Tipografia

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Typography II
28th June 2005

Computer Graphics & Design 1
Faculty of Information and Communication Technology
Silpakorn University, Thailand

Dr.Surapong Lertsithichai, Ph.D.
Faculty of Architecture, Silpakorn University
Pongpan Suriyapat
IT University of Göteborg, Sweden

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Typography II : The Anatomy of Type

Uppercase Letter
Serif

Cap height

Counter

AscenderTypography x
Bowl
Lowercase Letter

Loop

Descender

X height
Baseline

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Typeface
The design of a single set of letterforms, numerals and punctuation marks unified by
consistent visual properties. Typeface designs are identified by name, such as Arial or
Palatino

Typeface
Typeface

Arial

Palatino

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Type Style
Modifications in a typeface that create designvariety while maintaining the visual character
of the typeface. These include variations in weight (light, medium, book, bold, heave and
black) width (condense or extened) or angle (italic or oblique VS. roman or upright)

Arial Regular
Arial Bold
Arial Italic
Condense
Extended

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Type Family
A range of style variations based on a single typeface. Style attributes of type families cancontain a number of modifications but will always retain a distinct visual continuity.

Arial condensed light
Arial Regular
Arial Bold
Arial Bold Italic
Arial Black

Arial Family

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Type Font
A complete set of letterforms (uppercase and lowercase), numerals and punctuation marks
in a particular typeface that allows for type setting by keystroke on a computer or other
means oftypographic composition.

ABCDEFGHIJKLMN
OPQRSTUVWXYZ
a

bcdefghijklmnop
qrstuvwxyz
0123456789/*-+!@#$
%^&*()_? ~`":;[ ] {}
Times New Roman Type Fonts

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Anatomy of a Letter in Details

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Anatomy of a Letter in Details

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a

Anatomy of a Letter in Details

g

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Anatomy of a Letter in Details

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isox cn

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Five Families of Type

Old Style

1617Transitional

1757

Modern

1788

Egyptian

1894

Contemporary 1957

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Originally credited with the design of this ellegant French Typeface. Later, it has recently
discovered that the face was design by Jean Janon in 1615. However, this typeface still called
Garamond
- Very little contrase between the ticks and thins / Round / Heavily bracketed Serif and the
capital lettersare shorter than the ascenders of the lowercase letter

Designed by the Englishman John Baskerville in 1757. It's a sample of a Transitional Typeface
( a bridge between Old Style and Modern )
- Greater contrast between the ticks and thins / Serifs are less heavily bracketed / Wide Letter

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Modern Typeface, designed in the late 1700s' by the Italian typographer, Giambattista Bodoni.
Thistypeface made all the older faces became "Old Style"
- Very Strong contrast between ticks and thins / unbracketed serif / Strong vertical stress

An Egyptian typeface, designed by L.B. Benton and T.L. DeVinne for the century magazine in
1894.
- Thick slab serif / Thick main stroke / Little contrast between ticks and thins / Very popular for
children's books.

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Contemporary typefacethat comes from Swiss. It was introduced in 1957 by the Haas
typefoundry and was first presented in the US in the early 1960's
- Sans Serif letter / Both stroke are equal / comfortable for reading

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Old Style

other fonts : Bembo, Centaur, Poliphilus, Plantin, Van Dijck, Caslon.

1617

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Transitional

other fonts : Fournier, Fontana, Bell

1757

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Modern

other fonts :Didot, Walbaum, Scotch Roman

1788

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Egyptian

other fonts : Clarendon, Cheltenham, Egezio, Consort, Columbia

1894

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Contemporary 1957

other fonts : Futura, News Gothic, Venus, Univers, Folio

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Display Type
Display Types are not easily categorized, either historically or esthetically. They are more
obviously individual. However, we can create five general...