MSU Lectures on Typefaces and Their History
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Slides for my lectures on typefaces — part of the Visual Communications course I'm doing for the Moscow State University Higher School of Business Administration.
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MSU Lectures on Typefaces and Their History
- 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
- 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
- 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.
- 16. Mac OSX + Firefox Windows XP + Firefox
- 17. WHO THE HELL CARES? It’s just a font ◆ ◆ ß
- 18. Imagine you have to stay at one of these hotels…
- 19. BELVEDERE Hotel
- 20. BELVEDERE HOTEL
- 21. hotel Belvedere
- 22. BELVEDERE Hotel
- 24. MOST OF YOU VOTED FOR №4! ◆ ◆ Just what I’ve expected! ß CENSORED
- 29. TRACTOR Tractor
- 30. Source: Phil Renaud, 2006 http://goo.gl/GOZYe Georgia 23 Trebuchet 18 Times 11 5– 5 4–
- 31. 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%
- 32. 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.
- 34. 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
- 35. ~5% Source: Benjamin Berman, David Dunning http://goo.gl/cMd3H
- 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.
- 38. 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. +
- 39. 2%DIFFERENCE Even though most people can’t tell Baskerville from Georgia! ◆
- 40. TYPEFACES WORK BELOW THE CONSCIOUS LEVEL TOO ◆ ◆ If you can’t tell the difference doesn't mean it won’t affect you ß
- 41. But… WHY? m
- 42. TYPOGRAPHYž creates an emotional connection
- 44. Typography creates an emotional connection
- 49. YES◆ ◆ ß
- 51. SEE FEEL ➳
- 54. adidas adidas
- 55. adidas adidas
- 56. adidas adidas
- 57. adidas adidas
- 58. I love you I love you
- 59. Arial Helvetica
- 62. You can’t create good typography with Arial. MATHEW BUTTERICK Typography for Lawyers m
- 63. y y I love you I love you Arial Helvetica
- 66. Jeep Jeep
- 70. Jenson Cloister Renaissance Baroque Old Style ModernTransitional Slab SerifAntiqua Serif Sans Serif Print Handwriting TYPEFACE < ✖
- 71. THERE IS NO UNIVERSAL TYPE CLASSIFICATION m m
- 72. Text Text PRAGMATIC Display MEMORABLE Display Main body test Headlines Logos
- 75. +12%
- 76. 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
- 77. Serif Sans-Serif Respectable, stable and classy Modern, hip and edgy
- 78. Readable Humanist GEOMETRIC Warm, friendly and emotional — but sloppy Calculated and rational — but formal and cold Pragmatic and dependable — but boring and easily forgettable
- 79. 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
- 80. 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
- 81. QUESTIONS? m
- 82. Serifs Antiqua 1
- 84. Phoenician writing, 16 century B.C.E.
- 85. Roman reed quill
- 86. Rustica
- 89. SERIFS CREATE NICE LINES FOR THE EYE Good for paper and stone
- 90. Trajan’s column, 1 century C.E.
- 92. Cc Vv
- 93. Ff Qq
- 94. Nn Ии
- 95. Rr Яя
- 96. Aa Gg
- 97. a A a
- 98. AGES!◆ ◆ m
- 99. Roman stone inscription, 1 century C.E. - no spaces - capitals only
- 100. Italian handwriting circa 1420 - spaces - no capitals
- 101. German gothic script circa 1430
- 103. Sweynheym & Pannartz, 1465
- 104. Carolingian handwriting, 9th century C.E.
- 106. oppelgängerD Roman capitals Carolingian lowercase
- 110. Jenson’s book, 15th century C.E.
- 111. Jenson’s rotunda, 15th century C.E.
- 112. luntur imagines:&alia. Adobe Jenson Nicholas Jenson, ~1470
- 113. luntur imagines:&alia. Adobe Jenson Nicholas Jenson, ~1470
- 114. luntur imagines:&alia. Centaur (кириллица есть в Venetian 301) Nicholas Jenson, ~1470
- 115. luntur imagines:&alia. Centaur (кириллица есть в Venetian 301) Nicholas Jenson, ~1470
- 116. Where do the ITALICS come from? ß
- 117. Italian handwriting circa 1420
- 124. WIKIPEDIA WIKIPEDIA WIKIPEDIA The Free Encyclopedia The Free Encyclopedia The Free Encyclopedia
- 126. Google Google
- 127. Google
- 128. Google ➻
- 130. AaHumanist
- 131. AaHumanist
- 132. Fra Luca Pacioli
- 133. Leonardo da Vinci
- 134. Albrecht Durer
- 140. b bOld style Transitional ➻
- 141. s s➻ Old style Transitional
- 142. e e eOld style, Jenson Transitional, Baskerville ➻ Carolingian handwriting ➻
- 144. 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.
- 145. Doppelgänger 13 Century Schoolbook Doppelgänger 13 Times Doppelgänger 13 Georgia
- 146. ALBRECH DURER is dead but his ideas live
- 147. KK KOld style Transitional ➻ ➻ Modern
- 148. 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
- 151. aaBaskerville Regular Bodoni 72 Bold
- 152. CONTRAST Difference between the thickest and the thinnest part aaHuge Small
- 154. 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.
- 158. EMPORIOARMANI
- 166. aCONSTANTIA Triangular serifs а aa BASKERVILLE Transitional DIDOT Modern JENSON Old style
- 168. gCONSTANTIA Triangular serifs g gg BASKERVILLE Transitional DIDOT Modern JENSON Old style
- 169. zConstantia
- 170. zzAdobe Jenson Bodoni 72
- 171. zzAdobe Jenson Bodoni 72 zConstantia
- 172. Doppelgänger 13 Fedra Serif A Doppelgänger 13 Constantia Doppelgänger 13 Сentro Serif
- 174. William Caslon IV
- 178. aaDidot News Gothic
- 181. Yeah, that blows my mind too
- 182. PORT OF GOTHAM GOTHAM CITY
- 187. TOYOTA TOYOTA TOYOTA Old and neo-grotesque Geometric sans-serifs Humanist sans-serifs
- 188. TOYOTA
- 189. Doppelgänger 13 Doppelgänger 13 News Gothic Franklin Gothic
- 197. ALBRECHT DURER is dead but his ideas live
- 199. gBaskerville g Franklin Gothic ➻ g FF Din ➻
- 200. q Baskerville q Franklin Gothic ➻ q FF Din ➻
- 202. FF DIN Bold Doppelgänger 13 Franklin Gothic Medium Doppelgänger 13
- 205. Doppelgänger 13 Futura Medium FF DIN Bold Doppelgänger 13
- 215. Doppelgänger 13 Doppelgänger 13 Phosphate Century Gothic Regular Doppelgänger 13 Avenir Medium
- 218. a a Franklin Gothic Futura ➻ а Helvetica ➻ GROTESQUE GEOMETRIC NEO-GROTESQUE
- 219. Doppelgänger 13 Doppelgänger 13 Helvetica Medium Futura Medium
- 220. Akzidenz-Grotesk
- 222. а
- 223. а
- 233. Eric Gill
- 234. bFutura b bFranklin G.Jenson bGill Sans
- 235. eFutura e e Franklin G.Jenson eGill Sans 90˚ 45˚15˚ 90˚
- 243. Erik Spiekermann
- 245. р рMeta MediumHelvetica Medium
- 246. k kMeta MediumHelvetica Medium
- 247. Doppelgänger 13 Doppelgänger 13 Meta Medium 96 Helvetica Neue Medium 96
- 249. Myriad Semibold
- 254. a
- 257. aFRANKLIN G. Grotesque aHELVETICA Neo-grotesque aMETA Humanist aFUTURA Geometric aFF DIN Realist
- 265. 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?
- 266. The rest of them 3 A few more things
- 269. KHigh contrast Low contrast К
- 270. КKHigh contrast Low contrast
- 271. Antique Grotesque Serifs Sans-serifs High Contrast Low contrast Aa Aa
- 272. Antique Slab Serif Semi Sans Grotesque Aa Aa Aa Aa Serifs Sans-serifs High Contrast Low contrast
- 273. Slab Serif Брусковый
- 274. Antique Slab Serif Aa Aa Slab
- 275. ASans serifSlab serif Franklin Gothic ⇢ Rockwell Slab
- 276. Mygod, WHY?! (
- 277. ADVERTISING◆ ◆ (
- 282. I NY
- 286. MarcellusWallace Rockwell Bold Marcellus Wallace American Typewriter Regular Marcellus Wallace Clarendon Marcellus Wallace Officina Serif
- 289. KSerif Palatino ⇢ Optima Sans serif
- 290. KKPalatino Optima
- 292. ASTON MARTIN ASTON MARTIN ASTON MARTIN
- 293. ASTON MARTIN
- 294. VERSACE VERSACE
- 296. Serif Slab Serif Semi Sans Sans Serif Aa Aa Aa Aa Serifs Sans-serifs High Contrast Low contrast
- 303. 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
- 304. ALEXEI KAPTEREV www.kapterev.com alexei@kapterev.com +7 495 764 1898 Visual communications m