Image based info-graphic
Image based info-graphic
A good example for "if info is simple, over-complicate it"
This is an info-graphic of a Facebook photo
typographic info-graphic
typographic info-graphic
typographic infographic
Monday, October 21, 2013
Tuesday, October 15, 2013
Typography Definitions and Summaries
Old Style-1475
wedge shaped serifs, horizontal crossbars, slight diagonal stress, contrast between thick and thins, scooped serifs
Examples: Bambo, Garamond, Bookman, Sheltonham, Sabon
Transitional- 1750
vertical stress, greater contrast between thick and thins, tall x-height, bracketed serifs
Examples: Baskerville, Century, Caslon, Perpetua
Modern-1775
vertical stress, hairline serifs, high contrast between thick and thins, non-bracketed serifs, mechanical
Examples: Didot, Walbaum, Bodoni
Slab Serif- 1880 (Square, Egyptian)
thick serifs, medium contrast (mono-weight), usually not bracketed, geometric
Examples: Memphis, Swift, Rockwell, Serifa
San Serif- 3 Variations
Geometric- Futura, Kabel, Gothem
Humanist- Frutiger, Syntax, Meta
Grotesque- Interstate, Trade Gothic, Accidents Grotesque, Helvetica
Proportions of the Letterform
Four major variables control letterform proportion and have considerable impact upon the visual appearance of a typeface: the ration of letterform height to stroke width; the variation between the thickest and thinnest strokes of the letterform; the width of the letters; and the relationship of the x-height to the height of capitals, ascenders, and descenders.
Stroke Weight
The lightness or heaviness of a typeface, which is determined by the stroke thickness to character height
Axis or Stress
The gradual variation of the thickness of a curved character part or stroke, often used for any variation in the thickness of a character part or stroke.
Small Caps
A set of capital letters having the same height as the lowercase x-height, frequently used for cross-reference and abbreviations. Abbreviated "s.c."
Lining Figures
Numbers identical in size to the capitals and aligned on the baseline
Non-lining Figures
Numbers that are not aligned on the baseline, they are known to have ascenders and descenders such as the stroke on the 6 that extends above the top of other numbers and the 9 that extends below the baseline.
Ligatures
Two or more characters linked together as one unit, such as ff. The ampersand is a ligature originating as a letter combination for the french word et ("and") in medieval manuscripts.
Dash
A short line that serves as a punctuation mark and is often represented by one or more hyphens.
Em Dash
Known as the "long dash". It is approximately the length of an em ("m") in a typeface.
En Dash
Known as the "short dash". It is approximately the length of an en ("n") in a typeface.
Apostrophes
A mark of punctuation that can denote missing letters (can't), plurals (3's), and possessives (Georgia's) depending on how it is used.
Optical Relationships Within a Font
Certain letterform combinations in a font show that various adjustments are necessary to make a font appear optically correct. A couple examples of these adjustments include: curved letterforms being drawn slightly above or below the baseline and capline to prevent them from appearing too small and extending the apexes of pointed letters above or below the baseline or above the capline to make them appear the same height as letter that terminate squarely with the guideline. Adjustments are also made by balancing two-storied capitals and figures, thinning horizontal strokes, and loosening tight junctions. These kinds of adjustments are very subtle and are barely noticeable to a reader, but they create a harmonious visual appearance.
Typographic Measurement
The measurement system for typography was invented by Johann Gutenburg around 1450. The rectangular metal block of type has a raised letterform on top, which was inked to print the image. Type that is 12 point and under is called text type and is normally used for the body of text. Sizes above 12 point are display type, and are used for titles and headlines. Metal type has a range of text and display sizes from 5 point to 72 point. Metal type exists in three dimensions: depth, width and length. The depth of the type is measured in points and is called the point size or body size. The width of type varies with the design of the individual letters in a typeface. The widest letters are the "m" and "w". The narrowest letters are the "i" and the "l". The length of a line of type is the sum of the set width of all the characters and spaces in the line. The length is measured in picas. There are 12 points in a pica, 6 picas in an inch, and 72 points in an inch.
Type House or Font House
The type house or font house is not the designer of the font or typeface. The type house/font house simply made it better in digital and sells it.
Examples of type houses: Adobe, Linotype, Monotype, Bauer, Letterror, House Industries
wedge shaped serifs, horizontal crossbars, slight diagonal stress, contrast between thick and thins, scooped serifs
Examples: Bambo, Garamond, Bookman, Sheltonham, Sabon
Transitional- 1750
vertical stress, greater contrast between thick and thins, tall x-height, bracketed serifs
Examples: Baskerville, Century, Caslon, Perpetua
Modern-1775
vertical stress, hairline serifs, high contrast between thick and thins, non-bracketed serifs, mechanical
Examples: Didot, Walbaum, Bodoni
Slab Serif- 1880 (Square, Egyptian)
thick serifs, medium contrast (mono-weight), usually not bracketed, geometric
Examples: Memphis, Swift, Rockwell, Serifa
San Serif- 3 Variations
Geometric- Futura, Kabel, Gothem
Humanist- Frutiger, Syntax, Meta
Grotesque- Interstate, Trade Gothic, Accidents Grotesque, Helvetica
Proportions of the Letterform
Four major variables control letterform proportion and have considerable impact upon the visual appearance of a typeface: the ration of letterform height to stroke width; the variation between the thickest and thinnest strokes of the letterform; the width of the letters; and the relationship of the x-height to the height of capitals, ascenders, and descenders.
Stroke Weight
The lightness or heaviness of a typeface, which is determined by the stroke thickness to character height
Axis or Stress
The gradual variation of the thickness of a curved character part or stroke, often used for any variation in the thickness of a character part or stroke.
Small Caps
A set of capital letters having the same height as the lowercase x-height, frequently used for cross-reference and abbreviations. Abbreviated "s.c."
Lining Figures
Numbers identical in size to the capitals and aligned on the baseline
Non-lining Figures
Numbers that are not aligned on the baseline, they are known to have ascenders and descenders such as the stroke on the 6 that extends above the top of other numbers and the 9 that extends below the baseline.
Ligatures
Two or more characters linked together as one unit, such as ff. The ampersand is a ligature originating as a letter combination for the french word et ("and") in medieval manuscripts.
Dash
A short line that serves as a punctuation mark and is often represented by one or more hyphens.
Em Dash
Known as the "long dash". It is approximately the length of an em ("m") in a typeface.
En Dash
Known as the "short dash". It is approximately the length of an en ("n") in a typeface.
Apostrophes
A mark of punctuation that can denote missing letters (can't), plurals (3's), and possessives (Georgia's) depending on how it is used.
Optical Relationships Within a Font
Certain letterform combinations in a font show that various adjustments are necessary to make a font appear optically correct. A couple examples of these adjustments include: curved letterforms being drawn slightly above or below the baseline and capline to prevent them from appearing too small and extending the apexes of pointed letters above or below the baseline or above the capline to make them appear the same height as letter that terminate squarely with the guideline. Adjustments are also made by balancing two-storied capitals and figures, thinning horizontal strokes, and loosening tight junctions. These kinds of adjustments are very subtle and are barely noticeable to a reader, but they create a harmonious visual appearance.
Typographic Measurement
The measurement system for typography was invented by Johann Gutenburg around 1450. The rectangular metal block of type has a raised letterform on top, which was inked to print the image. Type that is 12 point and under is called text type and is normally used for the body of text. Sizes above 12 point are display type, and are used for titles and headlines. Metal type has a range of text and display sizes from 5 point to 72 point. Metal type exists in three dimensions: depth, width and length. The depth of the type is measured in points and is called the point size or body size. The width of type varies with the design of the individual letters in a typeface. The widest letters are the "m" and "w". The narrowest letters are the "i" and the "l". The length of a line of type is the sum of the set width of all the characters and spaces in the line. The length is measured in picas. There are 12 points in a pica, 6 picas in an inch, and 72 points in an inch.
Type House or Font House
The type house or font house is not the designer of the font or typeface. The type house/font house simply made it better in digital and sells it.
Examples of type houses: Adobe, Linotype, Monotype, Bauer, Letterror, House Industries
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