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The Visual Games

遊 The The The The

Visual Games Visual Games Visual Games Visual Games

The Visual Games

Honghuan Wang

事实上越是纯粹的人越需要睁开眼睛，打开耳朵来感受这个世界。他们需要知道，世 界不仅仅是一口自己闷头往下挖的井，世界还可以包括井以外的事物。世界是有层

次，有味道的，他们不需要去全盘理解和接受所有的存在，他们只需要去感受，去知 道就可以了。

height="73.59px" viewBox="0 0 73.59 73.59" style="overflow:visible;enablebackground:new 0 0 73.59 73.59;

width="73.59px"

<svg versn="1.1" xmlns="http://www.w3.org/2000/svg" xmlns:xlink="http://www.w3.org/1999/

world itself. <!-- Generator: Adobe Illustrator 24.1.3, SVG Export Plug-In -->

and experience the

In fact, the more pure people more need to open their eyes and ears to feel the world. They need to know that the world is not just a well they continue to dig down.

The world has layers and tastes. These people do not even need to fully understand and accept all the existence. They just need to feel and experience the world itself.

In fact, the more pure people more need to open their eyes and ears to feel the world.

They need to know that the world is not just a well they continue to dig down. The world has layers and tastes. These people do not even need to fully understand and accept all the existence. They just need to feel and experience the world itself.

1

Contents

2

Introduction of Classfications

3

Fanwood

4

Forma DJR Banner

5

Compacta Black

6

Eurostile

7

Baskerville

8

AG Book Outline

9

Rockwell Extra Bold

10

Monotype Bodoni

11

Old Style includes in Humanist

type. It always connects to the roman types. It has small thickness change of strokes(low contrast between "thick" and "thin" stroke. The axis of lower-case 'o' is slanting. The serifs are obvious, Modernist Century Sans Serif and they are thinner tha the strokes, has low stroke modulation. No serif with brackets. can be seen. It is in a more mathematical form like geometry for digital age.

Mid Century Sans Serif was devel-

oped after World War II in Europe and was widely used in America. It was very welcomed due to its clear outlines, geometric form and tidy shapes.

Early Sans Serif became popular in mid-twentieth century. It was a little bit hard to read and express, although there were some details had been improved. It has a long history since the earliest Greek inscriptions.

Transitional Type has a more clear contrast between the thick and thin strokes. This kind of change started from seventeenth century, and it is a representation of chaging from old style Slab Serif looks thick and heavy. to modern style.

It gives auidence a solemn feeling due to its almost same width storkes. It always appear on websites, advertisments and billboard.

The feature of this typeface is it has Modern Serif first appeared in the late eighteenth century. It has dramat- little feet at the end of the stroke of every single letter. It suddenly beic contrast of thick and think strokes. came popular at the beginning of Also, the thin strokes are reduced to hairlines. The serifs do not have brack- the nineteenth century et, with vertical angles. It looks formal, delicate but weak.

3

All the letters are solid and upright(axis). The lower-case 'a' has stem curves over the top of the bowl, which is also called double story. The lower-case 'n' has two serifs on each foot. A rounded end is designed for the lower-case 'c'.

It is also asymmetrical about the horizontal line.

Fanwood

The bar of the 'e' is straight and horizontial. The serif of 'F' is vertical and upward-pointing. However, the lower-case 'e' does not have upward-pointing serif. All the serifs are thinner than the strokes with brackets. The counter and shoulder are thinner compare to the spine and ascender.

Designed by Barry Schwartz.

It is very similar to Fairfield, which is designed by Rudolf Ruzicka in 1940.

Old Styles

4

The Old Style relates to the Roman Types that were designed in Italy in the late fifteeth and early sixteenth centuries.

One of a set of Optical Sizes with the fonts Forma DJR Micro, Forma DJR Text, Forma DJR Deck and Forma DJR Display.

5 Forma DJR Banner

All the letters are solid. The strokes are all in the same thickness and upright direction(axis), but without any serif. The bars of the upper-case 'A' and 'H' are nearly centre. The angle at the ends of the 'C' stroke are horizontal. The 'R' is seperated from the vertical by a distinct horizontal section.

Modernist century sans serifs

Designed by Aldo Novarese, David Jonathan Ross and Roger Black in 1968, 2017.

Compacta Black

6

Designed by Fred Lambert in 1963.

Early sans serifs

All the letters are solid. The strokes are almost in the same thickness and in upright direction(axis), but without any serif. The bars of the upper-case 'A' and 'H' are nearly centre. Also, the'A' has flat vertex. The 'T' has square slabs (no brackets). The upper-case 'O' has straight segments. It height is longer than the width.

All the letters are solid. The strokes are almost in the same thickness and in upright direction(axis), but without any serif. The bars of the upper-case 'A' and 'H' are centred.

Also, the'A' has a flat vertex. The upper-case 'O' has straight segments.

The angle at the ends of the 'C' stroke are angled.

7

Mid century sans serifs

Designed by Alessandro Butti and Aldo Novarese in 1962 and 1987.

Created by adding a lower case alphabet to Microgramma, a popular typeface released by the SocietĂ Nebiolo foundry in 1952.

Eurostile

transitional types Designed by John Baskerville in 1750.

tial bar of the upper-case 'H' is centred. The lower-case 'e' has the horizontial bar as well, but above the centre. The 'a' has stem curves over the top of the bowl(double storey).

The serifs have bracketed slabs. A

rounded end is designed for the lower-case 'a', 'f ' and 'r'. The upper-case 'R' has a curved outwards leg. The axis of 'o' is vertical. In addition, the letter 'n' hve two serifs on each foot.

Baskerville

All the letters are solid. The horizon-

8

'A' is down centred. Also, the'A' has a flat vertex. The centre bar of 'R' extends and

meets the vertical. The upper-case 'W' does not have a serif of the centre vertex.

The 'R' has a curved inwards of the leg and meets the vertical. The strokes are all heavy and in very similar thickness.

AG Book Outline

9

Early sans serif

All the letters are outlined and upright without serifes. The bar of the upper-case

Designed by GĂźnter Gerhard Lange in 1984.

slab serifs Rockwell Extra Bold Designed by Monotype StaďŹ&#x20AC; in 1910, 1934, 1990. It is a revival of Litho Antique, originally published by Inland Type Foundry in 1910.

All the letters are solid, and they all have heavy serifs with square slabs and no brackets. The horizontial bar of the up-

per-case 'H' is centred. The serifs have bracketed slabs. The upper-case 'R' has a

curved inwards leg and it is separated from the vertical by a distinct horizontal section. The axis of 'O' is vertical. The strokes are all heavy and the axis are all in vertical.

10

Designed by Giambattista Bodoni and Morris Fuller Benton in 1790, 1914-16.

Monotype Bodoni

All the letters are solid and upright(axis). The stroke thick-

nesses hve high contrast. The upper-case 'S' has a angled upward-pointing serif of the top stroke. The letter 'M' has symmetrical single sided serifs of the top vertices, and parallel verticals. The centre vertex of the upper-case 'M' is on the base line.

The bar of 'G' is double sided but without a spur. All the serifs are thinner than the strokes and no brackets.

11

modern serifs

Publication Š 2020 ECUAD All rights reserved. No part of this book may be reproduced, stored in a retrieval system or transmitted in any form or by any means without prior written permission of the publisher.

Editing: Rita Wang Design: Rita Wang Image credits: Photos taken by Yuna Wang, Model: Rita Wang( cover page and page 1) https://fontmeme.com(page 4, 10) https://www.google.com(page 5, 6, 7, 9) https://www.imdb.com(page 8) https://www.tribute.ca(page 11) Printed in Canada _______________________________ Library and Archives Canada Cataloguing in Publication (your name), editor (Your title)/ (your name) ; The Visual Games / Rita Wang COMD204-Project1 Type Safari.

ISBN 975-1-696359-81-7 (pbk.)

1. Student project. 2. Illustration and Communication Design--Classroom. Emily Carr University of Art + Design, host institution V. Title.

N8236.P35B83 2015 704.9â&#x20AC;&#x2122;4933827282 C2013-903923-6

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