Sean Adams typography101
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Typography Basics Sean Adams
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Typography BasicsSean Adams
Illuminated Manuscript
Monks use reed pens for calligraphic forms
1439
Blackletterset in metal, imitates calligraphic forms
Johannes Gutenberg
a long time ago
1470
Old-styleSimplifies the calligraphic form for more cost effective printing.
Nicolas Jensonis inspired by typography on
Roman monuments.
Roman Type
1495
Aldus Manutiusdesigns a more condensed letterform
to fit more text on a page.
Italics
1540
Claude Garamonddesigns a typeface to use 25% less ink.
1728
William CaslonWhen in doubt, use Caslon.
1757
Transitionalrepresent the transition between Old Style
and Modern or Didone Typefaces
John Baskerville
1813
Modern or DidoneBetter printing techniques allow for finer letterforms with more extreme
thicks and thins.
Giambattista Bodoni
1852
Firmin Didotwanted even more extreme thicks and thins.
1828
Woodtypegood for big letters and advertising
Darius Wells
1845
Egyptians or Slab SerifEveryone wants all things Egyptian
after Napoleon’s Egyptian Campaign
Robert Besley
1927
Geometric Sans Serif
Paul Rennerdesigns a typeface with universal forms:
circles, straight lines and diagonals
1928
Humanist Sans Serif
Eric Gillthinks Futura is too cold.
1957
Neo-Grotesque Sans Serif
Max Miedinger Eduard Hoffmanndesigned a neutral sans-serif as a family.
1960
Photo-typesetting.allows for more extreme letterforms
no longer made in metal.
Herb Lubalinsaw type as an expressive form,
not neutral or cold.
1984
Digital TypeThe Macintosh democratizes typesetting.
Typography can more easily be manipulated and layered.
Arial and Georgiadesigned for the screen and operating systems
Typography TodayScreen-based, in motion, interactive, and expressive
Classification Differences
Neo-Grotesque Sans Serif
System Fonts
Blackletter
Calligraphic forms
Janson
thick serifs
little variation between thick and thin parts
Garamond
thick serifs
slightly more variation between thick and thin parts
Caslon
thick serifs
simpler curves straighter lines
slightly more variation between thick and thin parts
Baskerville
thinner serifs
much more variation between thick and thin parts
simpler curves even more straighter lines
Bodoni
very thin serifs
extreme variation between thick and thin parts
even simpler curves even more straighter lines
Didot
very thin serifs
extreme variation between thick and thin parts
even simpler curves even more straighter lines
Clarendon
small variation between thick and thin parts
very thick and square serifs
Futura
very small variation between thick and thin parts
no serifs
geometric
Typesetting 101
Punctuation
dash or hyphen
to connect words
Punctuation
en dash in place of “to” 12:00 – 2:00
Punctuation
em dash to connect ideas like a semi-colon
Punctuation
quotation marks
Punctuation
inch mark
Typographic terms
Aligning Figures
Typographic terms
Aligning Figures
Typographic terms
Old-style or Expert Figures
Typographic terms
Old-style or Expert Figures
There is no such thing as a bold old-style
classic serif. Like short sleeve dress
shirts, they do not exist.
G GWilliam Caslon did not toil for years to see his typeface
mutated like this.
This is a designer who uses beautifully drawn sans-serif typefaces
This is a designer who chooses bold old-style serif typefaces
For more information and excitement: http://www.lynda.com/Sean-Adams/519270-1.html
