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No 5

Baskerville MT Std 90pt & 5pt

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Project Two // Type Anatomy

The parts of the letters (Baskerville)

lowercase

leg

axiscross bar

bracket

counter

uppercase ascendersmall capital stress

graphicSerif

bowl

link/neck

terminal

loop

shoulderear

FAncystem

œysecross bar ligature spinetail

descender

finial

apexhairlinearm serif

italic

x-height

baseline

cap height

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LETTERS HAVE A LIFE AND DIGNITY OF THEIR OWN

Letterforms that honor and elucidate what humans see and say deserve to be honored in their turn. Well-chosen words deserve well-chosen letters; these in their turn deserve to be set with affection, intelligence, knowledge and skill. Typography is a link, and it ought, as a matter of honor, courtesy and pure delight, to be as strong as others in the chain.

Typography is just that: idealized writing. Writers themselves now rarely have the calligraphic skill of earlier scribes, but they evoke countless version of ideal script by their varying voices and literary styles. To these blind and often invisible visions, the typographer must responds in visible terms.

In a badly designed book, the letters mill and stand like starving horses in a field. In a book designed by rote, they sit like stale bread and mutton on the page. In a well-made book, where designer, compositor and printer have all done their jobs, no matter how many thousands of lines and pages they must occupy, the letters are alive. They dance in their seats. Sometimes they rise and dance in the margins and aisles.

Simple as it may sound, the task of creative non-interference with letters is a rewarding and difficult calling. In ideal conditions, it is all that typogra-phers are really asked to do—and it is enough.

—Robert Bringhurst, The Elements of Typographic Style

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LETTERS HAVE A LIFE AND DIGNITY OF THEIR OWN

Letterforms that honor and elucidate what humans see and say deserve to be honored in their turn. Well-chosen words deserve well-chosen letters;

these in their turn deserve to be set with affection, intelligence, knowledge and skill. Typography is a link, and it ought, as a matter of honor, courtesy

and pure delight, to be as strong as others in the chain.

Typography is just that: idealized writing. Writers themselves now rarely have the calligraphic skill of earlier scribes, but they evoke countless version of

ideal script by their varying voices and literary styles. To these blind and often invisible visions, the typographer must responds in visible terms.

In a badly designed book, the letters mill and stand like starving horses in a field. In a book designed by rote, they sit like stale bread and mutton on

the page. In a well-made book, where designer, compositor and printer have all done their jobs, no matter how many thousands of lines and pages they

must occupy, the letters are alive. They dance in their seats. Sometimes they rise and dance in the margins and aisles.

Simple as it may sound, the task of creative non-interference with letters is a rewarding and difficult calling. In ideal conditions, it is all that typogra-

phers are really asked to do—and it is enough.

—Robert Bringhurst, The Elements of Typographic Style

Justified Alignment

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L E T T E R S H AV E A L I F E A N D D I G N I T Y O F T H E I R OW N

Letterforms that honor and elucidate what humans see and say deserve to be honored in their turn. Well-chosen words deserve well-chosen letters; these in their turn deserve to be set with affection, intelligence, knowledge and skill. Typography is a link, and it ought, as a matter of honor, courtesy and pure delight, to be as strong as others in the chain.

Typography is just that: idealized writing. Writers themselves now rarely have the calligraphic skill of earlier scribes, but they evoke countless version of ideal script by their varying voices and literary styles. To these blind and often invisible visions, the typographer must responds in visible terms.

In a badly designed book, the letters mill and stand like starving horses in a field. In a book designed by rote, they sit like stale bread and mutton on the page. In a well-made book, where designer, compositor and printer have all done their jobs, no matter how many thousands of lines and pages they must occupy, the letters are alive. They dance in their seats. Sometimes they rise and dance in the margins and aisles.

Simple as it may sound, the task of creative non-interference with letters is a rewarding and difficult calling. In ideal conditions, it is all that typographers are really asked to do—and it is enough.

—Robert Bringhurst, The Elements of Typographic Style

Center Alignment

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LETTERS HAVE A LIFE AND DIGNITY OF THEIR OWN

Letterforms that honor and elucidate what humans see and say deserve to be honored in their turn. Well-chosen words deserve well-chosen

letters; these in their turns deserve to be set with affection, intelligence, knowledge and skill. Typography is a link, and it ought, as a matter of honor,

courtesy and pure delight, to be as strong as others in the chain.

Typography is just that: idealized writing. Writers themselves nowrarely have the calligraphic skill of earlier scribes, but they evoke countless

version of ideal script by their varying voices and literary styles. To these blind and invisible visions, the typographer must responds in visible terms.

In a badly designed book, the letters mill and stand like starving horsesin a field. In a book designed by rote, they sit like stale bread and mutton on the

page. In a well-made book, where designer, compositor and printer have all done their jobs, no matter how many thousands of lines and pages

they must occupy, the letters are alive. They dance in their seats. Sometimes they rise and dance in the margins and aisles.

Simple as it may sound, the task of creative non-interference withletters is a rewarding and difficult calling. In ideal conditions, it is all that

typographers are really asked to do—and it is enough.

—Robert Bringhurst, The Elements of Typographic Style

Bauer Bodoni Std

60 U&Lc

+15 Tracking

60 Caps

+15 Tracking

TYPO

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Typography

-66-15

-15-18

-5-25

-25+25

+15

+10-20

-54

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Horley Old Style MT

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Minion Pro

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HumanistHUMANIST

-42 +5-7 -2-3 -2 +5

+22 +14-34 -8-22-20 -17

GaraldeGARALDE

+15 -4 -5+5 +8

+12-4 +7-10 -11

Janson Text LT Std

50 U&Lc

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40 Caps

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Didot

50 U&Lc

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TransitionalTRANSITIONAL

-160 -8 +5 -5 -5+7 +12+12 -2

+5+25 +25 +25+10 +6+40+30 +36

Didone

DIDONE

-10 -18 -22-7 -20

-12-21-8-7 -3

Clarendon LT Std

50 U&Lc

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50 Caps

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News Gothic Std

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Slab-Serif

SLAB-SERIF

+5 +8 +11+15 +15+10 +15

+10+20 +10 +15+5+10 +10

Sans-serif

SANS-SERIF

-7 +3 -17 -10 -4 +12-5 -15

-8 -17 7 +22+3+4+11 -5

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Designers around world are answering this question by creating products, prototypes, buildings, land-scapes, messages, and more that address social and environmental challenges.

May 14, 2019–January 9, 2020Cooper-Hewitt, National Design MuseumNew York, New York

National Design TriennialWhy Design Now?

Why Design Now?Designers around world are answering this question

by creating products, prototypes, buildings, land-scapes, messages, and more that address social

and environmental challenges.

Cooper-Hewitt, National Design MuseumNew York, New York

May 14, 2019–January 9, 2020National Design Triennial

Designers around world are answering this question by creating products, prototypes, buildings, land-scapes, messages, and more that address social

and environmental challenges.

May 14, 2019–January 9, 2020Cooper-Hewitt, National Design Museum

New York, New York

National Design TriennialWhy Design Now?

Why Design Now?Designers around world are answering this question by creating products, prototypes, buildings, land-scapes, messages, and more that address social and environmental challenges.

Cooper-Hewitt, National Design MuseumNew York, New York

May 14, 2019–January 9, 2020National Design Triennial

Why Design Now?Designers around world are answering this question by cre-ating products, prototypes, buildings, landscapes, messages and more that address social and environmental

Cooper-Hewitt, National Design MuseumNew York, New York

May 14, 2019–January 9, 2020National Design Triennial

Why Design Now?Designers around world are answering this question by cre-ating products, prototypes, buildings, landscapes, messages and more that address social and environmental challenges.

Cooper-Hewitt, National Design MuseumNew York, New York

May 14, 2019–January 9, 2020National Design Triennial

Pro

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Typophilia

An excessive attachment to and fascination with the shape of letters,

often to the exclusion of other interests and object choices. Typophili-

acs usually die penniless and alone.

Typophobia

The irrational dislike of letterforms, often marked by a preference for

icons, dingbats, and—in fatal cases—bullets and daggers. The fears of

the typophobe can often be quieted (but not cured) by steady doses of

Helvetica and Times Roman.

Typochondria

A persistent anxiety that one has selected the wrong typeface. This

condition is often paired with OKD (optical kerning disorder), the

need to constantly adjust and readjust the spaces between letters.

Common Typographic Disorders

Various forms of dysfunction appear among populations exposed

to typography for long periods of time. Listed here are a number of

frequently observed afflictions.

Typophilia

An excessive attachment to and fascination with the shape of letters,

often to the exclusion of other interests and object choices. Typophili-

acs usually die penniless and alone.

Typophobia

The irrational dislike of letterforms, often marked by a preference for

icons, dingbats, and—in fatal cases—bullets and daggers. The fears of

the typophobe can often be quieted (but not cured) by steady doses of

Helvetica and Times Roman.

Typochondria

A persistent anxiety that one has selected the wrong typeface. This

condition is often paired with OKD (optical kerning disorder), the

need to constantly adjust and readjust the spaces between letters.

Common Typographic Disorders

Various forms of dysfunction appear among populations exposed

to typography for long periods of time. Listed here are a number of

frequently observed afflictions.

Typophilia

An excessive attachment to and fascination with the shape of letters,

often to the exclusion of other interests and object choices. Typophil-

iacs usually die penniless and alone.

Typophobia

The irrational dislike of letterforms, often marked by a preference for

icons, dingbats, and—in fatal cases—bullets and daggers. The fears of

the typophobe can often be quieted (but not cured) by steady doses of

Helvetica and Times Roman.

Typochondria

A persistent anxiety that one has selected the wrong typeface. This

condition is often paired with OKD (optical kerning disorder), the

need to constantly adjust and readjust the spaces between letters.

Common Typographic Disorders

Various forms of dysfunction appear among populations exposed

to typography for long periods of time. Listed here are a number of

frequently observed afflictions.

Typophilia

An excessive attachment to and fascination with the shape of letters,

often to the exclusion of other interests and object choices. Typophil-

iacs usually die penniless and alone.

Typophobia

The irrational dislike of letterforms, often marked by a preference

for icons, dingbats, and—in fatal cases—bullets and daggers. The

fears of the typophobe can often be quieted (but not cured) by steady

doses of Helvetica and Times Roman.

Typochondria

A persistent anxiety that one has selected the wrong typeface. This

condition is often paired with OKD (optical kerning disorder), the

need to constantly adjust and readjust the spaces between letters.

Common Typographic Disorders

Various forms of dysfunction appear among populations exposed

to typography for long periods of time. Listed here are a number of

frequently observed afflictions.

An excessive attachment to and fascination with the shape of letters,

often to the exclusion of other interests and object choices. Typophili-

acs usually die penniless and alone.

Typophilia

The irrational dislike of letterforms, often marked by a preference for

icons, dingbats, and—in fatal cases—bullets and daggers. The fears of

the typophobe can often be quieted (but not cured) by steady doses of

Helvetica and Times Roman.

Typophobia

A persistent anxiety that one has selected the wrong typeface. This

condition is often paired with OKD (optical kerning disorder), the

need to constantly adjust and readjust the spaces between letters.

Typochondria

Common Typographic DisordersVarious forms of dysfunction appear among populations exposed

to typography for long periods of time. Listed here are a number of

frequently observed afflictions.

TypophiliaAn excessive attachment to and fascination with the shape of letters,

often to the exclusion of other interests and object choices. Typophil-

iacs usually die penniless and alone.

TypophobiaThe irrational dislike of letterforms, often marked by a preference

for icons, dingbats, and—in fatal cases—bullets and daggers. The

fears of the typophobe can often be quieted (but not cured) by steady

doses of Helvetica and Times Roman.

TypochondriaA persistent anxiety that one has selected the wrong typeface. This

condition is often paired with OKD (optical kerning disorder), the

need to constantly adjust and readjust the spaces between letters.

Common Typographic DisordersVarious forms of dysfunction appear among populations exposed

to typography for long periods of time. Listed here are a number of

frequently observed afflictions.

Typophilia

An excessive attachment to and fascination with the shape of letters,

often to the exclusion of other interests and object choices. Typophili-

acs usually die penniless and alone.

Typophobia

The irrational dislike of letterforms, often marked by a preference for

icons, dingbats, and—in fatal cases—bullets and daggers. The fears of

the typophobe can often be quieted (but not cured) by steady doses of

Helvetica and Times Roman.

Typochondria

A persistent anxiety that one has selected the wrong typeface. This

condition is often paired with OKD (optical kerning disorder), the

need to constantly adjust and readjust the spaces between letters.

Common Typographic Disorders

Various forms of dysfunction appear among populations exposed

to typography for long periods of time. Listed here are a number of

frequently observed afflictions.M

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Typophilia

An excessive attachment to and fascination with the shape of letters,

often to the exclusion of other interests and object choices. Typophili-

acs usually die penniless and alone.

Typophobia

The irrational dislike of letterforms, often marked by a preference for

icons, dingbats, and—in fatal cases—bullets and daggers. The fears of

the typophobe can often be quieted (but not cured) by steady doses of

Helvetica and Times Roman.

Typochondria

A persistent anxiety that one has selected the wrong typeface. This

condition is often paired with OKD (optical kerning disorder), the

need to constantly adjust and readjust the spaces between letters.

Common Typographic Disorders

Various forms of dysfunction appear among populations exposed

to typography for long periods of time. Listed here are a number of

frequently observed afflictions.

Typophilia

An excessive attachment to and fascination with the shape of letters,

often to the exclusion of other interests and object choices. Typophil-

iacs usually die penniless and alone.

Typophobia

The irrational dislike of letterforms, often marked by a preference for

icons, dingbats, and—in fatal cases—bullets and daggers. The fears of

the typophobe can often be quieted (but not cured) by steady doses of

Helvetica and Times Roman.

Typochondria

A persistent anxiety that one has selected the wrong typeface. This

condition is often paired with OKD (optical kerning disorder), the

need to constantly adjust and readjust the spaces between letters.

Common Typographic Disorders

Various forms of dysfunction appear among populations exposed

to typography for long periods of time. Listed here are a number of

frequently observed afflictions.

Typophilia

An excessive attachment to and fascination with the shape of letters,

often to the exclusion of other interests and object choices. Typophil-

iacs usually die penniless and alone.

Typophobia

The irrational dislike of letterforms, often marked by a preference

for icons, dingbats, and—in fatal cases—bullets and daggers. The

fears of the typophobe can often be quieted (but not cured) by steady

doses of Helvetica and Times Roman.

Typochondria

A persistent anxiety that one has selected the wrong typeface. This

condition is often paired with OKD (optical kerning disorder), the

need to constantly adjust and readjust the spaces between letters.

Common Typographic Disorders

Various forms of dysfunction appear among populations exposed

to typography for long periods of time. Listed here are a number of

frequently observed afflictions.

An excessive attachment to and fascination with the shape of letters,

often to the exclusion of other interests and object choices. Typophil-

iacs usually die penniless and alone.

Typophilia

The irrational dislike of letterforms, often marked by a preference for

icons, dingbats, and—in fatal cases—bullets and daggers. The fears of

the typophobe can often be quieted (but not cured) by steady doses

of Helvetica and Times Roman.

Typophobia

A persistent anxiety that one has selected the wrong typeface. This

condition is often paired with OKD (optical kerning disorder), the

need to constantly adjust and readjust the spaces between letters.

Typochondria

Common Typographic DisordersVarious forms of dysfunction appear among populations exposed

to typography for long periods of time. Listed here are a number of

frequently observed afflictions.

TypophiliaAn excessive attachment to and fascination with the shape of letters,

often to the exclusion of other interests and object choices. Typophil-

iacs usually die penniless and alone.

TypophobiaThe irrational dislike of letterforms, often marked by a preference

for icons, dingbats, and—in fatal cases—bullets and daggers. The

fears of the typophobe can often be quieted (but not cured) by steady

doses of Helvetica and Times Roman.

TypochondriaA persistent anxiety that one has selected the wrong typeface. This

condition is often paired with OKD (optical kerning disorder), the

need to constantly adjust and readjust the spaces between letters.

Common Typographic DisordersVarious forms of dysfunction appear among populations exposed

to typography for long periods of time. Listed here are a number of

frequently observed afflictions.

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208 Pennsylvania, Apt.106San Francisco, ca 94107

Minh Do+1 415 549 6506minh.inzaghi@gmail.com

Minh Do208 Pennsylvania, Apt.106San Francisco, ca 94107

208 Pennsylvania, Apt.106San Francisco, ca 94107

Minh Do+1 415 549 6506minh.inzaghi@gmail.com

Graphic Designer

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The typefaces of this period are called Transitional, as they represent the initial departure from centu-ries of Old Style tradition and immediately predate the Modern period.Typography has always been intrinsically linked to technology, the fact most dramatically illustrated by the introduction of the Transitional designs.

Baskerville is a transitional serif typeface designedin 1757 by John Baskerville (1706–1775)in England.Baskerville is classi�ed as a transitional typeface and positioned between the old style typefaces of William Caslon, and the newer styles of GiambattistaBodoni & Firmin Didot.

TransitionalTYPEFACETYPE CLASSIFICATIONS

Baskerville

A B C D E F G H I J K L M N O P Q R S T U V W X Y Z

a b c d e f g h i j k l mn o p q r s t u v w x y z

0 1 2 3 4 5 6 7 8 9

Humanist GaraldeTransitional Didone Slab serif Lineale

Greater contrast between the strokes

Wider, gracefully bracketed serifs

Vertical stress

Capital’s height matches ascenders

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Didone typefaces (also referred to as Neoclassical and Modern) enjoyed great popularity from the late 18th through the 19th centuries. The term Didone is a melding of Didot and Bodoni, the twomost characteristic typeface designs of this era.Didones are characterized by extreme weight contrast between thicks and thins, vertical stress and serifs with little or no bracketing.

Didot typeface was drawn by Adrian Frutiger in 1991, and is based on the fonts cut by Firmin Didotbetween 1799 and 1811. Frutiger also studied the Didot types in a book printed by the Didots in 1818,La Henriade by Voltaire. This beautifully drawn family has three weights including old style figures,small caps for the roman weight, as well as the headline version.

DidoneTYPEFACETYPE CLASSIFICATIONS

Didot

A B C D E F G H I J K L M N O P Q R S T U V W X Y Z

a b c d e f g h i j k l mn o p q r s t u v w x y z

0 1 2 3 4 5 6 7 8 9

Humanist GaraldeTransitional DidoneSlab serifLineale

Vertical stress

Small x-height

Extreme contrast between the strokes

Hairline serifs without bracketing

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Garalde typefaces are an important component of every good typeface library. Originally created betweenthe late 15th and mid-18th centuries, these early roman types are characterized by curved strokes whoseaxis inclines to the left, and little contrast between thick and thins. Serifs are almost always bracketed in old style designs, and head serifs are often angled.

Garamond is a digital interpretation of the roman typesof Claude Garamond and the italic types of Robert Granjon. Since its release in 1989, Garamond has becomea typographic staple throughout the world of desktop typography and design.

GaramondTYPEFACETYPE CLASSIFICATIONS

Garalde

A B C D E F G H I J K L M N O P Q R S T U V W X Y Z

a b c d e f g h i j k l mn o p q r s t u v w x y z

Humanist, GaraldeTransitional Didone Slab serif Lineale

Small, coarse serifs and concave bases

Oblique serif on top of ascenders

Diagonal stress

Moderate differ-ence in the strokes