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Posts tagged ‘type feature identification’

Pages 23 to 27 Notes

  • Bodoni and Didot helped create a dehumanized approach to the design of letters
  • The rise of industrialization and mass consumption in the nineteenth century also created an explosion of advertising
  • Designers created big, bold faces
  • Embellished and engorged ‘body parts’ of classical letters
  • Fonts with more height, width, and depth emerged – expanding, contracting, shadowing, fatter, faceting
  • Serifs became independent architectural structures – abandoned their role as finishing details
  • In the 19th Century type designers created big, bold faces by embellishing and swelling the parts of classical letters
  • A pantograph is a tracing device that allows a parent drawing to create new variants with different proportions, weights, and decorative additions when linked to a router
  • Edward Johnson and other designers felt that the distortion of the alphabet was wrong
  • Johnston looked back at the Renaissance and Middle Ages for ‘uncorrupted’ letterforms
  • Some of the De Stijl members in the Netherlands tried to simplify the alphabet to perpendicular elements
  • Herbert Bayer and Josef Albers of the Bauhaus constructed letters from circles, squares, and triangles
  • Futura was created by Paul Renner in 1927
  • Renner designed Futura in different weights
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24 Sep 2012

The 4 g’s

Type Feature Identification

  • Typeface #1 has serifs and rounded edges
  • Typeface #1 is curvy
  • In Typeface #1 the bottom of the ‘g’ is connected
  • Typeface #2 has serifs
  • Typeface #2 is curvy
  • Typeface #2 is curvier than Typeface #1
  • In Typeface #2 the bottom of ‘g’ is not connected
  • Typeface #3 is sans serif
  • Typeface #3 does not look as ‘squished’ as #4
  • Typeface #4 seems bold
  • Typeface #4 appears harder than #3
  • Typeface #3 seems lighter than #4

Guesses of Font:

Typeface #1: Times New Roman
Typeface #2:  Baskerville
Typeface #3: Helvetica
Typeface #4:  Arial

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4 Sep 2012