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Mastering Visual Communication: Typefaces

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Lectures on TYPEFACES a Alexei Kapterev Moscow State University Higher School of Business Administration


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I could not imagine 
 a situation in which 
 Apple would ever 
 be bigger and more 
 profitable than Microsoft. m WILLIAM GATES III Microsoft, founder and then CEO


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But in the end, Microsoft didn’t create products of ethereal beauty. Steve believed you had to control every brush stroke from beginning to end … because he had a passion for perfection. m WALTER ISAACSON Steve Jobs’ biographer


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Stanford, 2005


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I learned about serif and sans serif typefaces, about varying the amount of space between different letter combinations, about what makes great typography great. It was beautiful, historical, artistically subtle in a way that science can't capture, and I found it fascinating. m STEVEN PAUL JOBS Apple, Inc. founder and then CEO


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E SERIFS


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E E SERIF SANS-SERIF


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I learned about serif and sans serif typefaces, about typefaces varying the amount of space between different letter combinations, about what makes great typography great. It was beautiful, historical, artistically subtle in a way that science can't capture, and I found it fascinating. m STEVEN PAUL JOBS Apple, Inc. founder and then CEO


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FEDRA Fedra Serif Fedra Sans 
 Bold TYPE FAMILY Семейство шрифтов Fedra Sans Fedra Sans 
 Normal Italic TYPEFACE Гарнитура Fedra Sans 
 Light FONT Шрифт


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ź I WILL TRY NOT TO BOTHER YOU 
 WITH TERMINOLOGY I. Serifs II. Contrast III. Antiqua IV. Grotesque


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I learned about serif and sans serif typefaces, about varying the amount of space between different letter combinations, about what makes great typography great. It was beautiful, historical, artistically subtle in a way that science can't capture, and I found it fascinating. m STEVEN PAUL JOBS Apple, Inc. founder and then CEO


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aa Helvetica Myriad Pro


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I learned about serif and sans serif typefaces, about varying the amount of space between different letter combinations, about what makes great typography great. It was beautiful, historical, artistically subtle in a way that science can't capture, and I found it fascinating. m STEVEN PAUL JOBS Apple, Inc. founder and then CEO


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Robert Paladino’s calligraphy


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Windows XP + Firefox Mac OSX + Firefox


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WHO 
 THE HELL 
 CARES? ◆ ◆ It’s just a font ß


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Imagine you have to stay at one of these hotels…


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Hotel BELVEDERE


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HOTEL BELVEDERE


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hotel Belvedere


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Hotel BELVEDERE


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Hotel 1. BELVEDERE 2. HOTEL BELVEDERE 3. 4. hotel Belvedere Hotel BELVEDERE


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MOST OF YOU 
 VOTED FOR №4! ◆ CENSORED Just what I’ve expected! ß ◆


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MAMMOTH Mammoth http://onlinelibrary.wiley.com/doi/10.1111/j.2044-8295.1989.tb02317.x/abstract


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HEAVY Elegant http://onlinelibrary.wiley.com/doi/10.1111/j.2044-8295.1989.tb02317.x/abstract


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ELEGANT Heavy http://onlinelibrary.wiley.com/doi/10.1111/j.2044-8295.1989.tb02317.x/abstract


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Temptation TEMPTATION http://www.sciencedirect.com/science/article/pii/S0148296302004873


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Tractor TRACTOR


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5– Times 11 5 Georgia 23 Trebuchet 18 4– Source: Phil Renaud, 2006 http://goo.gl/GOZYe


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RECALL This is the case with car dealers also. And I recently had an experience at Fiat of Manhattan that was nothing short of mind-blowingly bad. This is the case with car dealers also. And I recently had an experience at Fiat of Manhattan that was nothing short of mind-blowingly bad. 4% 1 + http://hbr.org/2012/03/hard-to-read-fonts-promote-better-recall/


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MOTIVATION 8.2 Lorem impu dolor sit amet, consetetur more. Lorem impus dolor sit amet, consetetur sadipsing elitrsed. Loremimpus dolor sit met... . in m m 5.1 1 . in Lorem impu dolor sit amet, consetetur more. Lorem impus dolor sit amet, consetetur sadipsing elitrsed. Loremimpus dolor sit met... http://dornsife.usc.edu/assets/sites/780/docs/08_ps_song___schwarz_effort.pdf


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HUMOUR ! 0% 1 + Times Arial http://www.ncbi.nlm.nih.gov/pubmed/18459353


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Is it true that “we live in an era of unprecedented safety”? ( ) Yes: The claim is true ( ) No: The claim is false How confident are you in your conclusion? ( ) Slightly confident ( ) Moderately confiden ( ) Very confident Source: Benjamin Berman, 
 David Dunning
 http://goo.gl/cMd3H


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5% ~ Source: Benjamin Berman, 
 David Dunning
 http://goo.gl/cMd3H


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The page from June 9-10, 1855, is notable because the handwriting changes suddenly, halfway down the page. On first inspection it appears to be written by two different people or perhaps someone with multiple personality disorder. The writing on the top half of the page is elegant but unreadable, the writing on the bottom half, awkward but entirely legible. The reason for the abrupt change becomes clear only through reading the journal.


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The page from June 9-10, 1855, is notable because the handwriting changes suddenly, halfway down the page. On first inspection it appears to be written by two different 
 people or perhaps someone with multiple personality 
 disorder. The writing on the top half of the page is elegant but unreadable, the writing on the bottom half, awkward but entirely legible. The reason for the abrupt change becomes clear only through reading the journal.


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The page from June 9-10, 1855, is notable because the handwriting changes suddenly, halfway down the page. On first inspection it appears to be written by two different people or perhaps someone with multiple personality disorder. The writing on the top half of the page is elegant but unreadable, the writing on the bottom half, awkward but entirely legible. The reason for the abrupt change becomes clear only through reading the journal. +2% The page from June 9-10, 1855, is notable because the handwriting changes suddenly, halfway down the page. On first inspection it appears to be written by two different 
 people or perhaps someone with multiple personality 
 disorder. The writing on the top half of the page is elegant but unreadable, the writing on the bottom half, awkward but entirely legible. The reason for the abrupt change becomes clear only through reading the journal.


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2% DIFFERENCE ◆ Even though most people 
 can’t tell Baskerville from Georgia!


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TYPEFACES 
 WORK BELOW 
 THE CONSCIOUS 
 LEVEL TOO ◆ ◆ If you can’t tell the difference 
 doesn't mean it won’t affect you ß


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But… WHY? m


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ž TYPOGRAPHY creates an emotional connection


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TYPOGRAPHY CREATES 
 AN EMOTIONAL CONNECTION


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Typography creates 
 an emotional 
 connection


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Ok, but can we CONTROL IT? ß


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◆ YES ß ◆


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COFFEE 30 р. Coffee 300 ₽


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SEE ➳ FEEL


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It’s a question of RE SO L UT I O N ß


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It’s a question of RESOLUTION ß


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adidas adidas


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adidas adidas


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adidas adidas


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adidas adidas


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I love you I love you


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Arial Helvetica


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You can’t create good typography with Arial. m MATHEW BUTTERICK Typography for Lawyers



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y I love you Arial I love y you Helvetica


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yy 90° 97° Helvetica Arial


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Lufthansa Lufthansa


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Jeep Jeep


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GAGARIN Arial GAGARIN Helvetica


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GOAL: To improve 
 your resolution


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TYPEFACE ✖ Print Serif Renaissance Jenson Sans Serif Slab Serif Antiqua Old Style Handwriting Transitional Baroque Cloister Modern <


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m THERE IS NO UNIVERSAL TYPE CLASSIFICATION m


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Text Text Display Display PRAGMATIC MEMORABLE Main body test Headlines Logos


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Слышишь Beautiful Слышишь Readable


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Readable Might 
 happen Beautiful


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2% +1


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READABILITY ✤ There is no single “most readable typeface”, sorry ✤ Measure readability whenever you can ✤ Serifs are for paper, sans-serifs for the screen ✤ Good readability: Humanist sans-serif, Transitional serif ✤ Bad readability: Geometric sans-serif, Modern serif


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Serif Respectable, stable and classy Sans-Serif Modern, hip and edgy


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Humanist Warm, friendly and emotional — but sloppy Readable Pragmatic and dependable — but boring and easily forgettable GEOMETRIC Calculated and rational — but formal and cold


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TASK #3: PICK 
 TWO TYPEFACES 1. One for a logo — interesting & memorable 2. One for the main text — readable 3. Don’t use: Calibri, Times, Arial, Papyrus, Segoe Script/Print, Monotype Corsiva & Comic Sans


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KAPTEREV Visual communications LOREM IPSUM < Jannon < Optima Lorem ipsum dolor sit amet, consectetur adipiscing elit, sed do eiusmod tempor incididunt ut labore et dolore magna aliqua. Ut enim ad minim veniam, quis nostrud exercitation ullamco laboris nisi ut aliquip ex ea commodo consequat. Duis aute irure dolor in reprehenderit in voluptate velit esse cillum dolore eu fugiat nulla pariatur. Excepteur sint occaecat cupidatat non proident, sunt in culpa qui officia deserunt mollit anim id est laborum. Moscow, 19.08.2015


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QUESTIONS? m


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1 Serifs Antiqua


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Where do the SERIFS come from? ß


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Phoenician writing, 16 century B.C.E.


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Roman reed quill


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Rustica


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instagram.com/seblester/


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SENATVS POPULVS QUE ROMANVS


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SERIFS CREATE NICE 
 LINES FOR THE EYE Good for paper and stone


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Trajan’s column, 1 century C.E.


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What about the LOWER CASE? ß


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Cc Vv


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Ff Qq


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Nn Ии


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Rr Яя


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Aa Gg


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a A a


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◆ AGES! m ◆


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Roman stone inscription, 1 century C.E. - no spaces - capitals only


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Italian handwriting circa 1420 - spaces - no capitals


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German gothic script circa 1430


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Johannes Guttenberg, 1439


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Sweynheym & Pannartz, 1465


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Carolingian handwriting, 9th century C.E.


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Doppelgänger Roman capitals Carolingian lowercase


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Doppelgänger Doppelgänger Luminari Adobe Jenson


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Doppelgänger


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Nicholas Jenson, ~1470


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Jenson’s book, 15th century C.E.


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Jenson’s rotunda, 15th century C.E.


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Nicholas Jenson, ~1470 luntur imagines:& alia. Adobe Jenson


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Nicholas Jenson, ~1470 luntur imagines:& alia. Adobe Jenson


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Nicholas Jenson, ~1470 luntur imagines: & alia. Centaur 
 (кириллица есть в Venetian 301)


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Nicholas Jenson, ~1470 luntur imagines: & alia. Centaur 
 (кириллица есть в Venetian 301)


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Where do the ITALICS come from? ß


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Italian handwriting circa 1420


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Francesco Griffo, ~1501


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Old style GUCCI Transitional GUCCI Modern


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WFree Encyclopedia IKIPEDIA The WIKIPEDIA The Free Encyclopedia WFree Encyclopedia IKIPEDIA The


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WIKIPEDIA The Free Encyclopedia


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Google Google


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Google


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Google ➻


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Aa Humanist


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Aa Humanist


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Fra Luca Pacioli


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Leonardo da Vinci


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Albrecht Durer


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aa ➻ Renaissance Baroque


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aa ➻ Humanist Transitional


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John Baskerville, †1775


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bb ➻ Old style Transitional


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ss ➻ Old style Transitional


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eee ➻ Carolingian 
 handwriting ➻ Old style, Jenson Transitional, 
 Baskerville


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Doppelgänger Centaur Doppelgänger Baskerville


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The first Roman type designed by Claude Garamond was used in an edition of the Erasmus book Paraphrasis in Elegantiarum Libros Laurentii Vallae published in 1530. The Roman design was based on an Aldus Manutius type, De Aetna, cut in 1455 by Francesco Griffo. After Claude Garamond died in 1561, most of his punches and matrices were acquired by Christophe Plantin from Antwerp, the Le Be type foundry and the Frankfurt foundry Egenolff-Berner.[4] The only complete set of the original Garamond dies and matrices is at the Plantin-Moretus Museum, in Antwerp, Belgium. The term Garamond is today mostly applied to Garamond's designs for the Latin alphabet. Garamond designed type for the Greek alphabet, but these, the glamorous and fluid Grecs du roi, are very different to his Latin designs: they mimic the elegant handwriting of scribes and contain a vast variety of ligatures and alternate glyphs to achieve this. As these are quite impractical for modern printing, several 'Garamond' releases such as Adobe's contain Greek designs that are either a compromise between Garamond's upright Latin designs and his slanted Greek ones or primarily inspired by his Latin designs. Centaur The first Roman type designed by Claude Garamond was used in an edition of the Erasmus book Paraphrasis in Elegantiarum Libros Laurentii Vallae published in 1530. The Roman design was based on an Aldus Manutius type, De Aetna, cut in 1455 by Francesco Griffo. After Claude Garamond died in 1561, most of his punches and matrices were acquired by Christophe Plantin from Antwerp, the Le Be type foundry and the Frankfurt foundry Egenolff-Berner.[4] The only complete set of the original Garamond dies and matrices is at the Plantin-Moretus Museum, in Antwerp, Belgium. The term Garamond is today mostly applied to Garamond's designs for the Latin alphabet. Garamond designed type for the Greek alphabet, but these, the glamorous and fluid Grecs du roi, are very different to his Latin designs: they mimic the elegant handwriting of scribes and contain a vast variety of ligatures and alternate glyphs to achieve this. As these are quite impractical for modern printing, several 'Garamond' releases such as Adobe's contain Greek designs that are either a compromise between Garamond's upright Latin designs and his slanted Greek ones or primarily inspired by his Latin designs. Baskerville


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Doppelgänger 13 Century Schoolbook Doppelgänger 13 Times Doppelgänger 13 Georgia


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ALBRECH DURER 
 is dead but his ideas live


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K KK ➻ ➻ Old style Transitional Modern


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20 Giambattista Bodoni was born on 16 February 1740 at Saluzzo in Savoy (now the Piedmont region of Italy). He came from a printmaking background, his father and grandfather both being in that trade.[3] He worked for a time in Rome as an apprentice in the Roman Catholic Church's Propaganda Fide printing house. There, it was said, he impressed his superiors so much with his eagerness to learn, studiousness in mastery of ancient languages and types, and energy of effort, that he was allowed to place his own name on his first books, a Coptic Missal and a version of the Tibetan alphabet.[3] K 21 BODONI Kønigin der Schriften Giambattista Bodoni 1740-1811 Parma Giambattista Bodoni was born on 16 February 1740 at Saluzzo in Savoy (now the Piedmont region of Italy). He came from a printmaking background, his father and grandfather both being in that trade.[3] He worked for a time in Rome as an apprentice in the Roman Catholic Church's Propaganda Fide printing house. There, it was said, he impressed his superiors so much with his eagerness to learn, studiousness in mastery of ancient languages and types, and energy of effort, that he was K iambattista Bodoni was born on 16 February 1740 at Saluzzo in Savoy (now the Piedmont region of Italy). He came from a printmaking background, his father and grandfather both being in that trade.[3] He worked for a time in Rome as an apprentice in the Roman Catholic Church's Propaganda Fide printing house. There, it was said, he impressed his superiors so much with his eagerness to learn, studiousness in mastery of ancient Giambattista Bodoni


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Giambattista Bodoni, †1813


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aa Baskerville Regular Bodoni 72 Bold


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CONTRAST Difference between the thickest and the thinnest part a a Huge Small


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Doppelgänger Baskerville Doppelgänger Bodoni 72


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The first Roman type designed by Claude Garamond was used in an edition of the Erasmus book Paraphrasis in Elegantiarum Libros Laurentii Vallae published in 1530. The Roman design was based on an Aldus Manutius type, De Aetna, cut in 1455 by Francesco Griffo. After Claude Garamond died in 1561, most of his punches and matrices were acquired by Christophe Plantin from Antwerp, the Le Be type foundry and the Frankfurt foundry Egenolff-Berner.[4] The only complete set of the original Garamond dies and matrices is at the Plantin-Moretus Museum, in Antwerp, Belgium. The term Garamond is today mostly applied to Garamond's designs for the Latin alphabet. Garamond designed type for the Greek alphabet, but these, the glamorous and fluid Grecs du roi, are very different to his Latin designs: they mimic the elegant handwriting of scribes and contain a vast variety of ligatures and alternate glyphs to achieve this. As these are quite impractical for modern printing, several 'Garamond' releases such as Adobe's contain Greek designs that are either a compromise between Garamond's upright Latin designs and his slanted Greek ones or primarily inspired by his Latin designs. Baskerville The first Roman type designed by Claude Garamond was used in an edition of the Erasmus book Paraphrasis in Elegantiarum Libros Laurentii Vallae published in 1530. The Roman design was based on an Aldus Manutius type, De Aetna, cut in 1455 by Francesco Griffo. After Claude Garamond died in 1561, most of his punches and matrices were acquired by Christophe Plantin from Antwerp, the Le Be type foundry and the Frankfurt foundry Egenolff-Berner.[4] The only complete set of the original Garamond dies and matrices is at the Plantin-Moretus Museum, in Antwerp, Belgium. The term Garamond is today mostly applied to Garamond's designs for the Latin alphabet. Garamond designed type for the Greek alphabet, but these, the glamorous and fluid Grecs du roi, are very different to his Latin designs: they mimic the elegant handwriting of scribes and contain a vast variety of ligatures and alternate glyphs to achieve this. As these are quite impractical for modern printing, several 'Garamond' releases such as Adobe's contain Greek designs that are either a compromise between Garamond's upright Latin designs and his slanted Greek ones or primarily inspired by his Latin designs. Bodoni 72


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EMPORIO ARMANI EMPORIO ARMANI EMPORIO ARMANI


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EMPORIO ARMANI


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Hotel 1. BELVEDERE 2. HOTEL BELVEDERE 3. 4. hotel Belvedere Hotel BELVEDERE


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aaa ➻ Old style ➻ Transitional Modern


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Humanist APC Garamond Transitional Times New Modern Didot


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a а a JENSON Old style BASKERVILLE Transitional DIDOT Modern


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aаaa JENSON Old style BASKERVILLE Transitional DIDOT Modern CONSTANTIA Triangular serifs


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b bb b JENSON Old style BASKERVILLE Transitional DIDOT Modern CONSTANTIA Triangular serifs


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gggg JENSON Old style BASKERVILLE Transitional DIDOT Modern CONSTANTIA Triangular serifs


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z Constantia


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zz Adobe Jenson Bodoni 72


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zzz Adobe Jenson Bodoni 72 Constantia


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Doppelgänger 13 Constantia Doppelgänger 13 Fedra Serif A Doppelgänger 13 Сentro Serif


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2 Sans-serifs Grotesque


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William Caslon IV


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aa Didot News Gothic


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g g ➻ Didot Franklin Gothic


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Grotesque Гротескный Gothic Варварский


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Yeah, that blows my mind too


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PORT OF GOTHAM GOTHAM CITY


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TECHNOLOGY Антиква TECHNOLOGY Гротеск


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TOYOTA Old and neo-grotesque TOYOTA Geometric sans-serifs TOYOTA Humanist sans-serifs


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TOYOTA


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Doppelgänger 13 Franklin Gothic Doppelgänger 13 News Gothic


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ALBRECHT DURER 
 is dead but his ideas live


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ggg ➻ Baskerville ➻ Franklin Gothic FF Din


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qqq ➻ Baskerville ➻ Franklin Gothic FF Din


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a aa ➻ Baskerville ➻ Franklin Gothic FF Din


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Doppelgänger 13 Franklin Gothic Medium Doppelgänger 13 FF DIN Bold


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Doppelgänger 13 FF DIN Bold Doppelgänger 13 Futura Medium


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instagram.com/seblester/


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a aa ➻ Franklin Gothic ➻ FF Din Futura


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OLD Old Rodchenko Futura Bank Gothic


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Doppelgänger 13 Century Gothic Regular Doppelgänger 13 Avenir Medium Doppelgänger 13 Phosphate


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Eurostyle TOSHIBA Arial


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Grotesque Franklin Gothic Neo-grotesque Helvetica


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a a а ➻ GROTESQUE Franklin Gothic ➻ GEOMETRIC Futura NEO-GROTESQUE Helvetica


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Doppelgänger 13 Futura Medium Doppelgänger 13 Helvetica Medium


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Akzidenz-Grotesk


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Akzidenz-Grotesk а Helvetica


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а


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а


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Humanist Sans-Serif Meta Black


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Eric Gill


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bbb b Jenson Franklin G. Futura Gill Sans


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eeee 90˚ 90˚ 15˚ Jenson Franklin G. 45˚ Futura Gill Sans


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Erik Spiekermann


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рр Helvetica Medium Meta Medium


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kk Helvetica Medium Meta Medium


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Doppelgänger 13 Helvetica Neue Medium 96 Doppelgänger 13 Meta Medium 96


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Myriad Semibold


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a


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a aa a a FRANKLIN G. Grotesque FF DIN FUTURA HELVETICA META Realist Geometric Neo-grotesque Humanist


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a a a GEOMETRIC PRAGMATIC HUMANIST Геометрические Гротески и нео-гротески Гуманистические


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iPhone Avenir Next iPhone Myriad


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PP GEOMETRIC HUMANIST Avenir Next Myriad


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RR GEOMETRIC HUMANIST Avenir Next Myriad


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RR NEO-GROTESQUE HUMANIST Arial Myriad


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RRR GEOMETRIC NEO-GROTESQUE HUMANIST Avenir Arial Myriad


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ccc GEOMETRIC NEO-GROTESQUE HUMANIST Avenir Arial Myriad


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Humanist or not? ec ec Fargo Fargo tt 1. Very open “e” and “c” 2. Narrower than neo-grotesque 
 while maintaining the same height 3. “Unnecessary” irregularities 4. Much more contrast


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3 The rest of them A few more things


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OO TIMES Serif ARIAL Sans-serif


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OO ROCKWELL Serif OPTIMA Sans-serif


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KК High contrast Low contrast


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K К High contrast Low contrast


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High Contrast Serifs Low contrast Aa Antique Sans-serifs Aa Grotesque


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High Contrast Serifs Low contrast Aa Aa Aa Aa Antique Sans-serifs Semi Sans Slab Serif Grotesque


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Slab Serif Брусковый


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ab l S Aa Aa Antique Slab Serif


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A Sans serif Slab Franklin Gothic ⇢ Rockwell lab S


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My god, WHY?! (


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◆ ADVERTISING ( ◆


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I NY


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American Typewriter Bold


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Marcellus Wallace Clarendon Marcellus Wallace American Typewriter Regular Marcellus Wallace Rockwell Bold Marcellus Wallace Officina Serif


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a a Clarendon American
 Typewriter a Memphis Officina Serif


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K Serif Sans serif Palatino ⇢ Optima


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KK Palatino Optima


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Semi Sans Stressed Sans Ленточный


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ASTON MARTIN ASTON MARTIN ASTON MARTIN


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ASTON MARTIN


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VERSACE VERSACE


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High Contrast Serifs Low contrast Aa Aa Aa Aa Serif Sans-serifs Semi Sans Slab Serif Sans Serif


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Ag Ag Ag HUMANIST Adobe Jenon IN-BETWEEN Baskerville GEOMETRIC Didot


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Ag Ag Ag HUMANIST Meta IN-BETWEEN Helvetica GEOMETRIC Futura


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Ag Ag Ag HUMANIST Officina Serif IN-BETWEEN Clarendon GEOMETRIC Rockwell


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Ag Ag HUMANIST Optima IN-BETWEEN Orya GEOMETRIC Peignot


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Did I improve your RE SO L UT I O N? ß


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Did I improve your RESOLUTION? ß


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Design is a major priority because I know it’s what will 
 set my business apart. m BOO-KEUN YOON CEO, Samsung Consumer Electronics Division


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A LE XE I KAP TEREV Visual communications m www.kapterev.com alexei@kapterev.com +7 495 764 1898


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