Trucos de diseño para diseñar como locos
The first part of this publication was focused on defining the traits of “physical” digital types and their characteristics, such as those currently used by graphical tools. This second part, which begins right now, is about the different styles of fonts, and the easiest way to identify them.
Fonts are grouped into families, of which there are now tens of thousands and the number is growing daily. Between them there is a lot of fonts created for a specific purpose and require considerable care when using them because they’re not always appropriately rasterized, incomplete, etc…
A large number of typefaces can be classified according to the basic styles that i will describe below. These styles use the features of the fonts mentioned in the first part of this publication to determine its classification and for this reason, it is the most commonly used metod to identify styles.
Also known as ancient roman. Families belonging to the old style, characterized mainly by serif, which should always be inclined when it comes to lower case letters. In arms and arches, there is always a transition in thin to moderate thickness. If you draw a line between two thin parts of a bow was a slight incline. Old style fonts are easy to read, they are rasterized perfectly to any size, will not get over the view, therefore, are commonly used for long texts.
The modern style is characterized by a high-contrast point with a sharp transition between fine and coarse features and a serif and generally closed square ends. The line drawn between the two fine features of an arc is clearly perpendicular. This style is also called modern roman. Modern families are not suitable for use on large amounts of text, and because of his radical transitions between fine and coarse features, do not work well when the body is greatly reduced.
Usually known by the name slab serif (serif square or straight, one of its main features), mechanical and Clarendon (name of a font family that perfectly exemplifies this style.) This font is clearly visible over long distances due to its low or none, in some cases, transition between fine and coarse features, a characteristic that makes it very suitable for use in the advertising market. Easy to read, can be used over large areas of text, but with the risk of composing a stain darker than the old-style families.
Families belonging to this style is distinguished by the total absence of serif or decoration on the top of his strokes, why they’re called sans serif (without serif), and having little or no transition between thin and thick lines, except for some families. All the lines remain the same thickness. Their families often contain very different sources and offer a wide range of possible uses. Very easy to read in any circustance they’ve been widely used for print and web purposes.
Often called script. It is relatively easy to recognize the families included in this style which are all characterized by imitating the handwriting in one form or another, covering a wide range of possibilities from the more decorative calligraphic styles to more natural gestures. It is convenient touse this style with great restraint because it is not particularly comfortable to read.
As with the gesture, families encompassed within this style are easily distinguishable because nobody in their right mind would ever use these types in large bodies of text. In fact, it is best to use them only as a source of support to ensure a specific effect. Decorative families fall into that category of sources created with a purpose or special need. Adaptation in any art depends greatly on the conceptual meaning.
The decision between one style or another depends on the text that will receive the typography, general layout of the page and the ability of the styles to coexist together in the same art.
The art of text printing (Part One) read here.