Tlielaxu Miykel Typography 1

TLIELAXU MIYKEL | Typography 1 | DAVID HAKE Instructor

“The typographer’s first duty is to the text itself. An intelligent interpretation of the text will not only ensure read-ability, but will also reflect its tone, its structure, and its cultural context. The typographer’s analysis illuminates the text, like the musician’s...” —Jan Tschichold


SANS SERIF

PROTOTYPEFACESQUARE BIZ

SANS SERIF

SQUARE BIZ


VISIBLE AND INVISIBLE LANGUAGE

Th e written language is visible; the spoken is invisible. Ideographic systems are based on pictorial symbols that represent meanings, and have a semantic basis; alphabetic systems are based on letter forms that represent units of speech and have a phonetic basis. Ideographic forms are pictorial, derived from simple drawn pictograms—symbols which represents a person or object. But to represent more abstract concepts they must work in combination—whereupon the pictogram has become ideographic: a symbol that represents not merely an object but a concept. Ideographic systems based on pictograms require the development of many symbols. It is theoretically possible therefore, to ‘read’ ideographic systems without being able to speak the language. Eastern languages such as Chinese and Japanese are ideographically based. Chinese students can today ‘read’ the words of Confucius written2,500 years ago—but were his voice to have been recorded, they would barely recognize a word. Under an alphabetic system, symbols are used to represent the phonemes of a language. Th e symbols in themselves have no meaning, but they represent the sounds of speech. By ordering the phonetic symbols along a line, the sound of a word can be represented. In most alphabetic systems, groups of phonemes are separated by gapsto indicate the end of one word and the beginning of another.

Type & Typography—Phil Baines and Andrew Haslam

GARALDE

TYPESETTINGADOBE GARAMOND PRO

ADOBE GARAMOND PRO

8/12/LEFT

+20 TRACKING



Th e written language is visible; the spoken is invisible. Ideographic systems are based on pictorial symbols that represent meanings, and

have a semantic basis; alphabetic systems are based on letter forms that represent units of speech and have a phonetic basis. Ideographic

forms are pictorial, derived from simple drawn pictograms—symbols which represents a person or object. But to represent more abstract concepts they must work in combination—whereupon the pictogram

has become ideographic: a symbol that represents not merely an object but a concept. Ideographic systems based on pictograms require the

development of many symbols. It is theoretically possible therefore, to ‘read’ ideographic systems without being able to speak the language.

Eastern languages such as Chinese and Japanese are ideographically based. Chinese students can today ‘read’ the words of Confucius written

2,500 years ago—but were his voice to have been recorded, they would barely recognize a word. Under an alphabetic system, symbols are used

to represent the phonemes of a language. Th e symbols in themselves have no meaning, but they represent the sounds of speech. By ordering the

phonetic symbols along a line, the sound of a word can be represented. In most alphabetic systems, groups of phonemes are separated by gaps

to indicate the end of one word and the beginning of another.


GARALDE


ADOBE GARAMOND PRO

8/12/RIGHT

+20 TRACKING



Th e written language is visible; the spoken is invisible. Ideographic systems are based on pictorial symbols that represent meanings, and have a semantic basis; alphabetic systems are based on letter forms that represent units of speech and have a phonetic basis. Ideographic forms are pictorial, derived from simple drawn pictograms—symbols which represents a person or object. But to represent more abstract concepts they must work in combination—whereupon the pictogram has become ideographic: a symbol that represents not merely an object but a concept. Ideographic systems based on pictograms require the development of many symbols. It is theoretically possible therefore, to ‘read’ ideographic systems without being able to speak the language. Eastern languages such as Chinese and Japanese are ideographically based. Chinese students can today ‘read’ the words of Confucius written 2,500 years ago—but were his voice to have been recorded, they would barely recognize a word. Under an alphabetic system, symbols are used to represent the phonemes of a language. Th e symbols in themselves have no meaning, but they represent the sounds of speech. By ordering the phonetic symbols along a line, the sound of a word can be represented. In most alphabetic systems, groups of phonemes are separated by gaps to indicate the end of one word and the beginning of another.


GARALDE


ADOBE GARAMOND PRO

8/12/JUSTIFIED

+20 TRACKING



Th e written language is visible; the spoken is invisible. Ideographic

systems are based on pictorial symbols that represent meanings,

and have a semantic basis; alphabetic systems are based on letter forms

that represent units of speech and have a phonetic basis.

Ideographic forms are pictorial, derived from simple drawn pictograms—

symbols which represents a person or object. But to represent

more abstract concepts they must work in combination—whereupon

the pictogram has become ideographic: a symbol that

represents not merely an object but a concept. Ideographic systems

based on pictograms require the development of many symbols.

It is theoretically possible therefore, to ‘read’ ideographic systems without

being able to speak the language. Eastern languages such as

Chinese and Japanese are ideographically based. Chinese students can

today ‘read’ the words of Confucius written 2,500 years ago—

but were his voice to have been recorded, they would barely recognize

a word. Under an alphabetic system, symbols are used to

represent the phonemes of a language. Th e symbols in themselves have

no meaning, but they represent the sounds of speech.

By ordering the phonetic symbols along a line, the sound of a word can

be represented. In most alphabetic systems, groups of

phonemes are separated by gaps to indicate the end of one word and the

beginning of another.


GARALDE


ADOBE GARAMOND PRO

8/12/CENTER

+20 TRACKING


The written language is visible; the spoken is invisible. Ideographic

systems are based on pictorial symbols that represent meanings, and

have a semantic basis; alphabetic systems are based on letter forms


Th e written language is visible; the spoken is invisible. Ideographic systems are based on pictorial symbols that represent meanings, and have a semantic basis; alphabetic systems are based on letter formsthat represent units of speech and have a phonetic basis.

















HUMANIST | GARALDE | DIDONE | SLAB-SERIF | SANS SERIF

TYPESETTINGHORLEY OLD STYLE | ADOBE GARAMOND PRO | JANSON | DIDOT | EGYPTIENNE | OPTIMA

HORLEY OLD STYLE

7.5/12/LEFT

+28 TRACKING

ADOBE GARAMOND PRO

8/12 PT/LEFT

+20 TRACKING

JANSON

7.5/12 PT/LEFT

+25 TRACKING

DIDOT

7.3/12 PT/LEFT

+11 TRACKING

EGYPTIENNE

6.6/12 PT/LEFT

+27 TRACKING

OPTIMA

7.2/12 PT/LEFT

+28 TRACKING


A X I S

A x i s

A x i s

L I N K

L i n k

L i n k

S P U R

S p u r

S p u r

A P E X

A p e x

A p e x

S T E M

S t e m

S t e m

LOOP

L o o p

L o o p

A X I S

A x i s

A x i s

L I N K

L i n k

L i n k

S P U R

S p u r

S p u r

A P E X

A p e x

A p e x

S T E M

S t e m

S t e m

L O O P

L o o p

L o o p

A X I S

A x i s

A x i s

L I N K

L i n k

L i n k

S P U R

S p u r

S p u r

A P E X

A p e x

A p e x

STEM

S t e m

S t e m

LOOP

L o o p

L o o p

A X I S

A x i s

A x i s

L I N K

L i n k

L i n k

SP U R

S p u r

S p u r

A P E X

A p e x

A p e x

ST E M

S t e m

S t e m

LOOP

L o o p

L o o p

A X I S

A x i s

A x i s

L I N K

L i n k

L i n k

S P U R

S p u r

S p u r

A P E X

A p e x

A p e x

S T E M

S t e m

S t e m

L O O P

L o o p

L o o p

A X I S

A x i s

A x i s

L I N K

L i n k

L i n k

S P U R

S p u r

S p u r

A P E X

A p e x

A p e x

S T E M

S t e m

S t e m

L O O P

L o o p

L o o p

HUMANIST | GARALDE | DIDONE | SLAB-SERIF | SANS SERIF


HO

RLE

Y OLD

STY

LE | CA

PS. U&

LC. IT

ALIC

3.8/4.5/4.7/18 TR

+200/+230/+225

AD

OBE G

AR

AM

ON

D PR

O | C

APS. U

&LC

. ITA

LIC

4.2/4.9/5.1/18 TR

+195/+230/+220

JAN

SON

| CA

PS. U&

LC. IT

ALIC

3.9/4.6/4.8/18 TR

+175/+225/+225

DID

OT

| CA

PS. U&

LC. IT

ALIC

3.8/4.5/4.7/18 TR

+185/+190/+215

EGY

PTIEN

NE | C

APS. U

&LC

. ITA

LIC

4.0/4.2/4.3/18 TR

+180/+200/+180

OPT

IMA

| CA

PS. U&

LC. IT

ALIC

3.9/4.1/4.3/18 TR

+250/+300/+250


TAIL

ARC

DESCENDER

STEM

SPUR

EYE

ARM

ASCENDER

SERIF

LEG

APEX

LOOP

COUNTER

LINKjll

ee

ee

ee

e

e

e

GARALDE

TYPE ANATOMYADOBE GARAMOND PRO


+20 -20

+20

+20

-60

-27

-05

-18

-10

-27

-25

-75

-55

-40

-33

-23

Handgloves

HA

ND

GL

OV

ES

DIDONE

KERNING HEADLINESBAUER BODONI ROMAN

BAUER BODONI ROMAN

70 PT/CAP/U&LC

0 TRACKING


+15 -36

+18

-30

-37

+10

-20

-41

-25

+05

+20

-27

+10

-17

-30

-39

+15

-10

Typography

TY

POG

RA

PHY

DIDONE


BAUER BODONI ROMAN

70 PT/CAP/U&LC

0 TRACKING


+15

-50

-35

-25

+20

-05

+15

+06

-30

-09

+20

-05

+10 +10

-40

+20

-10

-10

-50

-30

-15

-45

-40

-50 -45

HUMANISTHumanist

GARALDEGaralde

DIDONE


BAUER BODONI ROMAN

40/60 PT/CAP/U&LC

0 TRACKING


+07 +07 +07

-60

-55

-23

+07

+07 +09

-33-29+09

-35

-03

-40

-29

-37

-29

-33 -60

-17 -20

-23

-10

-27 +23 -23 -17 -23

-37

TRANSITIONALTransitional

DIDONEDidone

DIDONE


BAUER BODONI ROMAN

40/60 PT/CAP/U&LC

0 TRACKING


-50

-50

-27

-34

-20

+28

+20

-31

-25 +05

+07

-28

-28

-23 -26

-13

-32

-32

+13

+13

+15

-23

+05

+05

+05

+05

-26 +15

SLAB-SERIFSlab-Serif

SANS SERIFSans Serif

DIDONE


BAUER BODONI ROMAN

40/60 PT/CAP/U&LC

0 TRACKING


Simplicity is thedeciding factor in theaesthetic equation.

SIMPLICITY IS THEDECIDING FACTOR IN THE AESTHETIC EQUATION.

DIDONE


BAUER BODONI ROMAN

27/32 PT/CAP/U&LC

25 TRACKING

23/32 PT/CAP/U&LC

0 TRACKING


“Typography must be clear andgood in order to communicate—a clearly polished window intothe mind of the reader.” –Beatrice Warde

“TYPOGRAPHY MUST BE CLEAR AND

GOOD IN ORDER TO COMMUNICATE—A

CLEARLY POLISHED WINDOW INTO

THE MIND OF THE READER.”

–BEATRICE WARDE

DIDONE


BAUER BODONI ROMAN

19/23 PT/CAP/U&LC

0 TRACKING

15/23 PT/CAP/U&LC

0 TRACKING


23 May 2010

Lexicon2258 Howard Street, Suite 100San Francisco CA 94105

Dear Ms. Jackson,

I would like to welcome you as a new client. I look forward to working together on the Academy Project and I am sure that you will be extremely satisfied with the services my business provides.

You are invited to make an appointment to visit our office at your earliest convenience. The office manager will be happy to show you around and discuss any aspect of our credit policy with you.

I am enclosing several samples and an estimate for your review.Please let me know if these figures fall within your budget for the project. If you have any questions, please don’t hesitate to call.

Yours truly,

Tlielaxu MiykelDesigner

Tlielaxu MiykelGraphic Designer

[415] [email protected]

1241 Bush St., Suite 202San Francisco CA 94109www.miykel.com

GARALDE | SANS SERIF

STATIONERY SYSTEMSABON | UNIVERS

GARALDE | SANS SERIF

STATIONERY SYSTEM | TYPE EXPLORATIONSSABON | UNIVERS

Ms. Pauline Jackson

L e x i c o n2258 Howard S t r e e t , S t e 1 0 0S a n F r a n c i s c o C A 94105-1234

First-ClassPostageRequired

Post Officewill not deliverwithout proper

postage

Tlielaxu Miykel

1241 Bush Street, Apt. 202San Francisco CA, 94109-5218








GARALDE | TRANSITIONAL | SANS SERIF

TYPE CLASSIFICATION POSTERSSABON | VERSAILLES | AVANT GARDE

Sabon

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 m n o p q r s t u v w x y z

0 1 2 3 4 5 6 7 8 9

One of the fi nest modern adaptations of the Garamond model, Jan Tschichold’s Sabon stands as the culmination of a hugely infl uential typographic career in which type design developed alongside book typography and critical writing. It is named for the punchcutter and type founder Jakob (or Jacques) Sabon of Lyon, whi is credited with bringing the Garamond types originating with

Plantin or Granjon into use in Frankfurt, thus introducing the Garamond model into German printing. Sabon is, however, far more than a literal revival, since it incorporates characteristics drawn from the different sizes of the Garamonds to form one consistent and defi nitively 20th-century interpretation of the ideas that they embody.

It has an elegant bold font, and is exceptionally balanced and legible across italic and roman in both its weights. It has a harmonious visual consistency and few obtrusive distinguishing features—an inclined stress, open counters, and a complementary interaction between characters. It incorporates expert set features, including small caps, ligatures, and non-lining numerals.

Sabon is beautifully balanced across italic and roman in both its weights. It has a harmonious visual consistency and few obtrusive distinguishing features—an inclined stress, open counters, and a complementary interaction between characters. The Open Type era provided the conditions for the improved Sabon Next, developed by Jean-Francois Porchez, extending the family to fi ve weights and including a generous complement of alternates and other Open Type features.Will Hill: the complete typographer. Second/Third edition.

H U M A N I S T

G A R A L D E

T R A N I S T I O N A L

D I D O N E

S L A B - S E R I F

S A N S S E R I F

COUNTER

STE

M

HAIRLINE

In Versailles, Adrian Frutigerdid not use his usual tapered strokes. This straightening might havebeen implemented for reasons ofdesign alone, but could also be attributed to a consideration of thelimitations of digital technology.Vectorisation, i.e. the description ofcurves through a series of short straight lines, did not yet allow for thesame quality that had been a char-acteristic of earlier forms of production.

However, compared to the begin-ning of the 1980s, some technological progress must have taken place, because Frutiger wrote in 1985: “TodayI know about the refinement in reproduction and therefore my mostrecent typeface ‘Versailles’—recon-sidering earlier traditions of non-bit-mapped setting technologies—has been deliberately designed using a more subtle stroke.” In 1984 Versailles was released in 8 fonts for the Linotype CRT machines by D. Stempel AG; this release wasfollowed slightly later by the additionalpublication of old style numeralsand small capitals in the thin and regularfonts. Since 1993 Versailles has beenavailable as a Post-Script font but with-out the aforementioned additions.Adrian Frutiger Typefaces: The Complete Works

VersaillesA

E

IJ

N

R

V

Z

d

h

v

m

q

y

2

6

B

F

K

O

S

W

a

e

ij

n

r

v

z

3

7

C

G

L

P

T

X

b

f

k

o

s

w

0

4

8

D

H

M

Q

U

Y

c

g

l

p

t

x

1

5

9

H U M A N I S T G A R A L D E T R A N S I T I O N A L D I D O N E S L A B - S E R I F S A N S - S E R I F

TAIL

AS

CE

ND

ER

SE

RIF

Avant G

arde w

as desig

ned by H

erb Lu

balin a

s a

displa

y face w

hile Lu

ablin w

as art

editor fo

r the

magazin

e of t

he sam

e nam

e. It w

as orig

inally

designed a

s a ti

tling fa

ce and in

corpora

ted

an ingenio

us range o

f capita

l lig

ature

s to

main

tain

the v

ery ti

ght setti

ng for w

hich it

was d

esigned. I

t is a

fully

geom

etric fa

ce,

with

very

few

of t

he adju

stments

to ju

nctions

seen in

Renner’s

Futu

ra. T

he geom

etric ri

gor

provid

es for a

dra

matic

set o

f capita

l form

s

and a ra

ther le

ss sa

tisfa

ctory

lowerc

ase. A

vant

Gard

e pro

ved id

eally su

ited to

dig

itiza

tion,

since it

s sim

plicity

of f

orm re

quires

few

er

bitmap p

oints

, and th

erefo

re le

ss m

emory

,

than m

ost fa

ces. As a

conse

quence, a se

vere

ly

reduced a

nd unsa

tisfa

ctory

versi

on of A

vant

Gard

e is w

idely

availa

ble.

AVANT

GARDE

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

0 1 2 3 4 5 6 7 8 9

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

! &

( )

= %

$

@

?

HU

MA

NI S

T

GA

R AL D

E

T R AN

I ST I O

NA

L

DI D

ON

E

S L AB - S

E R I F

S AN

S SE R I F

—G

E OM

E T R I C

Subse

quent decades

saw A

vant

Gard

e

incre

asingly a

dopted fo

r use

as a

text

face.

While

the ri

gid g

eometry

of t

he desig

n is

tem

pered in

the ju

nctions o

f som

e lette

rs, th

e

lowerc

ase is

in m

any ways l

ess sa

tisfa

ctory

than th

e capita

ls, re

vealin

g many o

f the

shortc

omin

gs of

Geom

etric sa

ns se

rifs

when use

d for t

ext se

tting. T

he repetit

ion o

f

geometri

c form

s can im

pede diffe

rentia

tion

between le

tters,

and th

e circula

r counte

rs can

be visu

ally in

trusiv

e.

Will

Hill: th

e com

plete

typogra

pher. Second e

dition.

BOWL

CRO

SSBAR

LEG


Sabon

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 m n o p q r s t u v w x y z

0 1 2 3 4 5 6 7 8 9

One of the fi nest modern adaptations of the Garamond model, Jan Tschichold’s Sabon stands as the culmination of a hugely infl uential typographic career in which type design developed alongside book typography and critical writing. It is named for the punchcutter and type founder Jakob (or Jacques) Sabon of Lyon, whi is credited with bringing the Garamond types originating with

Plantin or Granjon into use in Frankfurt, thus introducing the Garamond model into German printing. Sabon is, however, far more than a literal revival, since it incorporates characteristics drawn from the different sizes of the Garamonds to form one consistent and defi nitively 20th-century interpretation of the ideas that they embody.

It has an elegant bold font, and is exceptionally balanced and legible across italic and roman in both its weights. It has a harmonious visual consistency and few obtrusive distinguishing features—an inclined stress, open counters, and a complementary interaction between characters. It incorporates expert set features, including small caps, ligatures, and non-lining numerals.

Sabon is beautifully balanced across italic and roman in both its weights. It has a harmonious visual consistency and few obtrusive distinguishing features—an inclined stress, open counters, and a complementary interaction between characters. The Open Type era provided the conditions for the improved Sabon Next, developed by Jean-Francois Porchez, extending the family to fi ve weights and including a generous complement of alternates and other Open Type features.Will Hill: the complete typographer. Second/Third edition.

H U M A N I S T

G A R A L D E

T R A N I S T I O N A L

D I D O N E

S L A B - S E R I F

S A N S S E R I F

COUNTER

STE

M

HAIRLINE


In Versailles, Adrian Frutigerdid not use his usual tapered strokes. This straightening might havebeen implemented for reasons ofdesign alone, but could also be attributed to a consideration of thelimitations of digital technology.Vectorisation, i.e. the description ofcurves through a series of short straight lines, did not yet allow for thesame quality that had been a char-acteristic of earlier forms of production.

However, compared to the begin-ning of the 1980s, some technological progress must have taken place, because Frutiger wrote in 1985: “TodayI know about the refinement in reproduction and therefore my mostrecent typeface ‘Versailles’—recon-sidering earlier traditions of non-bit-mapped setting technologies—has been deliberately designed using a more subtle stroke.” In 1984 Versailles was released in 8 fonts for the Linotype CRT machines by D. Stempel AG; this release wasfollowed slightly later by the additionalpublication of old style numeralsand small capitals in the thin and regularfonts. Since 1993 Versailles has beenavailable as a Post-Script font but with-out the aforementioned additions.Adrian Frutiger Typefaces: The Complete Works

VersaillesA

E

IJ

N

R

V

Z

d

h

v

m

q

y

2

6

B

F

K

O

S

W

a

e

ij

n

r

v

z

3

7

C

G

L

P

T

X

b

f

k

o

s

w

0

4

8

D

H

M

Q

U

Y

c

g

l

p

t

x

1

5

9

H U M A N I S T G A R A L D E T R A N S I T I O N A L D I D O N E S L A B - S E R I F S A N S - S E R I F

TAIL

AS

CE

ND

ER

SE

RIF


Avant G

arde w

as desig

ned by H

erb Lu

balin a

s a

displa

y face w

hile Lu

ablin w

as art

editor fo

r the

magazin

e of t

he sam

e nam

e. It w

as orig

inally

designed a

s a ti

tling fa

ce and in

corpora

ted

an ingenio

us range o

f capita

l lig

ature

s to

main

tain

the v

ery ti

ght setti

ng for w

hich it

was d

esigned. I

t is a

fully

geom

etric fa

ce,

with

very

few

of t

he adju

stments

to ju

nctions

seen in

Renner’s

Futu

ra. T

he geom

etric ri

gor

provid

es for a

dra

matic

set o

f capita

l form

s

and a ra

ther le

ss sa

tisfa

ctory

lowerc

ase. A

vant

Gard

e pro

ved id

eally su

ited to

dig

itiza

tion,

since it

s sim

plicity

of f

orm re

quires

few

er

bitmap p

oints

, and th

erefo

re le

ss m

emory

,

than m

ost fa

ces. As a

conse

quence, a se

vere

ly

reduced a

nd unsa

tisfa

ctory

versi

on of A

vant

Gard

e is w

idely

availa

ble.

AVANT

GARDE

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

0 1 2 3 4 5 6 7 8 9

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

! &

( )

= %

$

@

?

HU

MA

NI S

T

GA

R AL D

E

T R AN

I ST I O

NA

L

DI D

ON

E

S L AB - S

E R I F

S AN

S SE R I F

—G

E OM

E T R I C

Subse

quent decades

saw A

vant

Gard

e

incre

asingly a

dopted fo

r use

as a

text

face.

While

the ri

gid g

eometry

of t

he desig

n is

tem

pered in

the ju

nctions o

f som

e lette

rs, th

e

lowerc

ase is

in m

any ways l

ess sa

tisfa

ctory

than th

e capita

ls, re

vealin

g many o

f the

shortc

omin

gs of

Geom

etric sa

ns se

rifs

when use

d for t

ext se

tting. T

he repetit

ion o

f

geometri

c form

s can im

pede diffe

rentia

tion

between le

tters,

and th

e circula

r counte

rs can

be visu

ally in

trusiv

e.

Will

Hill: th

e com

plete

typogra

pher. Second e

dition.

BOWL

CRO

SSBAR

LEG


5

1

3

6

87

2


GARALDE

TYPE ANATOMYADOBE GARAMOND PRO

TAIL

ARC

DESCENDER

STEM

SPUR

EYE

ARM

ASCENDER

SERIF

LEG

APEX

LOOP

COUNTER

LINKjll

ee

ee

ee

e

e

e

HUMANIST | GARALDE | TRANSITIONAL | DIDONE | SLAB-SERIF | SANS SERIF



HO

RLE

Y OLD

STY

LE | CA

PS. U&

LC. IT

ALIC

3.8/4.5/4.7/18 TR

+200/+230/+225

AD

OBE G

AR

AM

ON

D PR

O | C

APS. U

&LC

. ITA

LIC

4.2/4.9/5.1/18 TR

+195/+230/+220

JAN

SON

| CA

PS. U&

LC. IT

ALIC

3.9/4.6/4.8/18 TR

+175/+225/+225

DID

OT

| CA

PS. U&

LC. IT

ALIC

3.8/4.5/4.7/18 TR

+185/+190/+215

EGY

PTIEN

NE | C

APS. U

&LC

. ITA

LIC

4.0/4.2/4.3/18 TR

+180/+200/+180

OPT

IMA

| CA

PS. U&

LC. IT

ALIC

3.9/4.1/4.3/18 TR

+250/+300/+250

A X I S

A x i s

A x i s

L I N K

L i n k

L i n k

S P U R

S p u r

S p u r

A P E X

A p e x

A p e x

S T E M

S t e m

S t e m

LOOP

L o o p

L o o p

A X I S

A x i s

A x i s

L I N K

L i n k

L i n k

S P U R

S p u r

S p u r

A P E X

A p e x

A p e x

S T E M

S t e m

S t e m

L O O P

L o o p

L o o p

A X I S

A x i s

A x i s

L I N K

L i n k

L i n k

S P U R

S p u r

S p u r

A P E X

A p e x

A p e x

STEM

S t e m

S t e m

LOOP

L o o p

L o o p

A X I S

A x i s

A x i s

L I N K

L i n k

L i n k

SP U R

S p u r

S p u r

A P E X

A p e x

A p e x

ST E M

S t e m

S t e m

LOOP

L o o p

L o o p

A X I S

A x i s

A x i s

L I N K

L i n k

L i n k

S P U R

S p u r

S p u r

A P E X

A p e x

A p e x

S T E M

S t e m

S t e m

L O O P

L o o p

L o o p

A X I S

A x i s

A x i s

L I N K

L i n k

L i n k

S P U R

S p u r

S p u r

A P E X

A p e x

A p e x

S T E M

S t e m

S t e m

L O O P

L o o p

L o o p


Th e written language is visible; the spoken is invisible. Ideographic systems are based on pictorial symbols that represent meanings, and

have a semantic basis; alphabetic systems are based on letter forms that represent units of speech and have a phonetic basis. Ideographic

forms are pictorial, derived from simple drawn pictograms—symbols which represents a person or object. But to represent more abstract concepts they must work in combination—whereupon the pictogram

has become ideographic: a symbol that represents not merely an object but a concept. Ideographic systems based on pictograms require the

development of many symbols. It is theoretically possible therefore, to ‘read’ ideographic systems without being able to speak the language.

Eastern languages such as Chinese and Japanese are ideographically based. Chinese students can today ‘read’ the words of Confucius written

2,500 years ago—but were his voice to have been recorded, they would barely recognize a word. Under an alphabetic system, symbols are used

to represent the phonemes of a language. Th e symbols in themselves have no meaning, but they represent the sounds of speech. By ordering the

phonetic symbols along a line, the sound of a word can be represented. In most alphabetic systems, groups of phonemes are separated by gaps

to indicate the end of one word and the beginning of another.


+15 -36

+18

-30

-37

+10

-20

-41

-25

+05

+20

-27

+10

-17

-30

-39

+15

-10

Typography

TY

POG

RA

PHY

HUMANIST | GARALDE | TRANSITIONAL | DIDONE | SLAB-SERIF | SANS SERIF



HORLEY OLD STYLE

7.5/12/LEFT

+28 TRACKING

ADOBE GARAMOND PRO

8/12 PT/LEFT

+20 TRACKING

JANSON

7.5/12 PT/LEFT

+25 TRACKING

DIDOT

7.3/12 PT/LEFT

+11 TRACKING

EGYPTIENNE

6.6/12 PT/LEFT

+27 TRACKING

OPTIMA

7.2/12 PT/LEFT

+28 TRACKING





Th e written language is visible; the spoken is invisible. Ideographic systems are based on pictorial symbols that represent meanings, and have a semantic basis; alphabetic systems are based on letter formsthat represent units of speech and have a phonetic basis.

















1. Stationery System2. Kerning Headlines3. Type Classification Poster4. Text Paragraphs5. Type Anatomy6. Microtype7. Prototypeface8. Typesetting

4

Avant G

arde w

as desig

ned by H

erb Lu

balin a

s a

displa

y face w

hile Lu

ablin w

as art

editor fo

r the

magazin

e of t

he sam

e nam

e. It w

as orig

inally

designed a

s a ti

tling fa

ce and in

corpora

ted

an ingenio

us range o

f capita

l lig

ature

s to

main

tain

the v

ery ti

ght setti

ng for w

hich it

was d

esigned. I

t is a

fully

geom

etric fa

ce,

with

very

few

of t

he adju

stments

to ju

nctions

seen in

Renner’s

Futu

ra. T

he geom

etric ri

gor

provid

es for a

dra

matic

set o

f capita

l form

s

and a ra

ther le

ss sa

tisfa

ctory

lowerc

ase. A

vant

Gard

e pro

ved id

eally su

ited to

dig

itiza

tion,

since it

s sim

plicity

of f

orm re

quires

few

er

bitmap p

oints

, and th

erefo

re le

ss m

emory

,

than m

ost fa

ces. As a

conse

quence, a se

vere

ly

reduced a

nd unsa

tisfa

ctory

versi

on of A

vant

Gard

e is w

idely

availa

ble.

AVANT

GARDE

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

0 1 2 3 4 5 6 7 8 9

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

! &

( )

= %

$

@

?

HU

MA

NI S

T

GA

R AL D

E

T R AN

I ST I O

NA

L

DI D

ON

E

S L AB - S

E R I F

S AN

S SE R I F

—G

E OM

E T R I C

Subse

quent decades

saw A

vant

Gard

e

incre

asingly a

dopted fo

r use

as a

text

face.

While

the ri

gid g

eometry

of t

he desig

n is

tem

pered in

the ju

nctions o

f som

e lette

rs, th

e

lowerc

ase is

in m

any ways l

ess sa

tisfa

ctory

than th

e capita

ls, re

vealin

g many o

f the

shortc

omin

gs of

Geom

etric sa

ns se

rifs

when use

d for t

ext se

tting. T

he repetit

ion o

f

geometri

c form

s can im

pede diffe

rentia

tion

between le

tters,

and th

e circula

r counte

rs can

be visu

ally in

trusiv

e.

Will

Hill: th

e com

plete

typogra

pher. Second e

dition.

BOWL

CRO

SSBAR

LEG




Date post:	22-Jan-2018
Category:	Documents
Upload:	tlielaxu-miykel
View:	102 times
Download:	0 times

Tlielaxu Miykel Typography 1

Documents