| example |įaces also vary in degree of contrast between thick and thin strokes of the letters. In Univers you will find no noticeable stress. As type evolved and the designer was no longer influenced by handwriting, the stress became more vertical as in Baskerville and later totally vertical with Bodoni. It was this characteristic that the early typefaces tried to imitate. The letter O is a good example to study the distribution of weight which creates a vertical stress through the thinnest part of the letterform. Many of the fonts designed in the 20th Century are difficult to classify.Īs early typefaces were based on the written letterforms the scribes, it was important that the type designer tries to capture as much as the written form as possible. In search of new forms of typographic expression, designers began to borrow features from one period and add them to another. The ultimate refinement was attained in the late 1700’s when Bodoni reduced the thin strokes and serifs to fine hairline strokes.Īfter Bodoni, type design became eclectic. This refinement was possible because of the development of smoother papers, better links, and more advanced printing methods. Over the centuries type became more and more refined that is, the contrast between thick and thin strokes became greater and the serifs became finer. Garamond did not think of himself as an Old Style designer any more than John Baskerville could realize that some day he would be considered a Transitional designer. :: email: andrea herstowski :: email: tim hossler : syllabus :: project 1 :: project 2 :: project 3 :: project 4 :: herstowski blog ::
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