Graphics Reference
In-Depth Information
Oldstyle
Characterized by organic contrast of weight in the strokes—from brush or pen drawing;
an angled, or oblique, axis in the curved forms; and a notably small x-height defining the lowercase
letters. The terminals are pear-shaped and the apertures in the lowercase letters are small.
Transitional
These types show an evolution in structure. Stroke contrast is greatly increased and
more rationally applied—its rhythm is greatly pronounced. The x-height of the lowercase is larger;
the axis is more upright; and the serifs are sharper and more defined, their brackets curving quickly
into the stems.
Modern
Stroke contrast is extreme—the thin strokes are reduced to hairlines, and the thick strokes
made bolder. The axis of the curved forms is completely upright, and the brackets connecting the
serifs to the stems have been removed, creating a stark and elegant juncture. The serifs in a number
of the lowercase characters have become completely rounded, reflecting the logic of contrast and
circularity.
Sans Serif
These typefaces are an outgrowth of “display types” of the nineteenth century, designed
to be bold and stripped of nonessential details. They are defined by a lack of serifs; the terminals
end sharply without adornment. Their stroke weight is uniform, and their axis is completely upright.
Sans-serif types set tighter in text and are legible at small sizes; during the past fifty years, they have
become acceptable for extended reading.
Slab Serif
Another outgrowth of display types, slab serif faces hybridize the bold presentation of a
sans-serif and the horizontal stress of a serif face, characterized by an overall consistency in stroke
weight. The serifs are the same weight as the stems, hence “slabs;” the body of the slab serif is often
wider than what is considered normal.
Graphic
These typefaces are the experimental, decorative, children of the display types. Their visu-
al qualities are expressive but not conducive to reading in a long text. This category includes speci-
mens such as script faces, fancy and complex faces inspired by handwriting, and idiosyncratic faces
that are illustrative or conceptual.
Structure and Optics
Issues Related to Style
Mechanics of Text
Texture and Space
Type as Information
How Color Changes Type
