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Apr 17 / Lisa Sobh

Kerned Interventions

Project 5

Apr 17 / Lisa Sobh

Blog Book


Project 6


Apr 3 / Lisa Sobh


We each got paired into groups of two and had to write a haiku about typography. From the two haikus we had to choose one, after we used illustrator to decided the size we would use and the font. We decided on Gill Sans for our font and used 400pt. done in all caps, after we used foam board to cut the letters out and then place the haiku somewhere around Old Main.

Our Haiku:





These are the Haiku the other groups from class made.




Apr 2 / Lisa Sobh


Arm- A horizontal stroke not connected on one or both ends.

Ascender- An upward vertical stroke found on lowercase letters that extends above the typeface’s x-height. 

Baseline- The invisible line where letters sit.

Bowl- A curved stroke that encloses a letter’s counter.

Counter- Fully or partially enclosed space within a letter.

Descender- A downward vertical stroke found on lowercase letters that extends below the baseline.

Ear- A small stroke projecting from the upper right bowl of some lowercase g’s.

Finial- A tapered or curved end.

Link- A stroke that connects the top and bottom bowls of lowercase double-story g’s.

Lowercase- The smaller form of letters in a typeface.

Serif- “Feet” or non-structural details at the ends of some strokes.

Spine- The main curved stroke for a capital and lowercase s.

Stem- Primary vertical stroke.

Terminal- The end of a stroke that lacks a serif.

X-Height- The height of the main body of a lowercase letter.

Apr 2 / Lisa Sobh

Font Styles

  • Old Style/Humanist – Old style typefaces developed in the 15th/16th century and emulated classical calligraphy. They are characterized by a low contrast in stroke weight and angled serifs.

Example: Garamond, Sabon, Bembo, Jenson, Goudy, Palatino


  • Transitional – Bridge between old style and modern serifed typefaces. They have a more vertical axis and sharper serifs than humanist type.

Example: Times New Roman, Baskerville, Century


  • Modern Typeface – 18th/19th century, high contrast of strokes, straight serifs and vertical axis.

Example: Bodoni, Didot, Walbum


  • Slab Serif – Heavy serif, used for decorative purposes/headlines.

Example: Clarendon, Serifa, Rockwell


  • Sans Serif – Upright axis, and a uniform stroke.

Example: Helvetica, Univers, Franklin, Gothic, Akzidenz Grotesque


  • Geometric Sans – Geometric forms

Example: Futura, Neutraface, Avant Garde, Gotham


  • Humanist Sans – Open strokes, slightly higher contrast in strokes.

Example: Meta, Myrid, Frutiger

Apr 2 / Lisa Sobh

Thinking With Type: Type Crime

The book, Thinking With Type, shows many examples of type crime. Type set up wrong, sizing, placement…

1. In the example on page 42, Scale is shown down wrong. Scale is the size  of design elements in comparison to other elements in a layout as well as to the physical context of the work. The example shown is ( The World Is Flat) all same size, and close to each other. The comment given with it is that “minimal differences in type size make this design look tentative and arbitrary”. It is then shown the correct way, which can be seen on page 42.

2. Italic letters, page 48, shows an example that Italics are not  slanted letters. The type crime is that the “wide, ungainly forms of these mechanically skewed letters look forced and unnatural”.

3. Capital/Lowercase letters, page 52. The type crime is, in a stack of lowercase and capital letters, the spaces between the lines will look uneven because the caps are tall and have no descenders.

4. Single – Family mixes, page 54, typefaces that are from the same family but are too close in weight to mix well.

5. Multiple – Family mixes, page 54, two type styles that are too similar to provide a counterpoint to each other.

6. Quotation Marks, page 58, the type crime of quotation marks is the they carve out pieces of white space from the edge of the text. The correct way would be to, “make a clean edge by pushing the quotation marks into the margin”.

7. On page 59, type crimes are shown in many signs.

8. Line Spacing, page 108, in the example shown, auto spacing shows an uneven effect, the correct way would be to adjust the line spacing with the baseline shift tool which helps to create and even appearance.

9. On page 112, two examples of type crime are given, 1) poorly shaped text block  and 2) columns that are too narrow are full of gaps.

10. Page 113, also two examples given, 1)Bad Rag , ” an ugly wedge shape spoils the ragged edge. 2) Punctuations Eats, “excessive punctuation weakens the right edge.

11. Vertical Text, page 120, stacked lowercase vs. small caps stacked

12. Marking Paragraphs, page 127, Too Many Signals, “using paragraph spacing and indents together squanders space and gives the text block a flabby, indefinite shape”.

13. Hierarchy, page 132, Too Many Signals, “emphasis can be created with just one shift”.

Mar 30 / Lisa Sobh

Process Type Foundry

Process Type Foundry is a typeface studio located in Golden Valley, Minnesota. The founder is Eric Olson, a typeface designer. They have many font styles on their website. Some clients have been Chevrolet and Walker Art Center. They also have been featured in many magazines and in the book Lettering and Type.

Twitter: @processtype
Facebook: Process Type Foundry

Mar 30 / Lisa Sobh


Mar 30 / Lisa Sobh

What is Typography?

Typography is the art and technique of arranging type. The arrangement of type involves the selection of typefaces, point size, line length, spacing, and adjusting the spaces between groups of letters and adjusting the space between pairs of letters.


Mar 28 / Lisa Sobh

Constrained Systems Process Work