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Typography > Quiz 1 > Flashcards

Quiz 1 Flashcards

0
Q

How many points are in a pica?

A

12.

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1
Q

What is the distinction between a typeface and a font?

A

A typeface is the design of a letterform and refers to its overall visual appearance. A font is the delivery system. Traditionally a font referred to a set of cast metal characters used for printing, but in modern systems it implies the digital file. A single typeface can encompass a number of fonts in different styles and weights.

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2
Q

The stroke is the basic element of a letter.

True or False?

A

False. The stem is the basic element of a letter.

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3
Q

What is the difference between “typographer’s” quotes and “dumb quotes”?

Which should we be using?

A

Typographer’s quotes are also known as curly quotes. There is the opening single quote, the closing single quote (also used for apostrophes), the opening double quote and the closing double quote. We should be using typographer’s quotes for apostrophes, quotations and dialogue.

Dumb quotes (or straight quotes) should reserved for use as inch and foot marks: 6’ 4”.

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4
Q

What does “nine on sixteen”, 9/16, in typesetting mean?

A

It indicates a font size of 9 points, set with leading of 16 points.

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5
Q

How wide is an em? How wide is an en?

A

An em is proportional to the size of the type, roughly equivalent to the letter’s cap height.
An en is half the width of an em, and wider than a word space.

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6
Q

What are the three different kinds of dashes and what are their proper uses?

A

Em dash—used between words in sentences, and can function like parentheses for emphasis.
• She took her pigs—all six of them—for a walk.

En dash—to indicate a span or range of numbers, or connected words and ideas.
• 1998–2007, the London–Paris flight

Hyphen—compound numbers, verbs and adjectives.
• Twenty-one, state-of-the-art design, a friendly-looking dog

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7
Q

In typesetting, it is often the little details that matter the most.
True or false?

A

True.

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8
Q 
Which of the following is the best type specification for text type?
A. 8/8 Helvetica
B. 12/auto Helvetica
C. 11/10 Bodoni
D. 9/15 Garamond
A

D. 9/15 Garamond

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9
Q

What is kerning?

What is tracking?

A

Kerning adjusts the space between two letters.

Tracking adjusts the overall spacing of a group of letters, also known as letterspacing.

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10
Q

Roman is the basic weight and style of a typeface.

True or false?

A

True.

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11
Q

What are old-style figures? Why would we use them?

A

Numbers come in upper- and lowercase versions; old style figures refer to the lowercase versions, with ascenders and descenders designed to blend in with a body of text.

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12
Q

What are the 9 major Vox+ classification categories?

A
  1. Humanist
  2. Garalde
  3. Transitional
  4. Didone
  5. Slab-serif
  6. Sans-serif (Humanist, Grotesque, Neoclassical, Geometric)
  7. Glyphics
  8. Scripts
  9. Gothic
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13
Q

There is only one system for classifying type.

True or False?

A

False. The Vox system is the most widely used, but there are others, such as the British Standards Classification of Typefaces and Bringhurst’s typography rules.

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14
Q

Define the word “stress” as it relates to type.

A

The “stress” of a letterform is the visual axis resulting from the relationship between thick and thin strokes. It can appear slanted to either side, or upright.

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15
Q

Label the anatomy of a letterform.

What are all the parts of a letterform?

A
  1. Cap height
  2. Uppercase
  3. Lowercase
  4. x-height
  5. Baseline
  6. Ascender
  7. Descender
  8. Counter
  9. Stem
  10. Hairline
  11. Cross Stroke
  12. Cross bar
  13. Arm
  14. Leg
  15. Tail
  16. Bowl
  17. Spine
  18. Apex
  19. Vertex
  20. Spur
  21. Loop
  22. Link
  23. Ear
  24. Terminal
  25. Axis
  26. Ligature
  27. Bracket
  28. Serif
  29. Foot
  30. Lobe
  31. Waist
  32. Beak
  33. Cupped stem
  34. Branch
  35. Shoulder
  36. Diagonal hairline
  37. Curved stem
  38. Eye
  39. Pot hook
  40. Swash
  41. Triangular serif
  42. Horizontal cupped serif
16
Q

What are the differences between text figures and lining figures?
Name a typeface that has text figures.
Name a typeface that only has lining figures.

A

Text figures (also known as old style figures), are numbers designed with ascenders and descenders designed to blend into body copy. Text figures are proportional and have their own set width.

Lining figures are the same height as capital letters and are better suited for display or headlines. They take up uniform widths of space and were designed for use in financial and accounting ledgers.

Adobe Garamond Pro contains text figures.
Futura contains only lining figures.

17
Q 
Slab serifs are also called:
A. Egyptian
B. Hairline serifs
C. Clarendons
D. Typewriter fonts
A

A. Egyptian and C. Clarendons

18
Q 
Which of these typefaces has the lowest contrast?
A. Didot
B. Walbaum
C. Rockwell
D. Baskerville
A

C. The slab-serif Rockwell

19
Q

Display type usually needs kerning.

True or false?

A

True. Display type should be optically kerned.

20
Q 
Give sample type specifications for:
Text type
Set solid
Display type
Type with negative leading
A

8/11
8/8
24/22
11/10

21
Q

Where does one use small caps? What are the important characteristics of genuine small caps?

A

Small caps are used to whenever words are set in all caps within running text.

True small caps are designed to match the x-height of lowercase letters and have more squarish proportions as compared to full capitals.

22
Q

If you are using a space after to indicate paragraphs, it should be a multiple of what? Why?

A

The space after should be half of the leading, or in multiples of the leading, so that lines in adjacent columns line up neatly.

23
Q

Where do you find the setting for space after in InDesign?

A

In the paragraphs panel.

24
Q

The first line, of the first paragraph, should be set full out.
True or false?

A

True. Indents should be used from the second paragraph onwards.

25
Q

If you are using an indent to indicate paragraphs, what is the proper way to set these up in InDesign?

A

Use the “first line indent” setting in the paragraphs panel. An indent should be 130%—140% of an em space, approximately 1 pica for body copy. And never indent the first paragraph.

26
Q

When you set type in very small sizes you need to decrease the tracking.
True or false?

A

False. Type set in small sizes should have tracking increased for better legibility.

27
Q

What is a general rule for how much leading body copy needs?

A

Leading should be about 120%—130% of the type size. Or, roughly speaking, point size plus 3. E.g.: 8/11.

28
Q

Small caps should be used for three-letter acronyms.

True or false?

A

False. Three-letter acronyms may remain in full caps.

29
Q

Describe characteristics, examples and applications of Humanist typefaces.

A
  1. Humanist
    • Calligraphic quality, inclined stresses, strokes echoing the forms created by a broad-nibbed pen, angled bar on lowercase ‘e’.
    • Jenson
    • Limited practical use, suitable for letterpress.
30
Q

Describe characteristics, examples and applications of Garalde typefaces.

A
  1. Garalde
    • Letter forms are informed by the developing craft and sensibility of the punch cutter, medium contrast, inclined stress, generous counters, medium x-height, horizontal bar on lowercase ‘e’.
    • Adobe Garamond, Goudy
    • Attractive and well-designed faces suitable for body copy.
31
Q

Describe characteristics, examples and applications of Transitional typefaces.

A
  1. Transitional
    • Letterforms show development toward a vertical stress, characterized by a more dramatic variation in stroke width. High contrast, pointed apex, vertical serifs, drop ears, drop tail. Italics are designed as part of the typeface.
    • Baskerville, Caslon
    • Body copy, elegant displays
32
Q

Describe characteristics, examples and applications of Didone typefaces.

A
  1. Didone
    • Pronounced contrast in weight between vertical strokes and horizontal hairline. Vertical stress, vertical tail junction, circular or elliptical drop, hairline serifs, bracketed and unbracketed serifs within same font.
    • Didot, Bodoni
    • Best for display and small amounts of copy, but requires high-quality printing and paper.
33
Q

Describe characteristics, examples and applications of Slab Serif typefaces.

A
  1. Slab-serif
    • Heavy, square-ended serifs, with or without brackets, developed from large-scale Display letters used in woodblock letterpress printing. Low contrast, vertical stress, bracketed serifs, short descenders, pronounced drop forms.
    • Clarendon, Rockwell
    • Excellent for display and semi-display, useful in text settings, particularly in cases where a greater weight is required. Good for low resolution digital printing. Prints well on rough or absorbent paper.
34
Q

Describe characteristics, examples and applications of Sans Serif (lineale) typefaces.

A
  1. Sans-serif
    a. Humanist
    • Proportions are derived from the Roman capital letters and the lowercase hand of humanist writing.
    • Frutiger, Myriad, Officina Sans
    • Capital letters with classical proportions, minimal contrast, medium x-height, double storey lowercase ‘a’, equal length cross strokes.
    • Subheads, compatible with a number of Humanist, Garalde and Transitional faces with similar Roman proportions.

b. Grotesque sans-serifs
• Evolved from display type and architectural lettering
• Franklin Gothic, Bell Gothic, News Gothic
• Heavier weights, variations of stroke width at junctions, wide set.
• Good for a range of functions, from signage to display. Also function well for text setting.

c. Neo-grotesque/Neo-classical Sans-Serif
• Key component of Swiss typography. More mechanical than Grotesques, less variation of stroke width, wider set, high x-height, lowercase ‘g’ has open stroke instead of bowl, slightly condensed form, minimal contrast, well-defined counter.
• Univers, Helvetica
• Function better at small sizes than most other Sans-serifs, among the most suitable sans-serif faces for long text setting. Generous x-height and well-defined counter ensure page economy and legibility. Good for display.

d. Geometric Sans-Serif
• Design reflects the idea that type can be reduced to simple geometric units. Representative of Modernist ideology of 1930s—1950s. Geometric construction, monoline stroke width, single storey ‘a’ (in some typefaces), no contrast, circular counters.
• Avenir, Gill Sans, Futura
• Good for display and semi-display.

35
Q

Describe characteristics, examples and applications of Glyphic typefaces.

A
  1. Glyphic
    • Based on letterforms that were carved or inscribed, chiseled forms, sharp terminals or serifs, waisted stems, angled finials.
    • Trajan
    • Specialised applications. As most are without lowercase letters, probably best for display only.
36
Q

Describe characteristics, examples and applications of Script typefaces.

A
  1. Script
    • Based on handwriting, angled forms, high ascenders, deep descenders, low x-height, contrasting stroke width, single story lowercase ‘a’, calligraphic inflection.
    • Snell Roundhand, Berthold Script
    • Decorative contrast to Roman, few are suitable for setting extended text.
37
Q

Describe characteristics, examples and applications of Gothic typefaces.

A
  1. Gothic/Blackletter
    • The original movable type forms, used in Germany until the first half of the 20th century. High contrast, narrow lowercase, angled stress, broad stroke widths.
    • Fette Fraktur, Goudy Text
    • Used in applications requiring association with period and culture, knowledge of context required.

Typography (1 decks)

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