SSP

Source Sans Pro

Type Specimen Book

Dusty Miles, Editor

2014
Typography Final Project

Text Courtsey of http://en.wikipedia.org/wiki/Typography

Table of Contents

Letters 5
What is Typography?
6
Type Arrangement
7
Emotional Communication
8
Origins 9
Size, Weight & Style
10
Type Style
11
Typface: Justify & Punctuate
12
Display Typography
13
Computers & Type
14
Legibility & Readability
15
Paul D. Hunt
16

Table of Contents | 4

Aa Bb Cc Dd
Ee Ff Gg Hh
Ii Jj Kk Ll Mm
Nn Oo Pp Qq
Rr Ss Tt Uu Vv
Ww Xx Yy Zz
Regular, 49pt

5 | Letters

ource

Typography is the art and technique of

arranging type in order to make the language it
forms most appealing to transparent learning
and recognition.

sans

What is Typography? | 6

K erning & Tracking

Kerning adjusts the space between individual letter forms, while
tracking (letter-spacing) adjusts spacing uniformly over a range of
characters. In a well-kerned font, the two-dimensional blank spaces between each pair of characters all have a visually similar area.
Regular, 11pt

The arrangement of type involves the selection of typefaces, point size, line length,
leading (line spacing), adjusting the
spaces between groups of letters (tracking) and adjusting the space between
pairs of letters (kerning). Type design is
a closely related craft, which some consider distinct and others a part of typography; most typographers do not design
typefaces, and some type designers do
not consider themselves typographers.
Light Italic, 10pt

7 | Type Arrangement

Leading

Refers to the distance between the baselines of successive lines of type.

The term originated in the days of hand-typesetting, when thin strips of
lead were inserted into the forms to increase the vertical distance between
lines of type. The term is still used in modern page layout software such as
QuarkXPress and Adobe InDesign.

Regular, 5pt

Line Length

In typography, line length is the width occupied by a block of

typeset text, measured in inches, picas and points. A block of
text or paragraph has a maximum line length that fits a determined design.
Regular, 6pt

EMOTIONAL

COMMUNICATION is

TYPOGRAPHY

In modern times, typography has

been put into motionin film,
television and online broadcasts
to add emotion to mass communication.

Digitization opened up typography to new

generations of visual designers and lay
users, and David Jury, Head of Graphic
Design at Colchester Institute in England,
states that typography is now something
everybody does.

Emotional Communication

|8

Typography traces its origins to the first punches and

dies used to make seals and
currency in ancient times.
The uneven spacing of the
impressions on brick stamps
found in the Mesopotamian
cities of Uruk and Larsa, dating from the 2nd millennium
BC, may have been evidence
from Crete, Greece, which
dates between 1850 and
1600 BC. It has been proposed that Roman lead pipe
inscriptions were created
by movable type printing,
but German typographer
Herbert Brekle recently dismissed this view.
9 |Origins

of type where the reuse of

identical characters were
applied to create cuneiform
text. Babylonian cylinder
seals were used to create an
impression on a surface by
rolling the seal on wet clay.
Typography was also realized in the Phaistos Disc, an
enigmatic Minoan print item

ypography Origins

Size, Weight and Style

Black Italic, 22pt

In traditional typography, a font is a particular size,

weight and style of a typeface. Each font was a
matched set of metal type, one piece (called a sort)
for each glyph, and a typeface comprised a range of
fonts that shared an overall design.
Semibold, 14pt

In modern usage, with the advent of digital typography, font

is frequently synonymous with typeface. In particular, the
use of vector or outline fonts means that different sizes
of a typeface can be dynamically generated from one design.
Each style may still be in a separate font filefor instance,
the typeface Bulmer may include the fonts Bulmer roman,
Bulmer italic, Bulmer bold and Bulmer extendedbut the
term font might be applied either to one of these alone or to
the whole typeface.
Regular, 12pt

Size, Weight & Style | 10

!! !
!

!!

11 | Type Style

Extra Light
Extra Light Italic
Light Italic
Light
Regular
Bold
Bold Italic
Italic
Black
Semibold
Semibold Italic
Black Italic

Typeface

In typography, a typeface
(also known as font family)
is a set of one or more fonts
each composed of glyphs
that share common design
features. Each font of a typeface has a specific weight,
style, condensation, width,
slant, italicization, ornamentation, and designer or
foundry (and formerly size, in
metal fonts).

Punctuation is the use of spacing,

conventional signs, and certain
typographical devices as aids to the
understanding and correct reading,
both silently and aloud, of handwritten and printed texts.[1] Another description is: The practice,
action, or system of inserting points
or other small marks into texts, in
order to aid interpretation; division
of text into sentences, clauses, etc.,
by means of such marks.

Punctuation.

J
ustification
In typesetting, justification (sometimes referred to as full jus-

tification) is the typographic alignment setting of text or images within a column or measure to align along both the
left and right margin. Text set this way is said to be justified.

Typface: Justify & Punctuate | 12

isplay typography is a potent element in graphic design, where there

is less concern for readability and more potential for using type in an artistic
manner. Type
is combined
with negative
space, graphic
elements
and pictures,
f o r m i n g
relationships
and
dialog
between
words
and
images.
Color
and
size of type
elements are
much more
prevalent
Photo Courtsey of Anna Jarvis Design
than in text
typography. Most display typography exploits type at larger sizes, where the
details of letter design are magnified. Color is used for its emotional effect in
conveying the tone and nature of subject matter.

13 | Display Typography

$=

democratization of type

Semibold Italic, 20pt

Computer technology revolutionized typography in

the 20th century. Personal computers in the 1980s like
the Macintosh allowed type designers to create types
digitally using commercial graphic design software.
Digital technology also enabled designers to create more
experimental typefaces, alongside the practical fonts of
traditional typography. Designs for typefaces could be
created faster with the new technology, and for more
specific function. The cost for developing typefaces was
drastically lowered, becoming widely available to the
masses. The change has been called the democratization
of type and has given new designers more opportunities
to enter the field.

Computers & Type

| 14

Legibility

&

Readability

Legibility is primarily the concern of the typeface

designer, to ensure that each individual character or
glyph is unambiguous and distinguishable from all other
characters in the font. Legibility is also in part the concern
of the typographer to select a typeface with appropriate
clarity of design for the intended use at the intended size.
Readability is primarily the concern of the typographer
or information designer. It is the intended result of the
complete process of presentation of textual material in
order to communicate meaning as unambiguously as
possible.

15 | Legibility & Readability

ource Sans Pro is a sans serif typeface

created by Paul D. Hunt for Adobe Systems.

It is the first open source font family from Adobe,
distributed under the SIL Open Font License.

Photo Courtsey of http://blog.typekit.com/

The typeface is inspired by the forms of the

American Type Founders gothics by Morris
Fuller Benton. It is currently available in six
weights, from ExtraLight to Black, in upright and
italic styles. The typeface has wide language
support for Latin script, including Western
and Eastern European
languages, Vietnamese, pinyin
Romanization of Chinese,
and Navajo. Hunt is currently
designing Cyrillic characters.
Regular, 15.5pt

Paul D. Hunt | 16