Categorization by historical allocation: Romanesque, gothic, renaissance, baroque and classicism or humanism.
Categorization by allocation to form principles: Fraktur, sans serif and slab-serif
Addition of existing categorization by the example of FontShop: geometric, amorphous, ironic, intelligent and destructive
Recommended Reading
Gerrit Noordzij «The Stroke of the Pen»
Categorization by allocation to form principles: Fraktur, sans serif and slab-serif
Addition of existing categorization by the example of FontShop: geometric, amorphous, ironic, intelligent and destructive
Recommended Reading
Gerrit Noordzij «The Stroke of the Pen»
Probably the most common approach to categorizing typefaces is to attribute certain principles found in the shapes of characters to historical eras in which they first found wide spread appreciation. Whenever this historic reference proves insufficient for describing a typeface its distinguishing form principle itself is named. Since the availability of the PC democratized typedesign, classifying typedesign has become much more of a challange. The once small and elitist group of typedesigners has been replaced with virtually everybody who can afford a computer. Very often the letterforms of typefaces currently released do not comfortably fit into the existing categories. This is why typefoundries like FontShop have begun to extend the existing categories by adding their own.
Gutenberg’s invention of the art of printing with movable type can be understood as the industrialization of writing. The original aim of the printer was to more efficiently generate huge ammounts of text. Until then, text could only be reproduced manually through handwriting. The typedesigner therefore strived for a faithful reproduction of the period’s style of writing.
In Den Haag type design teacher Gerrit Noordzij develloped an alternative classification which is based on recognizing the writing tool that the letterforms of a typeface are based on. All writing tools can generally be devided into two groupes: flexible and ridgit tools.
Gutenberg’s invention of the art of printing with movable type can be understood as the industrialization of writing. The original aim of the printer was to more efficiently generate huge ammounts of text. Until then, text could only be reproduced manually through handwriting. The typedesigner therefore strived for a faithful reproduction of the period’s style of writing.
In Den Haag type design teacher Gerrit Noordzij develloped an alternative classification which is based on recognizing the writing tool that the letterforms of a typeface are based on. All writing tools can generally be devided into two groupes: flexible and ridgit tools.
The term vector is an expression borrowed from mathematics and describes an entity that is defined through the values of two variables. In this sense the trace of the broad nibbed pen can be understood as a vector. During writing only the direction in which the pen is pulled across paper changes. The angle of inclination of the nib in relation to the baseline remains constant.
Typefaces whose letterforms are based upon ridgit writing tools can be found in this category. The traces left by these tools have a direction aswell as an angle.
A good example for this is the broad nibbed pen. When the pen is dipped into ink and then lightly placed on paper without even drawing, it will leave a trace resembling a narrow line. The length of that line is equal to the width of the nib. Its angle to the baseline will be about 30° when the calligrapher assumes a posture comfortable for writing.
The term «translation» explains the fact that the right edge of the trace (L1)
created by the writing tool follows the left edge (R1) in a fixed ratio.
A good example for this is the broad nibbed pen. When the pen is dipped into ink and then lightly placed on paper without even drawing, it will leave a trace resembling a narrow line. The length of that line is equal to the width of the nib. Its angle to the baseline will be about 30° when the calligrapher assumes a posture comfortable for writing.
The term «translation» explains the fact that the right edge of the trace (L1)
created by the writing tool follows the left edge (R1) in a fixed ratio.
The ratio of the thinnest and the thickest forms of a letter.
What is the transition of contrast
This expression describes the way in which the thick forms of a letter gradually turn into thin. Translation and expansion typefaces differ by their distinct transition of contrast.
What is the transition of contrast
This expression describes the way in which the thick forms of a letter gradually turn into thin. Translation and expansion typefaces differ by their distinct transition of contrast.
The character shapes of typefaces that can be placed in this category are based on a tool that independend from the direction in which it is moved leaves a uniform trace. These shapes do not get their contrast from the angle of the writing tool but from preasure that is applied while writing.
A good example for such a tool is the pointed nibbed pen. The trace it leaves when dipped in ink and lightly placed on the paper is a point. How big that point is depends on how much the nib spreads under the preasure of the writing hand.
This spreading of the pen and the resulting «expansion»
of its trace lends this group of typefaces its name.
A good example for such a tool is the pointed nibbed pen. The trace it leaves when dipped in ink and lightly placed on the paper is a point. How big that point is depends on how much the nib spreads under the preasure of the writing hand.
This spreading of the pen and the resulting «expansion»
of its trace lends this group of typefaces its name.
Translation
(FFQuadrat)
Expansion
(FBDidot)
The translation contrast creates rotational symmetrical shapes.
The expansion contrast creates line symmetrical shapes.
The expansion contrast creates line symmetrical shapes.
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