lectures on typefaces
TRANSCRIPT
Lectures on
Alexei Kapterev
Moscow State University Higher School of Business Administration
a
TYPEFACES
I could not imagine a situation in which Apple would ever
be bigger and more profitable than Microsoft.
m
WILLIAM GATES III
Microsoft, founder and then CEO
But in the end, Microsoft didn’t create products of
ethereal beauty. Steve believed you had to control
every brush stroke from beginning to end …
because he had a passion for perfection.
m
WALTER ISAACSON
Steve Jobs’ biographer
Stanford, 2005
I learned about serif and sans serif typefaces, about
varying the amount of space between different letter
combinations, about what makes great typography
great. It was beautiful, historical, artistically subtle in a
way that science can't capture, and I found it fascinating.
m
STEVEN PAUL JOBS
Apple, Inc. founder and then CEO
serif and sans serif
E SERIFS
EESERIF SANS-SERIF
I learned about serif and sans serif typefaces, about
varying the amount of space between different letter
combinations, about what makes great typography
great. It was beautiful, historical, artistically subtle in a
way that science can't capture, and I found it fascinating.
m
STEVEN PAUL JOBS
Apple, Inc. founder and then CEO
typefaces
Fedra Sans Normal Italic
Fedra Sans Light
Fedra Sans Bold
TYPE FAMILY Семейство шрифтов
TYPEFACE ГарнитураFedra Serif
FEDRA
Fedra Sans
FONT Шрифт
I. Serifs
II. Contrast
III. Antiqua
IV. Grotesque
I WILL TRY NOT TO BOTHER YOU WITH TERMINOLOGY
ź
I learned about serif and sans serif typefaces, about
varying the amount of space between different letter
combinations, about what makes great typography
great. It was beautiful, historical, artistically subtle in a
way that science can't capture, and I found it fascinating.
m
STEVEN PAUL JOBS
Apple, Inc. founder and then CEO
beautiful, historical, artistically subtle
a aHelvetica Myriad Pro
I learned about serif and sans serif typefaces, about
varying the amount of space between different letter
combinations, about what makes great typography
great. It was beautiful, historical, artistically subtle in a
way that science can't capture, and I found it fascinating.
m
STEVEN PAUL JOBS
Apple, Inc. founder and then CEO
about what makes great typography
great.
Robert Paladino’s calligraphy
Mac OSX + Firefox
Windows XP + Firefox
WHO THE HELL
CARES?It’s just a font
◆
◆
ß
Imagine you have to stay at one of these hotels…
BELVEDEREHotel
BELVEDEREHOTEL
hotel
Belvedere
BELVEDEREHotel
BELVEDEREHotel
BELVEDEREHOTEL
hotel
Belvedere
BELVEDEREHotel4.
1.
2.
3.
MOST OF YOU VOTED FOR №4!
◆
◆
Just what I’ve expected!
ß
CENSORED
MAMMOTHMammoth
http://onlinelibrary.wiley.com/doi/10.1111/j.2044-8295.1989.tb02317.x/abstract
HEAVYElegant
http://onlinelibrary.wiley.com/doi/10.1111/j.2044-8295.1989.tb02317.x/abstract
ELEGANTHeavy
http://onlinelibrary.wiley.com/doi/10.1111/j.2044-8295.1989.tb02317.x/abstract
Temptation
TEMPTATION
http://www.sciencedirect.com/science/article/pii/S0148296302004873
TRACTOR
Tractor
Source: Phil Renaud, 2006 http://goo.gl/GOZYe
Georgia 23
Trebuchet 18
Times 11
5–
5 4–
This is the case with car dealers also. And I recently had an experience at Fiat of Manhattan that was nothing short of mind-blowingly bad.
This is the case with car dealers also. And I recently had an experience at Fiat of Manhattan that was nothing short of mind-blowingly bad.
RECALL
http://hbr.org/2012/03/hard-to-read-fonts-promote-better-recall/
+14%
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consetetur sadipsing elitrsed. Loremimpus dolor sit met...
Lorem impu dolor sit amet, consetetur more. Lorem impus dolor sit amet,
consetetur sadipsing elitrsed. Loremimpus dolor sit met...
MOTIVATION
http://dornsife.usc.edu/assets/sites/780/docs/08_ps_song___schwarz_effort.pdf
15.1 min.
8.2 min.
Times
Arialhttp://www.ncbi.nlm.nih.gov/pubmed/18459353
HUMOUR
+10%!
Source: Benjamin Berman, David Dunning
http://goo.gl/cMd3H
Is it true that “we live in an era of unprecedented safety”?
( ) Yes: The claim is true
( ) No: The claim is false
How confident are you in your conclusion?
( ) Slightly confident
( ) Moderately confiden
( ) Very confident
The page from June 9-10, 1855, is notable because the handwriting changes suddenly, halfway down the page. On first inspection it appears to be written by two different people or perhaps someone with multiple personality disorder. The writing on the top half of the page is elegant but unreadable, the writing on the bottom half, awkward but entirely legible. The reason for the abrupt change becomes clear only through reading the journal.
The page from June 9-10, 1855, is notable because the handwriting changes suddenly, halfway down the page. On first inspection it appears to be written by two different people or perhaps someone with multiple personality disorder. The writing on the top half of the page is elegant but unreadable, the writing on the bottom half, awkward but entirely legible. The reason for the abrupt change becomes clear only through reading the journal.
The page from June 9-10, 1855, is notable because the handwriting changes suddenly, halfway down the page. On first inspection it appears to be written by two different people or perhaps someone with multiple personality disorder. The writing on the top half of the page is elegant but unreadable, the writing on the bottom half, awkward but entirely legible. The reason for the abrupt change becomes clear only through reading the journal. 2%The page from June 9-10, 1855, is notable because the handwriting changes suddenly, halfway down the page. On first inspection it appears to be written by two different people or perhaps someone with multiple personality disorder. The writing on the top half of the page is elegant but unreadable, the writing on the bottom half, awkward but entirely legible. The reason for the abrupt change becomes clear only through reading the journal.
+
2%DIFFERENCE
Even though most people can’t tell Baskerville from Georgia!
◆
TYPEFACES WORK BELOW
THE CONSCIOUS LEVEL TOO
◆
◆
If you can’t tell the difference doesn't mean it won’t affect you
ß
But…WHY?
m
TYPOGRAPHYžcreates an emotional connection
TYPOGRAPHY CREATES
AN EMOTIONAL CONNECTION
Typography creates an emotional connection
CONTROL IT?
Ok, but can we
ß
YES◆ ◆
ß
COFFEE 30 р.
Coffee 300 ₽
SEE
FEEL➳
It’s a question ofRESOLUTION
ß
ß
It’s a question ofRESOLUTION
adidasadidas
adidas
adidas
adidas
adidas
adidasadidas
I love you
I love you
Arial
Helvetica
You can’t create good
typography with Arial.
MATHEW BUTTERICK
Typography for Lawyers
m
y
y
I love you
I love youArial
Helvetica
yy 97°90°
ArialHelvetica
Lufthansa
Lufthansa
JeepJeep
GAGARINArial
Helvetica
GAGARIN
To improve your resolution
GOAL:
Jenson Cloister
Renaissance Baroque
Old Style ModernTransitional
Slab SerifAntiqua
Serif Sans Serif
Print Handwriting
TYPEFACE
<
✖
◆ ◆
THERE IS NO UNIVERSAL
TYPE CLASSIFICATION
m
m
TextText
PRAGMATIC
Display
MEMORABLE
Display
Main body test Headlines
Logos
Слышишь
Слышишь
Beautiful
Readable
Readable BeautifulMight happen
+12%
READABILITY✤ There is no single “most readable typeface”, sorry
✤ Measure readability whenever you can
✤ Serifs are for paper, sans-serifs for the screen
✤ Good readability: Humanist sans-serif, Transitional serif
✤ Bad readability: Geometric sans-serif, Modern serif
Serif
Sans-Serif
Respectable, stable and classy
Modern, hip and edgy
Readable
Humanist
GEOMETRIC
Warm, friendly and emotional — but sloppy
Calculated and rational — but formal and cold
Pragmatic and dependable — but boring and easily forgettable
1. One for a logo — interesting & memorable
2. One for the main text — readable
3. Don’t use: Calibri, Times, Arial, Papyrus, Segoe Script/Print, Monotype Corsiva & Comic Sans
TASK #3: PICK TWO TYPEFACES
Visual communications
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Duis aute irure dolor in reprehenderit in voluptate velit esse cillum dolore eu fugiat nulla pariatur. Excepteur sint occaecat cupidatat non proident, sunt in culpa qui officia deserunt mollit anim id est laborum.
LOREM IPSUM
Moscow, 19.08.2015
Jannon<
Optima<
KAPTEREV
QUESTIONS?
m
SerifsAntiqua1
Where do theSERIFS
ß
come from?
Phoenician writing, 16 century B.C.E.
Roman reed quill
Rustica
SENATVS POPULVS
QUE ROMANVS
SERIFS CREATE NICE
LINES FOR THE EYE
Good for paper and stone
Trajan’s column, 1 century C.E.
What about theLOWER CASE?
ß
Cc Vv
Ff Qq
Nn Ии
Rr Яя
Aa Gg
a
A a
AGES!◆ ◆
m
Roman stone inscription, 1 century C.E. - no spaces - capitals only
Italian handwriting circa 1420 - spaces - no capitals
German gothic script circa 1430
1439
Johannes Guttenberg, 1439
Sweynheym & Pannartz, 1465
Carolingian handwriting, 9th century C.E.
oppelgängerDRoman capitals Carolingian lowercase
oppelgänger
oppelgängerDLuminari
Adobe Jenson
D
Doppelgängeroppelgänger
Nicholas Jenson, ~1470
Jenson’s book, 15th century C.E.
Jenson’s rotunda, 15th century C.E.
luntur imagines:& alia.
Adobe Jenson
Nicholas Jenson, ~1470
luntur imagines:& alia.
Adobe Jenson
Nicholas Jenson, ~1470
luntur imagines: & alia.Centaur
(кириллица есть в Venetian 301)
Nicholas Jenson, ~1470
luntur imagines: & alia.
Centaur (кириллица есть в Venetian 301)
Nicholas Jenson, ~1470
Where do the ITALICS
come from? ß
Italian handwriting circa 1420
Francesco Griffo, ~1501
GUCCIGUCCI
Old style
Transitional
Modern
WIKIPEDIA
WIKIPEDIA
WIKIPEDIA
The Free Encyclopedia
The Free Encyclopedia
The Free Encyclopedia
WIKIPEDIAThe Free Encyclopedia
Google➻
AaHumanist
AaHumanist
Fra Luca Pacioli
Leonardo da Vinci
Albrecht Durer
a aRenaissance Baroque
➻
a a➻Humanist Transitional
John Baskerville, †1775
b bOld style Transitional
➻
s s➻Old style Transitional
e e eOld style,
JensonTransitional, Baskerville
➻
Carolingian handwriting
➻
Baskerville
Centaur
Doppelgänger
Doppelgänger
Baskerville
Centaur
The first Roman type designed by Claude Garamond was used in an edition of the Erasmus book Paraphrasis in Elegantiarum Libros Laurentii Vallae published in 1530. The Roman design was based on an Aldus Manutius type, De Aetna, cut in 1455 by Francesco Griffo. After Claude Garamond died in 1561, most of his punches and matrices were acquired by Christophe Plantin from Antwerp, the Le Be type foundry and the Frankfurt foundry Egenolff-Berner.[4] The only complete set of the original Garamond dies and matrices is at the Plantin-Moretus Museum, in Antwerp, Belgium. The term Garamond is today mostly applied to Garamond's designs for the Latin alphabet. Garamond designed type for the Greek alphabet, but these, the glamorous and fluid Grecs du roi, are very different to his Latin designs: they mimic the elegant handwriting of scribes and contain a vast variety of ligatures and alternate glyphs to achieve this. As these are quite impractical for modern printing, several 'Garamond' releases such as Adobe's contain Greek designs that are either a compromise between Garamond's upright Latin designs and his slanted Greek ones or primarily inspired by his Latin designs.
The first Roman type designed by Claude Garamond was used in an edition of the Erasmus book Paraphrasis in Elegantiarum Libros Laurentii Vallae published in 1530. The Roman design was based on an Aldus Manutius type, De Aetna, cut in 1455 by Francesco Griffo. After Claude Garamond died in 1561, most of his punches and matrices were acquired by Christophe Plantin from Antwerp, the Le Be type foundry and the Frankfurt foundry Egenolff-Berner.[4] The only complete set of the original Garamond dies and matrices is at the Plantin-Moretus Museum, in Antwerp, Belgium. The term Garamond is today mostly applied to Garamond's designs for the Latin alphabet. Garamond designed type for the Greek alphabet, but these, the glamorous and fluid Grecs du roi, are very different to his Latin designs: they mimic the elegant handwriting of scribes and contain a vast variety of ligatures and alternate glyphs to achieve this. As these are quite impractical for modern printing, several 'Garamond' releases such as Adobe's contain Greek designs that are either a compromise between Garamond's upright Latin designs and his slanted Greek ones or primarily inspired by his Latin designs.
Doppelgänger 13Century Schoolbook
Doppelgänger 13Times
Doppelgänger 13Georgia
ALBRECH DURER is dead but his ideas live
KK KOld style Transitional
➻ ➻
Modern
B O D O N I
Giambattista Bodoni
Giambattista Bodoni was born on 16 February 1740 at Saluzzo in Savoy (now the Piedmont region of Italy). He came from a printmaking background, his father and grandfather both being in that trade.[3] He worked for a time in Rome as an apprentice in the Roman Catholic Church's Propaganda Fide printing house. There, it was said, he impressed his superiors so much with his eagerness to learn, studiousness in mastery of ancient languages and types, and energy of effort, that he was allowed to place his own name on his first books, a Coptic Missal and a version of the Tibetan alphabet.[3]
Kiambattista Bodoni was born on 16 February 1740 at Saluzzo in Savoy (now the Piedmont region of Italy). He came from a printmaking background, his father and grandfather both being in that trade.[3] He worked for a time in Rome as an apprentice in the Roman Catholic Church's Propaganda Fide printing house. There, it was said, he impressed his superiors so much with his eagerness to learn, studiousness in mastery of ancient
Giambattista Bodoni was born on 16 February 1740 at Saluzzo in Savoy (now the Piedmont region of Italy). He came from a printmaking background, his father and grandfather both being in that trade.[3] He worked for a time in Rome as an apprentice in the Roman Catholic Church's Propaganda Fide printing house. There, it was said, he impressed his superiors so much with his eagerness to learn, studiousness in mastery of ancient languages and types, and energy of effort, that he was
Parma
1740-1811
Kønigin der Schriften
Giambattista Bodoni
K20 21
Giambattista Bodoni, †1813
aaBaskerville Regular Bodoni 72 Bold
CONTRASTDifference between the thickest and the thinnest part
aaHuge Small
Bodoni 72
Doppelgänger
Baskerville
Doppelgänger
Baskerville
The first Roman type designed by Claude Garamond was used in an edition of the Erasmus book Paraphrasis in Elegantiarum Libros Laurentii Vallae published in 1530. The Roman design was based on an Aldus Manutius type, De Aetna, cut in 1455 by Francesco Griffo. After Claude Garamond died in 1561, most of his punches and matrices were acquired by Christophe Plantin from Antwerp, the Le Be type foundry and the Frankfurt foundry Egenolff-Berner.[4] The only complete set of the original Garamond dies and matrices is at the Plantin-Moretus Museum, in Antwerp, Belgium. The term Garamond is today mostly applied to Garamond's designs for the Latin alphabet. Garamond designed type for the Greek alphabet, but these, the glamorous and fluid Grecs du roi, are very different to his Latin designs: they mimic the elegant handwriting of scribes and contain a vast variety of ligatures and alternate glyphs to achieve this. As these are quite impractical for modern printing, several 'Garamond' releases such as Adobe's contain Greek designs that are either a compromise between Garamond's upright Latin designs and his slanted Greek ones or primarily inspired by his Latin designs.
Bodoni 72
The first Roman type designed by Claude Garamond was used in an edition of the Erasmus book Paraphrasis in Elegantiarum Libros Laurentii Vallae published in 1530. The Roman design was based on an Aldus Manutius type, De Aetna, cut in 1455 by Francesco Griffo. After Claude Garamond died in 1561, most of his punches and matrices were acquired by Christophe Plantin from Antwerp, the Le Be type foundry and the Frankfurt foundry Egenolff-Berner.[4] The only complete set of the original Garamond dies and matrices is at the Plantin-Moretus Museum, in Antwerp, Belgium. The term Garamond is today mostly applied to Garamond's designs for the Latin alphabet. Garamond designed type for the Greek alphabet, but these, the glamorous and fluid Grecs du roi, are very different to his Latin designs: they mimic the elegant handwriting of scribes and contain a vast variety of ligatures and alternate glyphs to achieve this. As these are quite impractical for modern printing, several 'Garamond' releases such as Adobe's contain Greek designs that are either a compromise between Garamond's upright Latin designs and his slanted Greek ones or primarily inspired by his Latin designs.
EMPORIO ARMANI
EMPORIO ARMANI
EMPORIO ARMANI
EMPORIO ARMANI
BELVEDEREHotel
BELVEDEREHOTEL
hotel
Belvedere
BELVEDEREHotel4.
1.
2.
3.
aOld style
aTransitional
➻ ➻aModern
Humanist
Modern
Transitional
APC Garamond
Times New
Didot
аaBASKERVILLE
Transitional
aDIDOT
Modern
JENSON
Old style
aCONSTANTIA
Triangular serifs
а aaBASKERVILLE
Transitional
DIDOT
Modern
JENSON
Old style
bCONSTANTIA
Triangular serifs
bbbBASKERVILLE
Transitional
DIDOT
Modern
JENSON
Old style
gCONSTANTIA
Triangular serifs
g ggBASKERVILLE
Transitional
DIDOT
Modern
JENSON
Old style
zConstantia
zzAdobe Jenson Bodoni 72
zzAdobe Jenson Bodoni 72
zConstantia
Doppelgänger 13Fedra Serif A
Doppelgänger13Constantia
Doppelgänger 13Сentro Serif
Sans-serifsGrotesque2
William Caslon IV
aaDidot News Gothic
gDidot
gFranklin Gothic
➻
Grotesque
Gothic
Гротескный
Варварский
Yeah, that blows my mind too
PORT OF GOTHAMGOTHAM CITY
TECHNOLOGY
TECHNOLOGYАнтиква
Гротеск
TOYOTA
TOYOTA
TOYOTAOld and neo-grotesque
Geometric sans-serifs
Humanist sans-serifs
TOYOTA
Doppelgänger 13
Doppelgänger 13News Gothic
Franklin Gothic
ALBRECHT DURER is dead but his ideas live
gBaskerville
gFranklin Gothic
➻ gFF Din
➻
qBaskerville
qFranklin Gothic
➻ qFF Din
➻
aBaskerville
aFranklin Gothic
➻ aFF Din
➻
FF DIN Bold
Doppelgänger 13Franklin Gothic Medium
Doppelgänger 13
Doppelgänger 13Futura Medium
FF DIN Bold
Doppelgänger 13
aFranklin Gothic
aFF Din
➻ aFutura
➻
OldBank GothicRodchenko
OLDFutura
Doppelgänger 13
Doppelgänger 13Phosphate
Century Gothic Regular
Doppelgänger 13Avenir Medium
TOSHIBA
Eurostyle
Arial
Neo-grotesqueHelvetica
GrotesqueFranklin Gothic
a aFranklin Gothic Futura
➻ аHelvetica
➻
GROTESQUE GEOMETRIC NEO-GROTESQUE
Doppelgänger 13
Doppelgänger 13Helvetica Medium
Futura Medium
Akzidenz-Grotesk
аAkzidenz-Grotesk Helvetica
а
а
coke
Humanist Sans-SerifMeta Black
Eric Gill
bFutura
b bFranklin G.Jenson
bGill Sans
eFutura
e eFranklin G.Jenson
eGill Sans
90˚
45˚15˚
90˚
Erik Spiekermann
р рMeta MediumHelvetica Medium
k kMeta MediumHelvetica Medium
Doppelgänger 13
Doppelgänger 13Meta Medium 96
Helvetica Neue Medium 96
Myriad Semibold
a
aFRANKLIN G.
Grotesque
aHELVETICA
Neo-grotesque
aMETA
Humanist
aFUTURA
Geometric
aFF DIN
Realist
aPRAGMATIC
Гротески и нео-гротески
aHUMANIST
Гуманистические
aGEOMETRIC
Геометрические
iPhone
iPhone
Avenir Next
Myriad
P PGEOMETRIC
Avenir NextHUMANIST
Myriad
R RGEOMETRIC
Avenir NextHUMANIST
Myriad
R RNEO-GROTESQUE
ArialHUMANIST
Myriad
NEO-GROTESQUE
Arial
RR RGEOMETRIC
AvenirHUMANIST
Myriad
cc cNEO-GROTESQUE
ArialGEOMETRIC
AvenirHUMANIST
Myriad
1. Very open “e” and “c”
2. Narrower than neo-grotesque while maintaining the same height
e c
3. “Unnecessary” irregularities
e c
Fargo
tt 4. Much more contrast
Fargo
Humanist or not?
The rest of them3 A few more things
O OTIMES
SerifARIAL Sans-serif
OROCKWELL
Serif
OOPTIMA Sans-serif
KHigh contrast Low contrast
К
КKHigh contrast Low contrast
Antique
Grotesque
Serifs
Sans-serifs
High Contrast Low contrast
Aa
Aa
Antique Slab Serif
Semi Sans Grotesque
Aa Aa
Aa Aa
Serifs
Sans-serifs
High Contrast Low contrast
Slab SerifБрусковый
Antique Slab Serif
Aa AaSlab
ASans serifSlab serifFranklin Gothic ⇢ Rockwell
Slab
My god,WHY?!
(
ADVERTISING◆ ◆
(
INY
American Typewriter Bold
Marcellus WallaceRockwell Bold
Marcellus WallaceAmerican Typewriter Regular
Marcellus WallaceClarendon
Marcellus WallaceOfficina Serif
Clarendon
a aOfficina SerifAmerican
Typewriter
aMemphis
KSerif
Palatino ⇢ Optima
Sans serif
KKPalatino Optima
Semi Sans
Ленточный
Stressed Sans
ASTON MARTIN
ASTON MARTIN
ASTON MARTIN
ASTON MARTIN
VERSACEVERSACE
Serif Slab Serif
Semi Sans Sans Serif
Aa Aa
Aa Aa
Serifs
Sans-serifs
High Contrast Low contrast
IN-BETWEEN
Baskerville
AgAgHUMANIST
Adobe Jenon
GEOMETRIC
Didot
Ag
IN-BETWEEN
Helvetica
AgAgHUMANIST
Meta
GEOMETRIC
Futura
Ag
IN-BETWEEN
Clarendon
AgAgHUMANIST
Officina Serif
GEOMETRIC
Rockwell
Ag
IN-BETWEEN
Orya
AgHUMANIST
OptimaGEOMETRIC
Peignot
Ag
Did I improve yourRESOLUTION?
ß
RESOLUTION?ß
Did I improve your
Design is a major priority
because I know it’s what will set my business apart.
BOO-KEUN YOON CEO, Samsung Consumer Electronics Division
m
ALEXEI KAPTEREV
www.kapterev.com
+7 495 764 1898
NOVisual communications
m