Assignment A - Typographic Capsule Library
Serif
Subclass: Old Style
I chose old style because it was when typographers began to create new typefaces instead of copying existing ones. I feel like this is an important milestone in type history, so I thought something from this era might be a good place to start.
Typeface: ITC Galliard Pro
I chose this face because I like the simplicity of it. It’s elegant, but not so much it's illegible. I like the bracketed serifs, the ball terminal on the lowercase R, and the contrastign strokes. I think the little elements like these are what makes this face appealing, and adds character to it.
Subclass: Venetian
I don’t think this era of type is essential because it doesn’t have a large impact on type. However, like all styles, it does bring something to the type world. Venetian is like an updated version of blackletter; containing bracketed serifs, left axis or stresses, and subtle contrasting strokes.
Typeface: P22 Stickley
I like this face because I think the subtle contrast in strokes helps with legibility, this would allow it to be used for body copy. I also think having the iconic left-leaning axis on the lowercase E helps typophiles identify the era of this type. People may not notice type in a body copy, but if it’s a short caption or heading it might be noticed.
Subclass: Modern
I chose this style because I think it’s also an important time in the type era. This is when serifs were not bracketed, which changes the look and feel of the type. The type looks more clean and new, rather than traditional and elegant. This new experminenting in type is almost like statement, a step towards type trends.
Typeface: Gimlet Display
I chose this face because I like the contrast between the fine cross strokes and the stems. It looks like it’s mimicking the pattern of a fine point pen. I also chose this because the curves in the lowercase A and S are so dramatic and eye-catching. I defiantley think this would be a good face for a heading, afterall it has the word display in it.
Sans-Serif
Subclass: Monospace
This style was based on the functionality of typewriter keys. I think this is an important time in type because typographers are aware of the experience people had using typewriters. Faces in this style consist of characters that have equal widths, as well as positive kerning. The equal kerning is a result of the keys only being able to move forward in one specific distance. This style was later used for computer coding so it didn’t have to be designed nicely, it just had to be legible.
Typeface: Ubuntu Mono
I chose this face because it had that monospace feel with the condensed M to match the width of the other letters, but it also had its own twist. For example, it has tighter kerning than other monospace faces, which helps with legibility. It also has curves on the lowercase U’s and N’s, which I think gives it some character. This separates it from a regular mono look with a fresh take on monospace type.
Subclass: Grotesque
This style is the beginning of the sans-serif era, so it’s probably one of the most familiar styles. I think this makes grotesque essential, and because it was known as ugly it probably stood out more. It shows the transition from old type to modernized type by keeping some serif features, such as contrast in strokes or double story A’s and G’s (for some faces). This was also a time in type history that opened doors for typographers to be more daring with their work.
Typeface: Brandon Grotesque
I like the simple and clean look of this face. The strokes are relatively even, and the kerning is positive to be used as body text. I think this face would almost work like Helvetica is meant to: it lies as a foundation for personality comes from the words, not the face itself.
Subclass: Humanist
This style is a sub category of grotesque, so it doesn’t have as large as an impact as grotesque, but it has some influence on type. Humanist styles are like grotesque in the way they want preserve something of the past. For grotesque, they wanted to preserve some of the characteristics of serif typefaces. Later Neo-grotesque was introduced and it rejected serifs. Then came humanist faces, which took a step back, and honoured the characteristics of human writing.
Typeface: Amplitude
I like this face because it’s legible, simple, and could possibly be used as body text in a small magazine article. I don’t think it would work well in with heavy reading, but I think it would be alright in a magazine for stylistic and legibility purposes. I think it has some characteristics of a ball point pen with the dot on the I and the subtle contrast is the curved strokes.
Slab-Serif
Subclass: Typewriter
This style is similar to monospace because going by the name, it was meant for typewriters. This style is a subcategory of monospace, of course it was used for typewriters before computer coding, but it lies within the same perameters. Unlike moonscape, their proportions can be adjusted because they take on characteristics of electric typewriters as well as manual ones.
Typeface: Nexus Typewriter Pro
I chose this face because it’s easy to read, has thin and even strokes, and has the typewriter aesthetic. Their distinguishing features make the face more unique: condensed W, squared serifs, various kerning, and narrow curves on rounded characters. I think this face would be best used as display, but there are other typewriter faces that are used in body copy such as movie scripts.
Subclass: Round
This era of type doesn’t have a large impact on type, but it changes the look and feel of serifs. The rounded serifs are to make the faces more welcoming, rather than the straight and elegant serifs which are more distant. I chose this because I don’t think this style is used often, or even thought about.
Typeface: Grover Slab
This face has a modernernized serif feel to it, like the Roots clothing brand face. I like how it can be dominant and simple at the same time. The rounded serifs make it unique and memorable. Almost all of the characters, lowercase or uppercase, have some form of serif on them. I think the wide letters, bold weight, and stylistic curves would interfere with readbility as body copy, but it would be a great display face.
Subclass: Neo-Grotesque
As mentioned before, Neo-grotesque is a form of grotesque which began rejecting any characteristics of serif faces. As if grotesque wasn’t rebellious enough in type history, Neo-grotesque took it one step further. Although it is a subcategory, I think this era is quite important because it introduced controversial faces like Helvetica. I also think this form of rejection of older type characteristics all together allowed for more experimental type.
Typeface: Justus
I chose this face because it’s almost has a geometric look to it. Although it’s a Neo-grotesque face everything looks mirrored ,such as curved strokes and perfect kerning. The serifs are simple and minimalistic, and the character weight is even. I think this face would work well for display, and a heavier font for might work for body copy.
Handwriting
Subclass: Script
Script faces are pretty straightforward that they are based on handwriting. They are used for elite branding, but only in headings, and sparingly. Scripts mimic handwriting not by just the curves and varied strokes, but also the way they never consist of all caps.
Typeface: Luxus Brut Sparkling
I chose this face for its old look and feel. It has the characteristics of a feather and ink pen or a fine ball point pen for calligraphy. It’s very dramatic with the contrasting strokes, luxurious curves, and size significant size difference between the lowercase and uppercase charatcers.
Subclass: Printing
Although printing might not be an actual classification, I feel this is the style this face is going for. Instead of mimicking the old style of writing such as handwriting, this is more of a modern take on writing: printing. Printing has the look of a regular pen or pencil used on a daily basis, whereas script takes on the role of feather and ink or calligraphy.
Typeface: Jakob
This face has the look of a more common pen. It’s informal, imitates note taking, and has rushed character strokes. This modern printing has no official serifs, although some characters, such as the lowercase J, have serif aspects. There’s a slight contrast in strokes, but it’s not too dominate. It’s easy to read and has personality to it because it looks like actual printing. I think this would work well for display, especially for stationary branding.
Subclass: Printing
Again this face is in the style of printing. It’s fresh and simple, but it also has a two-story G, which takes on a bit of a stylized version of handwriting.
Typeface: Swing King
I chose this face because of its handwritten look mixed with a distinct personality. Sometimes when people write a journal entry, whether it’s for school or personal use, they will add personality. For some people it’s printing a two story A, others it’s doting I’s with hearts. For this face, there’s a two-story G, a stroke on the lowercase Q, and rounded characters. I think this makes for an interesting face, and would work well for display.
Decorative & Display
Subclass: Ornamental
Although this face is not technically ornamental, it has ornamental aspects to it. For example, the dot on the I is a diamond and a opposed to a regular circle. Some characters also will have an extra crossbar or ascender (capital T) merely for decorative purposes.
Typeface: Mason Serif
This face has dramatic tails, extra crossbars, and straight curves on some characters like M’s, W’s, and U’s. I think the mix of this unusual approache on an older type style makes this face interesting. I think the various sizes and characters used for uppercase and lowercase (lowercase shaped N is the same size as capital letters) interfere with legibility. The contrast in strokes don’t help for legibility, but they are subtle enough they don’t take away from the face either. These dramatic differences aim for form over function. I also think the kerning of this face helps with legibility so it’s not too bad.
Subclass: Grunge
I’m not sure if grunge is an actual subclass of decorative and display, I came across it on a website. Grunge probably became popular after Neo-grotesque was introduced in the 90’s when the boundaries of type were pushed. I also think the grunge trend may have already been around in fashion design, and then was introduced in type design.
Typeface: Battery Park
I chose this face because it was eye catching and different. If there was a category called slab sans-serif, I think it would fit. The thick even strokes allow for dominance and legibility. The contrast of the heavy type and faded spray paint effect create a edgy look and feel. I think the face can get away with the faded letters because of the even and bold stroke of the characters. Aside from the spray paint effect, the only other characteristics are the broken letters. But again this doesn’t interfere with legibility because the breaks are so subtle, but it still could only be used as display.
Subclass: Outline
Again this was a category I pulled from a website. It mentioned that a subcategory of decorative and display faces are outlines. I would usually stay away from outlines because they’re not legible, but I think this face works because 1/3 of the characters are filled in.
Typeface: Acier BAT
I chose this face for it’s intriguing fills. From far away the characters look flat, but up close they almost look 3-D. Between the contrast of white and black fill, the black looks like it’s the main colour, and the white are the highlights. I feel like some of the characters are black where you would begin printing letters, such as the black cross bar of the T. It’s like it’s mimicking the way you read the letters by the way you would print them. I don’t think this face interferes with legibility because the 1/3 fill of characters and even stroke weights balance it out. Again, becuase this face is so different, it would best be used as display.