Color, Contrast, and Spacing COLOR CONTRAST COLOR CONTRAST COLOR CONTRAST COLOR COLOR Spacing COLOR Spacing COLOR Spacing COLOR Monotype 46 Typography 1 — The City College of New York 1 Proportions Helvetica Bold 72pt Modern proportions (uniform width) ABDEFGHIJKL MNOPQRST UVWXYZ Trajan 72pt Roman Proportions (varied widths) Thin: IJ Narrow: BEFLPRS Medium: HATVX ABDEFGHIJKL Wide: DCGNOQ Ultra Wide: MW *From Mark Jamra’s Form and Proportion in a Text Type- face: A Few Guidelines MNOPQRST Typography 1 — The City College of New York UVWXYZ 2 Proportions Helvetica Bold 84pt • Modern proportions (uniform width) • Tall x-height • Cap height = Ascender height RHAMburgers • Short descenders Optima Bold 84pt • Roman Proportions (BEFLPRS are nar- rowest and MW widest) • Tall x-height • Cap height < Ascender height RHAMburgers • Short descenders Helvetica Bold x Optima Bold 84pt Helvetica cap-HeigHt Optima cap-HeigHt Helvetica x-HeigHt Optima x-HeigHt RHAMburgers Baseline Typography 1 — The City College of New York 3 Proportions Helvetica Bold 84pt • Modern proportions (uniform width) • Tall x-height • Cap height = Ascender height RHAMburgers • Short descenders Adobe Garamond Pro Bold 84pt • Roman Proportions (BEFLPRS are nar- rowest and MW widest) • Short x-height • Cap height < Ascender height RHAMburgers • Short descenders Helvetica Bold x Adobe Garamond Pro Bold 84pt Helvetica cap-HeigHt garamOnd cap-HeigHt Helvetica x-HeigHt garamOnd x-HeigHt RHAMburgers Baseline Typography 1 — The City College of New York 4 Type Variables Type Variables H H Width H H Weight Contrast SERIF NO SERIF Stroke Endings Monotype 54 Typography 1 — The City College of New York 5 A B C D E F G H I J K L M N O P Q R S T U V W X Y Z a b c d e f g h i j k l m n o p q r s t u v w x y z Didot Regular A B C D E F G H I J K L M N O P Q R S T U V W X Y Z a b c d e f g h i j k l m n o p q r s t u v w x y z Perpetua Bold A B C D E F G H I J K L M N O P Q R S T U V W X Y Z a b c d e f g h i j k l m n o p q r s t u v w x y z Palatino Bold A B C D E F G H I J K L M N O P Q R S T U V W X Y Z a b c d e f g h i j k l m n o p q r s t u v w x y z Centaur MT Pro Bold A B C D E F G H I J K L M N O P Q R S T U V W X Y Z a b c d e f g h i j k l m n o p q r s t u v w x y z Adobe Caslon Pro Bold A B C D E F G H I J K L M N O P Q R S T U V W X Y Z a b c d e f g h i j k l m n o p q r s t u v w x y z Adobe Garamond Pro A B C D E F G H I J K L M N O P Q R S T U V W X Y Z Georgia Bold a b c d e f g h i j k l m n o p q r s t u v w x y z Typography 1 — The City College of New York 6 A B C D E F G H I J K L M N O P Q R S T U V W X Y Z a b c d e f g h i j k l m n o p q r s t u v w x y z Optima Bold A B C D E F G H I J K L M N O P Q R S T U V W X Y Z a b c d e f g h i j k l m n o p q r s t u v w x y z Verdana Bold A B C D E F G H I J K L M N O P Q R S T U V W X Y Z a b c d e f g h i j k l m n o p q r s t u v w x y z Gill Sans Semibold A B C D E F G H I J K L M N O P Q R S T U V W X Y Z a b c d e f g h i j k l m n o p q r s t u v w x y z Frutiger Bold A B C D E F G H I J K L M N O P Q R S T U V W X Y Z a b c d e f g h i j k l m n o p q r s t u v w x y z Trade Gothic Bold N2 A B C D E F G H I J K L M N O P Q R S T U V W X Y Z a b c d e f g h i j k l m n o p q r s t u v w x y z Univers 65Bold A B C D E F G H I J K L M N O P Q R S T U V W X Y Z a b c d e f g h i j k l m n o p q r s t u v w x y z Franklin Gothic Demi Typography 1 — The City College of New York 7 A B C D E F G H I J K L M N O P Q R S T U V W X Y Z a b c d e f g h i j k l m n o p q r s t u v w x y z Antique Olive Bold A B C D E F G H I J K L M N O P Q R S T U V W X Y Z a b c d e f g h i j k l m n o p q r s t u v w x y z Futura Bold A B C D E F G H I J K L M N O P Q R S T U V W X Y Z a b c d e f g h i j k l m n o p q r s t u v w x y z Rockwell Bold A B C D E F G H I J K L M N O P Q R S T U V W X Y Z a b c d e f g h i j k l m n o p q r s t u v w x y z Clarendon Bold A B C D E F G H I J K L M N O P Q R S T U V W X Y Z a b c d e f g h i j k l m n o p q r s t u v w x y z Hobeaux Rococeaux A B C D E F G H I J K L M N O P Q R S T U V W X Y Z a b c d e f g h i j k l m n o p q r s t u v w x y z American Typewriter A B C D E F G H I J K L M N O P Q R S T U V W X Y Z Andale Mono Bold a b c d e f g h i j k l m n o p q r s t u v w x y z Typography 1 — The City College of New York 8 TYPOGRAPHY TERMS h ANTI-ALIASING ANTIQUA / ANTIKVA APERTURE APEX ARC ARM ASCENDER ASCENDER LINE AXIS / STRESS BALL TERMINAL BASELINE BEAK BILATERAL SERIF BOWL BRACKET Semi-transparent Serif typefaces The opening of a Point at the top of Curved part of a A stroke that doesn’t On lowercase letters Invisible line marking Invisible line Terminal with a Invisible line on Decorative stroke Serif extending to Fully closed rounded Curved or wedge-like pixels along the designed between partially enclosed a letterform where letterform leading connect to another the vertical stroke the height of all dissecting the glyph circular shape which the letters at the end of the arm both sides of a main part of a letter connection between edges of letterform 16th–17th century counter shape two strokes meet into a straight stem stroke or stem on that extends above ascenders in a font from top to bottom in a font rest of a letter, similar stroke the stem and serif of outlines to smooth (or new designs one or both ends the x-height at its thinnest point to a serif but more some fonts jagged edges following the style) pronounced CAP HEIGHT CONDENSED COUNTER CROSS STROKE CROSSBAR CROTCH CURSIVE DESCENDER DESCENDER LINE DISPLAY FONT EAR EYE FINIAL FLAG FOOT Height of a capital Type style designed An area partially or The horizontal stroke Horizontal stroke Inside angle where Handwriting with Parts of lowercase Invisible line marking Typefaces used Small stroke Enclosed space in a Tapered or curved Horizontal stroke on The part of a stem letter measured from with narrow width entirely enclosed in a across a lowercase ‘t’ like the middle of two strokes meet joined-up letters.