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Typographie : deux ou trois choses

Typographie : deux ou trois choses
Related:  Culture typographique

Arial versus Helvetica. How to tell them apart. Is Arial just a poor copy? Seconds Out, Round One Every typeface, like every one of us, has its distinguishing features. You might be forgiven for thinking that some fonts are clones, or identical twins. However, closer inspection reveals subtle differences and nuances that simply escape casual perusal. Something that can really help heighten our sensitivity to those differences is getting out our magnifying glasses and really taking a closer look. Today we’re going to de-robe two popular typefaces, namely Arial and Helvetica — faces that are often confused, and often the subjects of mistaken identity. HelveticaDesigned in 1957 by Max Miedinger, Helvetica’s design is based on that of Akzidenz Grotesk (1896), and classified as a Grotesque or Transitional san serif face. ArialDesigned in 1982 by Robin Nicholas and Patricia Saunders for Monotype (not Microsoft), it’s classified as Neo Grotesque, was originally called Sonoran San Serif, and was designed for IBM’s bitmap font laser printers.

responsive typography in web design Responsive web design, also abbreviated as RWD, is a well-known concept on the internet nowadays. It is very popular and was introduced about 4-5 years ago to the masses. Since then, everybody talks about it and website owners without a responsive layout look on how to change that. RWD is important because the internet nowadays is mobile, not static. We do not only browse from our desktop machines anymore, we use tablets and smartphones. Why consider typography? The content is the most important element of a website, we all know this by know. Typography is already introduced in Responsive Web Design to some extent (column width, type size or line height, for example), but this article will help you take beyond the default settings of RWD. What’s important There are three basic principles you need to keep in mind. But before looking at these, the choice usually is down to serif or sans serif fonts. The font size should be specified in the stylesheet according to different screen sizes. Coop

design et typo | Typographie et valeurs sémantiques, décryptage des courants graphiques et typographiques School children with teachers under Magnolia trees on Oxford Street Langage et typographie Premier Bauhaus et œuvre d’art totale Le Bauhaus dans sa première période se construit sur le modèle médiéval des corporations d’artisans, modèle très largement idéalisé d’une société égalitaire, ignorant la séparation entre art et artisanat. Ses débuts sont marqués par l’utopie d’une communion entre les arts orientée et tendue vers la réalisation d’une œuvre commune, rendue possible par l’union des artistes et des artisans. Gropius explique ainsi dans le manifeste de 1919 :« Formons donc une nouvelle corporation d’artisans, sans cette séparation de classes qui dressait un mur de dédain entre artisans et artistes. Second Bauhaus Itten démissionne en 1923 et laisse la responsabilité du Vorlehre - cours préliminaire - à Moholy-Nagy. Les artistes du Bauhaus, dans leur volonté de réduire l’objet à sa seule fonction, iraient jusqu’à le faire disparaître. Le Bauhaus replace la fonction de l’objet au centre du processus de création. L’exemple d’Herbert Bayer et l’alphabet universel

arial vs helvetica Typography is a fine art form. To the untrained eye, it seems like there are about 40 unique fonts with identical copies abound that make up the hundreds of fonts in existence. However, typographers are a keen type and there are small differentiating features that when combined, result in a finely-crafted and unique font. As commoners, we may not be able to pinpoint the specific differences between two fonts, but we can often sense that there’s a difference, even if it’s minute. We may even be drawn to one over another, and are not quite sure why. One of the most common mix-ups is between Arial and Helvetica. Helvetica was originally created in 1957 by Max Miedinger and Eduard Hoffmann of the Haas type foundry based in Switzerland. Helvetica blew up in the ‘60s and ‘70s as it became the favorite font of designers, for its modern, clean, and commercial appeal. Arial was created in 1982 by Robin Nicholas and Patricia Saunders of Monotype (a type foundry). Different strokes

Graphic Design - Eskilson, Stephen Stephen J. Eskilson Instructors: Visit the accompanying web site for the second edition at yalebooks.com/Eskilson; more information is below. Now in its second edition, this innovative look at the history of graphic design explores its evolution from the 19th century to the present day. Author Stephen J. The second edition features over 80 new images, revised text throughout, a new chapter on 19th-century design, and expanded sections on critical topics including the Swiss Style, Postmodernism, and contemporary design. Stephen J. Instructors: * Visit the updated accompanying web site for the second edition at yalebooks.com/Eskilson for quizzes, discussion questions and comparisons. * A pagination comparison of the two editions is available here.* A set of 100 color and black and white images in the book is available for $5.00 to instructors who adopt the book. * If you would like to view an e-examination copy of this title in uncorrected form, please click the request button above.

DoverPictura - Site Les linéales Ces caractères vont de pair avec l'essor de la publicité et de l'architecture moderne. Ils sont très (trop) lisibles, ils sont donc efficaces sur des affiches ou comme titres, mais fatiguant utilisés dans le texte courant. Ils sont caractérisés par une absence d'empattements. Les Linéales s'appellent "Antiques" chez Thibaudeau, "Linéaires" chez Novarese et "Simplices" chez Alessandrini. Les Linéales (et particulièrement les grasses) sont très utilisées dans les affiches pour attirer l'attention (regardez les publicités ou affiches de cinéma, ce sont les caractères les plus utilisés pour capter votre attention).

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