typography · speci˜cally to the enclosed space in a lowercase ‘e”.’ overshoot “a round or...
TRANSCRIPT
Typography2015
by Youcheng Zhou 1255547
CGRD142-15B 1255547 Youcheng Zhou
x-Height
Midline
Descender line
Cap heightAscender line
The Anatomy of Type
Graphic DesignUppercase
Lower case
Stress Eye
Aperture
Spur
Spine
Link
Loop
Counter
Ear
Descender
Shoulder
Serif
Title
Stem or vertical stroke
Ballterminal
Bowl
Terminal
OvershootAscender
Bracket
Baseline
Kerning
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The Anatomy of Type
Descender“Any part in a lowercase letter that extends below the baseline, found for example in g, j, p, q, y, etc.”
Midline“The distance between the baseline and the midline is the x-height.”
Ascender“Any part in a lowercase letter that extends above the x-height, found for example in ‘b’, ‘d’, ‘f’, ‘h’, ‘k’, etc.”
Cap Height“The height from the baseline to the top of the uppercase letters.”
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Bowl“The curved part of the character that encloses the circular of letters, such as ‘d’, ‘b’, ‘o’, ‘D’, and ‘B’ is the bowl.”
The Anatomy of Type
Eye“Much like a counter, the eye refers speci�cally to the enclosed space in a lowercase ‘e’.”
Overshoot“A round or pointed letter extends beyond comparable letters with �at tops or bottoms.”
Aperture“The partially enclosed, somewhat rounded negative space, such as ‘n’, ‘C’, ‘S’.”
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Bracket“The bracket is a curved between the stem and serif of fonts. Not all serifs are bracketed serifs.”
Counter“The enclosed circular or curved negative space, such as d, o, and s.”
Ear“Typically found on the lower case ‘g’, an ear is a decorative �ourish usually on the upper right side of the bowl.”
The Anatomy of Type
Link“The small, usually curved connecting stroke between the upper bowl and lower loop in the double-storey ‘g’.”
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The Anatomy of Type
Loop“The loop is the enclosed below the
baseline.”
Shoulder“The curved part projecting downward from a stem in the lowercase ‘h’, ‘m’, ‘n’.”
Spine“The main curved stroke in the letter ‘S’
and ‘s’.”
Stem“Any vertical stroke in a character.”
Terminal“The end of any stroke that does not in-clude a serif.”
Tittle“The dot on the ‘i’ and ‘j’.”
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Leading“Its original meaning is increasing the vertical space between lines of metal type.”
Spur“The small protruding part o� a main stroke, often where a curve meets a straight stem.”
Ball Terminal“A terminal that resolves into circular shape.”
The Anatomy of Type
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Font “A font is what you use, and .”
Body height“The height of the body equals the point size.”
Super families“Type systems are collections of coordinated type families.”
The Anatomy of Type
Typeface“A typeface is what you see. ”
Small Caps (SC)“Small caps are capital letters that are approximately as high as the x-height of the lowercase letters.”
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Point size“The point size of a typeface refers to the size of the body.”
Kerning“Kerning refers to the horizontal space between individual pairs of letters.”
Lowercase“The small letters in a typeface. The small letters were kept in the lower part of the type case.”
Uppercase“The capitals in a typeface. The capitals were kept in the upper part of the type case.”
The Anatomy of Type
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Italics(real/fake)“A slanted type style which takes its basic shapes from a stylized form of handwriting. Italics are commonly used for emphasis in text.”
The Anatomy of Type
Special charactersInstead of text characters, special typefaces contain decorative ornaments, pictures, or symbols for some or all characters.
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Baseline“The imaginary line upon which the letters in a font appear to rest.”
x-Height“The height of the lowercase letters, disregarding ascenders or descenders, typically exempli�ed by the letter x.”
Contrast“Thickness di�erence between vertical and horizontal strokes.”
Colour“Value of lightness or darkness that is created by words, lines, paragraphs, or pages.”
The Anatomy of Type
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Serif“In typography, a serif is a small line at-tached to the end of a stroke in a letter or symbol. A typeface with serifs is called a serif typeface. A typeface without serifs is called sans serif or sans-serif.”
The Anatomy of Type
Sans serif• No serifs • Fat terminals • Uniform contrast upright axis • Generous x-height
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The Anatomy of TypeVariables: Regular“The terms normal, regular and plain, sometimes also book, are being used for the standard weight font of a typeface. ”
Bold“In typography, it is the equivalent of prosodic stress in speech, and may be used to transcribe this.”
Italic“In typography, italic type is a cursive font based on a stylized form of calligraphic handwriting. ”
Condensed“Narrower fonts are usually labeled compressed, condensed or narrow.”
Expanded“In Frutiger's system, the second digit of condensed fonts is a 7. Wider fonts may be called wide, extended or expanded.”
The typeface Avenir Next in regular and condensed widths.
Helvetica Neue weights Cyrillic italics
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The Anatomy of TypeAlignment:
“Justi�ed is very economical, it saves space and makes a solid block.”
“Centered alignment is very formal, symetrical.”
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“Flush left is a great organic type alignment.”
“Flush right is more unusual and gives it a real dynamism, giving a soft edge on the left and a hardedge on the right.”
The Anatomy of TypeAlignment:
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Classification----Vox-ATypI classi�cation
Humanistic: in 1470
Garaldes: the French Renais-sance
Transitionals: the middle of the eighteenth century
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Didones: the late 18th century
Slab-serifs: in 1956
Humanistic sans-serifs: the end of the nineteenth century
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Classification----Vox-ATypI classi�cation
Neoclassical sans-serifs: in 1957
Benton sans-serifs: in 1995
Geometric sans-serifs: the mid-1920s
Glyphics: from 1932 to 1940
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Classification----Vox-ATypI classi�cation
Scripts: in 1972
Graphics: in 1989
Gothic Types: from the era of ‘gothic’ art and architecture in the Middle Ages
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Classification----Vox-ATypI classi�cation
The Gallery of Examples
1. This image showed the contrast to audiences with the background colour and text. And the shape of the text is smooth in visual, which is harmony to people.
2. This is a very simply paragraph but showed the key word with bold and the rest words are regular. This is a very useful way to remind people the important information.
3. The di�erent typeface on the board are showed di�erent classi�cation to us.
4. I like title on the top of this image, which used the thin and regular font to show the point information. In addition, the title was made up by capital characters to emphasis. The black background and white text is a kind of contrast which makes audiences distinguish easily.
5. This is my sketch work which comes from the tra�c sign on the street. In realistic life, this sign was red line and text combine with the white background. This showed the emphasis by colour and simple text.
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6. Very much di�erent typeface on this white wall. The layout is very interesting and show balance to people. The di�erent style of typeface also displays many e�ects such as 3D, shadow and so on.
7. This is a recipe from magazine. I like this one because it showed the di�erent font and make the point word to bold, which
makes readers distinguish the food material immediately. And there also have
detail to explain the step which used the regular font and harmony in visual.
The Gallery of Examples
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8. This typeface looks like very old and classic, which made by steel material. The anatomy of the text in this image is very clear and readable, such as the capital character “D”, “G” or “O”.
The Gallery of Examples
9. This word was used the e�ect to show the 3D and movement. To compare with the background and the foreground, the di�erent word looks like dynamic. Another point that I choose it is because it made up by extra-bold font and capital characters to show emphasis.
10. This advertise board showed contrast by di�erent typeface. One of them is the regular font and another one is italic on the bottom. The regular font is simple and looks comfortable, and the italic font was lively.
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Ambrose, G., & Harris, P. (2011). The fundamentals of typography (2nd ed.). Worthing; Laus-anne: AVA Academia.
Coles, S. (2012). The anatomy of type: A graphic guide to 100 typefaces. New York: Harper Design.
FontShop. (2015). Retrieved from https://www.fontshop.com/glossary#alternates
Letter Fountain. (n.d.). Retrieved from http://www.letterfountain.com/classification.html
Lupton, E. (2010). Thinking with type: A critical guide for designers, writers, editors, & students (2nd rev. and expand; 2. rev. and expand ed.). New York: Princeton Architectural Press.
Serif. (2015). Retrieved from https://en.wikipedia.org/wiki/Serif
References