![]() At that time, documents were written in a style called Chancery Italic. When printing was introduced there, they too wanted to replicate the handwriting of the time. Modern typeface styles have their roots in Italy. Humanist is also a sub–category of Lineale. Humanist is a type style based on 15th century manuscripts. Interestingly, the much–maligned Comic Sans belongs to this classification. ![]() This typeface group is the basis for all those terrible heavy metal band logos. Graphic typefaces, based on this Movable Type* system, resemble the local handwriting called Gothic, Blackletter or Textura. Gutenberg, of the famous Bible, used movable metal letters instead of the old wooden pieces, and revolutionised printing in the process. ![]() The production of typefaces, as we know them, originated in Germany. This system classifies typefaces into ten groups. The most widely accepted one is based on the 1964 classification by the Deutsche Normenausschuss. Designers have been trying to establish a universally recognised classification system for many years. Typefaces can be classified into groups based on their different characteristics. This characteristic is perhaps the one of which people are most aware, such as the use of a bold weight. Weight is the thickness of the stroke weight. This can give letterforms a more fanciful and intricate appearance. The more stress, the more acute the angle of the stroke weight. Stress is the direction of the stroke weight. Larger x–heights are more useful for body copy of serif typefaces on the web. ![]() X–heights can effect the legibility of typefaces, particularly at a small size. Different typefaces have different x–heights in relation to their cap–height. The x–height of a typeface is the height of a lowercase ‘x’. An example of this would be a typeface that has smaller, or hairline, serifs and wider, more open, counters. To introduce more whitespace into a block of text for example, whilst not increasing your leading, you could experiment with using a typeface with less typographic contrast. The relative thickness of the strokes of a typeface determine the amount of whitespace the character has. If it does, then the serif will either be a bracketed, a hairline, a flare, or a slab serif. Serifs ¶Ī typeface will have serifs, or it won't. It is the characteristics of these parts that gives typefaces their character. Typefaces, like most things, are made up of constituent parts. Size: actual font sizepx.Įven though is a still in progress project, Thoreau type is available on request and free of charge for personal or comercial use.Designing for the Web Chapter 12 Classification ¶ Instead of three meals a day, if it be necessary eat but one instead of a hundred dishes, five and reduce other things in proportion. In the midst of this chopping sea of civilized life, such are the clouds and storms and quicksands and thousand-and-one items to be allowed for, that a man has to live, if he would not founder and go to the bottom and not make his port at all, by dead reckoning, and he must be a great calculator indeed who succeeds. Simplicity, simplicity, simplicity! I say, let your affairs be as two or three, and not a hundred or a thousand instead of a million count half a dozen, and keep your accounts on your thumb-nail. An honest man has hardly need to count more than his ten fingers, or in extreme cases he may add his ten toes, and lump the rest. Still we live meanly, like ants though the fable tells us that we were long ago changed into men like pygmies we fight with cranes it is error upon error, and clout upon clout, and our best virtue has for its occasion a superfluous and evitable wretchedness. Or Life In The Woods by Henry David Thoreau
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