Futura Is A Sans Serif Typeface

Effective type design depends upon a broad conceptual and perceptual comprehension of typefaces and their corresponding potentials for communication and expression. To achieve this understanding, a comparison between the selected Super Normal serif and sans serif cases is essential to be exhibited and summarized in this part, providing references to the following creative part that will be showed in the Chapter 4.

Neue Helvetica, as the outcome of technological changes, was designed in 1983, represents a synthesis of aesthetics and technical refinements and modifications that resulted in improved usefulness: a number of characters were subtly changed to be more consistent and more harmonious with the overall design characteristics. For instance, the x-height has been adjusted to appear visually the same in all weights. The x-heights in previous versions were all the same, but since type tends to look shorter as it gets heavier, the new x-heights compensate for this optical illusion. Besides, the crossbars on the lowercase ‘f’ and ‘t’ were widened to increase the legibility in text. Additionally, the Neue Helvetica family was extended to 51 weights in all, which are many more than in the original

The typeface Futura is the typeface known as a landmark for modern graphic design. “Renner can be seen as a bridge between the traditional 19th century and the modern 20th century design (Paul Renner).” Futura

A Serif font is a small decorative line finishing off as embellishment of a letter or a character in certain typefaces. On other words, serif is the little decorative tail that appears the letters or characters. However, serif is an old typefaces and famous so you might see it in every publishing such as books, magazines and newspapers. Thus, the formal of the serif is classic and confident typeface. For example, Times New Roman, Caslon, Garamond and

With the original design created as a serif font, this image shows the array of different styles one font can change into, including ornamental text design. The special character traits of some of the letters gives this typeface a formal and traditional style with an artistic flair of more ornamental design. I chose this font as a representation because it holds many similar characteristics to Times New Roman, which almost everyone is familiar with and/or has used. The letter “Q” caught my attention, as well as the individual design of the numbers to accompany the letters as shown by the “16” towards the middle of the image.

typography. In fact, it is describing the typeface using hierarchy. Even with just looking at the black and white

“Caruso’s redrawing of Franklin Gothic for ITC consist of a slightly enlarged x-height and a moderately condensed lowercase alphabet. Other characteristics of this typeface consist of organic features that distinguish it from the geometric sans serifs. The font was originally released as two designs: one for display type and one for text. When Adobe commissioned the early digital fonts of ITC Franklin Gothic, the fonts were based on the display design, but characters were modified and spaced so they could also be used at small sizes. This digital interpretation became the standard for the digitized ITC Franklin Gothic family. This version has 4 weights, with complementary italics”

The Roman style has survived since the 1st century. The most common script used then were rustic capitals and square capitals. They later developed uncials, which then became half uncials for a faster way of writing. However, these scripts eventually disappeared and new ways of writing calligraphy would emerge. Insular would appear a lot in collections of books from the 7th to 8th century; Visigothic from 8th to 12th; and Beneventan would stay up to the 13th

The best way to explain the love and hate feelings towards one of the most recognizable typefaces of all time is best done by a joke. “So, Comic Sands walks into a bar…and the bartender says, ‘we don’t serve your type’” (Garfield, 21). Comic Sans was created by Vincent Connare, and was released by Microsoft in 1995. Ever since its existence people have questioned its purpose and aesthetic. The typeface is notoriously known for being too informal and lacks care in designing it. An example of a design flaw from a graphic designer’s perspective, is the carelessness and inconsistency with its kerning. Kerning is the adjustable space between letters or characters. This paper will take a closer look at the history of Comic Sans from the launch to twenty years later.

This typeface can express the emotions of stability with the use of Helvetica Bold and Calibri, and modernism with the use of Myriad Italic and Arial. It also represents objectivity with the use of Franklin Gothic and Century Gothic, cleanliness (Calibri and Verdana) and being universal (Helvetica).

The art and science of typefaces is called typography, and its roots date back to the 15th century when a system of moveable type was first invented. This revolutionary concept spread throughout the world and gave way to the mass printing of materials. Even though typography has a rich history and plays a huge role in design, many still think that there isn’t much to fonts. However, utilizing the correct typeface is one of the most important aspects to graphic, print, and web design.

In 1970 began the spread of Swiss typography. The postmodern generations began looking for a new design solution by using the new technical means that were becoming available. Two of these great designers were Wolfgang Weingart and Hans-Rudolf Lutz. These men are vastly different but their designs have many similarities. They were both trained typesetters and experienced creative limits and wanted to seek more training. They both attended the school of Schule Für Gesteltung Basel, where they both were taught by Emil Ruder. Aside from their normal classes students could pursue individual projects in the schools typesetting workshop. This is where Weingart began his third project with the letter “M.” Before we begin with this project we

They both are sans-serif typefaces that are universally embraced by different applications. At first glance, they seem extremely similar. But if designers examine the characters in each typeface closely, the differences between them become apparent. Mark Simonson, an American graphic designer, produced an analysis of these two typefaces, showing how much more refined Helvetica than that of Arial (Simonson, 2001). The primary difference between the two is the treatments of their endings. While Helvetica is vertically cut, Arial is slightly angled. For instance, the tail of the ‘a’ is gently curved in Helvetica, as is the first connection of the bowl to the stem, but not in Arial. Similarly, the top of the ‘t’ and the ends of the strokes in the ‘C’ and ‘S’ are perfectly horizontal in the former, but slightly angled in the latter. Even though the distinguishing details are so tiny that cannot be noticed unless they are scrutinized as Simonson has done. Yet it is these subtleties that constitute Helvetica a finer example of design than Arial, especially for professionals. Functionally the two types are roughly equal, both are admirably clear, but aesthetically Helvetica is

Here, the term ‘beauty’ involves both forms, shapes and the relationships between people and the circumstances (Fukasawa & Morrison, 2012, p.110). Not that there is anything wrong with beauty in Super Normal. On the contrary, the beauty of a product can elicit positive emotions that open up the cognitive system and inspires people to find out creative solutions easily (Norman, 2002). Here is a clear-cut case (Pic.10) that illustrates the aesthetic differences between Arial and Helvetica. They both are sans-serif typefaces that are universally embraced by different applications. At first glance, they seem extremely similar. But if designers examine the characters in each type closely, the differences become apparent. Mark Simonson[9], an American graphic designer, produced an analysis of these two types, showing how much more refined design of Helvetica than that of Arial (Simonson, 2001). The primary difference between the two is the treatments of their endings. While Helvetica is vertically cut, Arial is slightly angled. For instance, the tail of the ‘a’ is gently curved in Helvetica, but not in Arial. Similarly, the top of the ‘t’ and the ends of the strokes in the ‘C’ and ‘S’ are perfectly horizontal in the former but slightly angled in the latter. The letterforms of Helvetica demonstrate exactly how thoughtfully designed they are. The typeface is uniform and structurally sound by adhering to a guide of

They both are sans-serif typefaces that are universally embraced by different communication platforms. At first glance, they seem very similar. When Arial was released in 1982, it was seen as a copy of Helvetica of 1957. But if designers examine the characters in each typeface closely, the differences between them become apparent. Mark Simonson (2001), an American graphic designer, produced an analysis of this two, showing how much more refined Helvetica is than Arial. The primary difference is Helvetica is vertically cut, while Arial is slightly angled. For instance, the tail of the ‘a’ is gently curved in Helvetica, as is the first connection of the bowl to the stem, but not in Arial. Similarly, the top of the ‘t’ and the ends of the strokes in the ‘C’ and ‘S’ are perfectly horizontal in the former, but slightly angled in the latter. In My mind, even though the distinguishing details are so tiny that can be noticed when they are scrutinized magnified versions of each character as Simonson did. Yet it is these subtleties that constitute Helvetica a finer example of design than Arial, especially for professionals. Functionally the two types are roughly equal, both are admirable clear, but aesthetically Helvetica is