Type Style Finder

The Busy Designer's Guide to Choosing Type

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Type Style Finder The Busy Designer's Guide to Choosing Type

Written and compiled by

Timothy Samara

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Acknowledgments

Producing this book required rigorous attention to detail on the part of contributors and editorial staff alike to overcome a host of potential pitfalls. My sincere appreciation to the team at Rockport Publishers, and in particular Kristin, Regina, Rochelle, and Cora. Their diligence and commitment to quality are what make books like this possible. I would also like to extend my appreciation to the type houses who lent their fonts for this publication-The Chank Company, Device, Garage Fonts, MVB Fonts, Nick's Fonts, and T.26especially to Rian Hughes of Device and Nick Curtis of Nick's Fonts, who produced their specimens for me. And last, but certainly not least, I would like to offer my profound thanks to Linotype for generously supplying half the specimens included in this book. A tremendous amount of my time and effort was greatly reduced through the work of Otmar Hoefer and his colleagues in Linotype's marketing department, who created and organized this important contribution from one of the most highly respected-and historically important-type foundries. Linotype's stewardship of typeface design and distribution is exemplified by the quality of the faces they catalogue and continue to produce.

This book is dedicated to Sean, my parents and friends, and my students. Ever onward.

©2006, 2011 by Rockport Publishers, Inc. All rigt>+s reserved No part 0' this book may be reproduced ir any forI" without wr;tten per~isslon of the copyright OW'lers, All images in t~ is book have been reproduced Wit'! the knowledge and proo' consent of the artists concer'led, and no responsibility is accepted by producer, publisher, or printer for any infringement of copyright or otherwise, arising from the contenl s of :his publication. Every ef'ort has bee'! made to ensure that credits accurately comply wit'! infO! mation supplied, F'-st published in the United States of America by Rockport Put lishers a membel of Quayside Publishing Group 33 Commercial Street Gloucester, Massachusetts 01930 ·5089 Telephone: (978) 282-9590 Fax: (978) 283 2742 www.rockpub.com

Digital edition: 978-1-61060-186-3 Softcover edition: 978-1-59253-190-5 Library of Congress Cataloging-in-Publication Data SC:"1ara, Timothy. Type style 'indt' . tile busy desigl"H's gUide to choosing type / Timothy Samara, p, cm. Includes ndex. ISBN 1-59253-190-3 (v·nyl) 1. Type and type· founding, 2, Glaphc design (Typography) I. Title. Z250,5164 2006 686,2'24 dc22 2005018146 CIP SBN-13: 978-1-59253-190-5 ISBN 10: 1 59253 -190-3

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Cover and Book Design Timothy Samara

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Contents

Moods Tranquil

16

Friendly

22

Section I

Comical

28

A Type and Color Primer I 4

Romantic

34

Honest

40

Dynamic

44

Alphabet Structure and Variation I 6

Refreshing

50

Letterform Anatomy

Sinister

56

Sporty

62

Fragile

68

Psychotic

74

Exotic

80

Intuitive

84

The Origins of Type: An Abridged History

Typeface Classification

I4

I8

The Differences in the Details

Choosing the Right Face: Visual Associations I 10 Combining Type Styles: The Basics

I 11 Concepts

Fundamentals of Color I 12

Corporate

90

Techno

96

The Psychology of Color

Urban

102

Interactions of Type and Color I 14

Elegant

108

Artificial

114

Organic

120

Industrial

126

Fantasy

132

Progressive

138

Extreme

142

Powerful

148

Multicultural

152

Color Models and Relationships

I 12

Section II The Type Style Finder

I 15

A variety of categories selected to help you define the overall communication of your project quickly and easily. Each category contains type style specimens relevant to a given mood, concept, or emotion. As an added bonus, a representative color palette is included at the end of each category.

Time+Context Archaic

158

Medieval

164

Renaissance

170

Selected Trademark Notices I 254

Baroque

176

Directory of Design Contributors I 256

Victorian

180

Wild West

186

Art Nouveau

192

Machine Age

198

Hollywood Heyday

204

Baby Boomer

210

Counterculture

214

New Age

220

Age Groups Babies

224

Toddlers

228

Kids

232

Young Adults

238

Adults

244

Seniors

250

Section I

A Type and Color Primer

The Origins of Type: An Abridged History Our modern conception of type comes to us after a 4,000-year trek through Mesopotamia, Egypt, Greece, and the Italian peninsula, and finally into western Europe. The Roman alphabet, codified during the second and first centuries B.C. and initially inscribed with a chisel, derives from Greek lapidary (stone-carved) writing, evolved over millennia from characters developed by the Sumerians, Etruscans, and Phoenicians. Besides introducing additional characters, the Romans simplified the structure of existing characters; retaining a single thickness in the character strokes. Eventually, scribes began to plan inscriptions by painting on the stones before carving. The square-cut reed pens and brushes they used left contrasting marks, and the resulting thick and thin strokes (shading), along with serifs, would profoundly influence letterform construction for the next 2,000 years. The quadrant-proportioned, so-called "square capitals" of the first century A.D. mark the beginning of modern writing, no longer reserved for Imperial documents alone. Further simplified shapes called majuscules and minuscules, popularized after Rome's fall in 476 A.D ., would later become the modern lowercase, during the Medieval period (500-1300 A.D.). Charlemagne, the Frankish conqueror who united much of feudal Europe during the eighth century, is often credited with standardizing the writing of minuscules and majuscules across his empire. With the eventual disintegration of Charlemagne's empire in the 900s, however, a shift toward more regional scripts of varying roundness and contrast-the Gothic Textura and Fraktur-held sway until the fourteenth century, when Renaissance humanists rediscovered Carolingian scripts and took them as their model for developing new alphabets. Coincidentally, the thirteenth and fourteenth centuries also marked the introduction of wood-block printing and papermaking to Europe from the East. Eventually, a quest for quicker production methods was undertaken. Most historical evidence credits a German inventor, Johannes Gutenberg, with adapting several technologies to create a system of reusable, durable, and extraordinarily precise letters in metal and transferring their image onto paper at a remarkable speed. His first project, a Bible set with moveable type, was printed in 1455.

Sumerian cuneiform Impressed in clay: 1600 B.C.

Greek lapidary capitals Carved in stone, 500 B.C.

Roman lapidary capitals First century A.D.

Written Roman capitals Second century A.D.

Roman cursive capitals Fourth century A.D.

I Type Style Finder

The subsequent evolution of printing technology encouraged dramatic exploration of design ideas, and printers refined new approaches to the alphabet over the course of the next few centuries. Within a period of 500 years, the design of letters underwent a radical shift in form, progressing beyond the Carolingian-inspired, brushlike organic strokes of oldstyle toward more rational drawings that were increasingly precise, sharper in detail, bolder, simpler, and increasingly more uniform in proportion. By the early twentieth century, a new formthe sans serif-had become common, symbolic of corporate identities and the emerging International Style of typographic design. The stylistic neutrality of these sans-serif forms spoke to the idea of a universal visual language. In 1952, the Swiss type foundry Haas released Helvetica, a sans-serif family with an extraordinarily large lowercase and an optical uniformity among the letters that is rivaled only by Univers, released by Monotype in 1958. Strikingly, these modern forms retain evidence of their origin in the brush some 2,000 years ago. Now well into the early phase of a technological revolution, designers have become comfortable manipulating existing forms, as well as constructing new ones when needed-a process made possible by the personal computer and resulting in intuitively designed faces that challenge notions of proper construction and legibility. As font designer Zuzanna Licko of Emigre, one of the pioneering digital type houses of the early 1990s, has said, the legibility of typefaces changes over time through use. Complicated textura forms, for example, were considered quite legible in the fifteenth century but today are seen as hard to read. Whatever the form, typefaces carry messages above and beyond the words that they spell out-emotional responses or associations that viewers make in response to a typeface's formal details. To a large degree, this response is subjective and based on the viewer's personal experience and cultural background. Some designers say that this variable makes the choice of typeface irrelevant-that it is what the designer does with the typeface's size and arrangement in a composition that imparts communication. But in the sense that designers often speak to very targeted audiences, the choice of typeface as part of the communication can be an effective part of resonating with a particular group. So long as the designer can understand appreciate the formal, visual characteristics of a typeface's strokes and details that contribute to such associations, he or she can make intelligent decisions about finding the right type style for the job at hand.

Roman cursive miniscule Fifth century A.D.

Carolingian half-uncials 700-800 A.D.

Carolingian majuscule and miniscule 750-800 A.D.

Gothic textura writing 1250-1300 A.D.

Printed textura type 1450-1500 A.D.

A Type and Color Primer

Alphabet Structure and Variation The twenty-six letters in the English alphabet are interrelated. Drawn with a minimum of strokes, each archetypal form is as different as possible from all the others. Some forms-E, F, H, I, J, L, and T, for example-are related visually and historically, but while they are similar in that they are composed only of horizontal and vertical strokes, they also are different enough to be easily distinguished. The letterforms in all typefaces vary from their archetypes in only six aspects: case, weight, contrast, width, posture, and style. Type designers-referring to historical models-subtly alter and combine the variables in these six aspects to create individual type styles that, though appearing remarkably different, all convey the same information about the letterforms in the alphabet. Different approaches to the drawing of typefaces have evolved, become popular, or been discarded over time, and as a result, the formal aspects of particular typefaces often carry associations with specific periods in history, cultural movements, or geographic location-some faces feel "modern" or "classical," others feel "French" or "English." More important, the drawing of a typeface often exhibits a particular kind of rhythm, or cadence, and provides distinct physical presence in a design that may connote feelings-fast or slow, aggressive or elegant, cheap or reliable. It's important to consider that not all viewers will perceive the same associations in a given typeface; the designer must therefore carefully evaluate his or her typeface selection in the context of the audience for a particular piece. Additionally, mixing typefaces that are incongruousfor example, using an archaic Roman capital in a flyer promoting an electronica concert-will often add surprising layers of communication to the overall message. Further, the drawing characteristics of typefaces affect their functional qualities, making some more legible at certain sizes or affected by color in particular ways. Recognizing and understanding the six fundamental aspects of alphabet variation is an important first step in being able to select and combine appropriate typefaces for a job.

Letterform Anatomy The strokes of letters share a terminology codified among scribes and typesetters for 2,000 years. These terms are among those in standard usage among type designers.

Shoulder Apex

Stem

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Terminal

Terminal

Leg Ear

Serif

Bowl

Tittle

Ascender

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Spur Apertures

Descender Loop

The most subtle alteration of even one variable of a letter's archetypal structure-and more so in combination-results in typefaces of dramatically different appearance. The essential characteristics of the base structure, so long as they remain intact, allow these variations in form to be perceived and understood without difficulty. In the example below, an overlay of various uppercase A's reveals the infinite possibilities within the archetype: two diagonals, meeting at an apex, joined by a horizontal stroke.

I Type Style Finder

Case Every letter in the Western alphabet occurs in a large form-the capitals. or uppercase-and a small. more casual form-lowercase. The uppercase requires added space between letters to permit easier reading. The lowercase is more varied and more quickly recognized in text.

Three letters shown in uppercase (left) and lowercase (right)

Light

Medium

Bold

Black

Weight The overall thickness of the strokes. relative to the height of the uppercase. may change. Light. regular. bold. and black weights-increasing in stroke thickness-for a single type style define a type family. Variation in weight helps add visual contrast. as well as helps distinguish between informational components within a hierarchy.

Uniform Strokes

Slight Contrast and Modulation

High Contrast

Extreme Contrast

Contrast The strokes within the letters of a typeface may be uniform in weight or may vary significantly; the more they do so, the more contrast the face is said to exhibit. Contrast within a stroke-such asflaring from thin to thick-is called modulation; the rate at which this occurs is referred to as the typeface's ductus.

Extra Condensed

Condensed

Regular

Extended or Expanded

Width The proportional width of the letters in a typeface is based on the width of the uppercase M. Faces that are narrower are said to be condensed, while wider ones are said to be extended or expanded.

Three uppercase letters in roman and corresponding italic

Posture Roman letters are those whose vertical axis is 90° to the baseline-they stand upright. Italic letters, developed by humanist scholars during the Renaissance, slant 12-15° to the right, mimicking the slant of handwriting .

Style in a historical progression. archaic to contemporary

Style in terms of decorative quality

Serif Archaic

Neutral

Serif Transitional

Sans Serif Modern

Stylized

Style This term is used to describe 1) the two major classes of type-serif (having little feet at the ends of the strokes) and sans serif (having no such feet); 2) the historical period in which the typeface was drawn; and 3) the relative neutrality or decorative quality of a typeface. Typefaces that are neutral are closest to the basic structure, while those with exaggerated characteristics are said to be stylized, idiosyncratic, or decorative.

A Type and Color Primer

Typeface Classification Classifying type into groups can help highlight the differences among styles, organizing them in a general way and further helping to select an appropriate typeface for a particular project. Sometimes the historical or cultural context of a particular style adds relevant communication to a typographic design. In other instances, selecting a historical style that is anachronistic to the project's context will add a layer of meaning that is appropriate. Classification is by no means easy, however. Type designers have traditionally used older forms as a basis for exploration, and so even centuries ago, classifying a typeface was difficulthistorical references that became the basis of the design process introduced a certain amount of stylistic overlap from period to period. With an even greater archive of typographic evolution on hand today, contemporary type designers often mix and match qualities from a number of periods to produce hybrids of classification. The typeface Optima, for example, drawn by Hermann Zapf in the 1950s, is a sans serif face that exhibits modulation that could have been derived from a brush, as well as structural details that are often seen in oldstyle serif faces. A number of systems for classifying type have been developed over the past several decades. Nowadays, as then, classifications change, but a few basic categories remain constant. Knowing what differences to look for-and where those differences come from-is a good start to evaluating type styles to carry specific kinds of messages.

Stroke Terminals and Spurs

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Branch Variation and Counter Shapes

The Differences in the Details The formal characteristics of every typefacethe degree of contrast in the strokes, the relative height of the lowercase, the shapes of terminals and serifs, the overall width and rhythm of strokes and counters, and so on-vary considerably from one to the next. Sometimes these differences appear quite small, but their overall effect is a change in presence that, though potentially subtle, affects the typeface's feeling and therefore the associations it may evoke in an audience. Being able to locate details within different faces for comparison, as well as understanding how those details affect thevisual rhythm and feeling of the face, are important skills to master. Some important structural details to consider are highlighted in the collage above; comparison of the letters among the classified styles, opposite, will reveal further distinctions.

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Romance. with its related connotations of passion. glamour. and elegance. is all about curves and tactility. Typefaces that offer tense. exaggerated details. such as long. bulbous serifs. heavier weights. sinewy spines and junctures. and rounded terminals give viewers something to "grab on to"like a lover or a rich cloth. Similarly. romantic color is equally tactile and sensuous. seductive and deep.

The perception of romance in type can derive from a number of characteristics. Most often, these are weight and width proportions that push or pull the eye teasingly around the forms . Slightly condensed, as well as extended, styles-in medium to bolder weights-provide a sense of body or girth, of corpulence. The rounder the curves, or the slower the transitions between thicks and thins or between curves and stems, the more romantic the letters will seem. Typefaces with a great deal of modulationa noticeable flare from mid-stem to terminal, for instance-appear to move in a seductive and sensuous rhythm. Scripts bring more elegant, cultured romanticism to the fore, edging toward glamour and delicacy. Typefaces with flourishes, decorative serifs, and exaggerated bowls, leg shapes, or eyes may lend a sense of nostalgia or charm to their overall romantic presentation.

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Stylized Serifs I Semi-Swash Cops I Medium Weight I P22 Type Foundry www.p22.com [email protected] 800.P22.5080

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Serif I Medium Weight I Noticeable Contrast I Slightly Abrupt Ductus I

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+49 (0) 6172 484.418

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Baskerville™ Regular

Linotype Library GmbH www-linotype.com [email protected]

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Sans Serif I Lighter Medium Weight I Textured Modulation Pronounced Ascenders and Descenders I Linotype Library GmbH www-linotype.com [email protected]

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Linotype Gneisenauette™

Script-Sans Serif Hybrid I Extreme Contrast I Italic Posture I Ultra Condensed I Linotype Library GmbH www.linotype.com [email protected] +49 (0) 6172 484.418

ITC Juice™

Serif I Light Weight I Erratic Contrast and Modulation I Ultra Condensed I Stem Distortion Linotype Library GmbH www.linotype.com [email protected] +49 (0) 6172 484.418

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Einhorn™

Script-Sans Serif Hybrid I Black Weight I Pronounced Contrast I Compressed I Linotype Library GmbH www.linotype.com [email protected] +49 (0) 6172 484.418

Linotype Markin™

Sans Serif I Bold Weight I Erratic Pasture I Condensed I Linotype Library GmbH www.linotype.com [email protected] +49 (0) 6172 484.418

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There are so many ways to be refreshed-a quick dip in a sparkling pool: a brisk jog along a country road: eating a ripe, juicy citrus fruit: seeing an unexpected shape or texture in a dull environment. Typefaces and colors that feel refreshing exude many of these same unexpected qualities. An oldstyle face with unexpected or inventive details may feel refreshing. Sharp, extralight sans serifs bubbling along in a line of text impart energy and bounce. Bright, warm colors and pale, cool colors speak of sunlight, water, breezes and healthy living.

CIt takes a A host of characteristics in typefaces are refreshing in form and rhythm. Condensed faces, especially those lighter in weight, convey energy in their compressed proportions; the lighter such faces, the springier or jauntier they seem. Extra-light sans serifs, in particular, with open counters and crisp, linear movement, will be perceived as energetic and vivacious; their accessible legibility, deriving from a large x-height, adds to their vigor. Typefaces with marked, directional emphasis in the strokes, especially as the strokes branch from junctures, have a slightly syncopated rhythm that creates a sense of energy.

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jY&:A Fonts www.jyanet.comjfonts

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Auto 1 Italic Sans Serif I Slightly Condensed I Moderate Posture I

Underware www.underware.nl [email protected] 31 (0)70.42.78.117

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Effectra Thin Sans Serif I Condensed Medium Weight I

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I Type Style Finder

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Serif-Sans Serif Hybrid Pronounced Contrast I Medium Weight I

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Sans Serif I Light Weight I Garage Fonts Type Foundry www.garagefonts.com [email protected] 800.681.9375

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Sans Serif I Condensed I Garage Fonts Type Foundry www.garagefonts.com [email protected] 800.681.9375

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Metroflex 211 Narrow Light

Sans Serif I Condensed I Medium Weight I Garage Fonts Type Foundry www.garagefonts.com [email protected] 800.681.9375

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NnOoPpQqRrSsTtUuVvWwXxYyZz 0123456789!1&@#$%*:;" The quick brown fox jumps over the lazy dog.

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Vinyl In line

Sans Serif I Condensed I Medium Weight I T.26 Digital Type Foundry www.t26.com [email protected] 888.T26.FONT

Corisande Italic Stylized Sans Serif I Moderate Posture I T.26 Digital Type Foundry www.t26.com [email protected] 888.T26.FONT

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Moods

Immediate. instinctive. and visceral energy mark the visual qualities associated with intuition-the indescribable "gut feeling" of invention. Typography that embodies the intuitive is free and unstudied; color that evokes this mood is light and energetic.

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Most typefaces that appear hand-drawn with a brush, pen, or rough tools will convey the sense of intuition, especially if the characters are italic and have the uneven, unrefined qualities of such tools . The character proportions in such faces tend not to be uniform, creating a syncopated, unstudied rhythm in setting that makes them feel undesigned-as though they were laid down without planning. The gestural freedom within the strokes of faces that appear hand-drawn-in which the terminals of characters are extended, similar to those in scripts or swashes-further contributes to the intuitive feeling of these faces . In this sense, italic serif faces often feel intuitive, deriving their base forms from handwriting. Serif text faces without particularly pronounced details or stroke modulation, as well as sans serifs with abrupt joints, lighter overall weights, and some modulationbut with very quick ductus-also feel intuitive and immediate. The more refined the face, the less intuitive or immediate it feels. Bolder weight, condensed, italic faces-especially sans-serif versions-convey a sense of the visceral because of the rapid alternation of stroke and counter, enhanced by the italic slant.

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top, and detail, bottom Voice Scott Carslake and Anthony De Leo. design and typography David Solm. Oz. photography Adelaide Australia

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Concepts

Machines, synthetic materials, gadgets, technology: these are some of the manifestations of "artificial;' anything that doesn't occur in nature. Artificial things sometimes lack vitality, appearing dead or static: but overly contrived forms-ones that clearly show evidence of being manmade-also appear fake. Artificial can be fun, but it can run the risk of appearing un-genuine or false.

A quality of artificiality can stem from anything at all that refutes a sense of the natural. In typefaces, this can mean proportions between the distribution of stroke weights being reversed; odd proportions between counters or exaggerated changes in body width among letters; dramatically geometric, angular, or abrupt junctures between strokes; or decorative inclusions that allude to mechanical or manmade parts. Because the historical derivation of such proportions creates an expectation of "naturalness," typefaces whose construction is purposely off will feel unnatural or contrived. Extremes of proportion, or stroke structure that pushes the limits of recognizability, may also seem artificial. Some typefaces that exhibit illustrative details, such as highlights or outlines, will seem unnatural or made from a synthetic material, such as plastic. Conversely, very neutral typefaces-lacking in modulation or detail-may seem lifeless and therefore artificial.

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Event Collateral

top. and detail. bottom Crush Chris Pelling. design and art direction Brighton England

I Type Style Finder

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P22 Hedonic Medium

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800.P22.5080

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