43
Jan Tschichold
Max Miedinger
John Baskerville
Hermann Zapf
Claude Garamond
Paul Renner
Carol Twombly
William Caslon I
Adrian Frutiger
Johannes Gutenberg
Giambattista Bodoni
Erik Spiekermann
Zuzana Licko
Matthew Carter
Herb Lubalin
Morris Fuller Benton
Tobias Frere-Jones
Robert Slimbach
TRAJAN
Futura
Gotham
Baskerville
Optima
BANK GOTHIC
Adobe Caslon Pro
Helvetica
Mrs. Eaves
Blackletter
Univers
Adobe Garamond
ITC Officina Sans
Bauer Bodoni
Avant Garde
Sabon
Verdana
Warnock Pro
SUMMARY
Letter, letterform, type, typeface, character, glyph,
font—these words may be subtly dierent in
meaning and can cause confusion yet understanding
the dierences is necessary to the in-depth study.
Understanding the nomenclature of type and the
idiosyncrasies leads to a greater sensitivity of these
nuances and provides a vocabulary for in-depth
discussion, analysis, and learning.
EXERCISES
& PROJECTS
1. TYPE SCAVENGER HUNT
INDIVIDUAL ACTIVITY
A. RESEARCH FUN: Produced by printers, type
manufacturers or designers, type specimen books and
pamphlets were meant to display a sampling of the
characters and glyphs in the typefaces oered for sale.
Go to libraries, ea markets, tag sales, garage sales,
and used bookstores. Look for vintage type specimen
pamphlets, books, and booklets.
Hunt through the books for unfamiliar terms. There
will be many.
Research and dene some of the terms. Try to determine
which terms are outdated and which are still in use.
Augment your vocabulary list with what you nd to be
the most relevant terms.
Also record the characters that you nd most interesting.
2. POSITIVE & NEGATIVE TYPE SHAPES
INDIVIDUAL ACTIVITY
A. INTERACTION OF FORM: Do not think of type as a
letter. Think of type only as a shape. Explore the shapes
of type in an abstract design that emphasizes a positive/
negative space relationship. Employ the principles of
composition for a balanced and unied composition.
SUPPLIES: Two complementary colors of construction
paper, X-Acto knife, 5H pencil, glue stick, marker.
COMPOSE AND SHARE RESULTS
Select one typeface and a few of its characters.
Using the pencil, draw and compose the letterforms
on one color paper. Interact type shapes in a way that
emphasizes their positive-negative relationship.
Cut out the letterform composition.
Glue the letterforms onto a contrasting color base paper.
Critique results. Revise to improve the interlocking
relationship of shapes.

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