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

Aldo is a sans serif typeface composed with a continuous construction,

Shape rounded oval bowls and counters that are slightly at an angle. It is also determined by its parallel stems and diagonal crossbars.

Proportion consists of a meduim proportion with equal ascenders to its cap height.

ModellingModelling is a gradual transition with a normal axis of contrast.

WeightIts black in weight and holds a semi-bold weight.

TerminationsThe terminals are blunt beak stroked baseline treatment with blunt sans serif ascenders and defenders.

The key characters are double storey forms with horizontal cross bars and curved legs and ascenders

wBritanic Bold

Continuous constructionContinous curvesParallel stemsMedium proportionsCapital widths generally regularAscenders equal to cap-heightVertically high contrast with instant transitionMedium in colour

Sheared terminalsFlat apexDouble story letteringHorizontal cross barLetters such as ‘f ’ sitting on the baselineLetters such as ‘g’ double storey with closed tailCapital ‘G’ is without spurDecenders such as ‘j’ sitting below the baseline

dCandara RegularabcdefghijklmnopqrstuvwxyzABCDEFGHIJKLMNOPQRSTUVWXYZ1234567890

ConstructionThe typface has continuous con-struction and there are no breaks betwen elements

ShapeThe curves are continuous and oval. The stems gradually flare and the tips are at a slight angle

ProportionsOverall ,medium width (including capitals) and all ascenders equal to height

ModellingA medium contrast between the thickest and thinnest parts of the letterform to which there is a gradu-al transaction

WeightMedium in colour

TerminationsThe letter form is sans- serif yet there is a slight sheared angle of the ‘plain’ terminal

Key CharactersThe letterform is sitting on the base-line but is double storey and has a horizontal cross-bar. It is close tailed with a flat apex and an ever so lightly cured leg

There are no decorations

CENTURY GOTHIC

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aConstruction of the letter ‘a’ is continuous. The Shape shows the Curves are continuous and circular with the counter cutting into stem slightly. Proportions are the letter are quite expanded in width with a large x-height.Modelling of the weight nd variety of line shows slight

relative difference between the thickest and thinnest part of the letterform. There is no axis of angle, or angle of stress. Weight of letter is medium in colour. Terminations are sans serif. Key Characters distinguishing itself from other letterforms, the ‘a’ is single-storey letter.

The bowl descends slightly below baseline. There is no Decoration.

aFutura abcdefghijklmnopqrstuvwxyz

a

Is a sans serif typeface. In comparing a futura ‘a’ with helvetica, it can be noted that futura is single storied whereas helvetica is double.The charachter ‘a’ in futura has the properties of being continously constructed. It has continous curves with a round aspect. The letter has a very bold straight stem and its proportions are normal to rounded.The modelling of the letter has medium contrast on vertical axis with gradual transition. The typeface is medium to black in colour. The ‘a’ is without special charachter unlike the plain special charachter of the helvetica ‘a’. Finally, it has no decoration.

Futura letterforms are constructed continuously meaning there are no emphatic points of transition orbreak between letter elements. The typeface has aspectsof curves such as circular, triangular and other geometric shapes. Thus meaning the strokes are of anear-even weight, which are low in contrast.

In terms of the axis of contrast whereby you can identifywhere the thickest and thinnest elements of a letter are, futura and its geometric design means the transitions are nearly none-existent, This is most visible in the almost perfectly round stroke of the o. In comparisonthe helvetica letter o has a more round/slightly square aspect of curves.

The lowercase has tall ascenders, which rise above the cap line whereas helvetica doesn’t and the lowercaseascenders are even to the cap height.

Futura is apart of a family of fonts with italic, medium italic, condensed medium, condensed extraboldand other family variations.

ofutura

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Designed by Paul Renner in 1927

AG

FfaefgFutura is a geometric sans-serif typeface designed in 1927 by Paul Renner. It is based on geometric shapes that became representative visual elements

of the Bauhaus design style of 1919–1933. Commissioned by the Bauer type foundry, Futura was commercially released in 1927.

The family was originally published in Light, Medium, Bold, and Bold Oblique fonts in 1928. Light Oblique, Medium Oblique, Demibold, and Demibold

Oblique fonts were later released in 1930Oblique fonts were later released in 1930

CONSTRUCTION AND PROPORTIONFutura has no emphatic points of transitionbetween strokes, or breaks between elements.Futura is available in a family of widths, however the most commonly used has a

naturally condensed width.

RELATIVE INTERNAL PROPORTIONSRELATIVE INTERNAL PROPORTIONSThe ascenders are higher than the cap-height

Jand it has a large x-height.

MODELLINGThe relative difference between the thickest

and thinnest parts of the letterforms within Futuraare medium and the axis of contrast is vertical. The transition from the thickest and thinnestThe transition from the thickest and thinnest

parts of the letterform are gradual.

RQ

o

Ff

abc

KEY CHARACTERSaefg

single storey

flat apex

without spur

tail dissecting bowl

straight leg

horizontal cross-bar

sitting on the baseline

single storey with open tail

ABCDEFGHIJKLMNOPQRSTUVWXYZabcdefghijklmnopqrstuvwxyz

SFu

tura

Designed by Paul Renner in 1927Construction: Continuous construction Shape: GeometricProportions: Regular (but option of condensed) Modelling: NoneWeight: Medium in colour Terminations: Sans serif Key characteristics: Sitting on baseline. The ‘O’s are perfect circles and the peaks at the top of ‘A’s, ‘M’s and ‘W’s are sharp triangles.Decoration: None

QqConstruction - Continuous Contsruction

Shape - Aspect of curves, Oval

Proportions - Medium

Modelling - Contrast Medium

Weight - Medium

Terminations - Terminals ,Plain

Key Characters - Sitting on

Decoration - None

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Geneva

KConstruction: Broken or interuptedShape: Angular straight linesProportions: Light, CapitalModelling: NoneWeight: Medium in colourTerminations: TuscanKey Characters: Single storey, sitting on the baseline, straight legDecoration: None

Gill Sans Light

SGeorgia

Construction:ContinuousShape: Round (circular) Proportions: MediumModelling: HighWeight: Medium in colourTerminations: Sharp and re-find serifKey Characters: Sitting on the baselineDecoration: None

K KK KK KK KK KK KK KK KK KK KK KK KK KK KK K

SSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSS

WwGill Sans MTRegular 14pt

Construction

Gill Sans has no emphatic points of transition

between strokes, or breaks between elements.

Shape

Gill Sans has to variants to traditional forms,

and has a continous treatment of curves. The

upright stems have parallel edges, with the

height of the crossbar at the x-height.

Proportions

The default width of Gill Sans is medium (nor-

mal). It follows the Roman square capital pro-

portions. The relative internal propotions are

equal to cap-height, and has a small x-height.

Helvetica’s x-height is slightly higher than the

height of the crossbar.

Modelling

Gill Sans has no contrast of the letter forms,

and no transition.

Weight

Gill Sans has many weights the most popular

are regular, italic, bold, bold italic. Helvetica

has so many different weights I couldn’t fit

them on this while page even if I wanted too.

gG Gill Sans

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ConstructionContinuous construction of characters

ShapeRounded continuous curves.Straight lines are

angular with no curves. Upright stems have

parallel edges. Cross bar in the middle.

ProportionsWidght is medium. Relative proportion of

capitals are genreally regular. Ascenders equal

to cap-height.

ModellingNo contrast in the modelling

WeightMedium in colour

TerminationsSans Serif

Key CharactersDouble story ‘a’

Horizontal cross bar e.g. ‘e’

Double story ‘g’ with closed tail

Flat apex eg. ‘A’

No Spur ‘G’

‘J’ descending below the baseline

‘Q’ has a long tail

Straight leg e.g. ‘R’

Key Characters: a e g A G J Q R

ABCDEFGHIJKLMNOPQRSTUVWXYZabcdefghijklmnopqrstuvwxyz

TYPEFACE: HAETTENSCHWEILER

CONSTRUCTION:ContinuousNo emphatic points of transition

SHAPE:No variants to traditional formsSlightly square aspect of curvesExaggerated bowl treatmentParallel EdgesHigher position of crossbars

PROPORTIONS:Medium widthCapital widths generally regular

MODELLING:Medium contrastVertical axis of contrastGradual transition

WEIGHT:Black in colourRegular weight

TERMINATIONS:Sans serifPlain terminals on lower cases

DECORATION:None

KEY CHARACTERS, Lower Case:Double storey on AHorizontal crossbar on EF sits on baselineSingle storey on G, J and Y

KEY CHARACTERS, Upper Case:Flat apex on AVertical Spur on GJ sits on baselineShort tail on QSlightly curved leg on R

TYPEFACE ANALYSIS

R

IMPACTabcdefghijklmnopqrstuvwxyz m

mIMPACT

HELVETICA

Impact is a San-Serif typeface with a continuous construction which is the same with Helvetica. For this letter in impact the arches have quite an irregular, thin shape and the stems are very black and parallel giving the overall face a high contrast.The letter in Helvetica however is much lighter in appearance and a much lover contrast. Due to impact being black in colour, the letter appears ‘squashed’ and overall the typeface appears condensed, while Helvetica is much lighter and has a more regular weight and proportions. The terminations are sans-serif and almost always at a 90 degree angle a characteristic that is shared with Helvetica. The x-height of Impact is much larger than in Helvetica causing it to sit much heavier on the page. I would recommend using Impact for titles and perhapse subtitles if used in lower-case.

g- Continuous Construction,- Shape - Continuous curves- Proportions - medium width, - Medium contrast

Lucid

a S

ans

Gradual transition - Light in colour- Blunt, open tail- Single storey

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AaMyriad Roman_Sans serifConstruction_Continuous constructionShape_Variants to traditional formsCurving of normal straight lines, rounded cornersProportions_Small x heightWeight_medium in coulourTerminations_Key charactersDouble story a, Straight leg,s short tails

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Optima123456789

Designed by Hermann Zapf

ConstructionContinuous construction.

ShapeCurves are continuous, slightly oval.Upright stems made with slight concave elements.

eProportionsHas medium width, follows Roman square capital proportions.Ascenders are equal to the cap height, with a large x-height.e

ee

e

Reglular

Italics

Bold

Bold italic

ExtraBlack

ModellingMedium contrast on a vertical axis, with a gradual transition.Cross bars are horizontal.

WeightMedium in colour.

TerminationsSubtly tapered with the implication of a serif.

Sans SerifHumanist

gConstruction:

- continuous

Shape:

- continuous curves- round aspect- parallel edges

Proportions:

- medium (normal)- roman square proportions- ascenders equal to cap- height- small x-height

Modelling:

- medium contrast- vertical axis- gradual transition

Weight:

- medium in colour

Terminations:

- sans serif- tapered terminals

Key Characters:

- double-story- horizontal cross-bars- sitting on baseline- single-story open tail- flat apex- without spur- long tail- straight leg

Decoration:

- none

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thonburis a n s s e r i f

iohelvetica is a little more condensed with an additional small increase in weight in comparison to thonburi which has a thinner existance. the horizontal cross-bars on the letterform’s ‘t’ and ‘f’ are much wider on thonburi than thy are on helvetica. both sans serif typefaces contain double-story lowercase letterforms with parallel edges.

helvetica

AaABCEFGHIJKLMNOPQRSTUVWXYZ

abcdefghiklmnopqrstuvwxyz

Tw Cen MT is a Sans Serif typeface with continous constructionsit is similar to Futura but can be disgunished apart by certainproperties.Tw Cen Mt has has round curve properties withparallel upright stems.The dimensions and use of space of thebasic letterforms follow Roman square capital proportions andhave ascenders equal to the cape height.As we can see in theletter ‘a’ their is of a medium contrast on a verticle axis and hasno transitional value between the thick and thin parts comparedwith Futura that has a none- medium contrast.The typeface ismedium in colour and is available in a regular or bold weight

where as Futura is more black in colour and is availble in regularor condensed.The key characteristics of theTw Cen Mt typefaceare single storey characters with single open tail, all the characterssit on the baseline and have horizontal crossbars.The ‘A’ highlightsthe pointed apex characteristics and ‘R’ shows the straight legs.

Tw Cen MT

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Univers a

Univers light originates from the Univers which was created in 1957 by Deberny and Peignot. Univers can often be mistaken for the typefaces; Folio and Helvetica. The main differences between the two fonts are as follows the tail of the a is much less rounded, the arms of the k join at the stem, the tail of the Q runs along the baseline, the top of the t is angled and the Y has a straight descender.

Now looking at the other seven characteristics of univers’ formal attributes. Universe like many of sans serif fonts of its time is comprised of a continuous construction with the shape following that of the traditional form of curving of the normal straight lines, rounded corners and irregular elements. Universe is availiable in nine weights, four widths and positions; Ro-man and Oblique.

Yy Tt Qq Aa