Tipografia
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...
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