Old Style Romans
- eliminated the dark and sombre letter quality by thinning the strokes, straightening letter stems and smoothing out the hard angles.
- Don't use in upper-case.
- Display purpose.
- ex: Perpetua, Garamond
- tend to share characteristics from the two dominant roman subcategories: bridging old-style and modern.
- These faces show a more contrast between the thick and thin strokes of letter construction.
- Body text
- Times new roman, Georgia
New Style Romans
- show the most contrast between their thick and thin strokes.
- The strokes of the letters and serifs are simply hair lines, while the thick strokes are fairly heavy and symmetrical.
- The x-height is reasonably large.
- Display purpose ONLY as hairline too thin to be noticeable if used in body text.
- ex: Bodoni, Century
- Have serifs and the thick and thin letter strokes.
- These typefaces convey a sense of dignity, history, and reserved style.
- most geometric
- there aren't any serifs to break off the inherent geometry of the letter form.
- ‘Sans’ is a French word, which means ‘without’.
- Lineal type.
- Body text.
- No thin/thick strokes.
- Good to show neutral vibes
- ex: Franklin gothic, future
- heavy-handed style.
- It is also referred to as Gothic, synonymous with rude or barbaric.
- Dark, oblique strokes, illegible (cant differentiate between similar letters).
- ex: Old English Text
script & cursive
- both of these faces resemble handwriting. What distinguishes them from one another is that
- script faces have connected letters, Cursive are generally printed separately .
- Display purpose.(Ancient Rome)
- Short text – wedding invitation or for title
- ex: freestyle script, vladmir script
- horizontal serifs but they are thick; fat and slab;
- create letterform and make a slight transition from thick to thin or no transition at all.
- Monotone effect.
- Lineal type.
- Display purpose.
- Don’t use as body text cause waste space.
- widely used in children’s books because of their simplicity and unfussy clean appearance.
- ex.: Rockwell, serifa, and cairo
miscellaneous or novelty
- this is not a true race of type.
- Most of the faces in this group are orphans, or outcasts that don't fit any place else.
- Display purpose or for headlines.
- Widely used in the composition of contemporary text matter.
- Display purpose or for headlines
- 6 picas to an inch, 12 points to a pica
- printer's unit of measurement
- used to measure the height of type
- 72 points to one inch, 12 points to one pica
- body text usually 8-12 points, display text usually 14 points or larger
- generally used to establish indentation, paragraph indentation or other alignment arrangements
- is the square of the point size.
- often used as standard paragraph indention.
- ascender- b, d, f, h, l
- Cap line (capital line)
- Mean or waist line
- Descender- p, g, q, y
- Face/ typeface/ font (serif/ sans serif)
- Hairline (highlighted in yellow)
- The thinnest stroke found in a specific typeface
- Space between alphabets
- Last time very close together, low readability
- Now further apart, easier readability
- When enlarging a font, must adjust kerning
- Letters that look similar to each other (l/i)
- Put together looks similar
- opposite of ligature
- height, stroke & shape is different
- ex: Ta, To, Va , Vo
- Slab serif