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Foundations of Typography

Other type categories


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Foundations of Typography

with Ina Saltz

Video: Other type categories

We're going to look at some other categories of typefaces, the kinds of typefaces that don't fit as neatly into classification categories. These are all display typefaces. So, remember that they should be used at larger sizes and in small quantities. One category that is easy to identify and that is hugely popular right now is Scripts. These are letterforms that are based on handwritten letters. They are mostly or partly attached to one another with connecting strokes. Here are some common examples, they can vary from very formal to very informal.
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  1. 9m 5s
    1. Welcome
      1m 58s
    2. Why good typography matters
      1m 55s
    3. The power of type
      1m 53s
    4. The theory of typographic relativity
      1m 53s
    5. Getting the most out of this course
      1m 26s
  2. 23m 49s
    1. Serif vs. sans serif
      3m 27s
    2. Display type vs. text type
      3m 39s
    3. Type history
      2m 48s
    4. Type classification
      4m 8s
    5. Other type categories
      3m 24s
    6. Guidelines for combining typefaces
      3m 49s
    7. Using cases
      2m 34s
  3. 18m 28s
    1. Anatomy: Parts and shapes of type
      4m 35s
    2. Size and measurements of type
      2m 18s
    3. Type families: Widths, weights, and slopes
      3m 53s
    4. Reviewing the terminology of type, based on function
      3m 27s
    5. Working with color and tonal weight: Exercises
      4m 15s
  4. 20m 27s
    1. Kerning and kerning pairs
      3m 33s
    2. Tracking and leading
      3m 49s
    3. Exploring variations in type alignment
      3m 55s
    4. Hyphenation and justification
      3m 13s
    5. Indents, outdents, and hanging punctuation
      2m 26s
    6. Other typographic best practices
      3m 31s
  5. 10m 3s
    1. Where type begins: The mark of the hand
      2m 28s
    2. Related parts and shapes: Family resemblances
      4m 35s
    3. Designing a typeface
      3m 0s
  6. 22m 19s
    1. How legibility and readability differ
      3m 48s
    2. Examining factors affecting legibility
      4m 46s
    3. Hierarchy and functionality
      4m 29s
    4. Systematized hierarchy
      3m 52s
    5. Paragraphs, drop caps, and entry points
      2m 41s
    6. Typographic abominations
      2m 43s
  7. 11m 8s
    1. Opposing forces of typography
      3m 8s
    2. The grid: A structure for containing type
      3m 6s
    3. Contrast and scale
      4m 54s
  8. 9m 41s
    1. Typographic expressiveness
      3m 22s
    2. The emotional impact of type
      2m 47s
    3. Three-dimensional type
      3m 32s
  9. 8m 55s
    1. Working with numbers
      2m 10s
    2. Expert characters and analphabetic symbols
      1m 56s
    3. Using typography to navigate content
      1m 51s
    4. Using typography to navigate the environment
      2m 58s
  10. 9m 14s
    1. Managing fonts and building your type library
      3m 14s
    2. Developing your typographic eye
      2m 31s
    3. Breaking the rules
      1m 41s
    4. What's next
      1m 48s

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Foundations of Typography
2h 23m Beginner Feb 01, 2013

Viewers: in countries Watching now:

Good typography can add tremendous power to your design and your message, whether it is a print- or screen-based project, a still or motion graphic, a 3D or 2D graphic. This course explains good typographic practices, so that you can develop an "eye" for type and understand how to effectively use it. Author Ina Saltz explains type classifications (serif vs. sans serif, display type vs. text type), how type is measured, sized, and organized, and how spacing and alignment affect your design. She also explains how to use kerning, tracking, leading, and line length, and covers the history and current trends in typography. The course teaches the principles of legibility, readability, and compatibility, and how they should be considered when you're selecting and designing with type.

Topics include:
  • What is typography?
  • Differentiating type characteristics
  • Using ornamental and decorative type
  • Combining typefaces
  • Using contrast and scale
  • Kerning and kerning pairs
  • Choosing the optimum line length
  • Aligning and spacing characters, words, and paragraphs
  • Understanding factors affecting legibility
  • Working with three-dimensional type
  • Putting type in motion
Subjects:
Design Typography Design Skills
Author:
Ina Saltz

Other type categories

We're going to look at some other categories of typefaces, the kinds of typefaces that don't fit as neatly into classification categories. These are all display typefaces. So, remember that they should be used at larger sizes and in small quantities. One category that is easy to identify and that is hugely popular right now is Scripts. These are letterforms that are based on handwritten letters. They are mostly or partly attached to one another with connecting strokes. Here are some common examples, they can vary from very formal to very informal.

One of my favorite formal scripts is Bickham Script, because it is fabulously elegant, and it comes with hundreds of alternate flourishes in its character set. For example, look at 15 possible variations of the lowercase H in Bickham's Script. You will see scripts in use everywhere. Informal scripts can look like handwritten or brush written letters. There are hundreds of wonderful new scripts now available with varying degrees of weight, fluidity, and alternate characters.

Scripts like Zapfino can be tricky to use well, because they sometimes have been swashes which can get tangled up when lines are stacked. Used with restraint, flourishes can add a bit of pizzazz to your layout, this is a page from a cookbook designed by one of my students. Here is a beautiful modern use of a script face, notice how all of the flourishes on the left echo the swirls of the carrot stocks in the photograph. I love the visual pun between the lovely curves of the stocks and the fanciful swirls around the title.

Another very popular category of type is Blackletter or Fraktur, you can see how these letters do indeed look fractured or broken, because each letter is made up of individual strokes. In this category there are also hundreds of wonderful choices. My favorite is called Fette Fractur, it is just so juicy. These spiky letters are often erroneously called Old English. In this example you can see white typefaces are called Blackletter they tend to be heavy in appearance, they have very small spaces within the letters, there is very little space between letters, and very tight spacing between lines.

So their overall color on the page is heavy or black. Here's a modern take on Blackletter. Beyond the world of Blackletter and Scripts there are huge numbers of decorative and ornamental typefaces that were invented to respond to the needs of advertising, brand identity, and promotion. Some of these over-the-top and outrageous styles justify classification. Display Typography is as volatile as the fickle winds of fashion.

There are unexpected reinterpretations or revivals of previously dated styles and all kinds of eccentric experiments. Some of these become new classics and others fade away. Browsing through the endless type choices available it might seem overwhelming, but the more you really look at type with a critical and informed eye, the more educated your eye becomes, and you will develop a deeper awareness of what to look for. This will help you find a display typeface to match your specific needs.

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