Typography Vocab

SMALL CAPS: a set of capital letters having the same height as the lowercase x-height, frequently used for cross-reference and abbreviations. The difference between small caps and ALL-CAPS is that all caps goes clear up to the cap height Serifa does not have small caps, only all caps. However, here is a picture of Times New Roman's small caps:

LIGATURES: two or more characters linked together as one unit, such as ff. The ampersand is a ligature originating as a letter combination for the French for et ("and") in medieval manuscripts. Ligatures are used to create a smoother transition or connection between characters by connecting crossbars, removing dots over the i, or otherwise altering the shape of the characters. Ligatures should not be used, if it will harm readability. Here are some common ligatures:

Serifa does not have ligurates; however, Myriad Pro does. 


THE DIFFERENCE BETWEEN A FOOT MARK AND AN APOSTROPHE is a foot mark is used to show measurements such as 4'and an apostrophe is used to show possession such as Amy's keyboard.

THE DIFFERENCE BETWEEN AN INCH MARK AND A QUOTE MARK is the same thing. An inch mark is used to show measurements, and quotation marks are used when there is verbiage in text. 

A HYPHEN is used to conjoin words like single-thought adjectives or breaking words in half when it hits the end of a line. An en dash is used to show how many things like "pages 3-15," and an em dash is used to show emphasis. Below is the correct usage of these three things:




I had never watched Helvetica before, and I'm glad I did. Although Adrian Futiger was not featured in the movie, I still learned quite a bit about the history of fonts, and different fonts' unique characteristics.

Typography Videos + Designers

In the video of Neville Body, he talked about many designers involved with Fuse. Below are six of them that I've decided to research a little bit. 

BARRY DECK:
Barry is a brand experience professional who has struggled with the imaginary divide between creative and account leadership. He has an MFA in visual communication from California Institute of the Arts and a BFA in visual communication from Northern Illinois University. Very much aware of the recent changes in how consumers make decision and consumers' effect on business, he collaborates with others to understand business problems, and he delivers value by finding different ways to drive results from a company’s core outward, in product development, innovation, customer experience, and marketing.

RICK VERMEULEN:

Rick Vermeulen studied graphic design at the Rotterdam Academy and graduated in 1972. In 1975, he worked for the publisher Bert Bakker and was a participant in Rotterdam’s Graphic Workshop. Rotterdam's Graphic Workshop was where designers and artists produced material for cultural organizations in the city and events. From 1978-82, Vermeulen was an editor of Hard Werken magazine,. In recent years, Vermeulen has designed two typefaces for Fuse. He collaborates with Inizio and works on freelance projects for publishing and other clients.

Tibor Kalman:

Kalman was an American graphic designer of Hungarian origin. He is very well known for his work as editor-in-chief of Colors magazine. Kalman was born in Budapestand became a U.S. resident in 1956. He later attended NYU, dropping out after one year of Journalism classes. In the 1970s Kalman worked at a small New York City bookstore that eventually became Barnes & Noble. He later became the supervisor of their in-house design department. In 1979 Kalman, Carol Bokuniewicz, and Liz Trovato started the design firm M & Co., which did corporate work for such diverse clients as the Limited Corporation, the music group Talking Heads, and Restaurant Florent in New York City's Meatpacking District. Kalman also worked as creative director of Interview magazine in the early 1990s.

PAUL ELLIMAN:

Paul is an artist and designer based in London. His work combines an interest in typography and the human voice, often referring to forms of audio signage that mediate a relationship between both. His typeface Found Fount (aka Bits) is an ongoing collection of found ‘typography’ drawn from objects and industrial debris in which no letter-form is repeated. Elliman's work has addressed the instrumentalist of the human voice as a kind of typography, engaging the voice in many of its social and technological guises, as well as imitating other languages and sounds of the city included the non-verbal messages of emergency vehicle sirens, radio transmissions and the muted acoustics of architectural space.

CORNEL WINDLIN:

After graduating from Schule für Gestaltung Luzern, Cornel Windlin moved to London in 1988 to work for Neville Brody and later became art editor for THE FACE magazine. In 1993 he returned to his native Switzerland and started his own design practice in Zurich. He has lectured in the US, England, Germany, Austria, Israel and Switzerland. He currently works as a designer/art director in both Zurich and London for a number of clients in both cultural and commercial fields. Cornel Windlin started creating typefaces primarily for use in his own work while still at art school. Together with Stephan Müller, he formed the digital font foundry LINETO to distribute his fonts and those of an illustruous circle of friends. Windlin has created corporate typefaces for clients as diverse as Mitsubishi cars or the Herzefeld Memorial Trust, or custom fonts for projects at Kunsthaus Zurich, Tate museums as well as various editorial projects.

TOBIAS FRERE-JONES:

Tobias is an American designer who works in New York City with fellow type designer Jonathan Hoefler. Since 1989, Jonathan Hoefler and Tobias Frere-Jones have helped some of the world's foremost publications, corporations, and institutions develop their unique voice through typography. Their body of work includes some of the world's most famous designs, typefaces marked by both high performance and high style.

In the video This video explores the whole history of typefaces. The first time I watched it, it was a lot of information at once and definitely hard to grasp. After watching it again, I was able to pick up more information. For instance, I learned the following: most typefaces were developed and then edited later for legibility reasons and  during the second industrial revolution, there a need for large typefaces for posters and billboards. That is where Slab serif came into the picture. Slab serifs are usually used for titles. Another thing that's completely mind blowing is how the computer in this day and age changed the typography world. Now anyone can create their own typeface. 

Sick of Infographics yet?

Great because here's more. 

Tomorrow is the last time I get feedback on my infographics in class so... here they are!

Image-Based:

Type-Based:
























































































Non computer Based:

More and More Infographics

HAYYYYYY fwends

I've found some more inspiring inforgraphics as I was just browsing through pinterest and procrastinating on homework (normal Sunday afternoon). GET EXCITED.

Serifa + Font Information

Serifa was created by Adrien Frutiger in the year 1964. Frutiger is quite the famous type designer. He is also known for creating the following fonts: Univers, Avenir, President, Apollo, Versailles, Vectora, and Glypha. In fact, Frutiger based Serifa off of his previous-made font, Univers. Serifa is considered a serif typeface, and even more specifically, is is labeled as a slab serif (or Egyptian) typeface. Slab serifs utilize thick, block like serifs throughout their letterforms. Within Serifa, there are six family members: Serifa Bold, Serifa Black, Serifa Italic, Serifa Light, Serifa Light Italic, Serifa Roman, Serifa Bold. 

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An Old Style typeface has slander ascender serifs. There is not much contrast between the thick and thin strokes in these typefaces. Some old style typefaces include: Garamond, Minion Pro, and Perpetua. 
A Transitional typeface, such as Baskerville, Century, and Time, has a primarily vertical stress and had more refined thin strokes. Thick-to-thin relationships are exaggerated, and brackets are lightened
Modern typefaces are characterized by a distinguishing contrast between thick and thin strokes. Modern typefaces also have flat serifs. Here are a few examples: Didot, Bodoni, and Linotype. 
San Serif typefaces, such as Arial, Futura, and Tahoma,  do not have small projecting figures known as "serifs" shooting out from the letterforms. 
A Slab Serif typeface uses very thick and blocky serifs. Some slad serif typefaces include the following: Rockwell, Memphis, and Archer. 

Stroke Weight is the certain amount of thickness a letterform has. For instance, several fonts have the options of "light," "regular," or "bold." Users are able to pick a thickness for letterforms based upon those options. 


The Axis, or Stress, of a letterform is the horizontal, vertical, or even diagonal line going across the letter to show the transition from thick to thin lines within that particular letter. You find the stress of letters by drawing a line through the thinnest parts of the letter. 

Small caps are uppercase letters; however, they are drawn at lowercase scales. 
Lining Figures are when all figures are same the height. 
Non-aligning Figures are when figures don't line up neatly on the baseline. The figures have ascenders and descenders. 
Ligatures are two or more letters that combine into one character. Often happens with "tt" ft" "fi"

Type Measurement is how type is measured. Type is measured by its height and its width. The height of type is usually all the way up to the cap height from the baseline (unless there are ascenders and descenders). The width of type varies depending on the typeface and the certain family chosen within that typeface. 

Baseline is the bottom line where all letters are anchored. 
X-Height is the middle line that all lower case letters reach, typically exemplified by the letter x. 
Cap Height is the top line where all capital letters reach.
Ascender is the stems on letters such as b and h that extend above the cap height line. 
Descender parts of the letter that extend below the baseline.
Arm the horizontal stroke on some characters that does not connect to a stroke or stem at one or both ends
Leg  The lower, down sloping stroke of the K and k is called a leg.
Tail descending, decorative strokes on letters such as Q, R, or y
Eye enclosed circle of the lowercase e
Apex  A point at the top of a character where two strokes meet.
Crossbar horizontal stoke across letters such as H and A
Counter circular enclosed section of negative space, a d s o
Bowl The curved part of the character that encloses the circular or curved parts (counter) of some letters such as ‘d’, ‘b’, ‘o’, ‘D’, and ‘B’ is the bowl.
Ear decorative flourish found on upper right side of bowl.
Loop The enclosed or partially enclosed extenders on cursive ‘p’, ‘b’, ‘l’, and similar letters

 

Typography Project 2: Finished

Wow, what a week it has been. 

Really though. BUT the great news is that I'm turning in my second typography project tomorrow, and that is a little crazy to me. Halfway through the semester? WHAT?

Anywho, I know y'all are just DYING to see the finished project. YOUR WISH IS MY COMMAND.

This project was a lot of fun for me. I've always wanted to say that I created my own typeface and LOOK I DID IT! So, that's cool.

https://www.behance.net/gallery/20333281/Parts-Make-the-Whole

More Infographics

Greetings!

So, this infographic project has just been moving right along, and tomorrow I have 15 due. So with that being said, I thought I'd share my progress with all of you wonderful people (I'm the nicest, I know). Here are a few of the infographics that I think I'm starting to like:

All of these definitely need some refinement, but I feel good about finally having all fifteen done.