![]() The 'Canada' wordmark Baskerville is a transitional serif typeface designed in 1757 by John Baskerville (1706-1775) in Birmingham, England. References (URLs online) Websites (URLs online) A hyperlinked version of this chapter is at The Folio Bible printed by Baskerville in 1763. The News 706 typeface by BitStream is almost identical to Aurora. The font is a darker derivative of the Corona typeface, initially designed for the Canada NewsWire. Griffith at Mergenthaler Linotype ) in 1960. Excerpt: Category: Serif Aurora is a serif typeface, designed by Jackson Burke (the successor to Chauncey H. ![]() 5, Plantin, New York, Aurora, Nimbus Roman No9 L, Monticello. Chapters: Times Roman, Caslon, Cambria, Century Schoolbook, Mrs Eaves, Georgia, Bookman, Baskerville, Perpetua, Bulmer, Linux Libertine, Joanna, Literaturnaya, Bell, Caledonia, Excelsior, Corona, Ionic No. Like a poster from the Old West.Purchase includes free access to book updates online and a free trial membership in the publisher's book club where you can select from more than a million books without charge. They tend to feel assertive, bold and masculine. Slab serifs are identified by their thicker blocky serifs. Vogue uses a variation of Didot in its logo. When we think of these typefaces, we usually think of high fashion, or a glamorous Parisian night. Modern Serif faces took the movement towards more abstract type forms to an extreme with thin and straight serifs and very sharp contrast from thick to thin. Two other subcategories worth mentioning are Modern Serif and Slab Serif typefaces. Baskerville is the standard example of a Transitional Serif typeface. Letters became less organic and less related to calligraphy and more geometric and abstract. This created more contrast in the letterform and hence the ability to make type more dramatic. Transitional typefaces came along later when the printing technology allowed designers to create type that had more variance between thick and thin parts of the letters. They more closely mimic calligraphy and the gestures of the hand when writing. Many of the typefaces we use today are revived or reinterpreted versions of typefaces dating back to the 15th and 16th centuries. Old Style fonts like Garamond feel the most traditional because, well, they are usually the oldest. ![]() You can additionally group serif faces into subcategories. They often denote experience, historical significance or upper-class status but can, in some situations, feel out of date, stodgy, too serious or pompous.Įxample: Mount Royal University, Calgary, in redesigning their logo went from a Sans-Serif font that felt very dated and casual to a very handsome Serif font that feels much more official and adds to their credibility. Serif typefaces tend to feel more traditional, responsible, mature or official. Fonts like Times or Garamond are commonly used fonts in this category. Serif fonts are defined by the little “tails” (serifs) that are usually at the ends of a stem on a letterform. There are a number of different categories of typefaces but we’ll first focus on the two categories most fonts fall within: Serif (as shown below) or Sans-Serif ( as shown in our next post). We will touch on these subjects in the following paragraphs, but really we will be presenting an overview of the basics of type and how the history and aesthetics of a typeface can influence how a typeface and, ultimately, a design is perceived. ![]() There are books upon books that cover the history and anatomy of type. Understanding a little about how type works can really help us select the best typeface in a more efficient way. There are a multitude of choices available literally right at our fingertips (see Veer or for examples of two popular purveyors).Īs designers, we could spend endless amounts of time searching the vast array of font websites or our in-house font library looking for a typeface that is just right for our client’s website, brochure or logo. It is a critical part of whether or not a design is successful.Ĭhoosing the right typeface for a project can be a very daunting task. It embodies the message we are trying to communicate. Type is a major part of how a design is seen and understood. They can be odd and goofy like your weird uncle or demand respect through experience and wisdom. Some gorgeous ampersand can just walk into a room and everyone stares. They can be funny or serious, simple or complicated, sophisticated or playful, even naughty or nice.
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