William Caslon I
Morris Fuller Benton
Adobe Caslon Pro
ITC Ofﬁcina Sans
Letter, letterform, type, typeface, character, glyph,
font—these words may be subtly dierent in
meaning and can cause confusion yet understanding
the dierences 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.
1. TYPE SCAVENGER HUNT
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 oered 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 dene 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which terms are outdated and which are still in use.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
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 unied 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.