Based on the geometric forms of the circle, square and triangle • O are perfect circles and apex of A is a sharp triange