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Typography Quiz CH 3

rosesarered's version from 2018-09-24 19:19


Question Answer
Bracketed serifsmost common, serifs blend into the main stroke with a smooth curve (called a fillet)
Filletsmooth curve that blends serifs with main stroke
Unbracketed serifsmeet the main stroke at a sharp angle, can be hairline, thicker slab, or wedge
Slab serifsuniform (monoline) stroke thickness
Clarendonstypefaces with bracketed slab serifs
Hairline serifscan be fine and can be unbracketed (modern typeface)
Wedge serifstriangular (Latin typeface)
Ascendersstrokes of lowercase letters that rise above the mean line
Descendersparts of letters that extend below the baseline
Inkwells or ink trapexaggerated gap in letter for anticipated ink blot
Visual alignmentwhat looks right is right, takes precedence over what is mechanically “correct”
Overshootlowercase letter with rounded tops designed to extend above the mean line
Countersopen spaces
Humanist sans typefacesdesigns inspired by classical and Renaissance letterforms
Weightthe thickness of principal strokes of letters, depending on the thickness the weights are either light or bold
Romanhave upright structure or stance (typeface in the book is Roman and Perpetua)
Aldus Manutiuscommercial printer looking for a way to cram more text on pages and lower costs. He turned to cursiva humanistica (familiar to readers’ eyes and being compact)
Cursiva humanisticawas called Aldinos then was called italics
Obliquesslanted variation of a roman face - creating obliques by slanting roman characters in a computer graphic program is not a good idea as it distorts the letters
Extended or expandedwide versions of typefaces are used for display not body text
Typeface families have several narrow variations of namesnarrow, condensed, thin, compressed, extra condensed, and ultra condensed
Familybasic unit of typeface organization, group of faces that have been designed to work harmoniously
Text facesdesigned for use in long passages of text - emphasis is on readability
Display facesdesigned for larger point sizes, headlines and titles - emphasis is on being eye-catching, legibility, and versatility
Decorative facescharacter actors on the typographical stage, used for advertising - emphasis is on grabbing attention at all costs (like legibility), they go in and out of style very quickly
Pi fontscollections of symbols and ideograms
Common pi fontsSymbol, ITC Zapf, Dingbats, Wingdings, Webdings, and Monotype Sorts
Old styleroman types designed in Italy in the late 15th and early 16th century and those that have followed that style - Nicolas Jenson and Francesco Griffo - principal feature is minimal contrast between thick and thin strokes of characters and an oblique stress
Transitionalrepresents the intermediary stage in design, trends away from old style and towards more modern - increase in contrast between thick and thin strokes - Baskerville
Modernengraved look, think strokes are hairlines as well as the serifs, extreme contrast between thick and thin strokes - Giambattista Bodoni
Gothicsans serif but is not very defined
Blackletter or Fraktertypes in Gutenberg’s Bible
Antiquetype but not very defined


Typefaces set in metal had to be recut for every point size at which they were used
With the advent of phototype, the number of master designs for a typeface was radically reduced. By the mid 1970s, only the most popular typefaces had more than two fonts (each representing a distinct master design). One master was used for body text (smaller) and one was used for display (larger).
A font can contain the master outline of a font designed at 6 point, then 12 point, and even 48 point.
Seriffed types are preferred for body text because they’re easier to read. Sans serif types are used for display.
Not all typefaces have a cursive compliment

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