Mini Photo Project

roommate recreating a snapshot

the sun

holding hands

under my bed

 

 

 

view from a tree

 

my friend dancing like a weirdo

Typography Info

Oldstyle: 1435

• Axis of thick-thin contrast slopes slightly to the left
• Cross-bar of the lowercase 'e' is horizontal
• Top serifs are roof-shaped and have triangular form
• Base serifs have no or hardly any rounding at bottom
• Examples: Bembo, Garamond, Palatino, Plantin, Albertina

 

Transitional: 1750

• Axis of thick-thin contrast is almost vertical or slopes very slightly to the left
• Base serifs are only a little or virtually not rounded at the bottom
• Lowercase 'e' has horizontal cross-bar
• Top serifs of lowercase letters are roof-shaped
• Serifs sometime rounded, sharpened, or horizontal
• Examples: Baskerville, Concorde, Fournier, Perpetua, Times New Roman

 

Modern: 1775

• Typefaces that have a high thick-thin contrast
• Serifs sometimes rounded, sharpened, or horizontal
• Vertical stress axis
• Thin serifs
• Emphasis on vertical stroke, sharp contrast, symmetry, and sharp transition to straight serifs
• Examples: Bodoni, Didot, Walbaum, Linotype Centennial, Vertrina

Slab: 1800's

• Heavy, rectangular serifs
• Serif weight is almost as thick as the letter itself
• Terminals may be blunt, angular, or rounded
• Examples: Clarendon, Rockwell, Beton, Egyptienne, Courier

Sans-Serif Grotesk (and Gothic): 1920's

• Line thicknesses seem to be equal, but have a slight visual thick-thin contrast
• Ascender height is usually equal to the capital height
• The cure of the lowercase 'e' is pointed up towards the crossbar
• The lowercase 'g' has an open curve that ends pointing upwards
• Examples: Akzidenz Grotesk, Helvetica, Univers, Arial, Futura

 

Sans-Serif Humanist:

• No serifs
• Line widths are visually equal
• Extension on lowercase 'e' points to right instead of turning toward the cross-bar
• Lowercase 'g' often has classic form with two 'bowls'
• Characters have more distinguishing forms than those of other sans-serifs
• Examples: Gill Sans, Profile, Frutiger, Scala, Myriad

Sans-Serif Geometric:

• No serifs
• Axis of roundings is vertical
• Letters seem to have been drawn using ruler and compass
• Line thicknesses are only visually and minimally corrected
• Examples: Futura, Avenir, DTL Nobel, Erbar, Eurostile

Bauer Bodoni

Serif
Didone modern
Bodini typeface designer - Giambattista Bodoni (1798)
Bauer Bodini typeface designer - Heinrich Jost (1926)

 

Giambattista Bodini (1740-1813)
Born near Turin, Bodini was the fourth son of a master printer. He was made the director of the Royal Printing House of the Duke of Parma. He introduced a new, clear, simple type - the Modern typeface. No other printer was more acclaimed than he was during his lifetime. His four principles of type design are regularity, cleanness, good taste, and charm.


Heinrich Jost (1889-1948)
Born in Magdeburg, Germany, Jost was a typographer, type designer, and graphic designer. He moved to Munich in 1908 where he studied under Paul Renner (Futura's creator) and Emil Preetorius. He worked as a book designer and graphic artist until 1923, when he became the art director at Bauer Type Foundry in Frankfurt. Here, he added detail the Renner's Futura typeface. He also joined with Louis Holl to create the Foundry's version of Bodini.