Mixing Typefaces: Single-Family and Multi-Family Try mixing big, light type with small, dark type for a criss-cross of contrasting flavors and textures. When placing typefaces on separate lines, it often makes sense to create contrast in scale as well as style or weight. When mixing typefaces on the same line, designers usually adjust the point size so that the x-heights align. Give each ingredient a role to play: sweet tomatoes, crunchy cucumbers, and the pungent shock of an occasional anchovy. Strive for contrast rather than harmony, looking for emphatic differences rather than mushy transitions. Start with a small number of elements representing different colors, tastes, and textures.
Portrait of a Superfamily: ThesisĬombining typefaces is like making a salad. The inclusion of the fat face style, with its wafer-thin serifs and ultrawide verticals, gives this family an unusual twist. TRILOGY, a superfamily designed by Jeremy Tankard in 2009, is inspired by three nineteenth-century type styles: sans serif, Egyptian, and fat face. Whereas some type families grow over time, Univers was conceived as a total system from its inception. He designed twenty-one versions of Univers, in five weights and five widths. Univers was designed by the Swiss typographer Adrian Frutiger in 1957. Small capitals and non-lining numerals (once found only in serif fonts) are included in the sans-serif versions of Thesis, Scala Pro, and many other contemporary superfamilies. A superfamily consists of dozens of related fonts in multiple weights and/or widths, often with both sans-serif and serif versions. Sans-serif families often come in many more weights and sizes, such as thin, light, black, compressed, and condensed. Optical Sizes: Adobe Garamond Premiere ProĪ traditional roman book face typically has a small family–an intimate group consisting of roman, italic, small caps, and possibly bold and semibold (each with an italic variant) styles.
Optical sizes designed for headlines or display tend to have delicate, lyrical forms, while styles created for text and captions are built with heavier strokes. Of output.The graphic designer selects a style based on context. The inflated x-height of ITC Garamond became an icon of the flamboyant 1970s.ĭownload hi-res pdf: Portrait of Four Garamonds Optical SizesĪ type family with optical sizes has different styles for different sizes The lean forms of Garamond 3 appeared during the Great Depression, while Printing types of Claude Garamond, yet each one reflects its own era. Size Crime: Vertical or Horizontal ScalingĪll the typefaces shown below were inspired by the sixteenth-century That has the proportions you are looking for, such as condensed, compressed, Instead of torturing a letterform, choose a typeface Letters,however, forcing heavy elements to become thin, and thin elements Its horizontal or vertical scale.This distorts the line weight of the You can change the set width of a typeface by fiddling with Have a narrow set width, and some have a wide one. The proportions and visual impression of the typeface.
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The set width is the body of the letter plus a sliver of space that Nerd Alert: Abbreviating Picas and PointsĨ-point Helvetica with 9 points of line spacing = 8/9 HelveticaĪ letter also has a horizontal measure, called its set width. Preferred unit of measure picas and points are standard
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Most software applications let the designer choose a TypographyĬan also be measured in inches, millimeters, or pixels. Unit commonly used to measure column widths.
The point system is the standard used today. To review, open the file in an editor that reveals hidden Unicode characters.Attempts to standardize the measurement of This file contains bidirectional Unicode text that may be interpreted or compiled differently than what appears below.
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