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spe cim -ens specimens


stylistic anatomy

created by katy pierce


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Caslon

designed by William Caslon, 1722.

The typeface is characterized by shorter ascenders and descenders, bracketed serifs, and slight stroke modulation which creates pleasing contrast between thicks and thins. The italics contain suggestions of swashes and calligraphic personality. There is a richness and stability to Caslon that lends a trustworthy, texturized backbone to any design work, particularly print.


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stylistic anatomy — caslon

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6pt — Solid, dependable, trustworthy and texturized.

7 pt — Solid, dependable, trustworthy and texturized.

8 pt — Solid, dependable, trustworthy and texturized.

9 pt — Solid, dependable, trustworthy and texturized.

10 pt — Solid, dependable, trustworthy and texturized.

11 pt — Solid, dependable, trustworthy and texturized.

12 pt — Solid, dependable, trustworthy and texturized.

13 pt — Solid, dependable, trustworthy and texturized.

14 pt — Solid, dependable, trustworthy and texturized.


6pt — Understated, simple geomtry provides ease in readabilty.

7 pt — Understated, simple geomtry provides ease in readabilty.

8 pt — Understated, simple geomtry provides ease in readabilty.

t — Understated, simple geomtry provides ease in readabilty.

10 pt — Understated, simple geomtry provides ease in readabilty.

stated, simple geomtry provides ease in readabilty.

12 pt — Understated, simple geomtry provides ease in readabilty.

pt — Understated, simple geomtry provides ease in readabilty.

14 pt — Understated, simple geometry provides ease in readability.

released by The Berthold Type Foundry, 1896.

jug -ular

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stylistic anatomy â&#x20AC;&#x201D; akzidenz grotesk

Akzidenz Grotesk

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! @ # $ % ^ & * ? ( ) [ ] { } ; : â&#x20AC;? < > / Akzidenz was created as a simple, unbiased face following the hectic commotion of the Industrial Revolution. It is dramatic and geometric, yet its irregularities and small idiosyncrasies provide for clear readability. Its understated forms pulse quietly in the background, thus allowing for content to become the focus.


Eam

Century Modern

designed by Erik Van Blokland, 2010.

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Created around the philosophy and aesthetic of Charles and Ray Eames, the typeface is characterized firstly by functionality and then accented by distinctive yet playful traits, and a pleasing rhythm. The practical face recalls the Eamesâ&#x20AC;&#x2122; utilitarian, cheerful, and exquisite designs; it simultaneously allows for stability and playful flexibility within typesetting.

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stylistic anatomy — eames c. modern

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s o c —kets 6pt — Practical, playful and reminiscent of Eames’ design.

7 pt — Practical, playful and reminiscent of Eames’ design.

8 pt — Practical, playful and reminiscent of Eames’ design.

9 pt — Practical, playful and reminiscent of Eames’ design.

10 pt — Practical, playful and reminiscent of Eames’ design.

11 pt — Practical, playful and reminiscent of Eames’ design

12 pt — Practical, playful and reminiscent of Eames’ d

13 pt — Practical, playful and reminiscent of Eam

14 pt — Practical, playful and reminiscent of E


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6pt — Earnest, warm, vintage, and yet of bold presence and strength.

7 pt — Earnest, warm, vintage, and yet of bold presence and strength.

8 pt — Earnest, warm, vintage, and yet of bold presence and strength.

9 pt — Earnest, warm, vintage, and yet of bold presence and strength.

10 pt — Earnest, warm, vintage, and yet of bold presence and strength.

11 pt — Earnest, warm, vintage, and yet of bold presence and strength.

12 pt — Earnest, warm, vintage, and yet of bold presence and strength.

13 pt — Earnest, warm, vintage, and yet of bold presence and strength.

14 pt — Earnest, warm, vintage, and yet of bold presence and strength.

Knocko

designed by Jonathan Hoefler and Tobias Frere-Jones, 1994

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Designed to specifically recall American forms and wood type of the 19th century. From the light and agile flyweight widths to the generously wide counterforms in the sumo wdiths, Knockout features a vast array of weights and widths that simultaneously provide unity and variety within type work. The face provides a wamrth and a bold strength — perhaps even a strong matter-of-fact presence — to typesetting.


stylistic anatomy — knockout

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designed by Firmin Didot, 1783.

Didot

Firmin Didotâ&#x20AC;&#x2122;s classic design is defined by its extremely high contrast between thicks

and thins, which is then accented by flat and unbracketed serifs, and a horizontal stress. It is thoroughly elegant, which lends the typeface a sense of calm control. Didotâ&#x20AC;&#x2122;s dramatic and spindly nature recalls high fashion and classic affairs.


stylistic anatomy — didot

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6pt — Thoroughly elegant, fashionable and controlled.

7 pt — Thoroughly elegant, fashionable and controlled.

8 pt — Thoroughly elegant, fashionable and controlled.

9 pt — Thoroughly elegant, fashionable and controlled.

10 pt — Thoroughly elegant, fashionable and controlled.

11 pt — Thorgoughly elegant, fashionable,and controlled.

12 pt — Thoroughly elegant, fashionable and controlled.

13 pt — Thoroughly elegant, fashionable and controlled.

14 pt — Thoroughly elegant, fashionable and controlled.

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third year graphic problems prof. ray morales


stylistic anatomy


a treatise on the stylistic anatomy of t y p e f a c e s

Specimens  

This type specimen booklet was designed as a final project for my Third Year Graphic Problems class, in which I discuss the nature and style...