52
form/counterform designed by: Lindi Biery

form/counterform

Embed Size (px)

DESCRIPTION

form/counterfrom type book

Citation preview

Page 1: form/counterform

form/counterformdesigned by: Lindi Biery

Page 2: form/counterform
Page 3: form/counterform
Page 4: form/counterform

BaskervilleDesigned by John Baskerville (1706-1775) in 1757.

A transitional serif typeface positioned between the old style typefaces of William Caslon and the Modern styles of

Giambattista Bodoni. An improvement on Caslon’s types, Baskerville increased the contrast between the thick and thin

strokes, sharpened the serifs and made them more tapered as well shifting the axis of rotation of rounded letters to a more

vertical position.

Page 5: form/counterform

m

Page 6: form/counterform

g

Page 7: form/counterform

w

Page 8: form/counterform

E

Page 9: form/counterform

AE

Page 10: form/counterform

k

Page 11: form/counterform
Page 12: form/counterform

DidotDidot, the name given to a group of typefaces created by a famous French printing

and type producing family. The letters of Didot were cut and cast by Firmin Didot (1764-1836) and used in printing by his brother, Pierre Didot (1760-1853). A modern typeface, Didot was inspired by Baskerville, taking a more dramatic approach at increasing stroke

contrast and a more condensed armature.

Page 13: form/counterform

g

Page 14: form/counterform

F

Page 15: form/counterform

y

Page 16: form/counterform

R

Page 17: form/counterform

s

Page 18: form/counterform

c

Page 19: form/counterform
Page 20: form/counterform

FuturaDesigned by Paul Renner in 1927, Futura is a geometric sans-serif typeface.

Inspired by the Bauhaus movement (1919-1933), Futura is based on the geometric shapes that represented the movement. Futura’s appearance is one

of efficiency and forwardness based on its simple geometric forms and low contrast strokes of near equal weight.

Page 21: form/counterform

G

Page 22: form/counterform

m

Page 23: form/counterform

k

Page 24: form/counterform

R

Page 25: form/counterform

B

Page 26: form/counterform

s

Page 27: form/counterform
Page 28: form/counterform

GaramondGaramond is a name given to a group of old-style, serif typefaces named for the

punch-cutter Claude Garamond (1480-1561) although they are more closely related to his successor Jean Jannon. The letterforms convey a sense of fluidity and consis-

tency. Unique charateristics include the small bowel of the lower case a and the small eye of the lower case e. The long extenders and top serifs are sloped downwards.

Page 29: form/counterform

G

Page 30: form/counterform

M

Page 31: form/counterform

eM

Page 32: form/counterform

j

Page 33: form/counterform

Y

Page 34: form/counterform

r

Page 35: form/counterform
Page 36: form/counterform

Gill SansDesigned by Eric Gill in the 1920’s, Gill Sans is a sans-serif typeface. Gill Sans was

designed with the intent to be the ultimate legible sans-serif typeface and to function equally as well as a text face and for display. The uppercase letters of the typeface

are mofelled after the momumental Roman capitals like those found in the Baskerville typeface.

Page 37: form/counterform

g

Page 38: form/counterform

p

Page 39: form/counterform

Z

Page 40: form/counterform

a

Page 41: form/counterform

o

Page 42: form/counterform

f

Page 43: form/counterform
Page 44: form/counterform

RockwellRockwell, a serif typeface, belongs to the classification of slab serif. Designed at

the Monotype foundry’s in-house design studio in 1934, the project was supervised by Frank Himan Pierpont. The serifs are unbracketed and similar in weight to the horizontal strokes of the letters. Rockwell is a geometric typeface, it’s upper and

lowercase O more of a sircle than an elipse.

Page 45: form/counterform

V

Page 46: form/counterform

d

Page 47: form/counterform

k

Page 48: form/counterform

z

Page 49: form/counterform

u

Page 50: form/counterform

Q

Page 51: form/counterform
Page 52: form/counterform