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Fonturi Sans Serif Sau Fonturi Cu Serife?

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Fonturi Sans Serif Sau Fonturi Cu Serife? Fonturi sans serif sau fonturi cu serife? Disputa serif versus sans serif este una epică. Ca și în cazurile Mac vs. PC, Adidas vs. Nike, Cola vs. Pepsi, etc. există argumente pro și contra, diferențe de gusturi și opinii, dar niciuna dintre părți nu deține adevărul absolut. Aflați în cele ce urmează mai multe despre cele două tipuri de fonturi și câteva sfaturi de folosire a lor. Fonturile cu serife Fonturile cu serife își au originea în alfabetul roman inventat în timpul Imperiului Roman, exemplul clasic fiind majusculele de pe coloana lui Traian (113 e.n.), deși primele inscripții cu caractere cu serife provin din Grecia antică (secolele IV-II î.e.n.). Originea lor nu este stabilită clar: Edward Catich, în studiul său, “The Origin of the Serif”, consideră că serifele sunt o rămășiță a procesului de pictare a literelor pe piatră înainte de sculptarea efectivă cu dalta. Originea cuvântului în sine nu este clară, cele mai credibile explicații fiind cea din Dictionarul Oxford de Limba Engleză potrivit căruia cuvântul s-a format dupa apariția lui “sanserif”, citat în Dictionarul Oxford în 1841 și cea oferită de un al doilea dictionar, Webster’s Third New International Dictionary, care leagă noțiunea de cuvântul “schreef” care în olandeză înseamnă “linie” sau “semn de peniță”. Clasificarea pe scurt a fonturilor cu serife (old style, transitional, modern, latin serif și slab serif) o puteți reciti în articolul “Type, typeface și tipuri de fonturi” (http://typography.ro/2008/11/23/type-typeface-si-tipuri-de-fonturi/), dar o voi relua și în cele ce urmează mai detaliat: Old Style: apărute în secolele al XV-lea și al XVI-lea în timpul Renașterii, au avut drept inspirație inițialele romane și minuscula carolingiană, motiv pentru care se mai numesc și “anticve” sau “antique”, termen folosit de altfel pentru toate fonturile create după epoca “Blackletter”. Aceste fonturi sunt lizibile și elegante, iar formele lor târzii din secolul al XVI-lea au o lățime variabilă a liniilor, deci contrast mai mare (în special pe diagonală) și serife curbate. Exemple: Garamond, Bembo, Minion, Goudy Old Style. Tranzitionale: numite astfel pentru că aparțin ca timp secolului al XVIII-lea, între epoca fonturilor Old Style și a celor moderne. Sunt fonturi cu contrast mare pe verticală, deci mai greu de citit decât cele Old Style, cu design neutru și serife triunghiulare. Exemple: Times New Roman, Baskerville. Moderne: create la finalul secolului al XVIII-lea și începutul secolului al XIX-lea, fonturile moderne au un contrast foarte ridicat între liniile subțiri și cele groase, serife orizontale foarte fine și un aspect foarte rigid datorat lipsei linilor curbate și a colțurilor rotunjite. Exemple: Bodoni, Didot. Tipuri de serife: slab, wedge, hair, aceste serife fiind la rândul lor bracketed sau unbracketed. Fonturile sans serif Denumirea le-a fost dată de Vincent Figgins în 1832 și provine din combinația între “sans” care în franceză înseamnă fără și “serif”; este considerată oarecum nepotrivită pentru că implică ceva negativ, o lipsă. Recent, în Anglia, se recomandă termenul “lineal”, care nu a prins însă la public. Această denumire este totuși incompletă deoarece aduce în discuție doar aspectul de monolinearitate: sans serifele nu au aparenta alternanță între subțire-gros pe care o au fonturile cu serife (într-un fel, serifele imită scrisul de mână pentru că ilustrează felul în care se subțiază linia descrisă de peniță). Fonturile sans serif își au originea la începuturile istoriei scrierii, când se foloseau unelte rudimentare: bucăți de trestie sau lemn pentru a descrie scheletul literelor, forma lor de bază. Grecii antici, etruscii și romanii din perioada Republicii Romane (509 î.Hr. – 27 î.Hr.) foloseau caracterele fără serife, alfabetul roman cu serife fiind inventat abia în perioada Imperiului Roman (după cei 500 de ani de republică romană). Existența fonturilor fără serife a continuat până în vremea Renașterii, dar a încetat temporar odată cu introducerea caracterului metalic. Istoria fonturilor sans serif tipărite a reînceput apoi în timpul revoluției industriale când noi forme de literă au fost produse pentru a capta mai ușor atenția, în condițiile în care mesajul imprimat căpătase o putere fără precedent. Fonturile sans serif au rezistat și au devenit simbolul modernismului în designul grafic. Primul font sans serif este considerat a fi “Egyptian English” apărut în 1816 (doar în versiunea de 28 de puncte și doar cu inițiale) într-un specimen de fonturi produs de William Caslon. La vremea respectivă, fontul a fost o inovație: primul font roman monolinear și fără serife folosit în tipografie, cu precizarea că în acea perioadă fonturile sans serif nu erau o noutate, termenul de fonturi egiptene fiind unul cunoscut și utilizat, așa cum precizează James Mosley în articolul său “The Nymph and the Grot“ publicat în 1965 în Typographica. În 1830, termenul de “egiptean” a fost înlocuit cu cel de “sans serif” de către Figgins, care s-a referit din acel moment doar la fonturile slab serif. Clasificarea fonturilor sans serif Clasificarea lor este relativ controversată pentru că diferitele sisteme de clasificare nu permit diferențieri între diverse tipuri de sans serif; mai mult există și anumite lipsuri în clasificare (Optima și Pascal nu sunt clasificate ca sans serif de anumite sisteme datorită serifelor lor reziduale – vezi Standardul Britanic 2961 din 1967 care nu le clasifica ca “lineale”, ci la categoria “glyphic”). Categoriile general acceptate sunt: Grotești și Neogrotești: apărute la începutulul secolului al XIX-lea, urmate în anii ’50 de neogrotești. Numele de “grotesc” le-a fost dat tocmai pentru accentua aspectul lor estetic necizelat comparativ cu fonturile cu serife care dominau în perioada apariției primelor fonturi sans serif. Cele mai reprezentative fonturi din această perioadă sunt: fontul “Two line great primer sans serif” al lui Vincent Figgins (un font doar cu inițiale și cu alternanță între subțire-gros), primul font sans serif cu minuscule creat de William Thorowgood în 1832 (care a introdus și termenul “grotesc”, cuvânt provenit din italianul “grottesco” – “în peșteră”). În Germania, fonturile grotești (sau “grotesk” în germană) au devenit extrem de populare și toti producătorii de fonturi puneau la dispoziție propriile versiuni de “grotesk”, o mare parte dintre acestea fiind mai târziu reunite într-o singură familie coerentă, lansată în 1898 sub numele de Akzidenz Grotesk de către producătorul Berthold. Multe din aceste fonturi au avut drept sursă de inspirație nimic altceva decât fonturi cu serife cunoscute la vremea aceea, precum Walbaum și Didot, iar versiunile italice sunt de fapt false italice născute din deformarea versiunilor normale romane. Caracteristica aceasta s-a păstrat până astăzi la fonturile sans serif (vezi Helvetica sau Frutiger-ul original care a fost retras și relansat în 2000 cu o versiune semi-italică în loc de cea normală deformată). În toată această perioadă fonturile sans serif erau foarte condensate, monolitice, singurul scop fiind acela de a aduna cât mai multă informație într-un spațiu cât mai mic. Alte exemple: Univers, Arial, Franklin Gothic. Geometrice (1920-1930): își au inspirația în normele de design ale curentului Bauhaus și sunt caracterizate în principal prin lipsa de contrast, prin aspectul minimalist (principiul filozofic al școlii germane Bauhauss fiind “less is more”) și prin formele geometrice care stau la baza designului lor. Pot fi recunoscute și datorită inițialei “G” care e compusă doar din două elemente: o linie curbă și una orizontală care încheie arcul descris de cea curbă și datorită minusculei “a” care e formată dintr- un cerc și o linie verticală. Apariția Futura creat de Paul Renner (o creație originală care nu se inspiră din niciunul din fonturile existente, literele împrumutând formele din cercuri și pătrate), dublată de lansarea “The new typography” a lui Jan Tschichold au stârnit curentul modernist în typography. Alt font geometric demn de menționat este Metro al lui William Addison Dwiggins. Umaniste: fonturi caracterizate printr-o mai mare cursivitate, fiind inspirate de scrisul de mână. Începând cu primele decenii ale secolului al XIX-lea și până pe la începutul secolului XX, fonturile sans serif nu au suferit nici o îmbunătățire. Cel care a adus un nou suflu în evoluția fonturilor sans serif a fost Edward Johnston care în 1916 a creat Johnston Sans, fontul folosit pentru metroul londonez, un font relativ asemănător celui creat de William Caslon și care folosea proporțiile clasice ale alfabetului roman. Fontul mult mai celebru al acestei perioade care i-a urmat lui Johnston Sans este Gill Sans creat de Eric Gill pentru Monotype Corporation, primul sans serif cu o versiune italică (relansat de Monotype cu multe din ideile originale ale lui Gill). Alte exemple: Optima, Verdana, Tahoma, Myriad. Ce alegem: cu serife, fără serife sau ambele? Răspunsul clasic ar fi: sans serif pentru titluri și subtitluri și fonturi cu serife pentru corpul de text, pentru că perechile serif-sans serif asigură contrastul necesar. Părțile unei astfel de perechi trebuie alese astfel încât contrastul dintre ele să nu fie unul exagerat sau ciudat: închipuiți-vă ce ar rezulta din combinația unui font cu serife Old Style și a unui sans serif geometric; pe măsură ce trecem însă prin etapele istorice ale acestor două tipuri de fonturi, vom vedea că o pereche font cu serife tranzițional – sans serif neogrotesc sau o pereche font cu serife Old Style – sans serif umanist vor produce rezultate mult mai bune. Personalitatea unui font trebuie înțeleasă foarte bine, altfel riscăm combinații infructuoase de fonturi. Fonturile sans serif sunt simple și au un aspect foarte curat și clar, arată mult mai modern, deci atrag mai mult atenția, pe când fonturile cu serife sunt mult mai formale, mai tradiționale și, deși au (în general) mai multă personalitate, distrag mai puțin atenția deoarece designul lor este rafinat și echilibrat. În aceste condiții nu este recomandată o combinație între un font elaborat pentru titluri și unul la fel de elaborat pentru corpul de text pentru că ambele vor reclama în mod egal atenția cititorului.
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