TTTTGDPD graphic design | july 2005

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the basic strokes

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a b cd e f g hi j k l mn o pq r s tu v w x y z

0 1 2 3 4 5 6 7 8 9

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the typeface

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seri

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cro

ss b

ar

stro

ke

desc

ende

r

cou

nter

fo

rm

loo

p

term

inal

cou

nter

fo

rm

asce

nde

r

cou

nter

fo

rm

cap

hei

ght

x-h

eig

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asce

nde

r

desc

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base

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cap

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the basic terminology

IIIH H

H HH

Ibracketed serif

hairline serif

slab serif

sans (no) serif

Adobe Caslon Pro

Bauer Bodoni Std

Frutiger Std 65 Bold

GoudyOlSt BT

ITC Lubalin Graph Std

the serif & (non) serifs

case

type face

posture

weight

width

ha ha

ha Ha

ha ha

HA ha Ha HA

HA ha ha

uppercase (capitals) • lowercase (small)

frutiger • goudy old style

upright • italics

light • roman • bold • black

condensed • roman (normal) • expanded

the variants

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 zab cd e f g h i j k lmnop q r s t u vwxy z

ab cde f gh i j k lmnopqr s tuvwxyzab cd e f g h i j k lmnopq r s t uvwxyz

posture

Adobe Jenson Pro Regular

Adobe Jenson Pro Italics

weight

Adobe Jenson Pro Bold

Adobe Jenson Pro Bold Italic

46.light italic

45.light 47.light condensed

48.light condenseditalic

49.light ultra condensed

39.ultra light ultra condensed

56.italic 57.condensed

58. condenseditalic

59.ultra condensed

55.roman 53.expanded

66.bold italic

67.boldcondensed

68.boldcondenseditalic

65.bold 63.boldexpanded

76.black italic

75.black 73.blackexpanded

83.ultra-blackexpanded

the UNIVERS type family

old styles

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Old Styles began with the designs of 15th century punchcutter,Francesco Griffo who worked for the famous Venetian scholar-printerAldus Manutius. His capitals were inspired by the carved Romancapitals, whereas the lowercase letters were inspired by the fifteenthcentury humanist writing styles.

Old Styles letterforms have the weight stress of the rounded forms atan angle, as in handwriting. The serifs are bracketed (that is, unifiedwith the stroke by a tapered curved line). Also the top serifs on thelowercase letters are at an angle.

The contrast between the thick and the thin stroke is not much. Theheight of the lowercase letters or the x-height, is small in relation tothe uppercase letters. They are friendly, warm, romantic, classical yetoften quirky.

Garamond

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Caslon Antique

Century Schoolbook

oldstyles | transitionals | moderns | slab serifs | grotesque | geometric | humanist | glyphic | script | decorative | contemporaryBasic Typography 2002 | Tarun Deep Girdher | NID

transitional

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Transitional faces are so called because they have characters thatshow the transition from the ‘old style’ to the modern faces thatemerged in the late 18th century.

Transitional faces tend to be more upright as compared to the oldstyle faces, with either a vertical or only a slightly inclined stress.

The contrast between the thick and the thin stroke is little morepronounced. The height of the lowercase letters or the x-height, islarger than the uppercase letters, as compared to that of the oldstyles.

Although based on the humanist pen written script, they are morerationalized, matter-of-fact even in terms of structure, design andemotion.

Baskerville

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Caslon

oldstyles | transitionals | moderns | slab serifs | grotesque | geometric | humanist | glyphic | script | decorative | contemporaryBasic Typography 2002 | Tarun Deep Girdher | NID

modern

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Late in the 18th century, typefaces termed modern evolved from thetransitional faces. These typefaces have extreme contrast between thethick and the thin strokes. The thin strokes are almost reduced tohairlines.

Modern faces tend to be upright as compared to the old style faces,with a very vertical stress in the rounded characters. The serifs jointhe vertical strokes at right angles without any brackets.

The uppercase width is more regularised, so the M and the W appearto be a little condensed, while characters such as P, R and T appear tobe slightly more expanded. The height of the lowercase letters or thex-height, is smaller than the uppercase letters, as that of the oldstyles. They have a strong geometric quality projected by the rigoroushorizontal, vertical and circular forms.

Bauer Bodoni

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Walbaum

oldstyles | transitionals | moderns | slab serifs | grotesque | geometric | humanist | glyphic | script | decorative | contemporaryBasic Typography 2002 | Tarun Deep Girdher | NID

slab serifs

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The name says it all: these typefaces have heavy, square ended serifs,with or without brackets. Most popular in the early 19th century, thesewere used for larger print runs and for larger sizes, primarily asdisplay type.

The height of the lowercase letters or the x-height, is large incomparision to the uppercase letters, making it a very functional typefor use in smaller size as well. They have uniform thickness of thestrokes and the serifs.

Lubalin Graph Md BT

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Glytus

Bookman

oldstyles | transitionals | moderns | slab serifs | grotesque | geometric | humanist | glyphic | script | decorative | contemporaryBasic Typography 2002 | Tarun Deep Girdher | NID

grotesque | neo grotesque

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The sans serifs appeared at the beginning of the last century. They arebulky, without any serifs, with the strokes having a fair amount ofcontrast. There is a squared-off crudeness to the curves.

They are mostly condensed with the height of the lowercase letters orthe x-height, quite large in comparision to the uppercase letters,making it a very functional type for use in smaller size as well. Theneo-grotesque faces have less contrast between the strokes, showingmore characteristics of been ‘designed’ rather than inspired from pen-drawn letterforms.The ‘c’ of the neo-grotesque faces tends to be more open than thegrotesque ones and the ‘g’ doesnt have the lower bowl.

Franklin Gothic Md

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basic classification of typefaces sans serif &

News Gothic

Helvetica

oldstyles | transitionals | moderns | slab serifs | grotesque | geometric | humanist | glyphic | script | decorative | contemporaryBasic Typography 2002 | Tarun Deep Girdher | NID

geometric

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The sans serifs faces that follow the rule of being constructed fromgeometric shapes. The stroke widths tend to be constant throughout.

The height of the lowercase letters or the x-height, is small incomparision to the uppercase letters, very similar to the modernfaces. The ‘O’ tends to be a perfect circle, on which other characterssuch as ‘Q, D, C are based.

Futura Md BT

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Avant Garde Md BT

Kabel Bk BT

oldstyles | transitionals | moderns | slab serifs | grotesque | geometric | humanist | glyphic | script | decorative | contemporaryBasic Typography 2002 | Tarun Deep Girdher | NID

humanist

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These typefaces do not follow the nineteenth century sans serifprecedents and take inspiration from the roman inscriptions and thehumanist hand written lower case of the 14th century.

They have some contrast in the weight of the strokes. The stress isinvariably vertical, though the lowercase letters are fairly large incomparision to the capital letters.

Gill Sans

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Opus / Optima / Zapf humanst

Frutiger roman

oldstyles | transitionals | moderns | slab serifs | grotesque | geometric | humanist | glyphic | script | decorative | contemporaryBasic Typography 2002 | Tarun Deep Girdher | NID

glyphic

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Instead of the calligraphic base, these faces suggestmore that theyare chiselled than hand written. They refer back to inscriptional textsrather than the effect of pen on paper, often taking inspiration fromroman stonework.

The characters seem to be fairly uniform in terms of width. Sharplycut, large triangular serifs are often used. In some cases, the serifs areless of serifs and more of flared ending of the terminals. Invariably,the x-height is large in relation to the capitalsThey have some contrast in the weight of the strokes. The stress isinvariably vertical, though the lowercase letters are fairly large incomparision to the capital letters.

Albertus

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Friz Quadrata

Copper goth Bd BT

oldstyles | transitionals | moderns | slab serifs | grotesque | geometric | humanist | glyphic | script | decorative | contemporaryBasic Typography 2002 | Tarun Deep Girdher | NID

script

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A wide group of typefacesthat is drawn together around the idea thatthe typeface is an imitation of handwriting.

Some of the faces are based on calligraphic pen style and are quiteregular in their structure with a clear influence of the quill pen,whereas others are more spontaenous drwaing inspiration from thebrush strokes.

Staccato 222 BT / Mistral

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Typo Upright

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decorative

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Decorative Typefaces, also referred to as Display typefaces, are notdesigned for legibility and readability, but rather for their ability toattract attention.

They are mostly used for specific purposes such as corporate logos,signs, advertisements, headlines in publications, multimedia or videoand movie titles.

Like script typefaces, they defy any rigid classification

Davida

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Steamer

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contemporary

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Contemporary Typefaces, are a very recent trend which again defy anyrigid classification which was widely accepted till the 1980s.

These typefaces are usually mutilated forms of some older typefaces,done primarily with the use of computers.

Anklepants

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Attic

Astigma

oldstyles | transitionals | moderns | slab serifs | grotesque | geometric | humanist | glyphic | script | decorative | contemporaryBasic Typography 2002 | Tarun Deep Girdher | NID

thank you . . .

corporate identity + branding } stereotypes . 10 august 2005 © tarun deep girdher . faculty - graphic design national institute of design . ahmedabad