Typography

…………………..rishu………………….

IMAGE COLLEGE OF ARTS, ANIMATION & TECHNOLOGY

In partial fulfillment of the requirement

For the award of the degree of

B.A. (Hons.) Digital Media

In

3D ANIMATION
Typography
 Table of Content

Sl:No Content Page number

Introduction 04
01

History of Typography 06
02

Classification 09
03
Use 10

Fond examples 12

Album – Fond 16

Album – Fond 01 17
04
Album – Fond 02 18

Album – Fond 03 19

Typography Tips and Techniques 20

05

Conclusion 21
06

Bibliography 22
07

Appendix 27
08
 Introduction
The act or art of expressing by means of types or symbols; emblematical or
hieroglyphic representation. Typography is the design and use of typefaces as a means of
visual communication from calligraphy to the ever-developing use of digital type.
Typography is sometimes seen as encompassing many separate fields from the type
designer who creates letterforms to the graphic designer who selects typefaces and
arranges them on the page.
Typeface is a specific size and style of type within a type family. The two main styles of
typeface used on the web are serif and sans serif. Times New Roman is a common
example of a serif font often used in print and the typeface used in this paper. Serifs are
the decorations or small lines on each of the letters that in theory help the flow of the
letters as the eye moves across the text. Serif fonts are most often used in print. There are
many ongoing debates as to whether serif or sans serif fonts are more legible on the
screen; this writer believes that sans serif fonts are the best option for the screen. Verdana
was designed for use with the screen and is the most common sans serif typeface used
today on the web. “Each typeface has a unique tone that should produce a harmonious fit
between the verbal and visual flow of your content”. The art of printing with types; the
use of types to produce impressions on paper, vellum, etc. The design and use of
typefaces as a means of visual communication from calligraphy to the ever-developing
use of digital type is the broad use of the term typography. However, the art and practice
of typography began with the invention of moveable type and the printing press.
Typography is sometimes seen as encompassing many separate fields from the type
designer who creates letterforms to the graphic designer who selects typefaces and
arranges them on the page.
Principles of Typography

 Type Size - Type is measured by its vertical height, in points. There are
approximately 72 points in an inch, so 72-point type is approximately 1 inch in
height on a printed page. 36-point type is approximately ½ inch in height, and 18-
point type is approximately ¼ inch in height. Text on a printed page is usually 10
-12 points in size. Any type below 9 points in size is very hard to read.
 Weight - Weight refers to the density of letters, the lightness or heaviness of the
strokes in a typeface. It is described as a continuum: light, regular, book, demi,
bold, heavy, black, and extra bold. These weight descriptions are used in font
names to describe the thickness of their lines. Light fonts are composed of the
thinnest lines and extra bold fonts are composed of the thickest lines. Not all
weights are available for all typefaces and the continuum occasionally varies in
some typefaces.
 Style - Style refers to options such as bold, italic, underline, and reverse, that you
can choose as part of your type specifications.
 Leading - Leading is the vertical space between lines of type. It is measured in
points and is expressed as the sum of the type size and the space between the two
lines. Generally, it is at least the size of the type. Type with a generous amount of
space between lines is said to have open leading and type with relatively little
space between lines is said to have tight leading. Some software programs,
including all desktop publishing programs, allow users to adjust leading.
 Alignment - Alignment refers to the shape of the text block in relation to the
margins. Most software programs allow left alignment (sometimes called flush
left), right alignment (sometimes called flush right), center alignment, justified
alignment, and force justify alignment.
 The Color of Type - Even when printed in black and white, all type has a color
on the page. Color here means the overall tone or texture of the type and the
lightness or darkness that varies among typefaces and spacing of type.
History of Typography

Timeline

• 1450
Johann Gutenberg invests movable type. By 1455, He had completed his forty-
two line bible.
• 1465
Sweynheym and Panartz create the first typeface designed in Italy.
• 1490
Claude Garamond is born.

Claude Garamond was born in 1490. A French punchcutter working mainly in Paris ,
he authored many typefaces in renaissance Roman styles, as well as two italics. Many
of his punches survive today and are kept at the Plantin-Moretus Museum in Antwerp
and at the Imprimerie National in Paris. Though most of today's Garamonds are
actually based on the work of Jean Jannon, there are a few bearing Garamond's name
that are based directly on his work, and countless others were including Jan
Tschichold's Sabon that owe large elements of their design to Garamond.

• 1950
Francesco Griffo creates the first italic typeface. It is based on chancery
handwriting.

Francesco Griffo, an Italian punchcutter who worked for the book publisher Aldus
Manutius, was born in 1450. He designed several Roman typefaces, the first of which
was used in Pietro Bembo's "De Aetna". In 1501 Griffo designed and cut the first Italic
typeface which was based on chancery style hand writing. All of Griffo's original punches
are either lost or destroyed, however, some of his typefaces have been carefully
reconstructed from the printed books in which they were used.

• 1580
Jean Jannon was born.

The French punchcutter and printer Jean Jannon was born in 1580. He authored a series
of Baroque Romans and italics. A good deal of Jannon's original material survives today
at the Imprimierie Nationale in Paris, where his typefaces are known as the Character’s
de l'universite. Most of today's Garamond typefaces are based on the work of Jean Jannon
rather than his Predecessor Claude Garamond.

• 1716-1728

William Caslon creates OLD STYLE TYPEFACES which are the model for several
typefaces in use today.
 • 1706
John Baskerville

Born in 1706 in Worcestershire, England, John Baskerville began engraving tombstones

and working as a calligrapher at an early age. By 1750 Baskerville had built up a
reasonable personal fortune working outside the typographic fields. At this time he took
up printing and typefounding as a hobby. In an effort to improve on the designs of
William Caslon, Baskerville created transitional typefaces as he bridged between oldstyle
typefaces and what would become modern typefaces.

• 1740
Giambattista Badoni

In the year 1740, Giambattista Bodoni was born into a printing family in Saluzzo, Italy.
At the tender age of 18, he was hired by the Vatican printing house, and in 1768 at the age
of 28 he was appointed Director of the Press of Ferdinand, the duke of Parma. There he
produced books for the wealthy aristocrats. While these books were greatly admired for
their beauty and craftsmanship, the content was often inaccurate and difficult to read. His
collection of typefaces was printed after his death in 1813 in a two volume set called
Manuale Tipografico.

• 1750
John Baskerville creates transitional typefaces. .

• 1791
Giambattista Bodoni creates revolutionary modern style typefaces.

• 1799
Nicholas-Louis Robert invents the paper-making machine. .

• 1916
William Caslon IV designs the first san serif typeface.

• 1882
Eric Gill

Born in 1882, was one of the master craftsmen of the twentieth century. Renowned as a
sculptor and wood engraver, Gill spent most of his adult life working in various Catholic
crafts communes. Though throughout his life he wrote many essays on such wide-ranging
subjects as God, typography and the glory of the male sexual apparatus. Eric Gill also
executed a large number of erotic drawings and prints. Oddly enough he did not see these
as a contradiction to his Catholic belief system, but an extension of it. In 1928 Eric Gill
designed Gill sans, a sans serif typeface with a humanist feel. Although Eric Gill
designed eleven typefaces of great beauty he did not consider himself to be primarily a
typographer, but a craftsman.
 • 1902
Jan Tschichold

Jan Tschichold was born in Leipzig Germany. Though he was sent to school for letter
painting, which had been his father's profession, he got a taste of typographic design and
fell in love. His interest in avant-garde design started with his trip to the 1924 Bauhaus
exhibition. In 1928 he published Die Neue Typographie (The New Typography) which
advocated asymmetric layouts and sans serif typography. At the time these views were
considered very controversial, particularly the advocacy of sans serif typography, which
people thought to be illegible. In 1935, he published Typographic Gestating, in which he
reversed on many of his positions, calling for a return to the traditions of formal
typography and advocating the golden section. After World War Two, Tschichold moved
to England, where he redesigned the entire Penguin paper back collection. In 1960,
Tschichold was commissioned by a group of German printers who needed a typeface that
would reproduce the same way using three disparate metal-casting. Tschichold named his
new typeface after Jacques Sabon, a sixteenth century typefounder.

• 1928
Adrian Frutiger

Adrian Frutiger was born in 1928 in Switzerland. Frutiger has built a reputation for
creating type for new technologies, including Univers, created for the Lumitype machine,
and OCRB, which was designed to be read by computers. In addition to being one of the
greatest type designers of the twentieth century, Adrian Frutiger is also a sculptor.

• 1937
Mathew Carter

Mathew Carter was born in 1937. Carter is a type designer and scholar who work
primarily in America. His text faces include Auriga, Charter, Galliard, and Bell
Centennial. He designed the Snell Roundhand script based on the hand writing of Charles
Snell, the English writing master and author of 'The Pen-man's Treasury Open'd'. Carter
also designed the ground-breaking Walker type concept for the Walker Art Center in
Minneapolis.

Mathew Carter designs Walker for the Walker Art center

The Walker type concept was initiated in 1996 as the Walker Art Center's identity. The
idea behind the typeface was to create a family of letterforms with variant horizontal
rules and "snap on" serifs. The typeface is capable of being sans serif or serif, offers five
different types of serifs, and allows you to mix and match these options in any way.
Walker has roman and italic variants.

• 1985
Adobe

Adobe introduces the postscript format.

Kinds of Typefaces

• Sans Serif Typefaces - Sans Serif typefaces do not have finishing strokes at the
ends of the letterforms. The name comes from the French word sans, which mean
"without." Sans Serif typefaces are also referred to as Gothic. Avante Garde,
Helvetica, and Arial are the most common Sans Serif typefaces.
• Serif Typefaces - Serifs are lines or curves projecting from the end of a
letterform. Typefaces with these additional strokes are called Serif typefaces.
They are also referred to as Old style typefaces. Times Roman, Palatino,
Bookman, and New Century Schoolbook are common Serif typefaces.
• Script Typefaces - Script typefaces simulate handwriting, with one letter
connected to another visually, if not physically. Script typefaces emulate several
different types of hand-lettering, including calligraphic, drafting, and cartoon.
Zaph Chancery and Brush Script are common Script typefaces.
• Character Fonts - Character fonts are extended character sets packaged as fonts.
To view the character font sets on a personal computer, open the Character Map
file in the Accessories folder to view a grid of all of the characters for a specified
typeface. Click on the character you want to use and either note the keystroke
displayed in the box in the lower right corner of the window or copy and paste it
into the publication where you want to use it. Wingdings and Dingbats are
common Character fonts.
• Decorative Fonts - Decorative fonts are fonts that do not fit into any other group.
These typefaces are reserved for novelty, for special effect, or a special approach.
Because they are different, they are usually harder to read than standard fonts, so
use them sparingly and always as display type - never as text. Bees knees, Curlz,
and Snap are examples of decorative fonts.
• Typography in print - Long time ago, newspapers was typeset before they went
to cold type composition.
Sans Serif

The serif sans is used to type on screens, whereas serif is good for such type on paper.
Serif fonts for headings work well either way. Sans serif faces don't have serifs; cross-
lines at the end of a stroke. The appearance of the letters is reduced to the essential
figures. Research has unveiled that we grasp words as a whole by comparing with the
acquired samples in our brain. Serifs help us recognizing these samples. A sans serif text
has to be read letter by letter. Well, long texts are unfavorable. It is recommended that
you use sans serif faces for small (smaller than 8pt) and very large sizes. Therefore, sans
serif faces are used for footnotes and headlines. Generally one serif (used for body text)
and one sans serif are a good mixture.

Serif

Small decorative strokes that are added to the end o f a letter's main strokes are called
serifs. These cross-lines at the end of a stroke are either: slab, wedge or hair. And they are
bracketed or unbracketed.

Script Typefaces

Script typefaces were created to mimic handwriting and indeed some, such as Pushkin,
were based on the handwriting of a specific person. Many have extended termination
strokes so that they link together, much like the handwriting they are intended to
resemble. They are neither classified as Roman or Gothic, as they may share attributes of
each.

As Script typefaces are difficult to read in large text blocks, their usage is usually
confined to providing supplementary decorative details such as brand names or captions.
Decorative
Typefaces that defy pigeonholing.
Decorative Typefaces: Aftershock, Airstream, Mo Funky Fresh (font shown), Tremor,
WacWakOoops!

Typography in print

Above are some pictures of type sets made from metal pieces and some other display
pictures of the newspaper composing room.
Fond Examples

Arial

Arial is a versatile family of typefaces which can be used for text setting in reports,
presentations, and magazines and for display use in newspapers, advertising and
promotions.

Andale Mono font

Monotype's Andale Mono is a highly legible mono spaced font. This font was originally
distributed as part of the Internet Explorer 4.0 add-ons. It was decided to revert to the
font's original name, Andale.

Times New Roman font

Times New Roman first appeared in 1932 in The Times of London newspaper, for which
it was designed. It has subsequently become one of the world's most successful type
creations.

Impact font

A bold condensed font designed by Geoffrey Lee, first issued in 1965 by Stephenson
Blake. The mid-1960s marked the height of a fashion for bold condensed faces that
probably originated when Paris Match cut up prints of the Schmalfette Grotesk font,
which had been drawn by Walter Haettenschweiler.
Crass font

A sans serif stencil font by Faizal Reza.

Matrix vs Miltown font

Another font based on the M, A, T, R, I, and X forms of "The Matrix" movie title. The
capital letters of this font actually constitute the alphabet, while the lowercase characters
are variations of possible fillers.

Mobsters font

A sans serif font dedicated to The Sopranos movie series, starring James Gandolfini. The
lowercase "r" and capitals "J" and "L" spell out a gun for your viewing pleasure.

Gas font

A pixilated font with a digital texture.

Beachman Script font

A script font by David Rakowski.

Brandy Script font

A calligraphic script font by Rick W. Mueller.

Scream font

A sans serif font based on the Scream movie logo. It includes filled and outlined versions

Lexia font

A sans serif script font similar to Comic sans MS, but with a simpler, more serious look.
News paper fond

A newspaper typeface must have good readability and display faces. The examples below
have been in the middle of the development of several hundred newspaper designs and
redesigns.
Typography Tips and Techniques

 Determine the image you want to project with your publication and choose fonts
with personalities that will fit that image.
 Limit the number of typefaces you use in a publication. Many experts say to use a
limit of two typefaces, but occasionally this will vary. Too many typefaces can
create an unprofessional, jumbled image.
 Look at various publications for ideas about which typefaces work well together
and the images they project.
 When using two typefaces, make sure they are very different. One typeface will
probably be used for display type, such as headings, and the other for text. Strive
for definite contrast between the two.
 When choosing only one typeface family, choose one with a lot of variations, so
you will have some flexibility with your text design. The typeface Helvetica has
many variations such as Helvetica Bold, Light, Regular, Condensed or Narrow,
Outline, and Black.
 If you are unsure about which typeface to select, choose a common and reliable
one such as Garamond, Palatino, Helvetica, Goudy, or Times Roman.
 When using a display type that has very strong characters (type that is bigger and
bolder than regular type), use a typeface for text that looks more neutral. Very
elaborate typefaces can be hard to read. Limit their use to only a few words and
make sure the words are legible.
 All caps are harder to read than upper and lower case letters. Try to limit the use
of all caps to two or three words. Some typefaces, such as Old English, are not
designed to be used for all caps.
 Use bold and italic type for just a few words.
 Avoid setting large blocks of text in bold or italic type. Both styles are generally
more difficult to read than regular type. A block of bold type tends to darken a
page.
Conclusion

The art of printing with types; the use of types to produce impressions on paper, vellum,
etc. The design and use of typefaces as a means of visual communication from
calligraphy to the ever-developing use of digital type is the broad use of the term
typography. However, the art and practice of typography began with the invention of
moveable type and the printing press. Typography is sometimes seen as encompassing
many separate fields from the type designer who creates letterforms to the graphic
designer who selects typefaces and arranges them on the page.

Typography, not as in 'the art of printing', but as in 'design and structure of visual
communication using written language' remains the most effective way to communicate.
Especially on the Internet. Many websites mainly use text and therefore typography. The
balance between visual and textual based content is very important. As is the balance
between style and design. This balance is ideally based on a concept and the main target
audience. If designers were more involved in the concept they wouldn't feel the need as
much too just 'copy-paste' a text in after the design is completed. Hopefully, redefining
typography will make its role in new media design more prominent and less
conventional. The form would follow the function more often. The result would be more
usable and it would communicate more efficiently.

After the 'shakeout' that destroyed the hype surrounding the Internet, it is even more
important to find the real value and communicative strengths of the Web. Efficient use of
type is vital for the success of the Internet as a global medium that communicates to a
large target audience besides designers or technology minded people. So this is not
merely a design issue; it is a social one as well.

To create effective and usable sites, specially trained 'new media typographers' are
required. They have to be educated in the principles of (new media) typography,
interaction design and the usability guidelines. Graphic design becomes 'typographic
communication design' with graphic styles applied to it.
Bibliography

http://www.redsun.com/type/classification/
www.typenerd.com/goods/images/takeshi2/tmurata_01.jpg
http://simplythebest.net/fonts/fonts/arial.html
http://www.tomcin.com/rawisfresh/worksimages/MMESS_WWW/history.html
http://www.dynamicgraphics.com/dgm/Article/28549
http://www.19.5degs.com/element/474.phps
Appendix

Hieroglyphic - Character used in picture-writing

Occasionally - time of an occurrence
Craftsmanship - skill; cunning; manual art; deceit;
Advocacy - act of pleading for
Sculptor - an artist in carving
Novelty - quality of being new; new or unusual occurrence
Mimic - person skilled in ludicrous imitation
Vellum - fine parchment of skin

………………………………………………………rishu