tlielaxu miykel typography 1
TRANSCRIPT
TLIELAXU MIYKEL | Typography 1 | DAVID HAKE Instructor
“The typographer’s first duty is to the text itself. An intelligent interpretation of the text will not only ensure read-ability, but will also reflect its tone, its structure, and its cultural context. The typographer’s analysis illuminates the text, like the musician’s...” —Jan Tschichold
TLIELAXU MIYKEL | Typography 1 | DAVID HAKE Instructor
SANS SERIF
PROTOTYPEFACESQUARE BIZ
SANS SERIF
SQUARE BIZ
TLIELAXU MIYKEL | Typography 1 | DAVID HAKE Instructor
VISIBLE AND INVISIBLE LANGUAGE
Th e written language is visible; the spoken is invisible. Ideographic systems are based on pictorial symbols that represent meanings, and have a semantic basis; alphabetic systems are based on letter forms that represent units of speech and have a phonetic basis. Ideographic forms are pictorial, derived from simple drawn pictograms—symbols which represents a person or object. But to represent more abstract concepts they must work in combination—whereupon the pictogram has become ideographic: a symbol that represents not merely an object but a concept. Ideographic systems based on pictograms require the development of many symbols. It is theoretically possible therefore, to ‘read’ ideographic systems without being able to speak the language. Eastern languages such as Chinese and Japanese are ideographically based. Chinese students can today ‘read’ the words of Confucius written2,500 years ago—but were his voice to have been recorded, they would barely recognize a word. Under an alphabetic system, symbols are used to represent the phonemes of a language. Th e symbols in themselves have no meaning, but they represent the sounds of speech. By ordering the phonetic symbols along a line, the sound of a word can be represented. In most alphabetic systems, groups of phonemes are separated by gapsto indicate the end of one word and the beginning of another.
Type & Typography—Phil Baines and Andrew Haslam
GARALDE
TYPESETTINGADOBE GARAMOND PRO
ADOBE GARAMOND PRO
8/12/LEFT
+20 TRACKING
TLIELAXU MIYKEL | Typography 1 | DAVID HAKE Instructor
VISIBLE AND INVISIBLE LANGUAGE
Th e written language is visible; the spoken is invisible. Ideographic systems are based on pictorial symbols that represent meanings, and
have a semantic basis; alphabetic systems are based on letter forms that represent units of speech and have a phonetic basis. Ideographic
forms are pictorial, derived from simple drawn pictograms—symbols which represents a person or object. But to represent more abstract concepts they must work in combination—whereupon the pictogram
has become ideographic: a symbol that represents not merely an object but a concept. Ideographic systems based on pictograms require the
development of many symbols. It is theoretically possible therefore, to ‘read’ ideographic systems without being able to speak the language.
Eastern languages such as Chinese and Japanese are ideographically based. Chinese students can today ‘read’ the words of Confucius written
2,500 years ago—but were his voice to have been recorded, they would barely recognize a word. Under an alphabetic system, symbols are used
to represent the phonemes of a language. Th e symbols in themselves have no meaning, but they represent the sounds of speech. By ordering the
phonetic symbols along a line, the sound of a word can be represented. In most alphabetic systems, groups of phonemes are separated by gaps
to indicate the end of one word and the beginning of another.
Type & Typography—Phil Baines and Andrew Haslam
GARALDE
TYPESETTINGADOBE GARAMOND PRO
ADOBE GARAMOND PRO
8/12/RIGHT
+20 TRACKING
TLIELAXU MIYKEL | Typography 1 | DAVID HAKE Instructor
VISIBLE AND INVISIBLE LANGUAGE
Th e written language is visible; the spoken is invisible. Ideographic systems are based on pictorial symbols that represent meanings, and have a semantic basis; alphabetic systems are based on letter forms that represent units of speech and have a phonetic basis. Ideographic forms are pictorial, derived from simple drawn pictograms—symbols which represents a person or object. But to represent more abstract concepts they must work in combination—whereupon the pictogram has become ideographic: a symbol that represents not merely an object but a concept. Ideographic systems based on pictograms require the development of many symbols. It is theoretically possible therefore, to ‘read’ ideographic systems without being able to speak the language. Eastern languages such as Chinese and Japanese are ideographically based. Chinese students can today ‘read’ the words of Confucius written 2,500 years ago—but were his voice to have been recorded, they would barely recognize a word. Under an alphabetic system, symbols are used to represent the phonemes of a language. Th e symbols in themselves have no meaning, but they represent the sounds of speech. By ordering the phonetic symbols along a line, the sound of a word can be represented. In most alphabetic systems, groups of phonemes are separated by gaps to indicate the end of one word and the beginning of another.
Type & Typography—Phil Baines and Andrew Haslam
GARALDE
TYPESETTINGADOBE GARAMOND PRO
ADOBE GARAMOND PRO
8/12/JUSTIFIED
+20 TRACKING
TLIELAXU MIYKEL | Typography 1 | DAVID HAKE Instructor
VISIBLE AND INVISIBLE LANGUAGE
Th e written language is visible; the spoken is invisible. Ideographic
systems are based on pictorial symbols that represent meanings,
and have a semantic basis; alphabetic systems are based on letter forms
that represent units of speech and have a phonetic basis.
Ideographic forms are pictorial, derived from simple drawn pictograms—
symbols which represents a person or object. But to represent
more abstract concepts they must work in combination—whereupon
the pictogram has become ideographic: a symbol that
represents not merely an object but a concept. Ideographic systems
based on pictograms require the development of many symbols.
It is theoretically possible therefore, to ‘read’ ideographic systems without
being able to speak the language. Eastern languages such as
Chinese and Japanese are ideographically based. Chinese students can
today ‘read’ the words of Confucius written 2,500 years ago—
but were his voice to have been recorded, they would barely recognize
a word. Under an alphabetic system, symbols are used to
represent the phonemes of a language. Th e symbols in themselves have
no meaning, but they represent the sounds of speech.
By ordering the phonetic symbols along a line, the sound of a word can
be represented. In most alphabetic systems, groups of
phonemes are separated by gaps to indicate the end of one word and the
beginning of another.
Type & Typography—Phil Baines and Andrew Haslam
GARALDE
TYPESETTINGADOBE GARAMOND PRO
ADOBE GARAMOND PRO
8/12/CENTER
+20 TRACKING
TLIELAXU MIYKEL | Typography 1 | DAVID HAKE Instructor
The written language is visible; the spoken is invisible. Ideographic
systems are based on pictorial symbols that represent meanings, and
have a semantic basis; alphabetic systems are based on letter forms
that represent units of speech and have a phonetic basis.
Th e written language is visible; the spoken is invisible. Ideographic systems are based on pictorial symbols that represent meanings, and have a semantic basis; alphabetic systems are based on letter formsthat represent units of speech and have a phonetic basis.
The written language is visible; the spoken is invisible. Ideographic
systems are based on pictorial symbols that represent meanings, and
have a semantic basis; alphabetic systems are based on letter forms
that represent units of speech and have a phonetic basis.
The written language is visible; the spoken is invisible. Ideographic
systems are based on pictorial symbols that represent meanings, and
have a semantic basis; alphabetic systems are based on letter forms
that represent units of speech and have a phonetic basis.
The written language is visible; the spoken is invisible. Ideographic
systems are based on pictorial symbols that represent meanings, and
have a semantic basis; alphabetic systems are based on letter forms
that represent units of speech and have a phonetic basis.
The written language is visible; the spoken is invisible. Ideographic
systems are based on pictorial symbols that represent meanings, and
have a semantic basis; alphabetic systems are based on letter forms
that represent units of speech and have a phonetic basis.
HUMANIST | GARALDE | DIDONE | SLAB-SERIF | SANS SERIF
TYPESETTINGHORLEY OLD STYLE | ADOBE GARAMOND PRO | JANSON | DIDOT | EGYPTIENNE | OPTIMA
HORLEY OLD STYLE
7.5/12/LEFT
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ADOBE GARAMOND PRO
8/12 PT/LEFT
+20 TRACKING
JANSON
7.5/12 PT/LEFT
+25 TRACKING
DIDOT
7.3/12 PT/LEFT
+11 TRACKING
EGYPTIENNE
6.6/12 PT/LEFT
+27 TRACKING
OPTIMA
7.2/12 PT/LEFT
+28 TRACKING
TLIELAXU MIYKEL | Typography 1 | DAVID HAKE Instructor
A X I S
A x i s
A x i s
L I N K
L i n k
L i n k
S P U R
S p u r
S p u r
A P E X
A p e x
A p e x
S T E M
S t e m
S t e m
LOOP
L o o p
L o o p
A X I S
A x i s
A x i s
L I N K
L i n k
L i n k
S P U R
S p u r
S p u r
A P E X
A p e x
A p e x
S T E M
S t e m
S t e m
L O O P
L o o p
L o o p
A X I S
A x i s
A x i s
L I N K
L i n k
L i n k
S P U R
S p u r
S p u r
A P E X
A p e x
A p e x
STEM
S t e m
S t e m
LOOP
L o o p
L o o p
A X I S
A x i s
A x i s
L I N K
L i n k
L i n k
SP U R
S p u r
S p u r
A P E X
A p e x
A p e x
ST E M
S t e m
S t e m
LOOP
L o o p
L o o p
A X I S
A x i s
A x i s
L I N K
L i n k
L i n k
S P U R
S p u r
S p u r
A P E X
A p e x
A p e x
S T E M
S t e m
S t e m
L O O P
L o o p
L o o p
A X I S
A x i s
A x i s
L I N K
L i n k
L i n k
S P U R
S p u r
S p u r
A P E X
A p e x
A p e x
S T E M
S t e m
S t e m
L O O P
L o o p
L o o p
HUMANIST | GARALDE | DIDONE | SLAB-SERIF | SANS SERIF
TYPESETTINGHORLEY OLD STYLE | ADOBE GARAMOND PRO | JANSON | DIDOT | EGYPTIENNE | OPTIMA
HO
RLE
Y OLD
STY
LE | CA
PS. U&
LC. IT
ALIC
3.8/4.5/4.7/18 TR
+200/+230/+225
AD
OBE G
AR
AM
ON
D PR
O | C
APS. U
&LC
. ITA
LIC
4.2/4.9/5.1/18 TR
+195/+230/+220
JAN
SON
| CA
PS. U&
LC. IT
ALIC
3.9/4.6/4.8/18 TR
+175/+225/+225
DID
OT
| CA
PS. U&
LC. IT
ALIC
3.8/4.5/4.7/18 TR
+185/+190/+215
EGY
PTIEN
NE | C
APS. U
&LC
. ITA
LIC
4.0/4.2/4.3/18 TR
+180/+200/+180
OPT
IMA
| CA
PS. U&
LC. IT
ALIC
3.9/4.1/4.3/18 TR
+250/+300/+250
TLIELAXU MIYKEL | Typography 1 | DAVID HAKE Instructor
TAIL
ARC
DESCENDER
STEM
SPUR
EYE
ARM
ASCENDER
SERIF
LEG
APEX
LOOP
COUNTER
LINKjll
ee
ee
ee
e
e
e
GARALDE
TYPE ANATOMYADOBE GARAMOND PRO
TLIELAXU MIYKEL | Typography 1 | DAVID HAKE Instructor
+20 -20
+20
+20
-60
-27
-05
-18
-10
-27
-25
-75
-55
-40
-33
-23
Handgloves
HA
ND
GL
OV
ES
DIDONE
KERNING HEADLINESBAUER BODONI ROMAN
BAUER BODONI ROMAN
70 PT/CAP/U&LC
0 TRACKING
TLIELAXU MIYKEL | Typography 1 | DAVID HAKE Instructor
+15 -36
+18
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-37
+10
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-41
-25
+05
+20
-27
+10
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-39
+15
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Typography
TY
POG
RA
PHY
DIDONE
KERNING HEADLINESBAUER BODONI ROMAN
BAUER BODONI ROMAN
70 PT/CAP/U&LC
0 TRACKING
TLIELAXU MIYKEL | Typography 1 | DAVID HAKE Instructor
+15
-50
-35
-25
+20
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+15
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-30
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+20
-05
+10 +10
-40
+20
-10
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-15
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-50 -45
HUMANISTHumanist
GARALDEGaralde
DIDONE
KERNING HEADLINESBAUER BODONI ROMAN
BAUER BODONI ROMAN
40/60 PT/CAP/U&LC
0 TRACKING
TLIELAXU MIYKEL | Typography 1 | DAVID HAKE Instructor
+07 +07 +07
-60
-55
-23
+07
+07 +09
-33-29+09
-35
-03
-40
-29
-37
-29
-33 -60
-17 -20
-23
-10
-27 +23 -23 -17 -23
-37
TRANSITIONALTransitional
DIDONEDidone
DIDONE
KERNING HEADLINESBAUER BODONI ROMAN
BAUER BODONI ROMAN
40/60 PT/CAP/U&LC
0 TRACKING
TLIELAXU MIYKEL | Typography 1 | DAVID HAKE Instructor
-50
-50
-27
-34
-20
+28
+20
-31
-25 +05
+07
-28
-28
-23 -26
-13
-32
-32
+13
+13
+15
-23
+05
+05
+05
+05
-26 +15
SLAB-SERIFSlab-Serif
SANS SERIFSans Serif
DIDONE
KERNING HEADLINESBAUER BODONI ROMAN
BAUER BODONI ROMAN
40/60 PT/CAP/U&LC
0 TRACKING
TLIELAXU MIYKEL | Typography 1 | DAVID HAKE Instructor
Simplicity is thedeciding factor in theaesthetic equation.
SIMPLICITY IS THEDECIDING FACTOR IN THE AESTHETIC EQUATION.
DIDONE
KERNING HEADLINESBAUER BODONI ROMAN
BAUER BODONI ROMAN
27/32 PT/CAP/U&LC
25 TRACKING
23/32 PT/CAP/U&LC
0 TRACKING
TLIELAXU MIYKEL | Typography 1 | DAVID HAKE Instructor
“Typography must be clear andgood in order to communicate—a clearly polished window intothe mind of the reader.” –Beatrice Warde
“TYPOGRAPHY MUST BE CLEAR AND
GOOD IN ORDER TO COMMUNICATE—A
CLEARLY POLISHED WINDOW INTO
THE MIND OF THE READER.”
–BEATRICE WARDE
DIDONE
KERNING HEADLINESBAUER BODONI ROMAN
BAUER BODONI ROMAN
19/23 PT/CAP/U&LC
0 TRACKING
15/23 PT/CAP/U&LC
0 TRACKING
TLIELAXU MIYKEL | Typography 1 | DAVID HAKE Instructor
23 May 2010
Lexicon2258 Howard Street, Suite 100San Francisco CA 94105
Dear Ms. Jackson,
I would like to welcome you as a new client. I look forward to working together on the Academy Project and I am sure that you will be extremely satisfied with the services my business provides.
You are invited to make an appointment to visit our office at your earliest convenience. The office manager will be happy to show you around and discuss any aspect of our credit policy with you.
I am enclosing several samples and an estimate for your review.Please let me know if these figures fall within your budget for the project. If you have any questions, please don’t hesitate to call.
Yours truly,
Tlielaxu MiykelDesigner
Tlielaxu MiykelGraphic Designer
[415] [email protected]
1241 Bush St., Suite 202San Francisco CA 94109www.miykel.com
GARALDE | SANS SERIF
STATIONERY SYSTEMSABON | UNIVERS
GARALDE | SANS SERIF
STATIONERY SYSTEM | TYPE EXPLORATIONSSABON | UNIVERS
Ms. Pauline Jackson
L e x i c o n2258 Howard S t r e e t , S t e 1 0 0S a n F r a n c i s c o C A 94105-1234
First-ClassPostageRequired
Post Officewill not deliverwithout proper
postage
Tlielaxu Miykel
1241 Bush Street, Apt. 202San Francisco CA, 94109-5218
Tlielaxu MiykelGraphic Designer
[415] [email protected]
1241 Bush St., Suite 202San Francisco CA 94109www.miykel.com
Tlielaxu MiykelGraphic Designer
[415] [email protected]
1241 Bush St., Suite 202San Francisco CA 94109www.miykel.com
TLIELAXU MIYKEL | Typography 1 | DAVID HAKE Instructor
GARALDE | TRANSITIONAL | SANS SERIF
TYPE CLASSIFICATION POSTERSSABON | VERSAILLES | AVANT GARDE
Sabon
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
0 1 2 3 4 5 6 7 8 9
One of the fi nest modern adaptations of the Garamond model, Jan Tschichold’s Sabon stands as the culmination of a hugely infl uential typographic career in which type design developed alongside book typography and critical writing. It is named for the punchcutter and type founder Jakob (or Jacques) Sabon of Lyon, whi is credited with bringing the Garamond types originating with
Plantin or Granjon into use in Frankfurt, thus introducing the Garamond model into German printing. Sabon is, however, far more than a literal revival, since it incorporates characteristics drawn from the different sizes of the Garamonds to form one consistent and defi nitively 20th-century interpretation of the ideas that they embody.
It has an elegant bold font, and is exceptionally balanced and legible across italic and roman in both its weights. It has a harmonious visual consistency and few obtrusive distinguishing features—an inclined stress, open counters, and a complementary interaction between characters. It incorporates expert set features, including small caps, ligatures, and non-lining numerals.
Sabon is beautifully balanced across italic and roman in both its weights. It has a harmonious visual consistency and few obtrusive distinguishing features—an inclined stress, open counters, and a complementary interaction between characters. The Open Type era provided the conditions for the improved Sabon Next, developed by Jean-Francois Porchez, extending the family to fi ve weights and including a generous complement of alternates and other Open Type features.Will Hill: the complete typographer. Second/Third edition.
H U M A N I S T
G A R A L D E
T R A N I S T I O N A L
D I D O N E
S L A B - S E R I F
S A N S S E R I F
COUNTER
STE
M
HAIRLINE
In Versailles, Adrian Frutigerdid not use his usual tapered strokes. This straightening might havebeen implemented for reasons ofdesign alone, but could also be attributed to a consideration of thelimitations of digital technology.Vectorisation, i.e. the description ofcurves through a series of short straight lines, did not yet allow for thesame quality that had been a char-acteristic of earlier forms of production.
However, compared to the begin-ning of the 1980s, some technological progress must have taken place, because Frutiger wrote in 1985: “TodayI know about the refinement in reproduction and therefore my mostrecent typeface ‘Versailles’—recon-sidering earlier traditions of non-bit-mapped setting technologies—has been deliberately designed using a more subtle stroke.” In 1984 Versailles was released in 8 fonts for the Linotype CRT machines by D. Stempel AG; this release wasfollowed slightly later by the additionalpublication of old style numeralsand small capitals in the thin and regularfonts. Since 1993 Versailles has beenavailable as a Post-Script font but with-out the aforementioned additions.Adrian Frutiger Typefaces: The Complete Works
VersaillesA
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H U M A N I S T G A R A L D E T R A N S I T I O N A L D I D O N E S L A B - S E R I F S A N S - S E R I F
TAIL
AS
CE
ND
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Avant G
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magazin
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inally
designed a
s a ti
tling fa
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corpora
ted
an ingenio
us range o
f capita
l lig
ature
s to
main
tain
the v
ery ti
ght setti
ng for w
hich it
was d
esigned. I
t is a
fully
geom
etric fa
ce,
with
very
few
of t
he adju
stments
to ju
nctions
seen in
Renner’s
Futu
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etric ri
gor
provid
es for a
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matic
set o
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s
and a ra
ther le
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ase. A
vant
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eally su
ited to
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itiza
tion,
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s sim
plicity
of f
orm re
quires
few
er
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oints
, and th
erefo
re le
ss m
emory
,
than m
ost fa
ces. As a
conse
quence, a se
vere
ly
reduced a
nd unsa
tisfa
ctory
versi
on of A
vant
Gard
e is w
idely
availa
ble.
AVANT
GARDE
A
B C
D
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G
H
I J K L M N O
P Q R
S T
U V
W
X
Y Z
0 1 2 3 4 5 6 7 8 9
a b
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m
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HU
MA
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GA
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T R AN
I ST I O
NA
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DI D
ON
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S L AB - S
E R I F
S AN
S SE R I F
—G
E OM
E T R I C
Subse
quent decades
saw A
vant
Gard
e
incre
asingly a
dopted fo
r use
as a
text
face.
While
the ri
gid g
eometry
of t
he desig
n is
tem
pered in
the ju
nctions o
f som
e lette
rs, th
e
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ase is
in m
any ways l
ess sa
tisfa
ctory
than th
e capita
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vealin
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f the
shortc
omin
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Geom
etric sa
ns se
rifs
when use
d for t
ext se
tting. T
he repetit
ion o
f
geometri
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s can im
pede diffe
rentia
tion
between le
tters,
and th
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be visu
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trusiv
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Will
Hill: th
e com
plete
typogra
pher. Second e
dition.
BOWL
CRO
SSBAR
LEG
TLIELAXU MIYKEL | Typography 1 | DAVID HAKE Instructor
Sabon
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
0 1 2 3 4 5 6 7 8 9
One of the fi nest modern adaptations of the Garamond model, Jan Tschichold’s Sabon stands as the culmination of a hugely infl uential typographic career in which type design developed alongside book typography and critical writing. It is named for the punchcutter and type founder Jakob (or Jacques) Sabon of Lyon, whi is credited with bringing the Garamond types originating with
Plantin or Granjon into use in Frankfurt, thus introducing the Garamond model into German printing. Sabon is, however, far more than a literal revival, since it incorporates characteristics drawn from the different sizes of the Garamonds to form one consistent and defi nitively 20th-century interpretation of the ideas that they embody.
It has an elegant bold font, and is exceptionally balanced and legible across italic and roman in both its weights. It has a harmonious visual consistency and few obtrusive distinguishing features—an inclined stress, open counters, and a complementary interaction between characters. It incorporates expert set features, including small caps, ligatures, and non-lining numerals.
Sabon is beautifully balanced across italic and roman in both its weights. It has a harmonious visual consistency and few obtrusive distinguishing features—an inclined stress, open counters, and a complementary interaction between characters. The Open Type era provided the conditions for the improved Sabon Next, developed by Jean-Francois Porchez, extending the family to fi ve weights and including a generous complement of alternates and other Open Type features.Will Hill: the complete typographer. Second/Third edition.
H U M A N I S T
G A R A L D E
T R A N I S T I O N A L
D I D O N E
S L A B - S E R I F
S A N S S E R I F
COUNTER
STE
M
HAIRLINE
TLIELAXU MIYKEL | Typography 1 | DAVID HAKE Instructor
In Versailles, Adrian Frutigerdid not use his usual tapered strokes. This straightening might havebeen implemented for reasons ofdesign alone, but could also be attributed to a consideration of thelimitations of digital technology.Vectorisation, i.e. the description ofcurves through a series of short straight lines, did not yet allow for thesame quality that had been a char-acteristic of earlier forms of production.
However, compared to the begin-ning of the 1980s, some technological progress must have taken place, because Frutiger wrote in 1985: “TodayI know about the refinement in reproduction and therefore my mostrecent typeface ‘Versailles’—recon-sidering earlier traditions of non-bit-mapped setting technologies—has been deliberately designed using a more subtle stroke.” In 1984 Versailles was released in 8 fonts for the Linotype CRT machines by D. Stempel AG; this release wasfollowed slightly later by the additionalpublication of old style numeralsand small capitals in the thin and regularfonts. Since 1993 Versailles has beenavailable as a Post-Script font but with-out the aforementioned additions.Adrian Frutiger Typefaces: The Complete Works
VersaillesA
E
IJ
N
R
V
Z
d
h
v
m
q
y
2
6
B
F
K
O
S
W
a
e
ij
n
r
v
z
3
7
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G
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H U M A N I S T G A R A L D E T R A N S I T I O N A L D I D O N E S L A B - S E R I F S A N S - S E R I F
TAIL
AS
CE
ND
ER
SE
RIF
TLIELAXU MIYKEL | Typography 1 | DAVID HAKE Instructor
Avant G
arde w
as desig
ned by H
erb Lu
balin a
s a
displa
y face w
hile Lu
ablin w
as art
editor fo
r the
magazin
e of t
he sam
e nam
e. It w
as orig
inally
designed a
s a ti
tling fa
ce and in
corpora
ted
an ingenio
us range o
f capita
l lig
ature
s to
main
tain
the v
ery ti
ght setti
ng for w
hich it
was d
esigned. I
t is a
fully
geom
etric fa
ce,
with
very
few
of t
he adju
stments
to ju
nctions
seen in
Renner’s
Futu
ra. T
he geom
etric ri
gor
provid
es for a
dra
matic
set o
f capita
l form
s
and a ra
ther le
ss sa
tisfa
ctory
lowerc
ase. A
vant
Gard
e pro
ved id
eally su
ited to
dig
itiza
tion,
since it
s sim
plicity
of f
orm re
quires
few
er
bitmap p
oints
, and th
erefo
re le
ss m
emory
,
than m
ost fa
ces. As a
conse
quence, a se
vere
ly
reduced a
nd unsa
tisfa
ctory
versi
on of A
vant
Gard
e is w
idely
availa
ble.
AVANT
GARDE
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
0 1 2 3 4 5 6 7 8 9
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
! &
( )
= %
$
@
?
HU
MA
NI S
T
GA
R AL D
E
T R AN
I ST I O
NA
L
DI D
ON
E
S L AB - S
E R I F
S AN
S SE R I F
—G
E OM
E T R I C
Subse
quent decades
saw A
vant
Gard
e
incre
asingly a
dopted fo
r use
as a
text
face.
While
the ri
gid g
eometry
of t
he desig
n is
tem
pered in
the ju
nctions o
f som
e lette
rs, th
e
lowerc
ase is
in m
any ways l
ess sa
tisfa
ctory
than th
e capita
ls, re
vealin
g many o
f the
shortc
omin
gs of
Geom
etric sa
ns se
rifs
when use
d for t
ext se
tting. T
he repetit
ion o
f
geometri
c form
s can im
pede diffe
rentia
tion
between le
tters,
and th
e circula
r counte
rs can
be visu
ally in
trusiv
e.
Will
Hill: th
e com
plete
typogra
pher. Second e
dition.
BOWL
CRO
SSBAR
LEG
TLIELAXU MIYKEL | Typography 1 | DAVID HAKE Instructor
5
1
3
6
87
2
TLIELAXU MIYKEL | Typography 1 | DAVID HAKE Instructor
GARALDE
TYPE ANATOMYADOBE GARAMOND PRO
TAIL
ARC
DESCENDER
STEM
SPUR
EYE
ARM
ASCENDER
SERIF
LEG
APEX
LOOP
COUNTER
LINKjll
ee
ee
ee
e
e
e
HUMANIST | GARALDE | TRANSITIONAL | DIDONE | SLAB-SERIF | SANS SERIF
TYPESETTINGHORLEY OLD STYLE | ADOBE GARAMOND PRO | JANSON | DIDOT | EGYPTIENNE | OPTIMA
TLIELAXU MIYKEL | Typography 1 | DAVID HAKE Instructor
HO
RLE
Y OLD
STY
LE | CA
PS. U&
LC. IT
ALIC
3.8/4.5/4.7/18 TR
+200/+230/+225
AD
OBE G
AR
AM
ON
D PR
O | C
APS. U
&LC
. ITA
LIC
4.2/4.9/5.1/18 TR
+195/+230/+220
JAN
SON
| CA
PS. U&
LC. IT
ALIC
3.9/4.6/4.8/18 TR
+175/+225/+225
DID
OT
| CA
PS. U&
LC. IT
ALIC
3.8/4.5/4.7/18 TR
+185/+190/+215
EGY
PTIEN
NE | C
APS. U
&LC
. ITA
LIC
4.0/4.2/4.3/18 TR
+180/+200/+180
OPT
IMA
| CA
PS. U&
LC. IT
ALIC
3.9/4.1/4.3/18 TR
+250/+300/+250
A X I S
A x i s
A x i s
L I N K
L i n k
L i n k
S P U R
S p u r
S p u r
A P E X
A p e x
A p e x
S T E M
S t e m
S t e m
LOOP
L o o p
L o o p
A X I S
A x i s
A x i s
L I N K
L i n k
L i n k
S P U R
S p u r
S p u r
A P E X
A p e x
A p e x
S T E M
S t e m
S t e m
L O O P
L o o p
L o o p
A X I S
A x i s
A x i s
L I N K
L i n k
L i n k
S P U R
S p u r
S p u r
A P E X
A p e x
A p e x
STEM
S t e m
S t e m
LOOP
L o o p
L o o p
A X I S
A x i s
A x i s
L I N K
L i n k
L i n k
SP U R
S p u r
S p u r
A P E X
A p e x
A p e x
ST E M
S t e m
S t e m
LOOP
L o o p
L o o p
A X I S
A x i s
A x i s
L I N K
L i n k
L i n k
S P U R
S p u r
S p u r
A P E X
A p e x
A p e x
S T E M
S t e m
S t e m
L O O P
L o o p
L o o p
A X I S
A x i s
A x i s
L I N K
L i n k
L i n k
S P U R
S p u r
S p u r
A P E X
A p e x
A p e x
S T E M
S t e m
S t e m
L O O P
L o o p
L o o p
VISIBLE AND INVISIBLE LANGUAGE
Th e written language is visible; the spoken is invisible. Ideographic systems are based on pictorial symbols that represent meanings, and
have a semantic basis; alphabetic systems are based on letter forms that represent units of speech and have a phonetic basis. Ideographic
forms are pictorial, derived from simple drawn pictograms—symbols which represents a person or object. But to represent more abstract concepts they must work in combination—whereupon the pictogram
has become ideographic: a symbol that represents not merely an object but a concept. Ideographic systems based on pictograms require the
development of many symbols. It is theoretically possible therefore, to ‘read’ ideographic systems without being able to speak the language.
Eastern languages such as Chinese and Japanese are ideographically based. Chinese students can today ‘read’ the words of Confucius written
2,500 years ago—but were his voice to have been recorded, they would barely recognize a word. Under an alphabetic system, symbols are used
to represent the phonemes of a language. Th e symbols in themselves have no meaning, but they represent the sounds of speech. By ordering the
phonetic symbols along a line, the sound of a word can be represented. In most alphabetic systems, groups of phonemes are separated by gaps
to indicate the end of one word and the beginning of another.
Type & Typography—Phil Baines and Andrew Haslam
+15 -36
+18
-30
-37
+10
-20
-41
-25
+05
+20
-27
+10
-17
-30
-39
+15
-10
Typography
TY
POG
RA
PHY
HUMANIST | GARALDE | TRANSITIONAL | DIDONE | SLAB-SERIF | SANS SERIF
TYPESETTINGHORLEY OLD STYLE | ADOBE GARAMOND PRO | JANSON | DIDOT | EGYPTIENNE | OPTIMA
TLIELAXU MIYKEL | Typography 1 | DAVID HAKE Instructor
HORLEY OLD STYLE
7.5/12/LEFT
+28 TRACKING
ADOBE GARAMOND PRO
8/12 PT/LEFT
+20 TRACKING
JANSON
7.5/12 PT/LEFT
+25 TRACKING
DIDOT
7.3/12 PT/LEFT
+11 TRACKING
EGYPTIENNE
6.6/12 PT/LEFT
+27 TRACKING
OPTIMA
7.2/12 PT/LEFT
+28 TRACKING
The written language is visible; the spoken is invisible. Ideographic
systems are based on pictorial symbols that represent meanings, and
have a semantic basis; alphabetic systems are based on letter forms
that represent units of speech and have a phonetic basis.
Th e written language is visible; the spoken is invisible. Ideographic systems are based on pictorial symbols that represent meanings, and have a semantic basis; alphabetic systems are based on letter formsthat represent units of speech and have a phonetic basis.
The written language is visible; the spoken is invisible. Ideographic
systems are based on pictorial symbols that represent meanings, and
have a semantic basis; alphabetic systems are based on letter forms
that represent units of speech and have a phonetic basis.
The written language is visible; the spoken is invisible. Ideographic
systems are based on pictorial symbols that represent meanings, and
have a semantic basis; alphabetic systems are based on letter forms
that represent units of speech and have a phonetic basis.
The written language is visible; the spoken is invisible. Ideographic
systems are based on pictorial symbols that represent meanings, and
have a semantic basis; alphabetic systems are based on letter forms
that represent units of speech and have a phonetic basis.
The written language is visible; the spoken is invisible. Ideographic
systems are based on pictorial symbols that represent meanings, and
have a semantic basis; alphabetic systems are based on letter forms
that represent units of speech and have a phonetic basis.
1. Stationery System2. Kerning Headlines3. Type Classification Poster4. Text Paragraphs5. Type Anatomy6. Microtype7. Prototypeface8. Typesetting
4
Avant G
arde w
as desig
ned by H
erb Lu
balin a
s a
displa
y face w
hile Lu
ablin w
as art
editor fo
r the
magazin
e of t
he sam
e nam
e. It w
as orig
inally
designed a
s a ti
tling fa
ce and in
corpora
ted
an ingenio
us range o
f capita
l lig
ature
s to
main
tain
the v
ery ti
ght setti
ng for w
hich it
was d
esigned. I
t is a
fully
geom
etric fa
ce,
with
very
few
of t
he adju
stments
to ju
nctions
seen in
Renner’s
Futu
ra. T
he geom
etric ri
gor
provid
es for a
dra
matic
set o
f capita
l form
s
and a ra
ther le
ss sa
tisfa
ctory
lowerc
ase. A
vant
Gard
e pro
ved id
eally su
ited to
dig
itiza
tion,
since it
s sim
plicity
of f
orm re
quires
few
er
bitmap p
oints
, and th
erefo
re le
ss m
emory
,
than m
ost fa
ces. As a
conse
quence, a se
vere
ly
reduced a
nd unsa
tisfa
ctory
versi
on of A
vant
Gard
e is w
idely
availa
ble.
AVANT
GARDE
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
0 1 2 3 4 5 6 7 8 9
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
! &
( )
= %
$
@
?
HU
MA
NI S
T
GA
R AL D
E
T R AN
I ST I O
NA
L
DI D
ON
E
S L AB - S
E R I F
S AN
S SE R I F
—G
E OM
E T R I C
Subse
quent decades
saw A
vant
Gard
e
incre
asingly a
dopted fo
r use
as a
text
face.
While
the ri
gid g
eometry
of t
he desig
n is
tem
pered in
the ju
nctions o
f som
e lette
rs, th
e
lowerc
ase is
in m
any ways l
ess sa
tisfa
ctory
than th
e capita
ls, re
vealin
g many o
f the
shortc
omin
gs of
Geom
etric sa
ns se
rifs
when use
d for t
ext se
tting. T
he repetit
ion o
f
geometri
c form
s can im
pede diffe
rentia
tion
between le
tters,
and th
e circula
r counte
rs can
be visu
ally in
trusiv
e.
Will
Hill: th
e com
plete
typogra
pher. Second e
dition.
BOWL
CRO
SSBAR
LEG
Tlielaxu MiykelGraphic Designer
[415] [email protected]
1241 Bush St., Suite 202San Francisco CA 94109www.miykel.com