a short guide to sans serif typefaces
DESCRIPTION
A brief guide to sans-serif typefaces, compiled by 2nd year Graphic Design students at Leeds College of Art.TRANSCRIPT
A B C D E F G H I J K L M N O P Q R S T U V W X Y Z a b c d e f g h i j k l m n o p q r s t u v w x y z
Aldo is a sans serif typeface composed with a continuous construction,
Shape rounded oval bowls and counters that are slightly at an angle. It is also determined by its parallel stems and diagonal crossbars.
Proportion consists of a meduim proportion with equal ascenders to its cap height.
ModellingModelling is a gradual transition with a normal axis of contrast.
WeightIts black in weight and holds a semi-bold weight.
TerminationsThe terminals are blunt beak stroked baseline treatment with blunt sans serif ascenders and defenders.
The key characters are double storey forms with horizontal cross bars and curved legs and ascenders
wBritanic Bold
Continuous constructionContinous curvesParallel stemsMedium proportionsCapital widths generally regularAscenders equal to cap-heightVertically high contrast with instant transitionMedium in colour
Sheared terminalsFlat apexDouble story letteringHorizontal cross barLetters such as ‘f ’ sitting on the baselineLetters such as ‘g’ double storey with closed tailCapital ‘G’ is without spurDecenders such as ‘j’ sitting below the baseline
dCandara RegularabcdefghijklmnopqrstuvwxyzABCDEFGHIJKLMNOPQRSTUVWXYZ1234567890
ConstructionThe typface has continuous con-struction and there are no breaks betwen elements
ShapeThe curves are continuous and oval. The stems gradually flare and the tips are at a slight angle
ProportionsOverall ,medium width (including capitals) and all ascenders equal to height
ModellingA medium contrast between the thickest and thinnest parts of the letterform to which there is a gradu-al transaction
WeightMedium in colour
TerminationsThe letter form is sans- serif yet there is a slight sheared angle of the ‘plain’ terminal
Key CharactersThe letterform is sitting on the base-line but is double storey and has a horizontal cross-bar. It is close tailed with a flat apex and an ever so lightly cured leg
There are no decorations
CENTURY GOTHIC
abcdefghijklmnopqrstuvwxyzABCDEFGHIJKLMNOPQRSTUVWXYZ
aConstruction of the letter ‘a’ is continuous. The Shape shows the Curves are continuous and circular with the counter cutting into stem slightly. Proportions are the letter are quite expanded in width with a large x-height.Modelling of the weight nd variety of line shows slight
relative difference between the thickest and thinnest part of the letterform. There is no axis of angle, or angle of stress. Weight of letter is medium in colour. Terminations are sans serif. Key Characters distinguishing itself from other letterforms, the ‘a’ is single-storey letter.
The bowl descends slightly below baseline. There is no Decoration.
aFutura abcdefghijklmnopqrstuvwxyz
a
Is a sans serif typeface. In comparing a futura ‘a’ with helvetica, it can be noted that futura is single storied whereas helvetica is double.The charachter ‘a’ in futura has the properties of being continously constructed. It has continous curves with a round aspect. The letter has a very bold straight stem and its proportions are normal to rounded.The modelling of the letter has medium contrast on vertical axis with gradual transition. The typeface is medium to black in colour. The ‘a’ is without special charachter unlike the plain special charachter of the helvetica ‘a’. Finally, it has no decoration.
Futura letterforms are constructed continuously meaning there are no emphatic points of transition orbreak between letter elements. The typeface has aspectsof curves such as circular, triangular and other geometric shapes. Thus meaning the strokes are of anear-even weight, which are low in contrast.
In terms of the axis of contrast whereby you can identifywhere the thickest and thinnest elements of a letter are, futura and its geometric design means the transitions are nearly none-existent, This is most visible in the almost perfectly round stroke of the o. In comparisonthe helvetica letter o has a more round/slightly square aspect of curves.
The lowercase has tall ascenders, which rise above the cap line whereas helvetica doesn’t and the lowercaseascenders are even to the cap height.
Futura is apart of a family of fonts with italic, medium italic, condensed medium, condensed extraboldand other family variations.
ofutura
abcdefghijklmnopqrstuvwxyz
Designed by Paul Renner in 1927
AG
FfaefgFutura is a geometric sans-serif typeface designed in 1927 by Paul Renner. It is based on geometric shapes that became representative visual elements
of the Bauhaus design style of 1919–1933. Commissioned by the Bauer type foundry, Futura was commercially released in 1927.
The family was originally published in Light, Medium, Bold, and Bold Oblique fonts in 1928. Light Oblique, Medium Oblique, Demibold, and Demibold
Oblique fonts were later released in 1930Oblique fonts were later released in 1930
CONSTRUCTION AND PROPORTIONFutura has no emphatic points of transitionbetween strokes, or breaks between elements.Futura is available in a family of widths, however the most commonly used has a
naturally condensed width.
RELATIVE INTERNAL PROPORTIONSRELATIVE INTERNAL PROPORTIONSThe ascenders are higher than the cap-height
Jand it has a large x-height.
MODELLINGThe relative difference between the thickest
and thinnest parts of the letterforms within Futuraare medium and the axis of contrast is vertical. The transition from the thickest and thinnestThe transition from the thickest and thinnest
parts of the letterform are gradual.
RQ
o
Ff
abc
KEY CHARACTERSaefg
single storey
flat apex
without spur
tail dissecting bowl
straight leg
horizontal cross-bar
sitting on the baseline
single storey with open tail
ABCDEFGHIJKLMNOPQRSTUVWXYZabcdefghijklmnopqrstuvwxyz
SFu
tura
Designed by Paul Renner in 1927Construction: Continuous construction Shape: GeometricProportions: Regular (but option of condensed) Modelling: NoneWeight: Medium in colour Terminations: Sans serif Key characteristics: Sitting on baseline. The ‘O’s are perfect circles and the peaks at the top of ‘A’s, ‘M’s and ‘W’s are sharp triangles.Decoration: None
QqConstruction - Continuous Contsruction
Shape - Aspect of curves, Oval
Proportions - Medium
Modelling - Contrast Medium
Weight - Medium
Terminations - Terminals ,Plain
Key Characters - Sitting on
Decoration - None
abcdefghijklmnopqrstuvwxyz
Geneva
KConstruction: Broken or interuptedShape: Angular straight linesProportions: Light, CapitalModelling: NoneWeight: Medium in colourTerminations: TuscanKey Characters: Single storey, sitting on the baseline, straight legDecoration: None
Gill Sans Light
SGeorgia
Construction:ContinuousShape: Round (circular) Proportions: MediumModelling: HighWeight: Medium in colourTerminations: Sharp and re-find serifKey Characters: Sitting on the baselineDecoration: None
K KK KK KK KK KK KK KK KK KK KK KK KK KK KK K
SSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSS
WwGill Sans MTRegular 14pt
Construction
Gill Sans has no emphatic points of transition
between strokes, or breaks between elements.
Shape
Gill Sans has to variants to traditional forms,
and has a continous treatment of curves. The
upright stems have parallel edges, with the
height of the crossbar at the x-height.
Proportions
The default width of Gill Sans is medium (nor-
mal). It follows the Roman square capital pro-
portions. The relative internal propotions are
equal to cap-height, and has a small x-height.
Helvetica’s x-height is slightly higher than the
height of the crossbar.
Modelling
Gill Sans has no contrast of the letter forms,
and no transition.
Weight
Gill Sans has many weights the most popular
are regular, italic, bold, bold italic. Helvetica
has so many different weights I couldn’t fit
them on this while page even if I wanted too.
gG Gill Sans
abcdefghijklmnopqrstuvwxyz
ABCDEFGHIJKLMNOPQRSTUVWXYZ
0123456789!@#$%^&*()_+M<>?:;”‘[]{},.
ConstructionContinuous construction of characters
ShapeRounded continuous curves.Straight lines are
angular with no curves. Upright stems have
parallel edges. Cross bar in the middle.
ProportionsWidght is medium. Relative proportion of
capitals are genreally regular. Ascenders equal
to cap-height.
ModellingNo contrast in the modelling
WeightMedium in colour
TerminationsSans Serif
Key CharactersDouble story ‘a’
Horizontal cross bar e.g. ‘e’
Double story ‘g’ with closed tail
Flat apex eg. ‘A’
No Spur ‘G’
‘J’ descending below the baseline
‘Q’ has a long tail
Straight leg e.g. ‘R’
Key Characters: a e g A G J Q R
ABCDEFGHIJKLMNOPQRSTUVWXYZabcdefghijklmnopqrstuvwxyz
TYPEFACE: HAETTENSCHWEILER
CONSTRUCTION:ContinuousNo emphatic points of transition
SHAPE:No variants to traditional formsSlightly square aspect of curvesExaggerated bowl treatmentParallel EdgesHigher position of crossbars
PROPORTIONS:Medium widthCapital widths generally regular
MODELLING:Medium contrastVertical axis of contrastGradual transition
WEIGHT:Black in colourRegular weight
TERMINATIONS:Sans serifPlain terminals on lower cases
DECORATION:None
KEY CHARACTERS, Lower Case:Double storey on AHorizontal crossbar on EF sits on baselineSingle storey on G, J and Y
KEY CHARACTERS, Upper Case:Flat apex on AVertical Spur on GJ sits on baselineShort tail on QSlightly curved leg on R
TYPEFACE ANALYSIS
R
IMPACTabcdefghijklmnopqrstuvwxyz m
mIMPACT
HELVETICA
Impact is a San-Serif typeface with a continuous construction which is the same with Helvetica. For this letter in impact the arches have quite an irregular, thin shape and the stems are very black and parallel giving the overall face a high contrast.The letter in Helvetica however is much lighter in appearance and a much lover contrast. Due to impact being black in colour, the letter appears ‘squashed’ and overall the typeface appears condensed, while Helvetica is much lighter and has a more regular weight and proportions. The terminations are sans-serif and almost always at a 90 degree angle a characteristic that is shared with Helvetica. The x-height of Impact is much larger than in Helvetica causing it to sit much heavier on the page. I would recommend using Impact for titles and perhapse subtitles if used in lower-case.
g- Continuous Construction,- Shape - Continuous curves- Proportions - medium width, - Medium contrast
Lucid
a S
ans
Gradual transition - Light in colour- Blunt, open tail- Single storey
ABCDEFGHIJKLMNOPQRSTUVWXYZabcdefghijklmnopqrstuvwxyz
AaMyriad Roman_Sans serifConstruction_Continuous constructionShape_Variants to traditional formsCurving of normal straight lines, rounded cornersProportions_Small x heightWeight_medium in coulourTerminations_Key charactersDouble story a, Straight leg,s short tails
ABCDEFGHIJKLMNOPQRSTUVWXYZabcdefghijklmnopqrstuvwxyz
Optima123456789
Designed by Hermann Zapf
ConstructionContinuous construction.
ShapeCurves are continuous, slightly oval.Upright stems made with slight concave elements.
eProportionsHas medium width, follows Roman square capital proportions.Ascenders are equal to the cap height, with a large x-height.e
ee
e
Reglular
Italics
Bold
Bold italic
ExtraBlack
ModellingMedium contrast on a vertical axis, with a gradual transition.Cross bars are horizontal.
WeightMedium in colour.
TerminationsSubtly tapered with the implication of a serif.
Sans SerifHumanist
gConstruction:
- continuous
Shape:
- continuous curves- round aspect- parallel edges
Proportions:
- medium (normal)- roman square proportions- ascenders equal to cap- height- small x-height
Modelling:
- medium contrast- vertical axis- gradual transition
Weight:
- medium in colour
Terminations:
- sans serif- tapered terminals
Key Characters:
- double-story- horizontal cross-bars- sitting on baseline- single-story open tail- flat apex- without spur- long tail- straight leg
Decoration:
- none
abcdefghijklmnopqrstuvwxyzabcdefghijklmnopqrstuvwxyz
!@£$%^&:”,.?
0123456789
thonburis a n s s e r i f
iohelvetica is a little more condensed with an additional small increase in weight in comparison to thonburi which has a thinner existance. the horizontal cross-bars on the letterform’s ‘t’ and ‘f’ are much wider on thonburi than thy are on helvetica. both sans serif typefaces contain double-story lowercase letterforms with parallel edges.
helvetica
AaABCEFGHIJKLMNOPQRSTUVWXYZ
abcdefghiklmnopqrstuvwxyz
Tw Cen MT is a Sans Serif typeface with continous constructionsit is similar to Futura but can be disgunished apart by certainproperties.Tw Cen Mt has has round curve properties withparallel upright stems.The dimensions and use of space of thebasic letterforms follow Roman square capital proportions andhave ascenders equal to the cape height.As we can see in theletter ‘a’ their is of a medium contrast on a verticle axis and hasno transitional value between the thick and thin parts comparedwith Futura that has a none- medium contrast.The typeface ismedium in colour and is available in a regular or bold weight
where as Futura is more black in colour and is availble in regularor condensed.The key characteristics of theTw Cen Mt typefaceare single storey characters with single open tail, all the characterssit on the baseline and have horizontal crossbars.The ‘A’ highlightsthe pointed apex characteristics and ‘R’ shows the straight legs.
Tw Cen MT
abcdefgh i j k lm-nopqrstuvwxyz
Univers a
Univers light originates from the Univers which was created in 1957 by Deberny and Peignot. Univers can often be mistaken for the typefaces; Folio and Helvetica. The main differences between the two fonts are as follows the tail of the a is much less rounded, the arms of the k join at the stem, the tail of the Q runs along the baseline, the top of the t is angled and the Y has a straight descender.
Now looking at the other seven characteristics of univers’ formal attributes. Universe like many of sans serif fonts of its time is comprised of a continuous construction with the shape following that of the traditional form of curving of the normal straight lines, rounded corners and irregular elements. Universe is availiable in nine weights, four widths and positions; Ro-man and Oblique.
Yy Tt Qq Aa