01.11.2019

Antiqua alphabet. Font drawing. Uniform font style

The font can be drawn with or without drawing tools. The hand-drawn font has a more pronounced ind. The font can be drawn with
drawing
tools or without them.
Font drawn "from
hands" differs more
pronounced individual
character

Font drawing tools

Medium hard pencil. For small
font is more solid.
The rubber is soft.
Line - 2 different. For a pencil - thin and
transparent (you can see part of the picture under it).
For carcass - wooden, metal with
oblique cut inside - eliminates leakage
ink.
Triangle - transparent
Reisfeder-2 pcs. for thick lines and for
thin (longer and sharper cheeks)
Reisfeder undermine on a fine-grained
bar

Font drawing tools 2.

Fine pen (several)
Compasses with interchangeable tips
(with graphite, with a needle, in the form
drawer)
Brushes: Small watercolor s
with a sharp tip (we cover the contours
letters), columnar (1,2,3) - draw
small font

Uniform font style

Makes a solid impression
easily perceived.
To achieve stylistic unity of the font
it is important to build all the letters one by one
principle.
The slightest deviation of this constructive
principle has a negative impact on
font graphics.
If the letter "O" is made on the basis of a circle,
and the letter "C" is based on an ellipse, which means in
the construction of rounded shapes are taken for
based on two different principles.

The most common way is to build letters in a square. For example, let's study the design "Antiqua" and "Grotesque"

Let's determine the lightness of the font For the thickness of the main stroke, we will take 1/10 of the side of the square. - This will be the base stroke unit for all

1.
Determine the lightness of the font For the thickness
the main stroke will take 1/10 of the side
square.
- This will be the unit of measurement
base stroke for all letters
alphabet.
2.- Divide all sides of the square by 10
equal parts and draw a grid. She
will help to design letters.
3.- Thickness of connecting strokes
constitutes a certain part
the main stroke, for example -1/2; 1/3;……

Simplified "antiqua"

The grid is shown in the square in front of
the letter A.
Here in the layout of letters an important role
play circles of different diameters (1/10,
2/10, 3/10 sides of the square.)
With the help of the same circles are formed and
serifs.

10.

11. 12. The dependence of the font shape on the selected shape of geometric shapes.

The font can be based on
various rectangles, rhombuses and
….
In all cases, the construction rules are
the same as when building on the basis
square

13. Starting forms - - the letter "H" and "O"

Based on these letters,
build the whole alphabet
The letter "H" defines the width and
the height of the letters, the thickness of the main and
connecting strokes,
location and nature of serifs.
The letter "O" defines the character
rounded shapes and pressure position
(vertical or oblique)

14. 15. Optical illusions.

Pointed and rounded strokes of some
letters are displayed beyond the top and bottom lines
square.
This is not a disadvantage; eliminates
optical illusions, as if some letters are lower
others.
Top and bottom extensions
lowercase letters are usually equal. in letters,
having both upper and lower
elongation (f) (f), (p) - top extension
Briefly speaking

16.

17.

18. 19. Principles of font design

Clarity, legibility
Simplicity, no aimless strokes
Proportionality of strokes and elements in
letters
Stylistic unity of font and images
/ ornament. illustrations/
Compositional unity of the whole construction
The connection of the drawing of letters with the instrument of writing.
The connection between the pattern of letters and the content of the text and
font assignment

20. Font "Grotesque"

Built on a grid. Selected
letter thickness. Height. under construction
grid based square. Width
cell size = width
vertical stroke letters.
In the example- Thickness ratio
the main stroke to the height of the letter - 1/5

21. Building a grotesque font on a modular grid. Broad grotesque

22. Building a sans serif font on a modular grid

Exercise 1.

Draw the alphabet "Grotesque" on a modular grid
wide. In proportion - 1/5 the width of the main
stroke to letter height. The width of the letter H is 4 cells.
The width of the remaining letters is proportional to this
letter. The height of the letter is 4 cm.
Perform with a pencil, ruler, triangle.
After clarifying the letters, circle and fill
black ink or gouache, edge lines
pen, fills with a thin brush.
The work is done on a sheet of whatman paper size A-3
, thoughtfully compositionally located in the sheet.

Antiqua + Grotesque

Antiqua(Antiqua, Serif typefaces; from Latin antiquus - ancient) - the collective name of serif fonts.

The form of the antiqua signs comes from the humanistic minuscule (letter) of the Italian Renaissance of the XIV-XV centuries. (lower case) and capital font ancient rome beginning of AD (uppercase). The first type-setting serif appeared in Italy and Germany in the second half of the 15th century. and was significantly improved in the 70s. 15th century

Classification of antique fonts:

Antiqua of the old style;
Transitional antiqua;
Antiqua new style;
Bar antique.

Grotesque(grotesque fonts, sans-serif fonts (Sans Serif, Gothic)) - the collective name for sans-serif fonts.

In England and France they are often called Sans Serif, in America Gothic, in Germany Grotesk. As a rule, grotesques have main and connecting strokes of almost the same thickness (non-contrasting) or with a subtle difference in stroke thickness (low contrast). Grotesques also differ in the aperture and shape of the end elements of the "C" type signs.

Classification of grotesque fonts:

Old grotesque fonts;
New grotesque fonts;
Geometric grotesque fonts;
Humanistic grotesque fonts.

The combination of different typefaces "antiqua - grotesque" is one of the most common type pairs.

In this totem, in most cases, the antiqua is used for the main text content, and the grotesque, in turn, is used for the additional content (headings, footnotes, signatures, etc.).

With proper selection of fonts, the combination of "antique - grotesque" is one of the most advantageous solutions, which is why it is so popular, although it is not a mandatory canon.

Achieving contrast in this pair is a consequence of the synthesis of different typefaces, which are also different in their type.

A significant problem is finding unity in typefaces. One of the important criteria for combining antiqua and grotesque is the similarity of their internal structure.

Proportions are the main structural parameters of a typeface — the point value, the size of the callouts, the degree of openness, the degree of dynamism, as well as the degree of unevenness of characters.

The above parameters, in turn, are in a certain relationship, which means the following − open fonts tend to be dynamic and have different widths, while closed fonts tend to be static and single-width.

When combining fonts, some letters are hints that give an understanding of the possibility of combining the fonts in question. For example, you need to pay attention to the height of the lowercase letters (x-height) h and b.

It should also be noted that fonts that have greater height x-height are much easier to read.

When creating font pairs, you need to remember that if you have the same font size, fonts can have different heights of lowercase characters. Therefore, for integrity and, if necessary, a feeling of a single font size, it is necessary to select the font size depending on the growth of lowercase characters, while leaving the same leading.

It is desirable to compare and find some unity for the following letters- a, g and e.

Atikvenny and grotesque fonts are open and closed, dynamic and static.
It is when choosing an antiqua and a grotesque with similar characteristics that contrasting pairs are formed on the one hand, and harmonious pairs on the other.

The structure of a font is important, but just as important is the nature of the font and its ideology, which was laid down at the time of creation.

That is why the font pair "Bodoni + Futura" has the right to exist - the striving for geometric purity inherent in these fonts is the link for this pair.

A strong character, in turn, combines the font combination "ITC Charter + ITC Franklin Gothic".

It is possible to combine typefaces only on the principle of unity of font authorship, but this must be done with extreme caution, since not always and not all fonts of the same designer are close to each other in terms of overall structure and concepts.

Antiqua + Script

Historical correspondence and similarity are the main principles in the selection of antiqua and calligraphic font.

Antiqua + Antiqua

Sometimes text and heading fonts are specially designed for each other. Such a pair is the Svetlana font, which was developed for the text version of the Bazhanov Display font.

Also text antiqua can be used as a header. But her character should be more vivid.

The fonts of the Bazhanov Display - Svetlana or Elizabeth - Bodoni pairs are not recommended to be used with equal font size, since they are very similar and you can only get contrast in these pairs with the help of a difference in size. On the other hand, antiquas, which are structurally different, should not be used together at all, with the exception of sets with a pronounced decorative effect.

Grotesque + Grotesque

When creating a text pair "grotesque - grotesque", one must take into account that the headlines should play solo, and the text should be an orchestra. Therefore, it is likely that one of them will be characterized by a slightly decorative character, and the other, in turn, will be strict. You also need to remember that when combining grotesques of similar aesthetics and close development time, you will end up with a more guaranteed result.

The examples of font pairs under consideration - Quadrat Grotesk and ITC Franklin Gothic, Reforma Grotesk and Bell Gothic, belong to the group of old grotesques. But also grotesques that are different in spirit, such as Oliver and Pragmatica, if used correctly, can complement each other very well.

Combinations such as FreeSet - Pragmatica and Pragmatica - ITC Franklin Gothic should be avoided.

The first pair is literally excluded, since these fonts are completely different in style (one font is open, the other is closed), and they also have the same power of expression. In this totem, no one can give in and fade into the background.

The second pair consists of fonts, where one - Pragmatica - belongs to the group of new grotesques, and the second - to the group of old ones. The creation of new grotesques is based on the principle of developing the construction of old grotesques. As a result, they are very similar, so combining them is impossible to get a positive result.

Fundamentals of font and graphics technology Fundamentals of font and graphics technology Antiqua Durer font construction Antiqua Durer font construction Specialty "Design" Institute of Fashion and Design Service, Department of Design St. teacher Voznesenskaya T.V. Practical work 1 Specialty "Design" Institute of Fashion and Design Service, Department of Design St. teacher Voznesenskaya T.V. Practical work 1

Background 3 During the Renaissance, the art of type was given a lot of attention. In the second half of the 15th century, an active study of Roman monumental writing began. studies have shown that many treatises on the art of type were based on the lost work of Leonardo da Vinci (),

5 In terms of the complexity of the construction and the method of graphical analysis of the font form, these two signs are a classic example of type art. All subsequent treatises are rather superficial and are limited to an analysis of only the external proportions of signs. Letters by Leonardo

6 In 1509, Leonardo da Vinci's student Luca Pacioli published his treatise On Divine Proportion. In this treatise, signs were built on the basis of a square and a circle: The thickness of the vertical element of the "H" sign was equal to 1:8 square, the thickness of the horizontal element was equal to 1:3 vertical. All signs are distinguished by the perfection of external and internal proportions. Followers of Leonardo

7 In 1525, Albrecht Dürer published his famous work - "Measurement Rules ...", intended for architects, a significant part of which was devoted to the construction of fonts. Antiqua Dürer

8 Dürer constructed the Latin alphabet on the basis of a square, paying great attention to the construction of ovals. The thickness of the vertical element of the "H" sign was equal to 1:10 of a square, the thickness of the horizontal element was equal to 1:3 of the vertical one. Dürer was the first to give several options for constructing Antiqua Dürer for individual characters of the alphabet

10 In 1529 the treatise of the French master Geoffroy Tory () "blooming meadow" was published. In his treatise, Geoffroy Tory compares the proportions of signs with the proportions of the human body on the basis of a circle and a square. The square was divided into 10 parts horizontally and vertically, the thickness of the vertical element of the "H" sign was equal to 1:10 of the square. The horizontal element was located in the horizontal visual center, in other treatises it was placed in the geometric center (the optical, visual center is always slightly higher than the geometric one). Antiqua Dürer

40 Recommended literature of type design methods [Text] : fonts that have reached perfection. : per. from English. / Wilson Harvey / Loewy; design P. Burgess, B. Wood. - M. : RIP-Holding, p. : ill. - Per. ed.: Rockport Publishers, Inc., U.S., A. Korolkova. Living typography. - M.: IndexMarket, 2007.

43 Use of Presentation Materials Use of this presentation may be carried out only subject to the requirements of the laws of the Russian Federation on copyright and intellectual property, as well as taking into account the requirements of this Statement. The presentation is the property of the authors. You may print a copy of any part of the presentation for your personal, non-commercial use, but you may not print any part of the presentation for any other purpose or modify any part of the presentation for any reason. The use of any part of the presentation in another work, whether in print, electronic or otherwise, as well as the use of any part of the presentation in another presentation by reference or otherwise, is permitted only after obtaining the written consent of the authors.

Fundamentals of font and graphics technology Fundamentals of font and graphics technology Antiqua Durer font construction Antiqua Durer font construction Specialty "Design" Institute of Fashion and Design Service, Department of Design St. teacher Voznesenskaya T.V. Practical work 1 Specialty "Design" Institute of fashion and design service, Department of Design St. teacher Voznesenskaya T.V. Practical work 1

7 In 1525, Albrecht Dürer published his famous work - "Measurement Rules ...", intended for architects, a significant part of which was devoted to the construction of fonts. Antiqua Dürer

As the printing press improved, printing received all the opportunities for its development and distribution. The typing and printing process of books has accelerated many times over. It became possible to publish books in large numbers. The book gradually became cheaper and more accessible to the mass reader. The need for books was so great that by the end of the 15th century, Western Europe over a thousand small printing houses were created. The first typographers sought to give their books the appearance of manuscripts, for this purpose they stylized the printed type as handwritten; the first printed books were typed in fonts that were an exact copy of handwritten handwriting. This is due to the desire of publishers to pass off a cheap printed book as an expensive handwritten book and sell it profitably. All books published before 1500 are called incunabula, i.e., books of the "lullaby period". Incunabula looked like handwritten books and were printed in the common handwriting of medieval manuscripts - Gothic.

However, typography began to impose special requirements on fonts that could not be ignored. What could previously be written with a pen was now not always possible to cut and print: the thin hairy elements of the letters were greatly distorted, they had to be replaced with bolder ones. The form of letters intended for repeated repetition began to be carefully worked out. With the development of printing, handwritten antiqua fonts began to serve as models for printing forms. Remarkable drawings of the printed antiqua were given by the pioneer printers Svenheim and Pannartz.

In the Renaissance, the problem of type was given great attention, they created treatises, where they theoretically substantiated the development characteristic features, which make up the glory of the antiqua font. The largest artists were involved in the creation of typefaces. All of them developed fonts based on classical samples of Latin writing. By the end of the XV century. in Italy, a new typeface arose, created on the basis of humanistic writing and freed from all Gothic elements. He was named antique. This name (ancient) he received for his resemblance to fonts ancient era. Of the many fonts of the antiqua type that appeared in the Renaissance, one can single out the most perfect in form: the fonts of the Venetian typographers of the 15th century. Nicholas Jenson, Alda Manutia and type by the French artist Claude Garamont.

Jenson font, combining best features Roman capital font and humanistic writing without any influence of Gothic, formed the basis of all the best Latin fonts of the antiqua type, which subsequently appeared not only in Italy, but also in other European countries: in France, Germany, the Netherlands and England.

Antiqua by Nicholas Jenson

Aldus Manutius created his own light font, changing the proportions of Jenson's letters, and for the first time introduced italics into the practice of printing - an oblique font like antiqua.

Antiqua Alda Manutia

Claude Garamont created a new font using the best samples typefaces by Nikolai Jenson and Alda Manutius. However, unlike the samples, this font is much stricter and clearer, since its construction is based on precise mathematical calculations. The fonts of Garamon reflected the type of letters, which became a classic under the name Elsevier, since these fonts became most famous in the publications of the famous Dutch publishers Elseviers.

Antiqua by Claude Garamond

The great artist and scientist dealt with the construction of the font Leonardo da Vinci(1452–1519). He believed that font and architecture are in close internal connection, therefore, the laws of construction should be common for them, and if ancient architecture is based on the proportions of the human body, then classical proportionality should be used, according to the artist, when building type. Leonardo da Vinci built letters in a square divided by height into ten equal parts. Samples of letters designed by the great master have been preserved.

Leonardo da Vinci letters

follower of Leonardo da Vinci Luca Pacioli further developed the theory of his teacher and in the treatise "On the Divine Proportion" (1509) gave detailed description font construction. The letters of the Pacioli font are built in a square with drawn diagonals and an inscribed circle. The thickness of the main stroke of each letter is equal to one tenth of the height of the square, and the connecting stroke is two times thinner than the main one. An indispensable condition for the execution of the font is the accuracy of construction and the thoroughness of drawing each element of the letter: all rounded elements are necessarily circular. The strict technicality of execution makes Pacioli's beautiful font somewhat monotonous, monotonous.

Letter of Luca Pacioli

Antiqua by Luca Pacioli

The great German artist did a lot in the field of type Albrecht Dürer(1471–1528). In the treatise "Guide to measurement" he constructed the entire Latin alphabet, taking as a basis a square without diagonals and a circle. Unlike Pacioli, Durer divided the square into ten parts in height and made the thickness of the main stroke equal to one tenth of the height of the square, the connecting stroke was three times thinner than the main one. Dürer greatly simplified the construction of letters, abandoning the strict mathematical scheme of Pacioli. Moreover, he recommended that many elements of letters not be drawn with a compass and ruler, but drawn by hand. He suggested using several variants of the same letter in practice. All this made Dürer's font alive and interesting.

Antiqua by Albrecht Dürer

Dürer's principles in font construction were used by the French master Geoffroy Tory, who in his treatise "Blossoming Meadow" developed a font that differs significantly from Dürer's. He divided the square into ten parts in height and built the letters on a grid formed by ten horizontal and vertical lines, increased the serifs and reduced the contrast of the strokes. He subordinated the execution of letters to strict tracing, which brought Tori's font closer to Pacioli's. In subsequent years, up to the 17th century, the antiqua was used in book printing without significant changes, only its numerous variants appear with changes in details.

Antiqua Geoffroy Tory

In the XVIII century. under the influence of the style of classicism and the technique of the original engraving on copper, the serif changes its forms - a new serif appears, which differs from the old one in the refinement of forms and a very large contrast. The letters of this font are dominated by the vertical, there is a narrowing of proportions and depth of space. The connecting strokes have become very thin, and the serifs are long. The letters were freed from the heavy roundings that connected the serifs with the main strokes in the old serif. The font has become light and elegant.

Antique types: old, transitional, new

The emergence of new contrasting fonts is associated with the names of famous typographers: William Queslon and John Baskerville (England), Pierre Fournier the Younger and Philippe Granjean (France), Justus Walbaum (Germany).

The fonts of Quezlon, Baskerville and Fournier, being essentially the fonts of the old humanistic antiqua, acquire some features of the new - they become denser, the letters show a slight increase in stroke contrasts, and the inclined axes of the rounded elements of the letters are replaced by vertical ones. These changes testified to the emerging transition from the old humanistic antiqua to antiqua classic. The latter finally took shape by the end of the 19th century. The most characteristic fonts of the new antiqua were those of the typographers Francois Didot (France) and Giambatista Bodoni (Italy).

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