What are small capitals?
Shorter than the capitals of the typeface, usually the same size, or slightly taller than the x-height. Unlike all capitals, they are smaller and designed specifically to be so.
Akzidenz-Grotesk doesn't have small caps, but Mrs Eaves does.
Ligatures
Two letters combined into one character. A way of correcting characters that overlap, such as f and i, when next to each other. They are most commonly used when two letterforms would otherwise overlap in an unsightly manner. Such as, fi, ff, fl, and TH are a few examples. They aren't used when they are not needed, such as with sans serif typefaces, overlap of characters is unlikely or impossible.
AG does not have ligatures, but Georgia does
Foot Mark v. Apostrophe
Foot marks are a lot like an apostrophe, and look a lot like ', but are purely meant to communicate a foot. Apostrophe's are for possessive use (such as Apostrophe's) or conjunctions such as "don't" and "won't". They are not interchangeable, though, and are often confused with one another.
Inch Mark v. Quote Mark
Just like the foot mark and apostrophe, except with " instead of '. Same rules apply, one is for measurement one is for punctuation, and the two are not interchangeable.
Hyphen, en dash, and em dashes
hyphen (-), en dash (–), em dash (—). A hyphen connects two related words, such as pre-school, or x-height. En dashes are used to separate dates such as 1834 – 1906. Em dashes function like parentheses—a form of punctuation—that allow the writer to include information that is more like another thought.
AKZIDENZ-GROTESK
Akzidenz-Grotesk
Sans Serif
Designer: Ferdinand Theinhardt & G.G. Lange
Other Fonts: Theinhardt was a known type-cutter who cut Royal Grotesk which was later renamed Akzidenz-Grotesk when it was combined with other weights and fonts by G.G. Lange.
Date: 1896
Classification: Grotesk
Family Members: Light, Light Oldstyle Figures, Italic, Medium, Medium Italic, Bold Italic, Super, Light Extended, Medium Extended, Bold Extended Italic.
Old Style
Created to replace blackletter, low contrast between thick and thin strokes, bracketed serifs, and left leaning stress on the letters. The typefaces would have been modeled after calligraphy.
Examples: Bembo, Sabon, Caslon
Transitional
Between Old Style and Modern. More contrast between thick and thin strokes, less leaning stress (now more vertical), and sharper serifs. The changes were dramatic for the time, considering fonts has stayed the same for so long.
Examples: Baskerville, Mrs Eaves, Swift
Modern
Incredibly high contrast between thin and thick strokes, thin straight serifs, and a vertical axis.
Examples: Bodoni, Didot, Walbaum
Slab Serif
Thick fonts, with no variation in stroke with, thick straight serifs.
Examples: Volta, Belizio, Clarendon
Sans Serif
Lacking serifs, varies from humanist to geometric. Popular in the 60s with Swiss type designers,
Examples: Akzidenz-Grotesk, Meta, Futura
Stroke Weight
The width or thickness of a line in a character
Axis/Stress
An imaginary line drawn through, where the stroke changes widths, and where that change occurs. The stress can be vertical, left, or right.
Small caps
Shorter than the capitals of the typeface, usually the same size, or slightly taller than the x-height
Lining Figures
The characters align with the baseline and the cap height.
Non-aligning figures
Old-style figures, the characters extend beyond the baseline or cap height, align with the ascenders and descenders of the lower-case letters
Ligatures
Two letters combined into one character. A way of correcting characters that overlap, such as f and i, when next to each other.
Type Measurement:
Points and picas are ways to measure type. 1 inch divided by 6 = One Pica, 1 inch = 72 points.
Sans Serif
Designer: Ferdinand Theinhardt & G.G. Lange
Other Fonts: Theinhardt was a known type-cutter who cut Royal Grotesk which was later renamed Akzidenz-Grotesk when it was combined with other weights and fonts by G.G. Lange.
Date: 1896
Classification: Grotesk
Family Members: Light, Light Oldstyle Figures, Italic, Medium, Medium Italic, Bold Italic, Super, Light Extended, Medium Extended, Bold Extended Italic.
Old Style
Created to replace blackletter, low contrast between thick and thin strokes, bracketed serifs, and left leaning stress on the letters. The typefaces would have been modeled after calligraphy.
Examples: Bembo, Sabon, Caslon
Transitional
Between Old Style and Modern. More contrast between thick and thin strokes, less leaning stress (now more vertical), and sharper serifs. The changes were dramatic for the time, considering fonts has stayed the same for so long.
Examples: Baskerville, Mrs Eaves, Swift
Modern
Incredibly high contrast between thin and thick strokes, thin straight serifs, and a vertical axis.
Examples: Bodoni, Didot, Walbaum
Slab Serif
Thick fonts, with no variation in stroke with, thick straight serifs.
Examples: Volta, Belizio, Clarendon
Sans Serif
Lacking serifs, varies from humanist to geometric. Popular in the 60s with Swiss type designers,
Examples: Akzidenz-Grotesk, Meta, Futura
Stroke Weight
The width or thickness of a line in a character
Axis/Stress
An imaginary line drawn through, where the stroke changes widths, and where that change occurs. The stress can be vertical, left, or right.
Small caps
Shorter than the capitals of the typeface, usually the same size, or slightly taller than the x-height
Lining Figures
The characters align with the baseline and the cap height.
Non-aligning figures
Old-style figures, the characters extend beyond the baseline or cap height, align with the ascenders and descenders of the lower-case letters
Ligatures
Two letters combined into one character. A way of correcting characters that overlap, such as f and i, when next to each other.
Type Measurement:
Points and picas are ways to measure type. 1 inch divided by 6 = One Pica, 1 inch = 72 points.
Who is Wim Crouwel?
He is an award winning Dutch graphic designer who is known for his love of grids. He has designed many posters, as well as several fonts such as New Alphabet, Stedelijk, and the Fodor Alphabet.
Emigre Fonts
Modula
Designed by Zuzana Licko
This is a mono-weight typeface that looks to be composed of mostly straight pieces, with several rounded elements, and straight serifs. The H is a letter that sticks out to me because the serifs only exist on the outside, and don't fill the space in between strokes on the inner of the H. This is seen on other letters, and emulates a wide stance, which resembles a cowboy standing bow-legged.
Western, strong, bold, skinny, and rectilinear.
Cholla
Designed by Sibylle Hagmann
A modular font with smooth round edges, and strong bold strokes. Seems to be constructed of rounded rectangular pieces, as well as squares. The lower case a in interesting for the way the strokes meet, and the width gets dramatically thinner.
Smooth, digital, thin, square, rounded.
Priori
Designed by Jonathan Barnbrook
This fond is very straight, and a clean sans serif. It looks to be constructed of angular pieces, and square. The uppercase N is one that is interesting, the strokes don't entirely meet, leaving a little space that is left defined. The G also doesn't have a spur, or a serif of any sort, just an upward stroke.
Clean, simple, geometric, rectangular, dynamic.
Fuse Fonts
Typeface Four
A very narrow, condensed typeface, with sharp terminals. Constructed with thin pieces and shallow or severe angles. The S's vary in this photo below, one is very sharp and looks nearly paper-clip like, while the other more close resembles a crow-bar and is much more shallow.
Narrow, thin, sharp, retro, and dynamic.
Pop
A modular typeface that is composed of small circles. Resembles a marquee, or perhaps a pegboard. Constructed of tiny circles laid out in a pattern or grid.
Circular, grid, dots, simple, structured
Moonbase
A very bubble-like spacey font. Constructed of rounded rectangles and rounded edges, resembles an oil spill, and appears liquidy.
Round, smooth, liquid, space, bubble.
He is an award winning Dutch graphic designer who is known for his love of grids. He has designed many posters, as well as several fonts such as New Alphabet, Stedelijk, and the Fodor Alphabet.
Emigre Fonts
Modula
Designed by Zuzana Licko
This is a mono-weight typeface that looks to be composed of mostly straight pieces, with several rounded elements, and straight serifs. The H is a letter that sticks out to me because the serifs only exist on the outside, and don't fill the space in between strokes on the inner of the H. This is seen on other letters, and emulates a wide stance, which resembles a cowboy standing bow-legged.
Western, strong, bold, skinny, and rectilinear.
Cholla
Designed by Sibylle Hagmann
A modular font with smooth round edges, and strong bold strokes. Seems to be constructed of rounded rectangular pieces, as well as squares. The lower case a in interesting for the way the strokes meet, and the width gets dramatically thinner.
Smooth, digital, thin, square, rounded.
Priori
Designed by Jonathan Barnbrook
This fond is very straight, and a clean sans serif. It looks to be constructed of angular pieces, and square. The uppercase N is one that is interesting, the strokes don't entirely meet, leaving a little space that is left defined. The G also doesn't have a spur, or a serif of any sort, just an upward stroke.
Clean, simple, geometric, rectangular, dynamic.
Fuse Fonts
Typeface Four
A very narrow, condensed typeface, with sharp terminals. Constructed with thin pieces and shallow or severe angles. The S's vary in this photo below, one is very sharp and looks nearly paper-clip like, while the other more close resembles a crow-bar and is much more shallow.
Narrow, thin, sharp, retro, and dynamic.
Pop
A modular typeface that is composed of small circles. Resembles a marquee, or perhaps a pegboard. Constructed of tiny circles laid out in a pattern or grid.
Circular, grid, dots, simple, structured
Moonbase
A very bubble-like spacey font. Constructed of rounded rectangles and rounded edges, resembles an oil spill, and appears liquidy.
Round, smooth, liquid, space, bubble.
What are small capitals?
Shorter than the capitals of the typeface, usually the same size, or slightly taller than the x-height. Unlike all capitals, they are smaller and designed specifically to be so.
Akzidenz-Grotesk doesn't have small caps, but Mrs Eaves does.
Ligatures
Two letters combined into one character. A way of correcting characters that overlap, such as f and i, when next to each other. They are most commonly used when two letterforms would otherwise overlap in an unsightly manner. Such as, fi, ff, fl, and TH are a few examples. They aren't used when they are not needed, such as with sans serif typefaces, overlap of characters is unlikely or impossible.
AG does not have ligatures, but Georgia does
Foot Mark v. Apostrophe
Foot marks are a lot like an apostrophe, and look a lot like ', but are purely meant to communicate a foot. Apostrophe's are for possessive use (such as Apostrophe's) or conjunctions such as "don't" and "won't". They are not interchangeable, though, and are often confused with one another.
Inch Mark v. Quote Mark
Just like the foot mark and apostrophe, except with " instead of '. Same rules apply, one is for measurement one is for punctuation, and the two are not interchangeable.
Hyphen, en dash, and em dashes
hyphen (-), en dash (–), em dash (—). A hyphen connects two related words, such as pre-school, or x-height. En dashes are used to separate dates such as 1834 – 1906. Em dashes function like parentheses—a form of punctuation—that allow the writer to include information that is more like another thought.
Shorter than the capitals of the typeface, usually the same size, or slightly taller than the x-height. Unlike all capitals, they are smaller and designed specifically to be so.
Akzidenz-Grotesk doesn't have small caps, but Mrs Eaves does.
Ligatures
Two letters combined into one character. A way of correcting characters that overlap, such as f and i, when next to each other. They are most commonly used when two letterforms would otherwise overlap in an unsightly manner. Such as, fi, ff, fl, and TH are a few examples. They aren't used when they are not needed, such as with sans serif typefaces, overlap of characters is unlikely or impossible.
AG does not have ligatures, but Georgia does
Foot Mark v. Apostrophe
Foot marks are a lot like an apostrophe, and look a lot like ', but are purely meant to communicate a foot. Apostrophe's are for possessive use (such as Apostrophe's) or conjunctions such as "don't" and "won't". They are not interchangeable, though, and are often confused with one another.
Inch Mark v. Quote Mark
Just like the foot mark and apostrophe, except with " instead of '. Same rules apply, one is for measurement one is for punctuation, and the two are not interchangeable.
Hyphen, en dash, and em dashes
hyphen (-), en dash (–), em dash (—). A hyphen connects two related words, such as pre-school, or x-height. En dashes are used to separate dates such as 1834 – 1906. Em dashes function like parentheses—a form of punctuation—that allow the writer to include information that is more like another thought.
THE DIFFERENCE BETWEEN
Font design is a process in which a designer creates an alphabet (including special characters and punctuation and all of the goods) to be used over and over again. Helvetica, Univers, Memphis, these are all fonts that were designed by designers. But lettering is more specific to the assignment, the letters will only ever serve one purpose: to exist in that word in that design. The letters themselves will differ from other letters, purely for an aesthetic choice. These letters can never be used over and over again, for they only have one purpose.
As Jessica Hische put it, "As a letterer, when I’m hired to draw the word 'holiday' I don’t first draw the entire alphabet in the style I wish, then position the letters to spell out the word."
As Jessica Hische put it, "As a letterer, when I’m hired to draw the word 'holiday' I don’t first draw the entire alphabet in the style I wish, then position the letters to spell out the word."
LETTER FOUNTAIN // SUMMARY
Small Capitals, Ligatures, Diphthongs, and Logotypes
Small caps are specially designed capitals. They are smaller than capitals, but larger than the x-height of the lowercase, yet possess the same weight as them. Because they are close to the same size as the lowercase letters, and share the same weight, they are preferred in bodies of text because they are less demanding.
Ligatures are the combo characters that eliminate the unsightly overlap of neighboring letters. Logotypes are combo characters that are less noticeable. Best example of a logotype is an ampersand. It represents the Latin word, "et", which means "and". "&" is a combination of "e" and "t". Diphthongs are letter combinations to help the reader with the pronunciation of the word.
Modular
Modular typefaces were designed to accommodate the printers of those days. These typefaces are incredibly simple and basic in terms of design. Irregular spacing between letters is common due to the nature of the modular method.
The First Capitals
The first capitals can be accredited to Ancient Rome. Using a square base and other geometric shapes to guide them, Romans would then carve the letters into stone. This gives them the classic weight and serif that we all recognize today. But since it was composed of only capitals, relied on a square base system, and several letters weren't introduced to the alphabet yet, it made it nearly impossible to add variation to the typeface.
L'histoire se répète
With advancement of technology, legibility of the text became increasingly important. Helvetica was introduced in the 50s, a highly popular sans serif font. Although it is a popular font, it is was labeled as "cold". Typographers began to focus on the negative space and the balance of the letter space and the page space. Through such focus, Adrian Frutiger created a typeface with more expression for the Charles de Gaulle airport. This font later became known as Frutiger. Frutiger and several other young designers released fonts that harked back to the first capitals of Rome.
The Lowercase Letter
There were no lowercase letters in Roman type, therefor there were no real examples to look to or modify. But with the quill, we start to see the development of lowercase letters. Lowercase letters are typically thinner than capitals. While only slightly thinner than their counterparts, this contrast still gives the emphasis to the capital. This contrast between capital and lowercase letters can be seen in serif fonts, as well as sans serif fonts.
Classification
Each letter can be grouped based on its construction and form. Both capitals and lowercase have their own break down of classification.
What you Measure
Type is designed using a mixture of guides and geometric shapes. Over the centuries, type design has been broken down into an art. The letter shape in contrast to other letters of the typeface, as well as the distance between each letter, has been mathematically figured out. Spacing is important for each letter to have the space it needs to read, but the spaces only have to appear the same. The letters need to be close enough together to be easily read, but not too close. The white space is also just as important as the letter itself. As Fred Smeijers wrote, "Its a balance between black and white." The form of the letter is important for readers, because it shouldn't be distracting from the content. Antique Olive is a typeface that is either hated or loved. It breaks rules, but maintains incredible legibility. In comparison to its competition, its x-height is significantly larger. This make the ascenders and descenders shorter, and compensation in the lack of room leads to the shifting of the crossbar of the "f".
Digital Aesthetics
In the digital age, it has become increasingly easier to create your own "digital language". Creating ones own publication, or form of communication, or alphabet now has no limits. Two movements had their impact on design and type. The first was a classic movement, where refinements can be seen. The other came in the 90s, when people were free-handing type and teaching themselves to design.
Punk and Graffiti
In due time, graffiti began to become a form of communication and self expression. Recognized by designers for its free form and use of color, it became an inspiration to redefining type as we know it. Experimentation began, and typefaces were being mixed up and combined. A total disregard for function became a mindset in several designers. Photocopying, cutting and pasting, and many other ways to make type for expressive became popular methods of experimentation.
The Magazine
More and more artists and designers were able to create magazines. These forms of expression allowed for the experimentation of type, as well as a way to communicate new and radical ideas. As these independent magazines began showing up, designers began to publish and share their new and strange compositions, frankenstein typefaces, and newfound creativity.
Small caps are specially designed capitals. They are smaller than capitals, but larger than the x-height of the lowercase, yet possess the same weight as them. Because they are close to the same size as the lowercase letters, and share the same weight, they are preferred in bodies of text because they are less demanding.
Ligatures are the combo characters that eliminate the unsightly overlap of neighboring letters. Logotypes are combo characters that are less noticeable. Best example of a logotype is an ampersand. It represents the Latin word, "et", which means "and". "&" is a combination of "e" and "t". Diphthongs are letter combinations to help the reader with the pronunciation of the word.
Modular
Modular typefaces were designed to accommodate the printers of those days. These typefaces are incredibly simple and basic in terms of design. Irregular spacing between letters is common due to the nature of the modular method.
The First Capitals
The first capitals can be accredited to Ancient Rome. Using a square base and other geometric shapes to guide them, Romans would then carve the letters into stone. This gives them the classic weight and serif that we all recognize today. But since it was composed of only capitals, relied on a square base system, and several letters weren't introduced to the alphabet yet, it made it nearly impossible to add variation to the typeface.
L'histoire se répète
With advancement of technology, legibility of the text became increasingly important. Helvetica was introduced in the 50s, a highly popular sans serif font. Although it is a popular font, it is was labeled as "cold". Typographers began to focus on the negative space and the balance of the letter space and the page space. Through such focus, Adrian Frutiger created a typeface with more expression for the Charles de Gaulle airport. This font later became known as Frutiger. Frutiger and several other young designers released fonts that harked back to the first capitals of Rome.
The Lowercase Letter
There were no lowercase letters in Roman type, therefor there were no real examples to look to or modify. But with the quill, we start to see the development of lowercase letters. Lowercase letters are typically thinner than capitals. While only slightly thinner than their counterparts, this contrast still gives the emphasis to the capital. This contrast between capital and lowercase letters can be seen in serif fonts, as well as sans serif fonts.
Classification
Each letter can be grouped based on its construction and form. Both capitals and lowercase have their own break down of classification.
What you Measure
Type is designed using a mixture of guides and geometric shapes. Over the centuries, type design has been broken down into an art. The letter shape in contrast to other letters of the typeface, as well as the distance between each letter, has been mathematically figured out. Spacing is important for each letter to have the space it needs to read, but the spaces only have to appear the same. The letters need to be close enough together to be easily read, but not too close. The white space is also just as important as the letter itself. As Fred Smeijers wrote, "Its a balance between black and white." The form of the letter is important for readers, because it shouldn't be distracting from the content. Antique Olive is a typeface that is either hated or loved. It breaks rules, but maintains incredible legibility. In comparison to its competition, its x-height is significantly larger. This make the ascenders and descenders shorter, and compensation in the lack of room leads to the shifting of the crossbar of the "f".
Digital Aesthetics
In the digital age, it has become increasingly easier to create your own "digital language". Creating ones own publication, or form of communication, or alphabet now has no limits. Two movements had their impact on design and type. The first was a classic movement, where refinements can be seen. The other came in the 90s, when people were free-handing type and teaching themselves to design.
Punk and Graffiti
In due time, graffiti began to become a form of communication and self expression. Recognized by designers for its free form and use of color, it became an inspiration to redefining type as we know it. Experimentation began, and typefaces were being mixed up and combined. A total disregard for function became a mindset in several designers. Photocopying, cutting and pasting, and many other ways to make type for expressive became popular methods of experimentation.
The Magazine
More and more artists and designers were able to create magazines. These forms of expression allowed for the experimentation of type, as well as a way to communicate new and radical ideas. As these independent magazines began showing up, designers began to publish and share their new and strange compositions, frankenstein typefaces, and newfound creativity.
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