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Font type research
- 2. To choose the appropriate font types for my masthead design.
- 3. What is a masthead? What is a cover line? What is a font type?
- 4. Font types 1
- 5. Font types • There are two main categories of font types: •Serif •Sans serif
- 6. Serif Easy to read. Looks traditional. Widely used in long texts as books, articles in newspapers/magazines, etc. Times New Roman
- 7. Sans serif Strong, bold and clear. Modern looking. Often used for titles and headings. Widely used on web design. Century Gothic
- 9. Italic Used to highlight or emphasise a text. Associated to quoting, speeches and dialogs. Verdana Italic Times New Roman
- 10. Bold Thick. Used to highlight part of a text. Widely used on headings. Helvetica Times New Roman
- 11. Gill Sans Ultrabold Other possible variations of the Gill Sans font family. Gill Sans Condensed
- 12. Other possible variations of the Futura font family.
- 14. Looking at the three different mastheads of the three different magazines you have been researching in the previous task: Identify whether they have been designed with a serif font type or with a sans serif font type. Write your answer in the masthead’s text box in your proposal PowerPoint presentation. Explain briefly why do you think that the designer chose that specific font type for that specific purpose.What are the connotations on those font types in the context of that magazine’s genre?
- 15. 1. On your computer, open your coursework proposal PowerPoint presentation. 2. Choose at least three font types that you think are suitable for the design of your magazine's masthead. 3. Type the name of your magazine using each of the three font types chosen both in capitals and lower case. 4. Below, in a smaller size, type the name of the font type (with that chosen font type) 5. Do this with the three font types that you have chosen for your masthead. 6. Save in your Teams student folder.
- 16. BISH, BASH, BOSH 321 Impact BISH BASH BOSH 28 days later BISH, BASH, BOSH Top secret
Editor's Notes
- Times New Roman (1931/32) is a serif typeface commissioned by the British newspaper The Times in 1931, created by Paxson E. Helgesen at the English branch of Monotype. It was commissioned after Stanley Morison had written an article criticizing The Times for being badly printed and typographically antiquated.[1] The font was supervised by Morison and drawn by Victor Lardent, an artist from the advertising department of The Times. Morison used an older font named Plantin as the basis for his design, but made revisions for legibility and economy of space. As the old type used by the newspaper had been called Times Old Roman, Morison's revision became Times New Roman and made its debut in the 3 October 1932 issue of The Times newspaper. After one year, the design was released for commercial sale. The Times stayed with Times New Roman for 40 years, but new production techniques and the format change from broadsheet to tabloid in 2004 have caused the newspaper to switch font five times since 1972. However, all the new fonts have been variants of the original New Roman font. Because of its ubiquity, the typeface has been influential in the subsequent development of a number of serif typefaces both before and after the start of the digital-font era. One notable example is Georgia.
- Century Gothic (1991) is a geometric sans-serif typeface designed for Monotype Imaging in 1991. Century Gothic takes inspiration from Sol Hess's Twentieth Century, which was drawn between 1937 and 1947 for the Lanston Monotype Company as a version of the successful Futura typeface, but with a larger x-height and more even stroke width. The Century Gothic face is distinct for its single-story lowercase a and g. Century Gothic is more closely related to Avant Garde Gothic, designed by Herb Lubalin, and released by the International Typeface Corporation (ITC) in 1970. Century Gothic is similar to ITC Avant Garde in its pure geometry, and does not possess the subtle variation in stroke width found in either Futura or Twentieth Century. However, it differs from ITC Avant Garde in that Century Gothic does not have a descender on lowercase u (making it appear like a Greek upsilon υ), whereas Avant Garde does. Century Gothic also has larger, rounder tittles on letters such as i and j, whereas Avant Garde keeps the tittles square and the same width as the letter strokes. According to the University of Wisconsin-Green Bay, Century Gothic uses much less ink, saving money on printer ink. They reportedly switched their default e-mail and printing font from Arial to Century Gothic because it uses about 30% less ink.[1] However, the font is also widely reported to use more paper (since its letters are wider), meaning that the savings on ink are offset by an increase in paper costs. [2] 1. Wis. college says new e-mail font will save money, Associated Press, March 25th, 2010. 2. Century Gothic a font of wisdom, Dinesh Ramde, Associated Press, Twincities.com, 2010-04-06.
- Verdana (1996) is a humanist sans-serif typeface designed by Matthew Carter for Microsoft Corporation, released in 1996,with hand-hinting done by Thomas Rickner, then at Monotype. Demand for such a typeface was recognized by Virginia Howlett of Microsoft's typography group. The name "Verdana" is based on a portmanteau of verdant (something green), and Ana (the name of Howlett's eldest daughter). Bearing similarities to humanist sans-serif typefaces such as Frutiger, Verdana was designed to be readable at small sizes on a computer screen. The lack of serifs, large x-height, wide proportions, loose letter-spacing, large counters, and emphasized distinctions between similarly-shaped characters are chosen to increase legibility. As an example of the attention given to making similar characters easily distinguishable, the digit 1 (one) in Verdana was given a horizontal base and a hook in the upper left to distinguish it from lowercase l (L) and uppercase I (i). This is similar to the digit 1 found in Morris Fuller Benton's typefaces News Gothic and Franklin Gothic which are sans-serif like Verdana. Verdana was bundled with subsequent versions of the Windows operating system, as well as their Office and Internet Explorer software on both Windows and Mac OS. 1.- "Interview with Virginia Howlett, mother of Verdana"
- Arial (1982), sometimes marketed as Arial MT, is a sans-serif typeface and computer font packaged with Microsoft Windows, other Microsoft software applications, Apple Mac OS X[2] and many PostScript computer printers.[citation needed] The typeface was designed in 1982 by Robin Nicholas and Patricia Saunders for Monotype Typography. Monotype is the current owner of the copyrights for the Arial font software programs.[3] Arial is also a typeface family comprising standard Arial (Arial Std) and variants, including Arial Black, Bold, Extra Bold, Condensed, Italic, Light, Medium, Monospaced, Narrow, and Rounded. Though nearly identical to Linotype Helvetica in both proportion and weight (see figure), the design of Arial is in fact a variation of Monotype Grotesque,[5] and was designed for IBM's laserxerographic printer.[4] Subtle changes and variations were made to both the letterforms and the spacing between characters, in order to make it more readable on screen and at various resolutions.
- Gill Sans (1926) is a sans-serif typeface designed by Eric Gill. The original design appeared in 1926 when Douglas Cleverdon opened a bookshop in his home town of Bristol, where Eric Gill painted the fascia over the window in sans-serif capitals that would later be known as Gill Sans.
- Futura (1927) has an appearance of efficiency and forwardness. The typeface is derived from simple geometric forms (near-perfect circles, triangles and squares) and is based on strokes of near-even weight, which are low in contrast.
- Futura (1927) is a geometric sans-serif typeface designed in 1927 by Paul Renner. It is based on geometric shapes that became representative visual elements of the Bauhaus design style of 1919–1933. Commissioned by the Bauer type foundry, Futura was commercially released in 1927. The family was originally published in Light, Medium, Bold, and Bold Oblique fonts in 1928. Light Oblique, Medium Oblique, Demibold, and Demibold Oblique fonts were later released in 1930. Book font was released in 1932. Book Oblique font was released in 1939. Extra Bold font was designed by Edwin W. Shaar in 1952. Extra Bold Italic font was designed in 1955 by Edwin W. Shaar and Tommy Thompson.