Faces of a Royal Typewriter Family

 
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THEORY


On Type Faces For Books

"It is simple enough to understand that type, paper and ink are components of book printing. But not so easy to comprehend the reasons for...the many dozens of type faces offered for book composition...

Typefaces differ...for valid reasons. There are the important design and style differences that comprose the old style, transitional and modern faces suitable for books. And distinctions in weight or "color";distinctions in roundness, in degree of compactness and distinctions in legibility, and in size...

In Monotype, the product is individual pieces of type-letters and spaces assembled into a line of many elements, as in hand type. The Monotype machine consists of two units: the keyboard (which resembles a typewriter) punches holes in a roll of paper, not unlike that in a player piano. lthis roll is thn fed into the asting unit, where it functions by controlling levers which brings the matrix of each character into position for casting letters and spaces in sequence in the lines.

The distinctions between fype faces...are apparent at a glance to the technician.... Analysis may indicate that the chief factor in your instant recognition of these types is memory of features.... Here the differences are more minute, and essentially a matter of design distinctions: the weight and relation of thick and thin strokes, the treatment and stress of curves and the handling of 'serifs.' There is litle difference in the actual shapes of letters, which is as it should be" (Bennett 1963).

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Book Cover Anatomy of Type



Description of Courier

"The typefaces in this book are arranged by classification. This makes similar designs easier to compare....

But first, a warning: there is no universal classification system....

That doesn't mean peope haven't tried to create some order from the chaos. Scholars and typographic associations have been inventing new classification systems for nearly 100 years. Still, all of them are fraught with contraditions and controversy. These diverse bundles of letterforms simply have too many subtle variations and too few constants....

Most classification systems avoid this problem by associating classificantions with historical periods. While this is a good way to catergorize many of the typefaces from the past, chronological methods becomes impractical when it comes to contemporary design....

So while there are the unavoidable links to history, we arranged the typefaces here into groups that are more closely tied to visual appearance...." (Coles 2012).

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Courier's Characteristics Represented as Slabs

Grotesque Slab is known as the "bulky beast." These typefaces reflect the proportions, structure, and stroke contrast of their serifless counterparts. Ball terminals are common,...as are heavy bracketed serifs and closed apertures. The effect of these attention grabbers can be decorative and eye-catching, and usually very bold (Coles 2012).

Slab Grotesque

Geometric Slab tends to contain rectangular serifs that are unbracketed and generally the same weight as the stems(Coles 2012).

Humanist Slab often have less stroke contrast than their sans counterparts and the serifs are sometimes wedge shaped (Coles 2012).

Slab Humanist

To be continued....




 

 

 


All Content © 2017 Kathy L Rowley