Lectures on typefaces

1. Lectures on Alexei Kapterev Moscow State University Higher School of Business Administration a TYPEFACES

2. 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

3. 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

4. Stanford, 2005

5. 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

6. E SERIFS

7. EESERIF SANS-SERIF

8. 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

9. Fedra Sans   Normal Italic Fedra Sans   Light Fedra Sans   Bold TYPE FAMILY Семейство шрифтов TYPEFACE ГарнитураFedra Serif FEDRA Fedra Sans FONT Шрифт

10. I. Serifs II. Contrast III. Antiqua IV. Grotesque I WILL TRY NOT TO BOTHER YOU   WITH TERMINOLOGY ź

11. 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

12. a aHelvetica Myriad Pro

13. 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.

14. Robert Paladino’s calligraphy

15. Mac OSX + Firefox Windows XP + Firefox

16. WHO   THE HELL   CARES? It’s just a font ◆ ◆ ß

17. Imagine you have to stay at one of these hotels…

18. BELVEDERE Hotel

19. BELVEDERE HOTEL

20. hotel Belvedere

21. BELVEDERE Hotel

22. BELVEDERE Hotel BELVEDERE HOTEL hotel Belvedere BELVEDERE Hotel 4. 1. 2. 3.

23. MOST OF YOU   VOTED FOR №4! ◆ ◆ Just what I’ve expected! ß CENSORED

24. MAMMOTH Mammoth http://onlinelibrary.wiley.com/doi/10.1111/j.2044-8295.1989.tb02317.x/abstract

25. HEAVY Elegant http://onlinelibrary.wiley.com/doi/10.1111/j.2044-8295.1989.tb02317.x/abstract

26. ELEGANT Heavy http://onlinelibrary.wiley.com/doi/10.1111/j.2044-8295.1989.tb02317.x/abstract

27. Temptation TEMPTATION http://www.sciencedirect.com/science/article/pii/S0148296302004873

28. TRACTOR Tractor

29. Source: Phil Renaud, 2006 http://goo.gl/GOZYe Georgia 23 Trebuchet 18 Times 11 5– 5 4–

30. 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%

31. Lorem impu dolor sit amet, consetetur more. Lorem impus dolor sit amet, 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.

32. Times Arial http://www.ncbi.nlm.nih.gov/pubmed/18459353 HUMOUR +10%!

33. 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

34. ~5% Source: Benjamin Berman,   David Dunning  http://goo.gl/cMd3H

35. 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.

36. 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.

37. 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. +

38. 2%DIFFERENCE Even though most people   can’t tell Baskerville from Georgia! ◆

39. TYPEFACES   WORK BELOW   THE CONSCIOUS   LEVEL TOO ◆ ◆ If you can’t tell the difference   doesn't mean it won’t affect you ß

40. But… WHY? m

41. TYPOGRAPHYž creates an emotional connection

42. TYPOGRAPHY CREATES   AN EMOTIONAL CONNECTION

43. Typography creates   an emotional   connection

44. CONTROL IT? Ok,butcanwe ß

45. YES◆ ◆ ß

46. COFFEE 30 р. Coﬀee 300 ₽

47. SEE FEEL ➳

48. It’saquestionof RESOLUTION ß

49. ß It’saquestionof RESOLUTION

50. adidas adidas

51. adidas adidas

52. adidas adidas

53. adidas adidas

54. I love you I love you

55. Arial Helvetica

56. You can’t create good typography with Arial. MATHEW BUTTERICK Typography for Lawyers  m

57. y y I love you I love you Arial Helvetica

58. yy97°90° ArialHelvetica

59. Lufthansa Lufthansa

60. Jeep Jeep

61. GAGARINArial Helvetica GAGARIN

62. Toimprove  yourresolution GOAL:

63. Jenson Cloister Renaissance Baroque Old Style ModernTransitional Slab SerifAntiqua Serif Sans Serif Print Handwriting TYPEFACE < ✖

64. THERE IS NO UNIVERSAL TYPE CLASSIFICATION m m

65. Text Text PRAGMATIC Display MEMORABLE Display Main body test Headlines Logos

66. Слышишь Слышишь Beautiful Readable

67. Readable Beautiful Might   happen

68. +12%

69. 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

70. Serif Sans-Serif Respectable, stable and classy Modern, hip and edgy

71. Readable Humanist GEOMETRIC Warm, friendly and emotional — but sloppy Calculated and rational — but formal and cold Pragmatic and dependable — but boring and easily forgettable

72. 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

73. Visual communications Lorem ipsum dolor sit amet, consectetur adipiscing elit, sed do eiusmod tempor incididunt ut labore et dolore magna aliqua. Ut enim ad minim veniam, quis nostrud exercitation ullamco laboris nisi ut aliquip ex ea commodo consequat. 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

74. QUESTIONS? m

75. Serifs Antiqua 1

76. Wheredothe SERIFS ß comefrom?

77. Phoenician writing, 16 century B.C.E.

78. Roman reed quill

79. Rustica

80. instagram.com/seblester/

81. SENATVS POPULVS QUE ROMANVS

82. SERIFS CREATE NICE   LINES FOR THE EYE Good for paper and stone

83. Trajan’s column, 1 century C.E.

84. Whataboutthe LOWER CASE? ß

85. Cc Vv

86. Ff Qq

87. Nn Ии

88. Rr Яя

89. Aa Gg

90. a A a

91. AGES!◆ ◆ m

92. Roman stone inscription, 1 century C.E. - no spaces - capitals only

93. Italian handwriting circa 1420 - spaces - no capitals

94. German gothic script circa 1430

95. Johannes Guttenberg, 1439

96. Sweynheym & Pannartz, 1465

97. Carolingian handwriting, 9th century C.E.

98. oppelgängerD Roman capitals Carolingian lowercase

99. oppelgänger oppelgängerD Luminari Adobe Jenson D

100. Doppelgängeroppelgänger

101. Nicholas Jenson, ~1470

102. Jenson’s book, 15th century C.E.

103. Jenson’s rotunda, 15th century C.E.

104. luntur imagines:&alia. Adobe Jenson Nicholas Jenson, ~1470

105. luntur imagines:&alia. Adobe Jenson Nicholas Jenson, ~1470

106. luntur imagines:&alia. Centaur   (кириллица есть в Venetian 301) Nicholas Jenson, ~1470

107. luntur imagines:&alia. Centaur   (кириллица есть в Venetian 301) Nicholas Jenson, ~1470

108. Where do the ITALICS come from? ß

109. Italian handwriting circa 1420

110. Francesco Griffo, ~1501

111. GUCCI GUCCI Old style Transitional Modern

112. WIKIPEDIA WIKIPEDIA WIKIPEDIA The Free Encyclopedia The Free Encyclopedia The Free Encyclopedia

113. WIKIPEDIA The Free Encyclopedia

114. Google Google

115. Google

116. Google ➻

117. AaHumanist

118. AaHumanist

119. Fra Luca Pacioli

120. Leonardo da Vinci

121. Albrecht Durer

122. a aRenaissance Baroque ➻

123. a a➻ Humanist Transitional

124. John Baskerville, †1775

125. b bOld style Transitional ➻

126. s s➻ Old style Transitional

127. e e eOld style, Jenson Transitional,   Baskerville ➻ Carolingian   handwriting ➻

128. Baskerville Centaur Doppelgänger Doppelgänger

129. Baskerville Centaur The first Roman type designed by Claude Garamond was used in an edition of the Erasmus book Paraphrasis in Elegantiarum Libros LaurentiiVallae 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.

130. Doppelgänger 13 Century Schoolbook Doppelgänger 13 Times Doppelgänger 13 Georgia

131. ALBRECH DURER   is dead but his ideas live

132. KK KOld style Transitional ➻ ➻ Modern

133. 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 K 20 21

134. Giambattista Bodoni, †1813

135. aaBaskerville Regular Bodoni 72 Bold

136. CONTRAST Difference between the thickest and the thinnest part aaHuge Small

137. Bodoni 72 Doppelgänger Baskerville Doppelgänger

138. 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.

139. EMPORIO ARMANI EMPORIO ARMANI EMPORIOARMANI

140. EMPORIOARMANI

141. BELVEDERE Hotel BELVEDERE HOTEL hotel Belvedere BELVEDERE Hotel 4. 1. 2. 3.

142. aOld style aTransitional ➻ ➻ aModern

143. Humanist Modern Transitional APC Garamond Times New Didot

144. аa BASKERVILLE Transitional aDIDOT Modern JENSON Old style

145. aCONSTANTIA Triangular serifs а aa BASKERVILLE Transitional DIDOT Modern JENSON Old style

146. bCONSTANTIA Triangular serifs bbb BASKERVILLE Transitional DIDOT Modern JENSON Old style

147. gCONSTANTIA Triangular serifs g gg BASKERVILLE Transitional DIDOT Modern JENSON Old style

148. zConstantia

149. zzAdobe Jenson Bodoni 72

150. zzAdobe Jenson Bodoni 72 zConstantia

151. Doppelgänger 13 Fedra Serif A Doppelgänger 13 Constantia Doppelgänger 13 Сentro Serif

152. Sans-serifs Grotesque 2

153. William Caslon IV

154. aaDidot News Gothic

155. gDidot gFranklin Gothic ➻

156. Grotesque Gothic Гротескный Варварский

157. Yeah, that blows my mind too

158. PORT OF GOTHAM GOTHAM CITY

159. TECHNOLOGY TECHNOLOGY Антиква Гротеск

160. TOYOTA TOYOTA TOYOTA Old and neo-grotesque Geometric sans-serifs Humanist sans-serifs

161. TOYOTA

162. Doppelgänger 13 Doppelgänger 13 News Gothic Franklin Gothic

163. ALBRECHT DURER   is dead but his ideas live

164. gBaskerville g Franklin Gothic ➻ g FF Din ➻

165. q Baskerville q Franklin Gothic ➻ q FF Din ➻

166. a Baskerville a Franklin Gothic ➻ a FF Din ➻

167. FF DIN Bold Doppelgänger 13 Franklin Gothic Medium Doppelgänger 13

168. Doppelgänger 13 Futura Medium FF DIN Bold Doppelgänger 13

169. instagram.com/seblester/

170. a Franklin Gothic aFF Din ➻ aFutura ➻

171. Old Bank GothicRodchenko OLD Futura

172. Doppelgänger 13 Doppelgänger 13 Phosphate Century Gothic Regular Doppelgänger 13 Avenir Medium

173. TOSHIBA Eurostyle Arial

174. Neo-grotesque Helvetica Grotesque Franklin Gothic

175. a a Franklin Gothic Futura ➻ а Helvetica ➻ GROTESQUE GEOMETRIC NEO-GROTESQUE

176. Doppelgänger 13 Doppelgänger 13 Helvetica Medium Futura Medium

177. Akzidenz-Grotesk

178. аAkzidenz-Grotesk Helvetica

179. а

180. а

181. Humanist Sans-Serif Meta Black

182. Eric Gill

183. bFutura b bFranklin G.Jenson bGill Sans

184. eFutura e e Franklin G.Jenson eGill Sans 90˚ 45˚15˚ 90˚

185. Erik Spiekermann

186. р рMeta MediumHelvetica Medium

187. k kMeta MediumHelvetica Medium

188. Doppelgänger 13 Doppelgänger 13 Meta Medium 96 Helvetica Neue Medium 96

189. Myriad Semibold

190. a

191. aFRANKLIN G. Grotesque aHELVETICA Neo-grotesque aMETA Humanist aFUTURA Geometric aFF DIN Realist

192. aPRAGMATIC Гротески и нео-гротески aHUMANIST Гуманистические aGEOMETRIC Геометрические

193. iPhone iPhone Avenir Next Myriad

194. P PGEOMETRIC Avenir Next HUMANIST Myriad

195. R RGEOMETRIC Avenir Next HUMANIST Myriad

196. R RNEO-GROTESQUE Arial HUMANIST Myriad

197. NEO-GROTESQUE Arial RR RGEOMETRIC Avenir HUMANIST Myriad

198. cc cNEO-GROTESQUE Arial GEOMETRIC Avenir HUMANIST Myriad

199. 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?

200. The rest of them 3 A few more things

201. O OTIMES Serif ARIAL Sans-serif

202. OROCKWELL Serif OOPTIMA Sans-serif

203. KHigh contrast Low contrast К

204. КKHigh contrast Low contrast

205. Antique Grotesque Serifs Sans-serifs High Contrast Low contrast Aa Aa

206. Antique Slab Serif Semi Sans Grotesque Aa Aa Aa Aa Serifs Sans-serifs High Contrast Low contrast

207. Slab Serif Брусковый

208. Antique Slab Serif Aa Aa Slab

209. ASans serifSlab serif Franklin Gothic ⇢ Rockwell Slab

210. Mygod, WHY?! (

211. ADVERTISING◆ ◆ (

212. I NY

213. American Typewriter Bold

214. MarcellusWallace Rockwell Bold Marcellus Wallace American Typewriter Regular Marcellus Wallace Clarendon Marcellus Wallace Officina Serif

215. Clarendon a a Officina SerifAmerican  Typewriter a Memphis

216. KSerif Palatino ⇢ Optima Sans serif

217. KKPalatino Optima

218. Semi Sans Ленточный Stressed Sans

219. ASTON MARTIN ASTON MARTIN ASTON MARTIN

220. ASTON MARTIN

221. VERSACE VERSACE

222. Serif Slab Serif Semi Sans Sans Serif Aa Aa Aa Aa Serifs Sans-serifs High Contrast Low contrast

223. IN-BETWEEN Baskerville AgAg HUMANIST Adobe Jenon GEOMETRIC Didot Ag

224. IN-BETWEEN Helvetica AgAg HUMANIST Meta GEOMETRIC Futura Ag

225. IN-BETWEEN Clarendon AgAg HUMANIST Officina Serif GEOMETRIC Rockwell Ag

226. IN-BETWEEN Orya Ag HUMANIST Optima GEOMETRIC Peignot Ag

227. DidIimproveyour RESOLUTION? ß

228. RESOLUTION? ß DidIimproveyour

229. 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

230. ALEXEI KAPTEREV www.kapterev.com alexei@kapterev.com +7 495 764 1898 Visual communications m