Slides for my lectures on typefaces — part of the Visual Communications course I'm doing for the Moscow State University Higher School of Business Administration.
2. I could not imagine
a situation in which
Apple would ever
be bigger and more
profitable than Microsoft.
m
WILLIAM GATES III
Microsoft, founder and then CEO
3. But in the end, Microsoft didn’t create products of
ethereal beauty. Steve believed you had to control
every brush stroke from beginning to end …
because he had a passion for perfection.
m
WALTER ISAACSON
Steve Jobs’ biographer
5. I learned about serif and sans serif typefaces, about
varying the amount of space between different letter
combinations, about what makes great typography
great. It was beautiful, historical, artistically subtle in a
way that science can't capture, and I found it fascinating.
m
STEVEN PAUL JOBS
Apple, Inc. founder and then CEO
serif and sans serif
8. I learned about serif and sans serif typefaces, about
varying the amount of space between different letter
combinations, about what makes great typography
great. It was beautiful, historical, artistically subtle in a
way that science can't capture, and I found it fascinating.
m
STEVEN PAUL JOBS
Apple, Inc. founder and then CEO
typefaces
9. Fedra Sans
Normal Italic
Fedra Sans
Light
Fedra Sans
Bold
TYPE FAMILY
Семейство шрифтов
TYPEFACE
ГарнитураFedra Serif
FEDRA
Fedra Sans
FONT
Шрифт
11. I learned about serif and sans serif typefaces, about
varying the amount of space between different letter
combinations, about what makes great typography
great. It was beautiful, historical, artistically subtle in a
way that science can't capture, and I found it fascinating.
m
STEVEN PAUL JOBS
Apple, Inc. founder and then CEO
beautiful, historical, artistically subtle
13. I learned about serif and sans serif typefaces, about
varying the amount of space between different letter
combinations, about what makes great typography
great. It was beautiful, historical, artistically subtle in a
way that science can't capture, and I found it fascinating.
m
STEVEN PAUL JOBS
Apple, Inc. founder and then CEO
about what makes great typography
great.
30. Source: Phil Renaud, 2006
http://goo.gl/GOZYe
Georgia
23
Trebuchet
18
Times
11
5–
5 4–
31. This is the case with car
dealers also. And I recently
had an experience at Fiat of
Manhattan that was nothing
short of mind-blowingly bad.
This is the case with car
dealers also. And I recently
had an experience at Fiat of
Manhattan that was nothing
short of mind-blowingly bad.
RECALL
http://hbr.org/2012/03/hard-to-read-fonts-promote-better-recall/
+14%
32. Lorem impu dolor sit amet, consetetur
more. Lorem impus dolor sit amet,
consetetur sadipsing elitrsed.
Loremimpus dolor sit met...
Lorem impu dolor sit amet, consetetur
more. Lorem impus dolor sit amet,
consetetur sadipsing elitrsed.
Loremimpus dolor sit met...
MOTIVATION
http://dornsife.usc.edu/assets/sites/780/docs/08_ps_song___schwarz_effort.pdf
15.1 min.
8.2 min.
34. Source: Benjamin Berman,
David Dunning
http://goo.gl/cMd3H
Is it true that “we live in an era of unprecedented safety”?
( ) Yes: The claim is true
( ) No: The claim is false
How confident are you in your conclusion?
( ) Slightly confident
( ) Moderately confiden
( ) Very confident
36. The page from June 9-10, 1855, is notable because the
handwriting changes suddenly, halfway down the page. On
first inspection it appears to be written by two different
people or perhaps someone with multiple personality
disorder. The writing on the top half of the page is elegant
but unreadable, the writing on the bottom half, awkward but
entirely legible. The reason for the abrupt change becomes
clear only through reading the journal.
37. The page from June 9-10, 1855, is notable because the
handwriting changes suddenly, halfway down the page. On
first inspection it appears to be written by two different
people or perhaps someone with multiple personality
disorder. The writing on the top half of the page is elegant
but unreadable, the writing on the bottom half, awkward but
entirely legible. The reason for the abrupt change becomes
clear only through reading the journal.
38. The page from June 9-10, 1855, is notable because the
handwriting changes suddenly, halfway down the page. On
first inspection it appears to be written by two different
people or perhaps someone with multiple personality
disorder. The writing on the top half of the page is elegant but
unreadable, the writing on the bottom half, awkward but
entirely legible. The reason for the abrupt change becomes
clear only through reading the journal. 2%
The page from June 9-10, 1855, is notable because the
handwriting changes suddenly, halfway down the page. On
first inspection it appears to be written by two different
people or perhaps someone with multiple personality
disorder. The writing on the top half of the page is elegant
but unreadable, the writing on the bottom half, awkward but
entirely legible. The reason for the abrupt change becomes
clear only through reading the journal.
+
76. READABILITY
✤ There is no single “most readable typeface”, sorry
✤ Measure readability whenever you can
✤ Serifs are for paper, sans-serifs for the screen
✤ Good readability: Humanist sans-serif, Transitional serif
✤ Bad readability: Geometric sans-serif, Modern serif
79. 1. One for a logo — interesting & memorable
2. One for the main text — readable
3. Don’t use: Calibri, Times, Arial, Papyrus, Segoe
Script/Print, Monotype Corsiva & Comic Sans
TASK #3: PICK
TWO TYPEFACES
80. Visual communications
Lorem ipsum dolor sit amet, consectetur adipiscing
elit, sed do eiusmod tempor incididunt ut labore et
dolore magna aliqua. Ut enim ad minim veniam,
quis nostrud exercitation ullamco laboris nisi ut
aliquip ex ea commodo consequat.
Duis aute irure dolor in reprehenderit in voluptate
velit esse cillum dolore eu fugiat nulla pariatur.
Excepteur sint occaecat cupidatat non proident, sunt
in culpa qui officia deserunt mollit anim id est
laborum.
LOREM IPSUM
Moscow, 19.08.2015
Jannon<
Optima<
KAPTEREV
144. Baskerville
Centaur
The first Roman type designed by Claude Garamond was used in an edition of the Erasmus book Paraphrasis in
Elegantiarum Libros LaurentiiVallae published in 1530.The Roman design was based on an Aldus Manutius type, De
Aetna, cut in 1455 by Francesco Griffo. After Claude Garamond died in 1561, most of his punches and matrices were
acquired by Christophe Plantin from Antwerp, the Le Be type foundry and the Frankfurt foundry Egenolff-Berner.[4]
The only complete set of the original Garamond dies and matrices is at the Plantin-Moretus Museum, in Antwerp,
Belgium.The term Garamond is today mostly applied to Garamond's designs for the Latin alphabet. Garamond
designed type for the Greek alphabet, but these, the glamorous and fluid Grecs du roi, are very different to his Latin
designs: they mimic the elegant handwriting of scribes and contain a vast variety of ligatures and alternate glyphs to
achieve this. As these are quite impractical for modern printing, several 'Garamond' releases such as Adobe's contain
Greek designs that are either a compromise between Garamond's upright Latin designs and his slanted Greek ones or
primarily inspired by his Latin designs.
The first Roman type designed by Claude Garamond was used in an edition of the Erasmus book
Paraphrasis in Elegantiarum Libros Laurentii Vallae published in 1530. The Roman design was based on an
Aldus Manutius type, De Aetna, cut in 1455 by Francesco Griffo. After Claude Garamond died in 1561, most
of his punches and matrices were acquired by Christophe Plantin from Antwerp, the Le Be type foundry and
the Frankfurt foundry Egenolff-Berner.[4] The only complete set of the original Garamond dies and
matrices is at the Plantin-Moretus Museum, in Antwerp, Belgium. The term Garamond is today mostly
applied to Garamond's designs for the Latin alphabet. Garamond designed type for the Greek alphabet, but
these, the glamorous and fluid Grecs du roi, are very different to his Latin designs: they mimic the elegant
handwriting of scribes and contain a vast variety of ligatures and alternate glyphs to achieve this. As these are
quite impractical for modern printing, several 'Garamond' releases such as Adobe's contain Greek designs
that are either a compromise between Garamond's upright Latin designs and his slanted Greek ones or
primarily inspired by his Latin designs.
148. B O D O N I
Giambattista Bodoni
Giambattista Bodoni
was born on 16
February 1740 at
Saluzzo in Savoy (now
the Piedmont region of
Italy). He came from a
printmaking
background, his father
and grandfather both
being in that trade.[3]
He worked for a time in
Rome as an apprentice
in the Roman Catholic
Church's Propaganda
Fide printing house.
There, it was said, he
impressed his superiors
so much with his
eagerness to learn,
studiousness in mastery
of ancient languages
and types, and energy of
effort, that he was
allowed to place his own
name on his first books,
a Coptic Missal and a
version of the Tibetan
alphabet.[3]
Kiambattista Bodoni was born on 16 February
1740 at Saluzzo in Savoy (now the Piedmont
region of Italy). He came from a printmaking
background, his father and grandfather both
being in that trade.[3]
He worked for a time in Rome as an apprentice in
the Roman Catholic Church's Propaganda Fide
printing house. There, it was said, he impressed
his superiors so much with his eagerness to learn,
studiousness in mastery of ancient
Giambattista Bodoni
was born on 16
February 1740 at
Saluzzo in Savoy (now
the Piedmont region of
Italy). He came from a
printmaking
background, his father
and grandfather both
being in that trade.[3]
He worked for a time in
Rome as an apprentice
in the Roman Catholic
Church's Propaganda
Fide printing house.
There, it was said, he
impressed his superiors
so much with his
eagerness to learn,
studiousness in mastery
of ancient languages
and types, and energy of
effort, that he was
Parma
1740-1811
Kønigin der Schriften
Giambattista Bodoni
K
20 21
154. Baskerville
The first Roman type designed by Claude Garamond was used in an edition of the Erasmus book
Paraphrasis in Elegantiarum Libros Laurentii Vallae published in 1530. The Roman design was based on an
Aldus Manutius type, De Aetna, cut in 1455 by Francesco Griffo. After Claude Garamond died in 1561, most
of his punches and matrices were acquired by Christophe Plantin from Antwerp, the Le Be type foundry and
the Frankfurt foundry Egenolff-Berner.[4] The only complete set of the original Garamond dies and
matrices is at the Plantin-Moretus Museum, in Antwerp, Belgium. The term Garamond is today mostly
applied to Garamond's designs for the Latin alphabet. Garamond designed type for the Greek alphabet, but
these, the glamorous and fluid Grecs du roi, are very different to his Latin designs: they mimic the elegant
handwriting of scribes and contain a vast variety of ligatures and alternate glyphs to achieve this. As these are
quite impractical for modern printing, several 'Garamond' releases such as Adobe's contain Greek designs
that are either a compromise between Garamond's upright Latin designs and his slanted Greek ones or
primarily inspired by his Latin designs.
Bodoni 72
The first Roman type designed by Claude Garamond was used in an edition of the Erasmus book Paraphrasis in
Elegantiarum Libros Laurentii Vallae published in 1530. The Roman design was based on an Aldus Manutius type, De
Aetna, cut in 1455 by Francesco Griffo. After Claude Garamond died in 1561, most of his punches and matrices were
acquired by Christophe Plantin from Antwerp, the Le Be type foundry and the Frankfurt foundry Egenolff-Berner.[4] The
only complete set of the original Garamond dies and matrices is at the Plantin-Moretus Museum, in Antwerp, Belgium.
The term Garamond is today mostly applied to Garamond's designs for the Latin alphabet. Garamond designed type for
the Greek alphabet, but these, the glamorous and fluid Grecs du roi, are very different to his Latin designs: they mimic the
elegant handwriting of scribes and contain a vast variety of ligatures and alternate glyphs to achieve this. As these are quite
impractical for modern printing, several 'Garamond' releases such as Adobe's contain Greek designs that are either a
compromise between Garamond's upright Latin designs and his slanted Greek ones or primarily inspired by his Latin
designs.
265. 1. Very open “e” and “c”
2. Narrower than neo-grotesque
while maintaining the same height
e c
3. “Unnecessary” irregularities
e c
Fargo
tt 4. Much more contrast
Fargo
Humanist or not?