Sean Adams - The Designer’s Dictionary of Type

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Table of Contents

Guide

The Designers

Dictionary of Type

The Designers

Dictionary of Type

ABRAMS ,

NEW

YORK

Sean Adams

2019 Quarto Publishing plc

For The Bright Press

Text and design:

Sean Adams

Editors:

Jacqui Sayers and Emily Angus

For Abrams

Editors:

John Gall and Ashley Albert

Production Manager:

Lindsay Bleemer

ISBN: 978-1-4197-3718-3

eISBN: 978-1-68335-590-8

Published in 2019 by Abrams, an imprint of

ABRAMS. All rights reserved. No portion

of this book may be reproduced, stored

in a retrieval system, or transmitted in

any form or by any means, mechanical,

electronic, photocopying, recording, or

otherwise, without written permission

from the publisher.

Abrams books are available at special

discounts when purchased in quantity

for premiums and promotions as well as

fundraising or educational use. Special

editions can also be created to specifica-

tion. For details, contact specialsales@

abramsbooks.com or the address below.

Abrams is a registered trademark of

Harry N. Abrams, Inc.

195 Broadway

New York, NY 10007

abramsbooks.com

Someday Ill design a typeface without

a K in it, and then lets see the bastards

misspell my name.

FREDERIC GOUDY

Contents

Baskerville

Bembo

Bodoni

Caslon

Centaur

Century

Cooper Black

Didot

Garamond

Perpetua

Scotch Roman

Times New Roman

Archer

Clarendon

Sentinel

Akzidenz Grotesk

Avant Garde

Avenir

FF Real

Franklin Gothic

Futura

Gill Sans

Gotham

Graphik

Helvetica

Knockout

Neue Haas Grotesk

News Gothic

Trade Gothic

Univers

Casual

Blackletter

Formal

Handwritten

Anisette

Didoni

PL Behemoth

Latin Bold

Obsidian

Oklahoma

Old Town

Taliaferro

Bell Gothic

Letter Gothic

OCR-B

Replica Mono

Recto

THE DESIGNERS DICTIONARY OF TYPE

INTRODUCTION

INTRODUCTION

Pictures of Words

TYPEFACES CREATE PICTURES OF WORDS.

Like images, each typeface

communicates an idea, emotion, and point of view. Helvetica might speak

to neutrality and information; Garamond can read as literary and classic;

Bodoni feels sophisticated, urbane, and crisp.

The choice of typeface communicates a subtle message to the viewer.

The typeface choice, like a moving and powerful photograph, is the

difference between a good idea expressed adequately and a good idea

expressed persuasively.

There are as many approaches to typeface choice as there are design

processes. Some designers, such as Massimo Vignelli, work with a small

handful of typefaces for their entire career. Other designers may be more

promiscuous with type, switching typefaces on every project. Neither of

these is wrong. Vignelli adhered to strict modernist principles of simplicity

and reduction. Herb Lubalin designed his own typefaces, preferring variety,

flourish, and drama. These examples are extremes; many designers operate

closer to the center of the spectrum.

This book is not a comprehensive analysis and history of every typeface.

Such an undertaking would require several volumes, each one thousands

of pages thick.

The Designers Dictionary of Type provides historical and

contextual examples of interesting multimedia applications of each typeface.

Typeface classifications such as serif and sans serif divide the book. Styles

such as transitional and modern divide each classification. A diagram for

easy identification of each typeface will help the reader determine if he or

she is looking at Bembo or Baskerville.

The Designers Dictionary of Type aims to illustrate the multiple ways in

which a designer might apply a typeface, as well as the many variations

of each one. With experience, a designer will be able to look at a version of

Caslon and determine whether it is well-crafted and refined, or a cheap

knock-off from a free download.

My advice to designers throughout my career has been to work with the

classics represented in this book. They are classics for a reason, and they

are timeless. I also advise designers to think of typefaces like haircuts.

One does not want to choose the latest, grooviest, trendiest style and years

later be embarrassed by the sight of ones high-school portrait.

OPPOSITE

The Great Basin

Sean Adams ~ 2018

Poster

The graphic system for the York Theater

Group is simple: full-bleed photography

and Neue Haas Grotesk Bold. Rather than

adopting a traveling productions existing

poster, the images represent the content

of the production. The typography is

consistently the same size, weight, and style.

THE DESIGNERS DICTIONARY OF TYPE

Blackletter

Type Classifications

Decorative

Digital

Didone

Didone is a typeface

classification

characterized by

letterforms with strong

contrast between thick

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