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1 TYPE ANATOMY

2 TYPE ANATOMY TITTLE j

3 Serif Typefaces

4 Tt HUMANIST (a.k.a. Old Style ) - Modeled after the roman typefaces of 15 th & 16 th centuries - Closely related to calligraphy and hand movement CLASSIC HUMANIST TYPEFACES Adobe Garamond Pro Sabon Adobe Caslon Pro Adobe Jenson Pro

5 O Humanist Type (Adobe Jenson) OTRANSITIONAL Transitional Type (Baskerville) - Modeled after engraved letterforms of the 18 th century - More abstract and less organic - Sharper serifs than Humanist faces - Higher contrast between thick & thin - More vertical axis / vertical stress CLASSIC TRANSITIONAL TYPEFACES Baskerville Georgia Times New Roman

6 O O Humanist Type (Adobe Jenson) Transitional Type (Baskerville) TRANSITIONAL - Modeled after engraved letterforms of the 18 th century - More abstract and less organic - Sharper serifs than Humanist faces - Higher contrast between thick & thin - More vertical axis / vertical stress CLASSIC TRANSITIONAL TYPEFACES Baskerville Georgia Times New Roman

7 ATransitional Type (Baskerville) A MODERN Modern Type (Bodoni) (a.k.a. Didone typefaces ) - Influenced by typefaces such as Bodoni and Didot in the late 18 th and early 19 th centuries - Radically abstract and less organic - Thin, straight serifs - Sharper contrast from thick to thin strokes - Vertical axis / horizontal stress CLASSIC MODERN TYPEFACES Bodoni Didot Modern No. 20

8 T Y P E C L A S S I F I C AT I O N AA Transitional Type (Baskerville) Modern Type (Bodoni) C L A S S I C M O D E R N T Y P E FA C E S Bodoni Didot Modern No. 20 MODERN - Influenced by the typefaces of Bodoni and Didot in the late 18th and early 19th centuries Radically abstract and less organic Thin, straight serifs Sharper contrast from thick to thin strokes Vertical axis / horizontal stress

9 Aa SLAB SERIF EGYPTIAN - Introduced in 19 th century for use in advertising - Heavy, slab-like serifs COMMONLY USED SLAB SERIF TYPEFACES Rockwell Clarendon Archer American Typewriter

10 : Sans Serif Typefaces

11 Gg GROTESQUE SAN SERIF - Earliest sans serif typefaces, dating back to the late 19 th and early 20 th centuries - Modeled from Didone typefaces - Limited variation of stroke widths - Often solid, bold design that is suitable for editorial headlines - Most often have a spur on the capital G - Often have short descenders - Cap height and ascender height are usually the same CLASSIC GROTESQUE TYPEFACES Akzidenz Grotesque Franklin Gothic News Gothic

12 bhumanist (Garamond) b HUMANIST Humanist San Serif (Myriad Pro) SAN SERIF - Takes inspiration form traditional letterforms such as Roman square capitals, serif fonts and calligraphy - Has Humanist characteristics: - Small, tilting counter in lowercase a - Calligraphic variation in line weight CLASSIC HUMANIST SAN SERIF TYPEFACES Gill Sans Optima Trebuchet Frutiger Myriad Pro Verdana

13 om GEOMETRIC - Originated in Germany in the 1920s - Popular for their clean, modern design - Letters are built around geometric forms (for example, the letter o is generally a perfect circle) - Considered the most modern sans serif typefaces, as a general rule - Most commonly used for headings and small passages of text - Least used for body copy CLASSIC GEOMETRIC TYPEFACES Futura Avenir Gotham ITC Avant Garde

14 om GEOMETRIC - Originated in Germany in the 1920s - Popular for their clean, modern design - Letters are built around geometric forms (for example, the letter o is generally a perfect circle) - Considered the most modern sans serif typefaces, as a general rule - Most commonly used for headings and small passages of text - Least used for body copy CLASSIC GEOMETRIC TYPEFACES Futura Avenir Gotham ITC Avant Garde

15 Circle overlay Futura overlay

16 p p Grotesque (Franklin Gothic) Neo-Grotesque (Helvetica) NEO-GROTESQUE (a.k.a. Transitional sans serif) - Began in the 1950s with the emergence of the International Typographic Style - A direct evolution of grotesque type to create rational, neutral typefaces - Characteristics similar to transitional serif letterforms: - More uniform / less calligraphic - Has more vertical axis than Humanist sans serif typefaces - Usually appear as superfamilies - Commonly used for body text CLASSIC NEO- GROTESQUE TYPEFACES Helvetica Univers Arial MS Sans Serif Geneva

17 Helvetica is the most widely used font. Ever.

18 SCRIPT Fancy - Very fluid letterforms that are based upon handwriting - Two classifications: formal and casual - Not commonly used by professional graphic designers due to legibility issues in certain letterforms - Can be used for very elegant and elevated typographical designs - Unsuitable for body copy COMMONLY USED SCRIPT TYPEFACES Snell Roundhand Edwardian Script ITC Mistral Segoe Script

19 : Non-classic Typefaces

20 DISPLAY Papyrus was used for Avatar - Most likely the broadest category of typefaces that includes the most variation - Unsuitable for body copy - Can be best used in headlines or short copy that needs to demand attention - Can be informal, formal, and evoke any kind of tone and mood. - Less used by professional graphic designers due to their ambiguity COMMONLY USED DISPLAY TYPEFACES (CAUTION: DO NOT USE) Hobo Std Comic Sans MS Papyrus Rosewood Std

21 Q[];,./ = DINGBATS - These are specialty typefaces that consist of symbols and ornaments instead of letters. - Oftentimes, dingbats are created around a certain theme (holidays, seasons, interests, etc.) COMMONLY USED DINGBATS TYPEFACES Wingdings Jellodings

22 TYPE FAMILIES

23 TYPE FAMILY The roman form is typically conceived as the parent of a type family. - The roman form is also called plain or regular. It is the standard, upright version of a typeface. The italic form, which is based on cursive writing, is used to create emphasis. - The italic form often employs shapes and strokes that are distinct from its roman counterpart. SMALL CAPS ARE DESIGNED TO INTEGRATE WITH A LINE OF TEXT. - Small caps are slightly taller than the x-height of lowercase letters. Bold (and semibold) typefaces are used for emphasis within a hierarchy. - San serif typefaces often include a broad range of weights (thin, bold, black, etc.). Bold (and semibold) typefaces each need an italic version, too. - Bold and semibold need italic versions in case the copy needs further emphasis within the bolder typeset. The Adobe Garamond Pro family (from top to bottom): Regular, Italic, Small Caps, Bold and Bold Italic

24 SUPERFAMILY Helvetica Nueue Ultra Light Helvetica Nueue Italic Helvetica Nueue Ultra Light Italic Helvetica Nueue Medium Helvetica Nueue Thin Helvetica Nueue Medium Italic Helvetica Nueue Thin Italic Helvetica Nueue Bold Helvetica Nueue Light Helvetica Nueue Bold Italic Helvetica Nueue Light Italic Helvetica Nueue Condensed Bold Helvetica Nueue Regular Helvetica Nueue Condensed Black Some type superfamilies include up to 50+ various styles and weights.

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