Typography 02

Classifications, differences& implications

Transcript

1. Typography 02 Communication is Job One.
2. Learner Objectives Get to Know O  Type classifications O  Stylistic differences and implications
3. Why You Should Care O  Improved integration of type and images O  Improved layouts and message expression O  Less distractions in layouts O  Better connection with reader/viewer
4. Type Classifications O  Major classification categories exist for the numerous typefaces available today O  Generally sorted by style and history O  Classifications serve only as guidelines; categories vary among type historians
5. Type Classifications O  Old Style (Humanist) O  Transitional O  Modern O  Slab Serif O  Sans Serif O  Blackletter O  Script O  Display
6. Typeface Classification Examples | Martin Holloway Graphic Design | Pittstown, NJ
7. Anatomy Refresher
8. Typeface Classification Chart Martin Holloway Graphic Design
9. Know Your Style(s) O  Recognize major categories of type O  Develop awareness of typeface details O  Search more selectively/consciously O  Prevent random/sloppy typeface choices
10. Oldstyle O  Based on scribes' handlettering (angled pen) O  Always have serifs O  Lowercase serifs are slanted O  Curved strokes have thick/thin transition O  Moderate thick/thin contrast in stroke O  Diagonal stress O  Best group for extensive body copy; readability
11. Oldstyle Goudy Palatino Times Baskerville Garamond Diagonal stress Moderate thick/thin in stroke Lowercase serifs slanted Serif
12. Modern O  Post-1600s, based on mechanical type vs. handlettering O  Have serifs, horizontal vs. slanted O  Have thick/thin transition O  Radical thick/thin contrast in stroke O  Vertical stress vs. diagonal O  Not good for extensive body copy O  Used at large, display sizes
13. Modern Bodoni Times Bold Onyx Bordeaux Roman Bold Didot
14. Slab Serif O  Introduced in industrial revolution, advertising O  Have serifs, horizontal and thick O  Little or no thick/thin transition O  Vertical stress vs. diagonal O  Often used for extensive body copy (when thick/thin transition exists) O  High readability, clean, straightforward
15. Slab Serif Rockwell Bold Gloucester Extra Condensed Geared Slab Carton slab
16. Sans Serif O  Introduced in 1900s O  “Sans” = French for “without” O  No serifs O  Usually monoweight, no thick/thin transition O  No stress because no thick/thin transition O  Some families vary from light to extra black
17. Sans Serif Franklin Gothic Corbel Century Gothic Futura Condensed Lucida Grande No stress because no thick/thin (monoweight) No thick/thin in stroke No serifs anywhere
18. Script O  Appear handlettered (calligraphy pen, brush, pencil, technical pen) O  Many subcategories O  Best used only in moderation O  Never set as as long blocks of text O  Never set as all caps O  Dramatic when set very large
19. Script Savoye Snell Roundhand! Apple Chancery ! Bradley Hand ! Use sparingly Wide variety of styles
20. Decorative O  Distinct, fun, stylized O  Many subcategories, each unique O  Best used only in moderation O  May carry obvious, initial emotions O  Manipulate usage for other connotations O  Never used for large amounts of copy
21. Decorative Harrington Rosewood Party Cracked! Giddyup Curlz ! Use sparingly Wide variety of styles, moods
22. First Rule of Type Club: Don't Decorate… Communicate! Choosing the the best typeface for your project/design means more than finding a “pretty face” Source: The Non-Designer’s Design Book, 2nd Ed. – Robin Williams; Graphic Design Solutions, 5th Ed. – Robin Landa; The Non-Designer’s Type Book, 2nd Ed.– Robin Williams