Pedro Amado 1 1 Departamento de Comunicação e Arte da Universidade de Aveiro. CETAC.MEDIA, Centro de Estudos das Tecnologias e Ciências da Comunicação [email protected] 1 2 3 4 5 6 7 8 9 10 11 22 25 33 37 38 42 53 53 58 58 68 69 74 86 87 110 120 139 145 149 190 202 218 223 205 205 229 245 247 248 255 249 246 253 254 254 250 251 252 233 193 197 192 203 204 206 214 206 215 207 215 207 216 207 216 208 217 209 219 210 220 220 211 212 213 225 225 224 226 227 227 228 191 194 195 165 174 170 154 159 186 182 128 133 138 134 140 150 166 175 176 176 176 177 178 179 179 179 180 181 181 181 167 168 169 171 172 173 155 160 151 156 161 152 157 162 153 158 162 163 164 141 142 143 144 146 147 148 187 183 188 184 189 185 135 136 137 132 131 117 95 101 92 94 75 78 83 71 72 70 46 51 40 39 35 36 28 27 26 12 19 20 29 30 31 43 44 45 45 55 65 66 67 76 88 96 99 97 99 98 98 100 89 88 89 91 93 77 55 56 47 48 49 50 52 34 32 20 21 21 13 14 16 17 18 15 82 84 84 85 106 107 111 112 113 114 115 116 118 119 121 122 123 124 125 126 127 129 130 198 199 199 200 201 244 230 231 232 234 235 236 237 238 238 239 240 241 241 242 243 195 / 221 195 / 221 195 196 / 222 196 171 172 173 102 108 103 90 79 80 81 59 57 60 61 62 64 63 73 41 109 C1. Measurement Lines 1 Ascender Line EPSF 2 Baseline EPSFD 3 Beard Line EPS 4 Cap Line EPSF 5 Descender Line EPSF 6 Meanline / Midline / Waist Line EPSFD 7 Small Cap Line EP C2. Proportions 8 Ascender Height EPS 9 Beard / Reserve Space / Line Space EPS 10 Body (Height) / Glyph Space EPSFD 11 Cap Height EPSFD 12 Case / Glyph Form EPSFD 13 Lowercase / Minuscule 14 Small Cap 15 Uppercase / Majuscule / Capital 16 Descender Height / Length EPS 17 Set Width EPS D 18 x-Height EPSFD C3. Positive and Negative Shapes 19 Aperture EPS 20 Closed 21 Open 22 Counter / Negative Space EPSFD 23 Closed 24 Open 25 Extender EP F 26 Long 27 Medium 28 Short 29 Eye EPSFD 30 Foot EP D 31 Glyph EPSF 32 Head EPS D 33 Italic / Cursive EP F 34 Kerning EPSFD 35 Optical Corrections / Ajustments EPSF 36 Shoulder EPSFD 37 Sidebearing / Exterior Shape / Letterspace EP 38 Stroke / Ductus EPS D 39 Throat / Aperture E 40 Torso / Eye EP C4. Strokes 41 Arc / Arch (Stem) EPS 42 Arm EPSFD 43 Lower 44 Medium 45 Upper 46 Ascender EPSFD 47 Clubbed 48 Curved 49 Diagonal 50 Vertical 51 Bowl EPSFD 52 Chin / Jaw / Hook EPS 53 Cross Stroke EPSFD 54 Crossbar / Bar / Horizontal Stroke EPSFD 55 Hairline 56 Forked 57 Curl / Swash E 58 Curve EPS D 59 Oval 60 Round/Circular 61 Round/Slightly Square 62 Square 63 Ogee 64 Exagerated 65 Open 66 Closed 67 Jaws Close-set 68 Descender EPSFD 69 Diacritic EP FD 70 Dot / Jot / Tittle EPSFD 71 Ear EPSFD 72 Entry Stroke / Head Serif EPSFD 73 Exit Stroke EPS 74 Flag EP D 75 Hook EPS D 76 Head 77 Foot 78 Jaw / Hook EPS 79 Open / Detached 80 Closed 81 Pelican 82 Knee E 83 Leg EPS D 84 Vertical 85 Curved 86 Link / Connection / Joint / Connecting Stroke / Hairline Arc / Branching EPSFD 87 Lobe / Bowl EPSFD 88 Upper 89 Lower 90 Loop / Lobe / Bowl EPSFD 91 Neck / Link EPS D 92 Serif EPSFD 93 Spine / Double Curve EPS D 94 Spur / Barb EPS D 95 Stem EPSFD 96 Vertical 97 Diagonal 98 Thin / Hairline 99 Thick / Main Stroke 100 Stem Body S 101 Swash / Flourish EPS 102 Attached 103 Dettached 104 Ascender 105 Descender 106 Flag 107 Plume 108 Finial 109 Tongue 110 Tail / Finial EPSFD 111 Straight 112 Curved. 113 Attached 114 Dettached 115 Cross Stroke 116 Talon / Link / Heel / Entry Arc S D 117 Terminal EPS 118 Throat EP D 119 Belt / Tongue / Tarabita S C5. Stroke Connections 120 Apex EPSFD 121 Pointed 122 Flat 123 Oblique 124 Concave/ Hollow 125 Extended 126 Rounded / Blunt 127 Sheared 128 Bracket / Fillet EPSFD 129 Adnate / Abrupt / Angular 130 Bracketed / Transitional / Transitive 131 Cross / Crossing / Junction / Crossbar EPS 132 Crotch EP 133 Fork E 134 Ligature EPSFD 135 Thorax / Thoracic (middle) Spine 136 Tie / Link EP 137 Vertex EPS D 138 Waist / Juncture EPS D C6. Stroke & Glyph Properties 139 Contrast EPS D 140 Exagerated 141 High 142 Medium 143 Low 144 Null / Monoline 145 Curve Treatment / Properties E 146 Continuous 147 Angular 148 Broken/Fractured 149 Modulation EPS D 150 High 151 Medium 152 Low 153 Null / Monoline 154 Slope / Slant / Posture / Style / Axis EPS D 155 Roman / Normal / Vertical 156 Sloped / Slanted Left / Backslant 157 Oblique / Sloped / Slanted Right 158 Italic (Italic, Cursive, Round, Spencerian) 159 Stem Properties (Edges) E 160 Parallel 161 Convex 162 Concave / Concave Elements 163 Irregular 164 Flared 165 Stress / Bias / Shadow Axis EPSFD 166 Vertical 167 Angled / Humanist / Oblique 168 Null / Monoline 169 Horizontal 170 Stroke Transition E 171 Abrupt / Angular / Instant / Broken 172 Bracketed / Gradual 173 Transitive / Branching 174 Stroke With EPS 175 Upstroke / Thin Stroke / Hairline 176 Stem / Main Stroke 177 Downstroke / Thick Stroke 178 Horizontal / Bar / Arm 179 Crossbar 180 Cross Stroke 181 Diagonal / Leg / Arm 182 Weight / Weight Axis EPSFD 183 Bold 184 Regular 185 Light 186 Width / Width Axis EPS D 187 Expanded / Wide 188 Normal 189 Condensed / Compressed C7. Terminal & Serif Properties 190 Reflection EP 191 Unilateral 192 Bilateral 193 Serif Angle / End EP 194 Horizontal 195 Sloped / Oblique / Splayed 196 Vertical 197 Serif Cup E 198 Cupped 199 Concave 200 Flat / Horizontal 201 Oblique 202 Serif Inflexion / Transition EP 203 Reflexive 204 Transitive 205 Serif Shape EPSFD 206 Transitional / Classic / Bracketed 207 Slab / Squared 208 Rounded / Blunt 209 Wedge 210 Point 211 Hairline 212 Sans / Grotesk 213 Hybrid 214 Spur / Barb 215 Beak 216 Hook 217 Sheared 218 Serif Symmetry EP 219 Symmetric 220 Assymetric / Calligraphic 221 Symmetric Splayed 222 Symmetric Vertical 223 Serif Taper E 224 Wedge / Point 225 Squared / Vertical 226 Blunt / Round 227 Sharp / Refined 228 Line 229 Terminal / Serif Position EPS 230 Top Serif / Entry Stroke / Head 231 Terminal / Foot / Exit 232 Arm 233 Terminal Shape EPSFD 234 Teardrop / Drop / Lachrymal 235 Tuscan / Bifurcating 236 Tapered / Finial 237 Straight 238 Sheared 239 Ball 240 Beak 241 Hook 242 Spur 243 Pot Hook / Transitive Serif 244 Entasis C8. Optical adjustments 245 Counter Overshoot 246 Ink Trap / Ink Well EPS 247 Light Trap EPS 248 Notch F 249 Optical Axis E 250 Caption 251 Text 252 Display 253 Overhang EPS 254 Overshoot EPS D 255 Taper / Link / Joint / Branching EPS C7. Terminal and Serif Properties C8. Optical Adjustments C6. Stroke and Glyph Properties C5. Stroke Connections Multilingual Typeface Anatomy Terminology C1. Measurement Lines C2. Proportions C3. Positive and Negative Shapes C4. Strokes Abstract This work proposes a comprehensive typeface anatomy terminology framework in English. The list of 255 entries results from the analysis, collection and synthesis of 2072 terms found in selected literature references in five different languages: English (E); Portuguese (P); Spanish (S); French (F); German (D). It aims to provide a reference tool for digital TD (Typeface Design) professionals, educators and students alike. It expands existing terminologies, adding to the classification and identification of specific language terms. It also proposes an original organization where the individual entries (#) are organized into 8 Categories (C), that aggregate specific terms and their properties. It’s a work in progress that aims to contribute to the proper identification of a common set of terms to be used and localized into different languages. Introduction This work is motivated by the need to have a clear, current and comprehensive terminology on TD that can be used by the different stakeholders in digital font production. On the one hand, it aims to identify all the relevant terms related to the anatomy of digital TD. On the other hand, it aims to detect and to reduce the ambiguity found not only in our native language (Portuguese), but also in the other languages analysed. This seems to be a legacy of the movable type technology in the current digital reality. Nevertheless, proposing a synthesis of clear and unique terms is a difficult and time consuming, if not impossible task. Therefore, this terminology framework does not aim to define a fixed set of universal terms. Instead, it aims to identify a comprehensive set of singular terms and their variants in order to provide the grounds for discussion in different local, linguistic, historical, artistic and technological contexts. Methodology This work was divided into 4 phases. The first phase consisted in the analysis of 26 literature references (Amado & Silva, 2012). The second phase consisted in the analysis 31 additional references: 7 in English (Baines & Haslam, 2002; Carter, Day, & Meggs, 2011; Clair & Busic-Snyder, 2005; Felici, 2003; Highsmith, 2012; Pohlen & Setola, 2011; Shaw & Goldstein, 2012); 6 in Portuguese (Bringhurst, 2006; Caja, 2007; Farias, 2004; Lessa, 2012; Mello, 2008; Neder, 2009); 11 in Spanish (Bibidesign, 2009; Henestrosa, Meseguer, & Scaglione, 2012; Mendez, 2009; Montesinos, Hurtuna, & Montesin, 2007; Moreno, 2004; Pepe, 2010; Rivera, 2009; Torres, 1991; UNLP, 2012; Unna, 2008, 2011); 4 in French (Bayle, 2006; Munsch, 2011; Porchez, 1999; Bracquemond, 2010); 3 in German (Cheng & Krause, 2006; Forssman & Jong, 2004; Schaffrinna, 2009). The third phase currently in progress consists in requesting the help of national and international TD experts and educators. We’ve identified more than 50 relevant experts that can provide feedback and validation, but we expect the list to grow with feedback. The final phase will consist in the publication of the terminology with the terms, illustrations and with a brief description of each in the different languages. Up until now, 35 experts have been contacted mainly by email, and 14 have provided feedback that has been, or is being incorporated into the final multilingual version. The current list of 102 unique terms and 153 properties was compiled from a total of 2072 terms found in literature references and proposed by experts. The English language is being used as a central axis for the translation and synchronization of the terms and, therefore, presented here. Following a common practice found in the literature references, the entries were compared and synthesized into an illustrated numbered list. The entries were organized into 8 Categories (C). Each Category holds a specific set of unique terms (T). Each term, when found in the references analysed, is identified with the corresponding language (E, P, S, F, D). The terms were also organized in order to present their properties. The main challenge was to compare and to compile different terms that have similar expressions, or ambiguous meanings into unique references (such as Terminal, or Axis). Another challenge was to identify and to organize unique and shared properties for each term – e.g. The Stroke Connection (C5) called Apex (#120), found in all 5 languages (E, P, S, F, D), can have a Flat (#122), or a Sheared Shape (#127) among 7 other alternative properties. Selected Findings And Future Work During the end of the second phase an in the current third phase, some terms were validated by experts – e.g. Taper (#255), or Overhang (#253). Some were suggestions – e.g. Notch (#248) –, or found in particular languages – e.g. Stem Body (#100, from the original Pilastra in Spanish). Some were not found in any reference, but are being proposed as new original terms to already existing shapes – e.g. Counter Overshoot (#245), or Thorax (#135). These are needed to describe complex, or specific shapes and properties, and will undergo experts’ evaluation. The translation is currently taking place, having identified 94% of the 102 terms in English, 87% in Portuguese, 72% in Spanish, 39% in French and 52% in German. TD experts’ assistance will be fundamental to complete this task. In the final phase, and when this work finds a suitable stabilization, it will be made available to the public in a format that includes the illustrations, categories, terms and properties with a brief description of each, to further help explain or clarify any ambiguity. Acknowledgements The author would like to thank all the valuable comments and suggestions provided to improve this work. Specially to the professional type designers, friends and educators: Indra Kupferschmid; Jean François Porchez, Joana Lessa; Joana Correia; Jorge de Buen Unna; Luís Moreira; Miguel Sousa; Paul Shaw; Rafael Neder; Ricardo Santos; Rúben Dias; Rui Abreu; Vítor Quelhas; and Xavier Dupré. References Amado, P., & Silva, C. (2012). Anatomia do Tipo. In P. Amado, A. Veloso, O. Martins & N. Dias (Eds.), II Encontro Nacional de Tipografia. Aveiro: Universidade de Aveiro. Baines, P., & Haslam, A. (2002). Type and Typography. London: Laurence King. Bayle, J.-C. L. d. (2006). Glossaire Typographique. Typographie & Civilisation Retrieved 2012-07-01, from http://caracteres. typographie.org/description/anatomie.html Bracquemond, J., & Dusong, J.-L. (2010). Typographie : La lettre, le mot, la page. Paris: Eyrolles. Bibidesign. (2009). Tipografia, Anatomia del Tipo y Clasificacion. Retrieved from http://bibidesign-stock.blogspot.pt/2009/02/ tipografia-anatomia-del-tipo-y.html Bringhurst, R. (2006). Elementos do estilo tipográfico. São Paulo: Cosac Naify. Caja. (2007). Objetivo, classificação e anatomia. Retrieved from http://tipos.wordpress.com/2007/01/03/objetivo- classificacao-e-anatomia-2/ Carter, R., Day, B., & Meggs, P. B. (2011). Typographic Design: Form and Communication. Hoboken: John Wiley & Sons. Cheng, K., & Krause, H. (2006). Anatomie der Buchstaben. Basiswissen für Schriftgestalter. Mainz: Verlag Hermann Schmidt Mainz. Clair, K., & Busic-Snyder, C. (2005). A Typographic Workbook: A Primer to History, Techniques, and Artistry. Hoboken: John Wiley & Sons. Farias, P. L. (2004). Notas para uma normatização da nomenclatura tipográfica. Paper presented at the P&D Design 2004. São Paulo. Felici, J. (2003). The Complete Manual of Typography: A Guide to Setting Perfect Type. Berkeley: Adobe. Forssman, F., & Jong, R. d. (2004). Detailtypografie: Nachschlagewerk für alle Fragen zu Schrift und Satz. Mainz: Verlag Hermann Schmidt Mainz. Henestrosa, C., Meseguer, L., & Scaglione, J. (2012). Cómo Crear Tipografias: Del Boceto a la Pantalla. Madrid: Tipo e Editorial. Highsmith, C. (2012). Inside Paragraphs: Typographic Fundamentals. Boston: The Font Bureau. Lessa, J. (2012). Tipografia: Anatomia do tipo. Retrieved from Joana Lessa Website website: http://www.joanalessa.com/ info_type_anatomy/jlessa_anatomia_tipo_pt.pdf Mello, P. (2008). Tipografia e a sua anatomia Retrieved 2012-07- 01, from http://artesfinais.com/tipografia-e-a-sua-anatomia Mendez, R. D. (2009) Tipografía: Anatomía, Estructura, Clasificación Retrieved 2012-07-01, from http://www. taringa.net/posts/ciencia-educacion/12482562/Tipografia_- Anatomia_-Estructura_-Clasificacion.html Montesinos, J. L. M., Hurtuna, M. M., & Montesin, M. (2007). Manual de Tipografia. Valencia: Campgràfic. Moreno, L. (2004). Partes de una letra. Desarrolloweb.com Retrieved 2012-07-01, from http://www.desarrolloweb.com/ articulos/1615.php Munsch, R. H. (2011). Physionomie de la lettre : Classification des créations typographiques et construction en vue d’oeuvres publicitaires. Paris: Eyrolles. Neder, R. (2009). Glossário. Retrieved from http://www. tiposdobrasil.com/blg/?page_id=101 Pepe, E. G. (2010). Clasificación Tipográfica. Retrieved from Diseño Tipográfico website: http://diseniotipografico. files.wordpress.com/2010/08/apunte_dntg_ clasificaciontipografica.pdf Pohlen, J., & Setola, G. (2011). Letter Fountain: The Anatomy of Type. Köln: Taschen GmbH. Porchez, J. F. (1999). Les caractères typographiques. In M. Combier & Y. Pesez (Eds.), Encyclopédie de la chose imprimée: Du papier @ l’écran. Paris: Retz. Rivera, J. (2009). Anatomía de la Tipografía. Graphic-iti.com Retrieved 2012-07-01, from http://www.graphic-iti.com/ anatomia-de-la-tipografia/ Schaffrinna, A. (2009). Anatomie der Buchstaben. Münster: Plakatverlag. Shaw, P., & Goldstein, A. (2012). The Roots of Type: Scripts. New York: (Book Draft). Torres, M. A. G. (1991). Curso práctico de diseño gráfico. Madrid: Ediciones Génesis S.A. UNLP, F. d. B. A. (2012). Apunte Nº 11 - Partes de la Letra. Apunte de Catedra U. Facultad de Bellas Artes (Ed.) Unna, J. d. B. (2008). Manual de diseño editorial. Gijón: Trea. Unna, J. d. B. (2011). Introducción al estudio de la tipografía. Gijón: Trea. Developing a proposal for a comprehensive translation framework applicable to multiple languages
Welcome message from author
This document is posted to help you gain knowledge. Please leave a comment to let me know what you think about it! Share it to your friends and learn new things together.
Transcript
Pedro Amado 1 1Departamento de Comunicação e Arte da Universidade de Aveiro. CETAC.MEDIA, Centro de Estudos das Tecnologias e Ciências da Comunicaçã[email protected]
1 23
4 5 6 7
8 9 10 11
22 25
33
37 38
42
53 53 58
58 68 69
74
86 87
110
120
139 145
149
190
202
218 223
205
205
229
245 247 248
255
249
246
253 254 254
250 251 252
233
193 197
192
203 204 206
214
206
215
207
215
207
216
207
216
208
217
209
219
210
220 220
211 212 213
225 225 224 226 227 227 228
191 194 195
165
174
170
154 159
186
182
128
133 138
134
140
150
166
175 176 176 176 177 178 179 179 179 180 181181 181
167 168 169 171 172 173
155 160151 156 161152 157 162153 158 162 163 164
141 142 143 144 146 147 148 187
183
188
184
189
185
135 136 137
132131
117
95 101
92 94
75 78 83
71 7270
46 51
4039
35 36
28 27 26
12
19
20
29 30 31
43 44 4545
55
65 66 67
76
88
96 99 97 99 98 98 100
89 88 89 91 93
77
55 56
47 48 49 50 52
3432
2021 21
13 14 16 17 1815
82 8484 85
106107
111 112 113 114 115 116 118 119
121 122 123 124 125 126 127 129 130
198 199 199 200 201
244230 231 232 234 235 236 237 238 238 239 240 241 241 242 243
195 / 221195 / 221
195196 / 222
196
171 172 173
102108 103
90
79 80 81
5957 60 61 62 6463
73
41
109
C1. Measurement Lines1 Ascender Line E P S F2 Baseline E P S F D3 Beard Line E P S4 Cap Line E P S F5 Descender Line E P S F6 Meanline / Midline / Waist Line E P S F D7 Small Cap Line E P
C2. Proportions8 Ascender Height E P S9 Beard / Reserve Space / Line Space E P S
10 Body (Height) / Glyph Space E P S F D11 Cap Height E P S F D12 Case / Glyph Form E P S F D13 Lowercase / Minuscule14 Small Cap15 Uppercase / Majuscule / Capital16 Descender Height / Length E P S17 Set Width E P S D18 x-Height E P S F D
C3. Positive and Negative Shapes19 Aperture E P S20 Closed21 Open22 Counter / Negative Space E P S F D23 Closed24 Open25 Extender E P F26 Long27 Medium28 Short29 Eye E P S F D30 Foot E P D31 Glyph E P S F32 Head E P S D33 Italic / Cursive E P F34 Kerning E P S F D35 Optical Corrections / Ajustments E P S F36 Shoulder E P S F D
37 Sidebearing / Exterior Shape / Letterspace E P
38 Stroke / Ductus E P S D39 Throat / Aperture E40 Torso / Eye E P
C4. Strokes41 Arc / Arch (Stem) E P S42 Arm E P S F D43 Lower44 Medium45 Upper46 Ascender E P S F D47 Clubbed48 Curved49 Diagonal50 Vertical51 Bowl E P S F D52 Chin / Jaw / Hook E P S53 Cross Stroke E P S F D54 Crossbar / Bar / Horizontal Stroke E P S F D55 Hairline56 Forked57 Curl / Swash E58 Curve E P S D59 Oval60 Round/Circular61 Round/Slightly Square62 Square63 Ogee64 Exagerated65 Open66 Closed67 Jaws Close-set68 Descender E P S F D69 Diacritic E P F D70 Dot / Jot / Tittle E P S F D71 Ear E P S F D72 Entry Stroke / Head Serif E P S F D73 Exit Stroke E P S74 Flag E P D75 Hook E P S D76 Head77 Foot78 Jaw / Hook E P S79 Open / Detached80 Closed81 Pelican82 Knee E83 Leg E P S D84 Vertical85 Curved
86Link / Connection / Joint / Connecting Stroke / Hairline Arc / Branching
E P S F D
87 Lobe / Bowl E P S F D88 Upper89 Lower90 Loop / Lobe / Bowl E P S F D91 Neck / Link E P S D92 Serif E P S F D93 Spine / Double Curve E P S D94 Spur / Barb E P S D95 Stem E P S F D96 Vertical97 Diagonal98 Thin / Hairline99 Thick / Main Stroke
100 Stem Body S101 Swash / Flourish E P S102 Attached103 Dettached104 Ascender105 Descender106 Flag
107 Plume108 Finial109 Tongue110 Tail / Finial E P S F D111 Straight112 Curved. 113 Attached114 Dettached115 Cross Stroke116 Talon / Link / Heel / Entry Arc S D117 Terminal E P S118 Throat E P D119 Belt / Tongue / Tarabita S
C5. Stroke Connections120 Apex E P S F D121 Pointed122 Flat123 Oblique124 Concave/ Hollow125 Extended126 Rounded / Blunt127 Sheared128 Bracket / Fillet E P S F D129 Adnate / Abrupt / Angular130 Bracketed / Transitional / Transitive
131 Cross / Crossing / Junction / Crossbar E P S
132 Crotch E P133 Fork E134 Ligature E P S F D135 Thorax / Thoracic (middle) Spine136 Tie / Link E P137 Vertex E P S D138 Waist / Juncture E P S D
C6. Stroke & Glyph Properties139 Contrast E P S D140 Exagerated141 High142 Medium143 Low144 Null / Monoline145 Curve Treatment / Properties E146 Continuous147 Angular148 Broken/Fractured149 Modulation E P S D150 High151 Medium152 Low153 Null / Monoline154 Slope / Slant / Posture / Style / Axis E P S D155 Roman / Normal / Vertical156 Sloped / Slanted Left / Backslant157 Oblique / Sloped / Slanted Right158 Italic (Italic, Cursive, Round, Spencerian)159 Stem Properties (Edges) E160 Parallel161 Convex162 Concave / Concave Elements163 Irregular164 Flared165 Stress / Bias / Shadow Axis E P S F D166 Vertical167 Angled / Humanist / Oblique168 Null / Monoline169 Horizontal170 Stroke Transition E171 Abrupt / Angular / Instant / Broken172 Bracketed / Gradual173 Transitive / Branching174 Stroke With E P S175 Upstroke / Thin Stroke / Hairline176 Stem / Main Stroke177 Downstroke / Thick Stroke178 Horizontal / Bar / Arm179 Crossbar180 Cross Stroke181 Diagonal / Leg / Arm 182 Weight / Weight Axis E P S F D183 Bold184 Regular185 Light186 Width / Width Axis E P S D187 Expanded / Wide188 Normal189 Condensed / Compressed
C7. Terminal & Serif Properties190 Reflection E P191 Unilateral192 Bilateral193 Serif Angle / End E P194 Horizontal195 Sloped / Oblique / Splayed196 Vertical 197 Serif Cup E198 Cupped199 Concave200 Flat / Horizontal201 Oblique202 Serif Inflexion / Transition E P203 Reflexive204 Transitive205 Serif Shape E P S F D206 Transitional / Classic / Bracketed207 Slab / Squared208 Rounded / Blunt209 Wedge210 Point211 Hairline212 Sans / Grotesk213 Hybrid214 Spur / Barb
215 Beak216 Hook217 Sheared218 Serif Symmetry E P219 Symmetric220 Assymetric / Calligraphic221 Symmetric Splayed222 Symmetric Vertical223 Serif Taper E224 Wedge / Point225 Squared / Vertical226 Blunt / Round227 Sharp / Refined228 Line229 Terminal / Serif Position E P S230 Top Serif / Entry Stroke / Head231 Terminal / Foot / Exit232 Arm233 Terminal Shape E P S F D234 Teardrop / Drop / Lachrymal235 Tuscan / Bifurcating236 Tapered / Finial237 Straight238 Sheared239 Ball240 Beak241 Hook242 Spur243 Pot Hook / Transitive Serif244 Entasis
C8. Optical adjustments245 Counter Overshoot246 Ink Trap / Ink Well E P S247 Light Trap E P S248 Notch F249 Optical Axis E250 Caption251 Text252 Display253 Overhang E P S254 Overshoot E P S D255 Taper / Link / Joint / Branching E P S
C7. Terminal and Serif Properties
C8. Optical Adjustments
C6. Stroke and Glyph Properties
C5. Stroke Connections
Multilingual Typeface Anatomy TerminologyC1. Measurement Lines
C2. Proportions
C3. Positive and Negative Shapes
C4. Strokes
AbstractThis work proposes a comprehensive typeface anatomy terminology framework in English. The list of 255 entries results from the analysis, collection and synthesis of 2072 terms found in selected literature references in five different languages: English (E); Portuguese (P); Spanish (S); French (F); German (D). It aims to provide a reference tool for digital TD (Typeface Design) professionals, educators and students alike. It expands existing terminologies, adding to the classification and identification of specific language terms. It also proposes an original organization where the individual entries (#) are organized into 8 Categories (C), that aggregate specific terms and their properties.
It’s a work in progress that aims to contribute to the proper identification of a common set of terms to be used and localized into different languages.
IntroductionThis work is motivated by the need to have a clear, current and comprehensive terminology on TD that can be used by the different stakeholders in digital font production. On the one hand, it aims to identify all the relevant terms related to the anatomy of digital TD. On the other hand, it aims to detect and to reduce the ambiguity found not only in our native language (Portuguese), but also in the other languages analysed. This seems to be a legacy of the movable type technology in the current digital reality. Nevertheless, proposing a synthesis of clear and unique terms is a difficult and time consuming, if not impossible task. Therefore, this terminology framework does not aim to define a fixed set of universal terms. Instead, it aims to identify a comprehensive set of singular terms and their variants in order to provide the grounds for discussion in different local, linguistic, historical, artistic and technological contexts.
MethodologyThis work was divided into 4 phases. The first phase consisted in the analysis of 26 literature references (Amado & Silva, 2012). The second phase consisted in the analysis 31 additional references:
7 in English (Baines & Haslam, 2002; Carter, Day, & Meggs, 2011; Clair & Busic-Snyder, 2005; Felici, 2003; Highsmith, 2012; Pohlen & Setola, 2011; Shaw & Goldstein, 2012);
6 in Portuguese (Bringhurst, 2006; Caja, 2007; Farias, 2004; Lessa, 2012; Mello, 2008; Neder, 2009);
11 in Spanish (Bibidesign, 2009; Henestrosa, Meseguer, & Scaglione, 2012; Mendez, 2009; Montesinos, Hurtuna, & Montesin, 2007; Moreno, 2004; Pepe, 2010; Rivera, 2009; Torres, 1991; UNLP, 2012; Unna, 2008, 2011);
4 in French (Bayle, 2006; Munsch, 2011; Porchez, 1999; Bracquemond, 2010);
3 in German (Cheng & Krause, 2006; Forssman & Jong, 2004; Schaffrinna, 2009).
The third phase currently in progress consists in requesting the help of national and international TD experts and educators. We’ve identified more than 50 relevant experts that can provide feedback and validation, but we expect the list to grow with feedback. The final phase will consist in the publication of the terminology with the terms, illustrations and with a brief description of each in the different languages.
Up until now, 35 experts have been contacted mainly by email, and 14 have provided feedback that has been, or is being incorporated into the final multilingual version. The current list of 102 unique terms and 153 properties was compiled from a total of
2072 terms found in literature references and proposed by experts. The English language is being used as a central axis for the translation and synchronization of the terms and, therefore, presented here. Following a common practice found in the literature references, the entries were compared and synthesized into an illustrated numbered list. The entries were organized into 8 Categories (C). Each Category holds a specific set of unique terms (T). Each term, when found in the references analysed, is identified with the corresponding language (E, P, S, F, D). The terms were also organized in order to present their properties. The main challenge was to compare and to compile different terms that have similar expressions, or ambiguous meanings into unique references (such as Terminal, or Axis). Another challenge was to identify and to organize unique and shared properties for each term – e.g. The Stroke Connection (C5) called Apex (#120), found in all 5 languages (E, P, S, F, D), can have a Flat (#122), or a Sheared Shape (#127) among 7 other alternative properties. Selected Findings And Future WorkDuring the end of the second phase an in the current third phase, some terms were validated by experts – e.g. Taper (#255), or Overhang (#253). Some were suggestions – e.g. Notch (#248) –, or found in particular languages – e.g. Stem Body (#100, from the original Pilastra in Spanish). Some were not found in any reference, but are being proposed as new original terms to already existing shapes – e.g. Counter Overshoot (#245), or Thorax (#135). These are needed to describe complex, or specific shapes and properties, and will undergo experts’ evaluation.
The translation is currently taking place, having identified 94% of the 102 terms in English, 87% in Portuguese, 72% in Spanish, 39% in French and 52% in German. TD experts’ assistance will be fundamental to complete this task. In the final phase, and when this work finds a suitable stabilization, it will be made available to the public in a format that includes the illustrations, categories, terms and properties with a brief description of each, to further help explain or clarify any ambiguity.
AcknowledgementsThe author would like to thank all the valuable comments and suggestions provided to improve this work. Specially to the professional type designers, friends and educators: Indra Kupferschmid; Jean François Porchez, Joana Lessa; Joana Correia; Jorge de Buen Unna; Luís Moreira; Miguel Sousa; Paul Shaw; Rafael Neder; Ricardo Santos; Rúben Dias; Rui Abreu; Vítor Quelhas; and Xavier Dupré.
ReferencesAmado, P., & Silva, C. (2012). Anatomia do Tipo. In P. Amado, A.
Veloso, O. Martins & N. Dias (Eds.), II Encontro Nacional de Tipografia. Aveiro: Universidade de Aveiro.
Baines, P., & Haslam, A. (2002). Type and Typography. London: Laurence King.
Bayle, J.-C. L. d. (2006). Glossaire Typographique. Typographie & Civilisation Retrieved 2012-07-01, from http://caracteres.typographie.org/description/anatomie.html
Bracquemond, J., & Dusong, J.-L. (2010). Typographie : La lettre, le mot, la page. Paris: Eyrolles.
Bibidesign. (2009). Tipografia, Anatomia del Tipo y Clasificacion. Retrieved from http://bibidesign-stock.blogspot.pt/2009/02/tipografia-anatomia-del-tipo-y.html
Bringhurst, R. (2006). Elementos do estilo tipográfico. São Paulo: Cosac Naify.
Caja. (2007). Objetivo, classificação e anatomia. Retrieved from http://tipos.wordpress.com/2007/01/03/objetivo-classificacao-e-anatomia-2/
Carter, R., Day, B., & Meggs, P. B. (2011). Typographic Design: Form and Communication. Hoboken: John Wiley & Sons.
Cheng, K., & Krause, H. (2006). Anatomie der Buchstaben. Basiswissen für Schriftgestalter. Mainz: Verlag Hermann Schmidt Mainz.
Clair, K., & Busic-Snyder, C. (2005). A Typographic Workbook: A Primer to History, Techniques, and Artistry. Hoboken: John Wiley & Sons.
Farias, P. L. (2004). Notas para uma normatização da nomenclatura tipográfica. Paper presented at the P&D Design 2004. São Paulo.
Felici, J. (2003). The Complete Manual of Typography: A Guide to Setting Perfect Type. Berkeley: Adobe.
Forssman, F., & Jong, R. d. (2004). Detailtypografie: Nachschlagewerk für alle Fragen zu Schrift und Satz. Mainz: Verlag Hermann Schmidt Mainz.
Henestrosa, C., Meseguer, L., & Scaglione, J. (2012). Cómo Crear Tipografias: Del Boceto a la Pantalla. Madrid: Tipo e Editorial.
Highsmith, C. (2012). Inside Paragraphs: Typographic Fundamentals. Boston: The Font Bureau.
Lessa, J. (2012). Tipografia: Anatomia do tipo. Retrieved from Joana Lessa Website website: http://www.joanalessa.com/info_type_anatomy/jlessa_anatomia_tipo_pt.pdf
Mello, P. (2008). Tipografia e a sua anatomia Retrieved 2012-07-01, from http://artesfinais.com/tipografia-e-a-sua-anatomia
Mendez, R. D. (2009) Tipografía: Anatomía, Estructura, Clasificación Retrieved 2012-07-01, from http://www.taringa.net/posts/ciencia-educacion/12482562/Tipografia_-Anatomia_-Estructura_-Clasificacion.html
Montesinos, J. L. M., Hurtuna, M. M., & Montesin, M. (2007). Manual de Tipografia. Valencia: Campgràfic.
Moreno, L. (2004). Partes de una letra. Desarrolloweb.com Retrieved 2012-07-01, from http://www.desarrolloweb.com/articulos/1615.php
Munsch, R. H. (2011). Physionomie de la lettre : Classification des créations typographiques et construction en vue d’oeuvres publicitaires. Paris: Eyrolles.
Neder, R. (2009). Glossário. Retrieved from http://www.tiposdobrasil.com/blg/?page_id=101
Pepe, E. G. (2010). Clasificación Tipográfica. Retrieved from Diseño Tipográfico website: http://diseniotipografico.files.wordpress.com/2010/08/apunte_dntg_clasificaciontipografica.pdf
Pohlen, J., & Setola, G. (2011). Letter Fountain: The Anatomy of Type. Köln: Taschen GmbH.
Porchez, J. F. (1999). Les caractères typographiques. In M. Combier & Y. Pesez (Eds.), Encyclopédie de la chose imprimée: Du papier @ l’écran. Paris: Retz.
Rivera, J. (2009). Anatomía de la Tipografía. Graphic-iti.com Retrieved 2012-07-01, from http://www.graphic-iti.com/anatomia-de-la-tipografia/
Schaffrinna, A. (2009). Anatomie der Buchstaben. Münster: Plakatverlag.
Shaw, P., & Goldstein, A. (2012). The Roots of Type: Scripts. New York: (Book Draft).
Torres, M. A. G. (1991). Curso práctico de diseño gráfico. Madrid: Ediciones Génesis S.A.
UNLP, F. d. B. A. (2012). Apunte Nº 11 - Partes de la Letra. Apunte de Catedra U. Facultad de Bellas Artes (Ed.)
Unna, J. d. B. (2008). Manual de diseño editorial. Gijón: Trea.Unna, J. d. B. (2011). Introducción al estudio de la tipografía.
Gijón: Trea.
Developing a proposal for a comprehensive translation framework applicable to multiple languages
Related Documents
