old style - considered friendly, it is based on traditional calligraphy. typefaces are low contrast with a diagonal stress. scooped serifs, sturdy without being heavy
*Bembo, Caslon, Garamond, Jenson, Palatino
transitional- transition between renaissance old style and modern typefaces. more contrast between thick and thin strokes. tall x-height
*Baskerville, Caslon, Perpetua
modern - very exact and mathematical. no horizontal emphasis. hairline serifs
*Bodoni, Bauer Bodoni, Walbaum
slab serif - mono weight, used for ads in the early 1800's. geometric machine like impact. uniform serifs
*Serifa, Rockwell, Memphis Clarendon, New Century Schoolbook
sans serif - does not have serifs at the ends of the letters. divided into three groups: grotesque, geometric, and humanistic.
*Futura, Foilio, Frutiger, Franklin Gothic
script - based on a fluid handwritten stroke. similar to cursive
*Brush Script, Casual Script, English Roundhand, Handwritting, Rationalized Script
blackletter - an elegant solution to a tricky design problem: parchment was precious and economy of space was vital, but the text also had to have sufficient oomph to hold its own against the spectacular illustrations surrounding it
*Fraktur, Old English, Rotunda, Schwabacher, Textura
grunge - use special effects to create a texture upon the typeface.
*Almanach, Stencil, Graffiti, 3 The Hard Way Overrun
monospaced - the same width, used when exact and consistent spacing is needed
*Typewriter, Arete Mono, Arial, Chainprinter, Chunkfeeder
undeclared - a mixture of all sorts
*Gotham, Fixedsys, Cooper Black, Optima, Copperplate Gothic
Scala Sans
-sans serif
-designed by the Dutch typographer Martin Majoor beginning around 1990
-humanist
-roman, italics, small caps
Tuesday, September 28, 2010
Sunday, September 26, 2010
Tuesday, September 7, 2010
typefacer, adrian frutiger
Born the son of a weaver in Switzerland, Adrian Frutiger designed the easy to read typeface we know as Univers. He started out with a strong intrest in sculpture but was pressed by his elders to take a look into the print world. At sixteen he had apprenticed for four years. He then went on to study sculpture, graphic design, and illustration at the Zurick Kunstgewerbeschule. Soon after he began work at Deberny&Peignot. Later he established a design studio in Paris. There he became a freelance typographer, where he designed typefaces, logos, and numerous corporate images. His main goal was to create a very legible form of type. This form was to be translated efficiently. In 1957 he designed Univers, a typeface that was to be neutral and universal(hints the name). Today, Univers is one of the most standard typefaces used. When 1969 rolled around, Adrian designed another typeface, Frutiger. This time it was for the signage system for Charles de Gaulle Airport. Frutiger as a typeface was to be rapidly recognizable and readable. Nowadays the same typeface is used on all motorway signs in Switzerland and France. Adrian, in 1978, published a book on the standard works on typography. Since the year 1992, Adrian Frutiger has been living in Switzerland and is still alive today.
Univers
Unique because it was the first to categorized by numbers.
The grid system used is to show the variations in comparison to each other. This includes various widths, heights, and positions
Univers
Unique because it was the first to categorized by numbers.
The grid system used is to show the variations in comparison to each other. This includes various widths, heights, and positions
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