footnote 35 - static.typography.net · typography.net&studiotype.com footnote35 july2020...
TRANSCRIPT
InthisissuewersquorefocusingontheTrilogySanstypeface(partoftheTrilogycollection)
rarrredisc
over
Trilo
gySan
sforthe
newde
cade
copy 2020 JeremyTankard Typography Ltd All rights reservedtypographynet amp studiotypecom
Footnote 35July 2020 jeremy tankard
copy 2020 JeremyTankard Typography Ltd All rights reserved Page 2typographynet amp studiotypecom
Footnote 35July 2020
Trilogy Sans Trilogy Egyptian Trilogy Fatface
The weights and widths of Trilogy Sans ndash from Thin to Heavy and Compressed to Expanded
Map detailing
Tabular information Typographic variety
One of threeTrilogy Sans is part of the much larger Trilogycollection Published in 2009 itrsquos an integratedfamily of three contrasting type styles a Sansan Egyptian and a Fatface Used together thedifferent typefaces play with the idea thatvisual interest is created through combiningdifferent styles
Weights andwidthsIndividually Trilogy Sans explores thelsquodesigner coolrsquo aesthetic of the grotesquestyle of types that grew and developed tobecome the backbone of graphic design Astyle of type which is celebrated for beingsystematic neutral functional and to somedegree invisible Conscious of the benefit aswell as the detriment that these assets canhave it was always intended that the shapesof Trilogy Sans would find their own voice Toachieve this the neutral appearance is liftedthrough subtle detailing and the addition ofalternate characters Itrsquos a big familycomprising of five widths each with eightweights and two styles giving a total of 80fonts making it highly versatile
Perfectly capable of setting text beautifullyits range of weights and widths offer a widescope of choice for many aspects oftypographic design From setting headlinesand continuous text to finer aspects such asmap detailing and tabular information TrilogySans excels with its typographic variety
copy 2020 JeremyTankard Typography Ltd All rights reserved Page 3typographynet amp studiotypecom
Footnote 35July 2020
Trilogy Sans Light Regular andWide ExtraBold(after Joost Schmidt c1925)
DAS
VERTRIEB BAUHAUS G M B H DESSAU
INDESSAU
BAUHAUS
METALLWERKSTATTWANDMALEREIDRUCKEREITISCHLEREIWEBEREI
Trilogy Sans Regular(after Emil Ruder 1965ndash71)
Emil Ruder
Lehrer und Typograph
Antonio HernandezTypographie als ordnende Kunst
Schriften des Gewerbemuseums BaselNr 10
HerausegegebenvomGewerbemuseum Baselim Pharos Verlag
Trilogy SansMedium(after Jan Tschichold 1935)
olga + hans fischli
klink hirslanden zuumlrich+ meilen
katharina
25 VII 1935olga susanna
Trilogy Sans Light Regular Bold and Compressed Light(after Cartlidge Levene 1991)
Exhibitions
Collection and Review
Talks and Seminars
Graphics
Information
DESIGN MUSEUM
September October November 91
bulletin 13A guide to forthcoming events at the Design Museum
Reconstructed inTrilogy SansThese examples are reconstructed from 2othcentury originals Through their considereduse of a single type style asymmetric designuse of rule and handling of space they reflecta specific aesthetic which is consistent withthe thinking behind Trilogy Sans
copy 2020 JeremyTankard Typography Ltd All rights reserved Page 4typographynet amp studiotypecom
Footnote 35July 2020
The five widths of Trilogy Sans
Support for a wide range of languages (Trilogy Sans Wide Thin)
Alternate letter designs for several characters (Trilogy Sans Compressed Thin)
Correctly sized and weighted small capital letters (Trilogy Sans Expanded Thin)
Lining and non-lining numbers (both proportional and tabular) small capital and reduced sizes for notation and fractions (Trilogy Sans Thin)
Typographic niceties such as correctly aligning and size specific sorts (Trilogy Sans Condensed Thin)
Typographic paletteBeyond the choice of five widths Trilogy Sansalso sports an extensive character set One ofits many strengths is the inclusion of severalalternate letter shapes that allow an instantchange to the typographic image Continuingthis it is logical that the wide languagesupport also includes the alternate designs asaccented characters
Advanced typographic detailing is easilyachieved through the use of speciallydesigned small capitals extensive numbersets and the considered alignment and sizingof sorts
The examples shown here are all made usingthe Thin weight from the five widths
SMALL CAPITALS
AringaringCcedilccedilEacuteeacuteĠġĦħŌōTHORNthornŲųŽž
1 a g l q u f 1 a g l q u f
Compressed
Condensed
Regular
Wide
Expanded
[type] [TYPE] [TYPE]
107 318 471 834 509 ⁸ ⅚
copy 2020 JeremyTankard Typography Ltd All rights reserved Page 5typographynet amp studiotypecom
Footnote 35July 2020
Short middle arm to E and F Vertical axis creates a calm type image
The slab foot of the a is reflected in the ear of the g Systematic letter shapes
Rectangular dots and punctuation Stroke weight increases as the character width increases
Chamfer detail is constant across all widths and weights
ll
Details of characterEven though a sans type style wouldseemingly have less scope for visualdifference than a serif might there arecontinually ways to bring new expression totheir simplistic structure Shown here aresome of the detailing hidden within TrilogySans which contributes to its charactersometimes obviously sometimes subtly
Individual proportionOpportunity to play with specific shapesand proportions gives a typeface its voiceFor example the short middle arms to E andF help assert its own look
Static structureThe vertical axis to the typeface helps toimpart a calm static feel
FeaturesSome letters have elements that can beenhanced or given a special treatment Forexample the slab foot of the lower case a isinterpreted in the ear of the g
Repeated shapesThe strong repetition of shapes strengthensthe systematic rhythm across a word shape
Rectangular dotsRectangular dots are used for letterelements and punctuation These maintainthe static structure and harmonise with thesolidity of the typeface
Optical weight relationshipThe stroke weight of a character is carefullyincreased across the family of widths This isdone to achieve an optical balance betweenthe same font weight from each of thedifferent typeface families
Subtle detailThe small chamfer added at corners helps toalleviate a sometimes sharp impression atthe same time it creates a slightly softimage which again balances with Trilogyrsquoscalm structure and rhythm
copy 2020 JeremyTankard Typography Ltd All rights reserved Page 6typographynet amp studiotypecom
Footnote 35July 2020
Early stages in the design ofTrilogy SansThe beginnings of a typeface are amongst themost exciting and equally frustrating stagesof the design process From small ideas andobservations initial doodles are gathered togive an overview of what the type style couldpotentially become These sketchbook imagesshow very raw and simplistic skeletons thepurpose of which is to gain a broad impressionof structure
As various ideas develop and possiblefeatures defined stylistic details of the typebegan to emerge Before digitisation workstarted several drawings were made ontracing paper which are a great way to reviewideas in a raw and unpolished state Thedrawings can be rearranged to make differentletter combinations and easily viewed fromvarious angles all of which help to judge theembryonic design At some point thougheagerness kicks in and digital work starts Thenotes and drawings then become referencematerial to guide the work as the typefacedevelops and expands
Simplistic overview of the core structure (early June 2006)
Feature shape and proportion notes (early June 2006)
Pre-digital drawings made on tracing paper
copy 2020 JeremyTankard Typography Ltd All rights reserved Page 7typographynet amp studiotypecom
Footnote 35July 2020
+
ExploreTrilogy Sans and discovermoreThere are many resources available onlinewhere you can find out about the typeface itsfamilies and weights
Through the Explorer you can glide over thetypeface and click on any of the icons todiscover more Explorer is best experiencedthrough a desktop laptop or tablet A link to itcan be found on the Trilogy Sans page underMore information
Try the fontsAll the fonts can be viewed and testedthrough the website You can also downloadeach font with our Demo Licence allowing youto try them locally in your applications
Specific informationThe Font Info PDF gives an overview of thedetailing of the typeface its families weightsfeatures and abilities
Design notesThe inspirations behind the Trilogy project arediscussed at StudioTypecom together withinsights into the Egyptian and Fatface stylesas well as Trilogy Sans
Trilogy specimenUnfortunately there are no longer any printedcopies of the specimen left but a PDF versionis available for download from the variousTrilogy pages at typographynet
typographynet
The Trilogy Sans Explorer lets you glide over the typeface and focus on its details
Trilogy specimen
Try the fonts
StudioTypecom
Font Info PDF
copy 2020 JeremyTankard Typography Ltd All rights reserved Page 2typographynet amp studiotypecom
Footnote 35July 2020
Trilogy Sans Trilogy Egyptian Trilogy Fatface
The weights and widths of Trilogy Sans ndash from Thin to Heavy and Compressed to Expanded
Map detailing
Tabular information Typographic variety
One of threeTrilogy Sans is part of the much larger Trilogycollection Published in 2009 itrsquos an integratedfamily of three contrasting type styles a Sansan Egyptian and a Fatface Used together thedifferent typefaces play with the idea thatvisual interest is created through combiningdifferent styles
Weights andwidthsIndividually Trilogy Sans explores thelsquodesigner coolrsquo aesthetic of the grotesquestyle of types that grew and developed tobecome the backbone of graphic design Astyle of type which is celebrated for beingsystematic neutral functional and to somedegree invisible Conscious of the benefit aswell as the detriment that these assets canhave it was always intended that the shapesof Trilogy Sans would find their own voice Toachieve this the neutral appearance is liftedthrough subtle detailing and the addition ofalternate characters Itrsquos a big familycomprising of five widths each with eightweights and two styles giving a total of 80fonts making it highly versatile
Perfectly capable of setting text beautifullyits range of weights and widths offer a widescope of choice for many aspects oftypographic design From setting headlinesand continuous text to finer aspects such asmap detailing and tabular information TrilogySans excels with its typographic variety
copy 2020 JeremyTankard Typography Ltd All rights reserved Page 3typographynet amp studiotypecom
Footnote 35July 2020
Trilogy Sans Light Regular andWide ExtraBold(after Joost Schmidt c1925)
DAS
VERTRIEB BAUHAUS G M B H DESSAU
INDESSAU
BAUHAUS
METALLWERKSTATTWANDMALEREIDRUCKEREITISCHLEREIWEBEREI
Trilogy Sans Regular(after Emil Ruder 1965ndash71)
Emil Ruder
Lehrer und Typograph
Antonio HernandezTypographie als ordnende Kunst
Schriften des Gewerbemuseums BaselNr 10
HerausegegebenvomGewerbemuseum Baselim Pharos Verlag
Trilogy SansMedium(after Jan Tschichold 1935)
olga + hans fischli
klink hirslanden zuumlrich+ meilen
katharina
25 VII 1935olga susanna
Trilogy Sans Light Regular Bold and Compressed Light(after Cartlidge Levene 1991)
Exhibitions
Collection and Review
Talks and Seminars
Graphics
Information
DESIGN MUSEUM
September October November 91
bulletin 13A guide to forthcoming events at the Design Museum
Reconstructed inTrilogy SansThese examples are reconstructed from 2othcentury originals Through their considereduse of a single type style asymmetric designuse of rule and handling of space they reflecta specific aesthetic which is consistent withthe thinking behind Trilogy Sans
copy 2020 JeremyTankard Typography Ltd All rights reserved Page 4typographynet amp studiotypecom
Footnote 35July 2020
The five widths of Trilogy Sans
Support for a wide range of languages (Trilogy Sans Wide Thin)
Alternate letter designs for several characters (Trilogy Sans Compressed Thin)
Correctly sized and weighted small capital letters (Trilogy Sans Expanded Thin)
Lining and non-lining numbers (both proportional and tabular) small capital and reduced sizes for notation and fractions (Trilogy Sans Thin)
Typographic niceties such as correctly aligning and size specific sorts (Trilogy Sans Condensed Thin)
Typographic paletteBeyond the choice of five widths Trilogy Sansalso sports an extensive character set One ofits many strengths is the inclusion of severalalternate letter shapes that allow an instantchange to the typographic image Continuingthis it is logical that the wide languagesupport also includes the alternate designs asaccented characters
Advanced typographic detailing is easilyachieved through the use of speciallydesigned small capitals extensive numbersets and the considered alignment and sizingof sorts
The examples shown here are all made usingthe Thin weight from the five widths
SMALL CAPITALS
AringaringCcedilccedilEacuteeacuteĠġĦħŌōTHORNthornŲųŽž
1 a g l q u f 1 a g l q u f
Compressed
Condensed
Regular
Wide
Expanded
[type] [TYPE] [TYPE]
107 318 471 834 509 ⁸ ⅚
copy 2020 JeremyTankard Typography Ltd All rights reserved Page 5typographynet amp studiotypecom
Footnote 35July 2020
Short middle arm to E and F Vertical axis creates a calm type image
The slab foot of the a is reflected in the ear of the g Systematic letter shapes
Rectangular dots and punctuation Stroke weight increases as the character width increases
Chamfer detail is constant across all widths and weights
ll
Details of characterEven though a sans type style wouldseemingly have less scope for visualdifference than a serif might there arecontinually ways to bring new expression totheir simplistic structure Shown here aresome of the detailing hidden within TrilogySans which contributes to its charactersometimes obviously sometimes subtly
Individual proportionOpportunity to play with specific shapesand proportions gives a typeface its voiceFor example the short middle arms to E andF help assert its own look
Static structureThe vertical axis to the typeface helps toimpart a calm static feel
FeaturesSome letters have elements that can beenhanced or given a special treatment Forexample the slab foot of the lower case a isinterpreted in the ear of the g
Repeated shapesThe strong repetition of shapes strengthensthe systematic rhythm across a word shape
Rectangular dotsRectangular dots are used for letterelements and punctuation These maintainthe static structure and harmonise with thesolidity of the typeface
Optical weight relationshipThe stroke weight of a character is carefullyincreased across the family of widths This isdone to achieve an optical balance betweenthe same font weight from each of thedifferent typeface families
Subtle detailThe small chamfer added at corners helps toalleviate a sometimes sharp impression atthe same time it creates a slightly softimage which again balances with Trilogyrsquoscalm structure and rhythm
copy 2020 JeremyTankard Typography Ltd All rights reserved Page 6typographynet amp studiotypecom
Footnote 35July 2020
Early stages in the design ofTrilogy SansThe beginnings of a typeface are amongst themost exciting and equally frustrating stagesof the design process From small ideas andobservations initial doodles are gathered togive an overview of what the type style couldpotentially become These sketchbook imagesshow very raw and simplistic skeletons thepurpose of which is to gain a broad impressionof structure
As various ideas develop and possiblefeatures defined stylistic details of the typebegan to emerge Before digitisation workstarted several drawings were made ontracing paper which are a great way to reviewideas in a raw and unpolished state Thedrawings can be rearranged to make differentletter combinations and easily viewed fromvarious angles all of which help to judge theembryonic design At some point thougheagerness kicks in and digital work starts Thenotes and drawings then become referencematerial to guide the work as the typefacedevelops and expands
Simplistic overview of the core structure (early June 2006)
Feature shape and proportion notes (early June 2006)
Pre-digital drawings made on tracing paper
copy 2020 JeremyTankard Typography Ltd All rights reserved Page 7typographynet amp studiotypecom
Footnote 35July 2020
+
ExploreTrilogy Sans and discovermoreThere are many resources available onlinewhere you can find out about the typeface itsfamilies and weights
Through the Explorer you can glide over thetypeface and click on any of the icons todiscover more Explorer is best experiencedthrough a desktop laptop or tablet A link to itcan be found on the Trilogy Sans page underMore information
Try the fontsAll the fonts can be viewed and testedthrough the website You can also downloadeach font with our Demo Licence allowing youto try them locally in your applications
Specific informationThe Font Info PDF gives an overview of thedetailing of the typeface its families weightsfeatures and abilities
Design notesThe inspirations behind the Trilogy project arediscussed at StudioTypecom together withinsights into the Egyptian and Fatface stylesas well as Trilogy Sans
Trilogy specimenUnfortunately there are no longer any printedcopies of the specimen left but a PDF versionis available for download from the variousTrilogy pages at typographynet
typographynet
The Trilogy Sans Explorer lets you glide over the typeface and focus on its details
Trilogy specimen
Try the fonts
StudioTypecom
Font Info PDF
copy 2020 JeremyTankard Typography Ltd All rights reserved Page 3typographynet amp studiotypecom
Footnote 35July 2020
Trilogy Sans Light Regular andWide ExtraBold(after Joost Schmidt c1925)
DAS
VERTRIEB BAUHAUS G M B H DESSAU
INDESSAU
BAUHAUS
METALLWERKSTATTWANDMALEREIDRUCKEREITISCHLEREIWEBEREI
Trilogy Sans Regular(after Emil Ruder 1965ndash71)
Emil Ruder
Lehrer und Typograph
Antonio HernandezTypographie als ordnende Kunst
Schriften des Gewerbemuseums BaselNr 10
HerausegegebenvomGewerbemuseum Baselim Pharos Verlag
Trilogy SansMedium(after Jan Tschichold 1935)
olga + hans fischli
klink hirslanden zuumlrich+ meilen
katharina
25 VII 1935olga susanna
Trilogy Sans Light Regular Bold and Compressed Light(after Cartlidge Levene 1991)
Exhibitions
Collection and Review
Talks and Seminars
Graphics
Information
DESIGN MUSEUM
September October November 91
bulletin 13A guide to forthcoming events at the Design Museum
Reconstructed inTrilogy SansThese examples are reconstructed from 2othcentury originals Through their considereduse of a single type style asymmetric designuse of rule and handling of space they reflecta specific aesthetic which is consistent withthe thinking behind Trilogy Sans
copy 2020 JeremyTankard Typography Ltd All rights reserved Page 4typographynet amp studiotypecom
Footnote 35July 2020
The five widths of Trilogy Sans
Support for a wide range of languages (Trilogy Sans Wide Thin)
Alternate letter designs for several characters (Trilogy Sans Compressed Thin)
Correctly sized and weighted small capital letters (Trilogy Sans Expanded Thin)
Lining and non-lining numbers (both proportional and tabular) small capital and reduced sizes for notation and fractions (Trilogy Sans Thin)
Typographic niceties such as correctly aligning and size specific sorts (Trilogy Sans Condensed Thin)
Typographic paletteBeyond the choice of five widths Trilogy Sansalso sports an extensive character set One ofits many strengths is the inclusion of severalalternate letter shapes that allow an instantchange to the typographic image Continuingthis it is logical that the wide languagesupport also includes the alternate designs asaccented characters
Advanced typographic detailing is easilyachieved through the use of speciallydesigned small capitals extensive numbersets and the considered alignment and sizingof sorts
The examples shown here are all made usingthe Thin weight from the five widths
SMALL CAPITALS
AringaringCcedilccedilEacuteeacuteĠġĦħŌōTHORNthornŲųŽž
1 a g l q u f 1 a g l q u f
Compressed
Condensed
Regular
Wide
Expanded
[type] [TYPE] [TYPE]
107 318 471 834 509 ⁸ ⅚
copy 2020 JeremyTankard Typography Ltd All rights reserved Page 5typographynet amp studiotypecom
Footnote 35July 2020
Short middle arm to E and F Vertical axis creates a calm type image
The slab foot of the a is reflected in the ear of the g Systematic letter shapes
Rectangular dots and punctuation Stroke weight increases as the character width increases
Chamfer detail is constant across all widths and weights
ll
Details of characterEven though a sans type style wouldseemingly have less scope for visualdifference than a serif might there arecontinually ways to bring new expression totheir simplistic structure Shown here aresome of the detailing hidden within TrilogySans which contributes to its charactersometimes obviously sometimes subtly
Individual proportionOpportunity to play with specific shapesand proportions gives a typeface its voiceFor example the short middle arms to E andF help assert its own look
Static structureThe vertical axis to the typeface helps toimpart a calm static feel
FeaturesSome letters have elements that can beenhanced or given a special treatment Forexample the slab foot of the lower case a isinterpreted in the ear of the g
Repeated shapesThe strong repetition of shapes strengthensthe systematic rhythm across a word shape
Rectangular dotsRectangular dots are used for letterelements and punctuation These maintainthe static structure and harmonise with thesolidity of the typeface
Optical weight relationshipThe stroke weight of a character is carefullyincreased across the family of widths This isdone to achieve an optical balance betweenthe same font weight from each of thedifferent typeface families
Subtle detailThe small chamfer added at corners helps toalleviate a sometimes sharp impression atthe same time it creates a slightly softimage which again balances with Trilogyrsquoscalm structure and rhythm
copy 2020 JeremyTankard Typography Ltd All rights reserved Page 6typographynet amp studiotypecom
Footnote 35July 2020
Early stages in the design ofTrilogy SansThe beginnings of a typeface are amongst themost exciting and equally frustrating stagesof the design process From small ideas andobservations initial doodles are gathered togive an overview of what the type style couldpotentially become These sketchbook imagesshow very raw and simplistic skeletons thepurpose of which is to gain a broad impressionof structure
As various ideas develop and possiblefeatures defined stylistic details of the typebegan to emerge Before digitisation workstarted several drawings were made ontracing paper which are a great way to reviewideas in a raw and unpolished state Thedrawings can be rearranged to make differentletter combinations and easily viewed fromvarious angles all of which help to judge theembryonic design At some point thougheagerness kicks in and digital work starts Thenotes and drawings then become referencematerial to guide the work as the typefacedevelops and expands
Simplistic overview of the core structure (early June 2006)
Feature shape and proportion notes (early June 2006)
Pre-digital drawings made on tracing paper
copy 2020 JeremyTankard Typography Ltd All rights reserved Page 7typographynet amp studiotypecom
Footnote 35July 2020
+
ExploreTrilogy Sans and discovermoreThere are many resources available onlinewhere you can find out about the typeface itsfamilies and weights
Through the Explorer you can glide over thetypeface and click on any of the icons todiscover more Explorer is best experiencedthrough a desktop laptop or tablet A link to itcan be found on the Trilogy Sans page underMore information
Try the fontsAll the fonts can be viewed and testedthrough the website You can also downloadeach font with our Demo Licence allowing youto try them locally in your applications
Specific informationThe Font Info PDF gives an overview of thedetailing of the typeface its families weightsfeatures and abilities
Design notesThe inspirations behind the Trilogy project arediscussed at StudioTypecom together withinsights into the Egyptian and Fatface stylesas well as Trilogy Sans
Trilogy specimenUnfortunately there are no longer any printedcopies of the specimen left but a PDF versionis available for download from the variousTrilogy pages at typographynet
typographynet
The Trilogy Sans Explorer lets you glide over the typeface and focus on its details
Trilogy specimen
Try the fonts
StudioTypecom
Font Info PDF
copy 2020 JeremyTankard Typography Ltd All rights reserved Page 4typographynet amp studiotypecom
Footnote 35July 2020
The five widths of Trilogy Sans
Support for a wide range of languages (Trilogy Sans Wide Thin)
Alternate letter designs for several characters (Trilogy Sans Compressed Thin)
Correctly sized and weighted small capital letters (Trilogy Sans Expanded Thin)
Lining and non-lining numbers (both proportional and tabular) small capital and reduced sizes for notation and fractions (Trilogy Sans Thin)
Typographic niceties such as correctly aligning and size specific sorts (Trilogy Sans Condensed Thin)
Typographic paletteBeyond the choice of five widths Trilogy Sansalso sports an extensive character set One ofits many strengths is the inclusion of severalalternate letter shapes that allow an instantchange to the typographic image Continuingthis it is logical that the wide languagesupport also includes the alternate designs asaccented characters
Advanced typographic detailing is easilyachieved through the use of speciallydesigned small capitals extensive numbersets and the considered alignment and sizingof sorts
The examples shown here are all made usingthe Thin weight from the five widths
SMALL CAPITALS
AringaringCcedilccedilEacuteeacuteĠġĦħŌōTHORNthornŲųŽž
1 a g l q u f 1 a g l q u f
Compressed
Condensed
Regular
Wide
Expanded
[type] [TYPE] [TYPE]
107 318 471 834 509 ⁸ ⅚
copy 2020 JeremyTankard Typography Ltd All rights reserved Page 5typographynet amp studiotypecom
Footnote 35July 2020
Short middle arm to E and F Vertical axis creates a calm type image
The slab foot of the a is reflected in the ear of the g Systematic letter shapes
Rectangular dots and punctuation Stroke weight increases as the character width increases
Chamfer detail is constant across all widths and weights
ll
Details of characterEven though a sans type style wouldseemingly have less scope for visualdifference than a serif might there arecontinually ways to bring new expression totheir simplistic structure Shown here aresome of the detailing hidden within TrilogySans which contributes to its charactersometimes obviously sometimes subtly
Individual proportionOpportunity to play with specific shapesand proportions gives a typeface its voiceFor example the short middle arms to E andF help assert its own look
Static structureThe vertical axis to the typeface helps toimpart a calm static feel
FeaturesSome letters have elements that can beenhanced or given a special treatment Forexample the slab foot of the lower case a isinterpreted in the ear of the g
Repeated shapesThe strong repetition of shapes strengthensthe systematic rhythm across a word shape
Rectangular dotsRectangular dots are used for letterelements and punctuation These maintainthe static structure and harmonise with thesolidity of the typeface
Optical weight relationshipThe stroke weight of a character is carefullyincreased across the family of widths This isdone to achieve an optical balance betweenthe same font weight from each of thedifferent typeface families
Subtle detailThe small chamfer added at corners helps toalleviate a sometimes sharp impression atthe same time it creates a slightly softimage which again balances with Trilogyrsquoscalm structure and rhythm
copy 2020 JeremyTankard Typography Ltd All rights reserved Page 6typographynet amp studiotypecom
Footnote 35July 2020
Early stages in the design ofTrilogy SansThe beginnings of a typeface are amongst themost exciting and equally frustrating stagesof the design process From small ideas andobservations initial doodles are gathered togive an overview of what the type style couldpotentially become These sketchbook imagesshow very raw and simplistic skeletons thepurpose of which is to gain a broad impressionof structure
As various ideas develop and possiblefeatures defined stylistic details of the typebegan to emerge Before digitisation workstarted several drawings were made ontracing paper which are a great way to reviewideas in a raw and unpolished state Thedrawings can be rearranged to make differentletter combinations and easily viewed fromvarious angles all of which help to judge theembryonic design At some point thougheagerness kicks in and digital work starts Thenotes and drawings then become referencematerial to guide the work as the typefacedevelops and expands
Simplistic overview of the core structure (early June 2006)
Feature shape and proportion notes (early June 2006)
Pre-digital drawings made on tracing paper
copy 2020 JeremyTankard Typography Ltd All rights reserved Page 7typographynet amp studiotypecom
Footnote 35July 2020
+
ExploreTrilogy Sans and discovermoreThere are many resources available onlinewhere you can find out about the typeface itsfamilies and weights
Through the Explorer you can glide over thetypeface and click on any of the icons todiscover more Explorer is best experiencedthrough a desktop laptop or tablet A link to itcan be found on the Trilogy Sans page underMore information
Try the fontsAll the fonts can be viewed and testedthrough the website You can also downloadeach font with our Demo Licence allowing youto try them locally in your applications
Specific informationThe Font Info PDF gives an overview of thedetailing of the typeface its families weightsfeatures and abilities
Design notesThe inspirations behind the Trilogy project arediscussed at StudioTypecom together withinsights into the Egyptian and Fatface stylesas well as Trilogy Sans
Trilogy specimenUnfortunately there are no longer any printedcopies of the specimen left but a PDF versionis available for download from the variousTrilogy pages at typographynet
typographynet
The Trilogy Sans Explorer lets you glide over the typeface and focus on its details
Trilogy specimen
Try the fonts
StudioTypecom
Font Info PDF
copy 2020 JeremyTankard Typography Ltd All rights reserved Page 5typographynet amp studiotypecom
Footnote 35July 2020
Short middle arm to E and F Vertical axis creates a calm type image
The slab foot of the a is reflected in the ear of the g Systematic letter shapes
Rectangular dots and punctuation Stroke weight increases as the character width increases
Chamfer detail is constant across all widths and weights
ll
Details of characterEven though a sans type style wouldseemingly have less scope for visualdifference than a serif might there arecontinually ways to bring new expression totheir simplistic structure Shown here aresome of the detailing hidden within TrilogySans which contributes to its charactersometimes obviously sometimes subtly
Individual proportionOpportunity to play with specific shapesand proportions gives a typeface its voiceFor example the short middle arms to E andF help assert its own look
Static structureThe vertical axis to the typeface helps toimpart a calm static feel
FeaturesSome letters have elements that can beenhanced or given a special treatment Forexample the slab foot of the lower case a isinterpreted in the ear of the g
Repeated shapesThe strong repetition of shapes strengthensthe systematic rhythm across a word shape
Rectangular dotsRectangular dots are used for letterelements and punctuation These maintainthe static structure and harmonise with thesolidity of the typeface
Optical weight relationshipThe stroke weight of a character is carefullyincreased across the family of widths This isdone to achieve an optical balance betweenthe same font weight from each of thedifferent typeface families
Subtle detailThe small chamfer added at corners helps toalleviate a sometimes sharp impression atthe same time it creates a slightly softimage which again balances with Trilogyrsquoscalm structure and rhythm
copy 2020 JeremyTankard Typography Ltd All rights reserved Page 6typographynet amp studiotypecom
Footnote 35July 2020
Early stages in the design ofTrilogy SansThe beginnings of a typeface are amongst themost exciting and equally frustrating stagesof the design process From small ideas andobservations initial doodles are gathered togive an overview of what the type style couldpotentially become These sketchbook imagesshow very raw and simplistic skeletons thepurpose of which is to gain a broad impressionof structure
As various ideas develop and possiblefeatures defined stylistic details of the typebegan to emerge Before digitisation workstarted several drawings were made ontracing paper which are a great way to reviewideas in a raw and unpolished state Thedrawings can be rearranged to make differentletter combinations and easily viewed fromvarious angles all of which help to judge theembryonic design At some point thougheagerness kicks in and digital work starts Thenotes and drawings then become referencematerial to guide the work as the typefacedevelops and expands
Simplistic overview of the core structure (early June 2006)
Feature shape and proportion notes (early June 2006)
Pre-digital drawings made on tracing paper
copy 2020 JeremyTankard Typography Ltd All rights reserved Page 7typographynet amp studiotypecom
Footnote 35July 2020
+
ExploreTrilogy Sans and discovermoreThere are many resources available onlinewhere you can find out about the typeface itsfamilies and weights
Through the Explorer you can glide over thetypeface and click on any of the icons todiscover more Explorer is best experiencedthrough a desktop laptop or tablet A link to itcan be found on the Trilogy Sans page underMore information
Try the fontsAll the fonts can be viewed and testedthrough the website You can also downloadeach font with our Demo Licence allowing youto try them locally in your applications
Specific informationThe Font Info PDF gives an overview of thedetailing of the typeface its families weightsfeatures and abilities
Design notesThe inspirations behind the Trilogy project arediscussed at StudioTypecom together withinsights into the Egyptian and Fatface stylesas well as Trilogy Sans
Trilogy specimenUnfortunately there are no longer any printedcopies of the specimen left but a PDF versionis available for download from the variousTrilogy pages at typographynet
typographynet
The Trilogy Sans Explorer lets you glide over the typeface and focus on its details
Trilogy specimen
Try the fonts
StudioTypecom
Font Info PDF
copy 2020 JeremyTankard Typography Ltd All rights reserved Page 6typographynet amp studiotypecom
Footnote 35July 2020
Early stages in the design ofTrilogy SansThe beginnings of a typeface are amongst themost exciting and equally frustrating stagesof the design process From small ideas andobservations initial doodles are gathered togive an overview of what the type style couldpotentially become These sketchbook imagesshow very raw and simplistic skeletons thepurpose of which is to gain a broad impressionof structure
As various ideas develop and possiblefeatures defined stylistic details of the typebegan to emerge Before digitisation workstarted several drawings were made ontracing paper which are a great way to reviewideas in a raw and unpolished state Thedrawings can be rearranged to make differentletter combinations and easily viewed fromvarious angles all of which help to judge theembryonic design At some point thougheagerness kicks in and digital work starts Thenotes and drawings then become referencematerial to guide the work as the typefacedevelops and expands
Simplistic overview of the core structure (early June 2006)
Feature shape and proportion notes (early June 2006)
Pre-digital drawings made on tracing paper
copy 2020 JeremyTankard Typography Ltd All rights reserved Page 7typographynet amp studiotypecom
Footnote 35July 2020
+
ExploreTrilogy Sans and discovermoreThere are many resources available onlinewhere you can find out about the typeface itsfamilies and weights
Through the Explorer you can glide over thetypeface and click on any of the icons todiscover more Explorer is best experiencedthrough a desktop laptop or tablet A link to itcan be found on the Trilogy Sans page underMore information
Try the fontsAll the fonts can be viewed and testedthrough the website You can also downloadeach font with our Demo Licence allowing youto try them locally in your applications
Specific informationThe Font Info PDF gives an overview of thedetailing of the typeface its families weightsfeatures and abilities
Design notesThe inspirations behind the Trilogy project arediscussed at StudioTypecom together withinsights into the Egyptian and Fatface stylesas well as Trilogy Sans
Trilogy specimenUnfortunately there are no longer any printedcopies of the specimen left but a PDF versionis available for download from the variousTrilogy pages at typographynet
typographynet
The Trilogy Sans Explorer lets you glide over the typeface and focus on its details
Trilogy specimen
Try the fonts
StudioTypecom
Font Info PDF
copy 2020 JeremyTankard Typography Ltd All rights reserved Page 7typographynet amp studiotypecom
Footnote 35July 2020
+
ExploreTrilogy Sans and discovermoreThere are many resources available onlinewhere you can find out about the typeface itsfamilies and weights
Through the Explorer you can glide over thetypeface and click on any of the icons todiscover more Explorer is best experiencedthrough a desktop laptop or tablet A link to itcan be found on the Trilogy Sans page underMore information
Try the fontsAll the fonts can be viewed and testedthrough the website You can also downloadeach font with our Demo Licence allowing youto try them locally in your applications
Specific informationThe Font Info PDF gives an overview of thedetailing of the typeface its families weightsfeatures and abilities
Design notesThe inspirations behind the Trilogy project arediscussed at StudioTypecom together withinsights into the Egyptian and Fatface stylesas well as Trilogy Sans
Trilogy specimenUnfortunately there are no longer any printedcopies of the specimen left but a PDF versionis available for download from the variousTrilogy pages at typographynet
typographynet
The Trilogy Sans Explorer lets you glide over the typeface and focus on its details
Trilogy specimen
Try the fonts
StudioTypecom
Font Info PDF