Typography One typeface classification

Transcription

1 Typography One typeface classification

2 Why classify? Classification helps us describe and navigate type choices

3 Typeface classification helps to: 1. sort type (scholars, historians, type manufacturers), 2. reference type (educators, students, designers, scholars)

4 A rough approximation: about 250,000 typefaces are available today as digital fonts. Even with excellent search engines, a common system of description is a big help.

5 classification systems Many systems have been proposed: they all have strengths and weaknesses, and tend to lean towards an easier system or a wider range of description.

6 Francis Thibaudeau, 1921

7 Maximillian Vox, 1952

8 Vox-ATypI, 1962

9 Aldo Novarese, 1964

10 Alexander Lawson, 1966 Blackletter Venetian French Dutch-English Transitional Modern Sans Serif Square Serif Script-Cursive Decorative

11 J. Ben Lieberman, 1967

12 Marcel Janco, 1978

13 Catherine Dixon, 1995 (For the Central Lettering Record, an art college s lettering archive)

14 MyFonts.com, launched 2000 User tag system, uses many traditional type classification terms as tags

15 MyFonts.com, launched 2000 top 200 tags (2/25/2015)

16 Ellen Lupton, 2004

17 The system we will learn is not the only system or the best system, because there is no single correct or complete classification system. It has a good balance of simplicity and detail, and contains the most commonly used classifications.

18 The classification system you will learn is a combination of Lawson s and Lupton s systems

19 You will need to classify typefaces in two levels

20 We will classify on two levels. This system can describe about 90% of the typefaces that exist. Text Serif Old Style serif Transitional serif Modern Style serif Slab Serif Text Sans Serif Geometric Sans Grotesque Sans Humanist Sans Display Black Letter Script Decorative

21 Text type vs. Display type Text type is designed to be legible and readable at small sizes. This usually implies fairly clean, consistent, uncomplicated design features; more open spacing than a display face; and thin strokes that hold up at smaller sizes. Display type is designed for large sizes. Legibility and readability are less important, in exchange for a stronger personality, expressive shapes, and a more stylish look.

22 Text: designed for small use, can work at large sizes Handgloves Text type is designed to be legible and readable at small sizes. This usually implies fairly clean, consistent, uncomplicated design features; more open spacing than a display face; and thin strokes that hold up at smaller sizes. Display type is designed for large sizes. Legibility and readability are less important. in exchange for a stronger personality, expressive shapes, and a more stylish look. Handgloves Text type is designed to be legible and readable at small sizes. This usually implies fairly clean, consistent, uncomplicated design features; more open spacing than a display face; and thin strokes that hold up at smaller sizes. Display type is designed for large sizes. Legibility and readability are less important. in exchange for a stronger personality, expressive shapes, and a more stylish look. Display: designed for large use, does not work at small sizes Handgloves Text type is designed to be legible and readable at small sizes. This usually implies fairly clean, consistent, uncomplicated design features; more open spacing than a display face; and thin strokes that hold up at smaller sizes. Display type is designed for large sizes. Legibility and readability are less important. in exchange for a stronger personality, expressive shapes, and a more stylish look. Handgloves Text type is designed to be legible and readable at small sizes. This usually implies fairly clean, consistent, uncomplicated design features; more open spacing than a display face; and thin strokes that hold up at smaller sizes. Display type is designed for large sizes. Legibility and readability are less important. in exchange for a stronger personality, expressive shapes, and a more stylish look.

23 basic characteristics + stress + serifs (or lack thereof) + shape

24 stress: where the thinnest parts of a letter fall diagonal stress Old Style serif (Centaur) vertical stress Transitional serif or Modern Style serif (Baskerville) no stress Slab Serif or Sans Serif (Helvetica) horizontal stress or reverse stress Display & Decorative (Edmunds)

25 serif types bracketed serifs Old Style Serif and Transitional Serif (Baskerville) unbracketed serifs Modern Style Serif (Bodoni) slab serifs Slab Serif or Square Serif or Egyptian (Rockwell/Clarendon) no serif Sans Serif (Helvetica)

26 shape Geometric Sans Serif (Futura) Geometric sans are based on basic shapes like circles, triangles, and rectangles. Grotesk Sans Serif (Helvetica) Grotesk sans look precisely drawn. They have have uniform, symetrical curves Humanist Sans Serif (Gill Sans) Humanist sans are based on human writing. They have asymetrical curves, open apetures, and finials that reach away from the letter.

27 Text Serif Old style serif Introduced in the 1460 s touchstones Caslon: handgloves Garamond: handgloves + diagonal stress in the round strokes + bracketed serifs + Minimal variation of thick and thin strokes + small, coarse serifs, often with concave bases + small x-height + lowercase ascenders often exceed the capital height

28 Text Serif Transitional serif A style introduced in the 1757 by John Baskerville. touchstones Baskerville: handgloves Century Schoolbook: handgloves + vertical stress in rounded strokes + bracketed serifs often with flat bases + greater contrast between thick and thin strokes + larger x-height + lowercase ascenders often match the capital height

29 Text Serif Modern Style serif Introduced in the 1770s by Didot and Bodoni. touchstones Bodoni: handgloves Didot: handgloves + vertical stress in rounded strokes + unbracketed hairline serifs + extreme contrast between thick and thin strokes + small x-height

30 Text Serif Slab Serif (Also called Square Serif or Egyptian) Introduced in the early 1800s. + thick serifs with squared-off ends; serifs are nearly as thick as strokes + slab serifs may be bracketed or unbracketed + minimal variation of thick and thin strokes + often has large x-height + small or no stress in rounded strokes touchstones Rockwell: handgloves Clarendon: handgloves

31 Text Sans Serif Geometric Sans Introduced in the early 20th century touchstones Futura: handgloves Kabel: handgloves + Sans serif constructed with geometric forms: triangles, circles, squares

32 Text Sans Serif Grotesque Sans Sans serif with a precise, mechanical appearance, introduced in the late 19th century touchstones Helvetica: handgloves Univers: handgloves + uniform, symmetrical curves + closed apertures + little to no variation of thick and thin strokes + May also be spelled Grotesk (Lupton refers to this style as Transitional Sans )

33 Text Sans Serif Humanist Sans Sans serif with the shape of human writing touchstones Gill Sans: handgloves Optima: handgloves + asymetrical curves + open apertures + may have some variation of thick and thin strokes

34 Display Black Letter Black letter was developed from the handwritten manuscripts of 1400 s Germany. + upright calligraphic strokes + looks like medieval calligraphy touchstones Fette Fraktur: handgloves Engravers Old English: handgloves

35 Display Script Designed to mimic hand-written text touchstones Snell Roundhand: handgloves Mistral: handgloves + looks like script hand writing + lowercase letters may or may not join + variation between thick and thin strokes + no serifs (often replaced by swashes) + a variety of x-heights

36 Display Decorative Introduced in the 1800s to meet the demands of advertising. + whimsical, stylized, or decorated + only legible at large sizes + wide variation in stroke weight and quality + both serif and sans serif + sometimes has reverse (horizontal) stress touchstones Cottonwood: handgloves Hogarth: handgloves Shuriken: handgloves

37 problem area: stress direction Remember the clock Look at all the round letters diagonal stress Old Style serif (Caslon) 12 & 6: vertical stress 9 & 3: horizonal stress Everything else: diagonal stress vertical stress Transitional serif (Baskerville)

38 problem area: humanist vs. grotesk Grotesk Sans Serif symetrical curves (Helvetica) Humanist Sans Serif asymetrical curves (Gill Sans)

39 type classification quiz: + 20 typefaces to classify (50% from worksheet, 50% new.) + Top-level Classification: 1 point + Second-level Classification: 2 points + Explanation: 2 points You must understand the system and explain your thinking to do well.

40 type classification practice The worksheets are the same format as the quiz. Worksheet 1 together in class. Worksheet 2 homework, to review next session. Worksheet 3 homework next week.