Klasifikasi Umum Huruf 1. OutlineMaterial Klasifikasi umum huruf Huruf Serif Huruf Script Huruf Sans Serif Huruf Decorative|Digital 2. - презентация

1 Klasifikasi Umum Huruf 1

2 OutlineMaterial Klasifikasi umum huruf Huruf Serif Huruf Script Huruf Sans Serif Huruf Decorative|Digital 2

3 Huruf Huruf merupakan bagian terkecil dari struktur bahasa tulis & merupakan elemen dasar untuk membangun sebuah kata & kalimat. Rangkaian huruf dalam sebuah kata/kalimat bukan saja dpt memberikan makna yang mengarah pada sebuah objek/gagasan, tapi juga menyuarakan suatu citra/kesan secara visual. 3

4 Anatomi Huruf 4 r

5 5 Surfing ascender line mean line base line descender line x-height caps-height ascender descender

6 Klasifikasi Huruf Klasifikasi huruf dibuat berdasarkan atas latar belakang sejarah perkembangan tipografi yang diambil dari momentum- momentum penting dalam perjalanan sejarah penciptaan dan pengembangan bentuk huruf. 6

7 Klasifikasi Huruf 7

8 Huruf Serif Huruf Serif adalah huruf yang memiliki garis akhir yang pendek pada ujung garis utamanya, biasanya terdapat pada ujung akhir dari karakter huruf tersebut. Terbagi atas 3 kelompok: 1. Old Style 2. Transitional 3. Modern 8

9 Ciri Khas Sifatnya kurang formal, elegant, mewah, anggun, intelektual Kurang mudah dibaca dibanding Sans Serif Cocok untuk huruf desain di media cetak seperti koran, skripsi, brosur,dll 9

10 10 Huruf Serif-Old Style Old style is not necessarily old, but has characteristics that classify it as "old" or of the classic form. Old Style is a style of font developed by Renaissance typographers to replace the Blackletter style of type. Based on ancient Roman inscriptions, these fonts are generally characterized by low contrast between thick and thin strokes, bracketed serifs, and a left- leaning axis or stress.

11 11 Serif-Old Style Example of Old Style are: 1.Garamond 2.Goudy 3.Times 4.Bembo 5.Palatino

12 12 Garamond In the 1600s by Claude Garamond, Garamond is considered one of the archetypes of old style fonts. Notice the pennant like serifs flying from the ascenders, the slight backward slant of the Os, and the lack of contrast between the thin parts and the thick parts of the letters. Born c in Paris, France, died 1561 in Paris, France. Type founder, publisher, punch cutter, type designer. 1. Claude Garamond

13 13 Structure of Garamond: Garamond

14 14 Goudy Goudy was an active type cutter in the middle of the twentieth century. This old style font, attributed to him, was cut in the 1940s. Notice the similarities between this font and Garamond. This font has a graceful bracket (the curving line that connects the serif with the main line) on the serifs, making them appear even more pennant-like. This implementation from the 1940s shows a little thicker wide stroke that gives a little higher contrast between thick and thin strokes than the earlier Garamond. Born in Bloomington, USA, died in Malborough- on-Houdson, USA – type designer, typographer, publisher, teacher. 2. Fred Goudy

15 15 Goudy Structure of Goudy:

16 16 Huruf Serif-Transitional Transitional fonts fit somewhere in between moderns and old style fonts. Many of the transitionals have the same kind of readability as the old styles. However, they are based on slightly later design. While a move in the direction of the moderns may be visible in these fonts, they are still much more subtle than the moderns.

17 17 Serif-Transitional Example of Transitional are: 1. Baskerville 2. Janson 3. Caslon 4. Caledonia

18 18 Born in Wolverley, Worcestershire, England, died in Birmingham, Warwickshire, England – type designer, writing master, printer. The Baskerville was created by John Baskerville, a type founder and printer in late eighteenth-century England. It is classified as transitional. As a matter of fact, with its generous proportions, the Baskerville appears not very different from its predecessors. But the difference between fine and bold strokes is more marked, the lower-case serifs are almost horizontal and the emphasis on the stroke widths is almost vertical. 5. Baskerville

19 19 Baskerville Structure of Baskerville:

20 20 Janson Janson Roman is a classic, sophisticated serif typeface. Because of its strong legibility, it works well in small and large type sizes and also for small and large amounts of text. Janson Italic can be used to highlight information in a text block or it can be used alone to create a sophisticated look. Use for short amounts of text. 6. Born 1879 in Irontown/Ohio, USA, died 1956 in Butler/N.Y., USA – typesetter, machine compositor.

21 21 Janson Structure of Janson:

22 22 Huruf Serif-Transitional Transitional fonts fit somewhere in between moderns and old style fonts. Many of the transitionals have the same kind of readability as the old styles. However, they are based on slightly later design. While a move in the direction of the moderns may be visible in these fonts, they are still much more subtle than the moderns.

23 23 Serif-Transitional Example of Transitional are: 1. Baskerville 2. Janson 3. Caslon 4. Caledonia

24 24 Born in Wolverley, Worcestershire, England, died in Birmingham, Warwickshire, England – type designer, writing master, printer. The Baskerville was created by John Baskerville, a type founder and printer in late eighteenth-century England. It is classified as transitional. As a matter of fact, with its generous proportions, the Baskerville appears not very different from its predecessors. But the difference between fine and bold strokes is more marked, the lower-case serifs are almost horizontal and the emphasis on the stroke widths is almost vertical. 5. Baskerville

25 25 Baskerville Structure of Baskerville:

26 26 Janson Janson Roman is a classic, sophisticated serif typeface. Because of its strong legibility, it works well in small and large type sizes and also for small and large amounts of text. Janson Italic can be used to highlight information in a text block or it can be used alone to create a sophisticated look. Use for short amounts of text. 6. Born 1879 in Irontown/Ohio, USA, died 1956 in Butler/N.Y., USA – typesetter, machine compositor.

27 27 Janson Structure of Janson:

28 Huruf Script Huruf Script terlihat seperti tulisan tangan atau memang tercipta dari contoh tulisan tangan yang memberi kesan elegan, pribadi, atau bahkan dapat berkesan kegembiraan, kekanak-kanakan, sportif. 28

29 Ciri Khas Sifatnya : Anggun, Tradisional, Pribadi dan Informal Kurang mudah dibaca, sehingga jangan dipakai terlalu banyak dan terlalu kecil Cocok untuk desain di undangan pernikahan, ulang tahun, keluarga, upacara tradisional,dll 29

30 30 CLASSICAL NAME STYLES >> script ::

31 31 CLASSICAL NAME STYLES >>logolounge2003 script & decorative ::

32 32 CLASSICAL NAME STYLES >>logolounge2003 script & decorative ::

33 Huruf Decorative/Digital Huruf Decorative/Digital adalah jenis huruf yang digunakan untuk keperluan periklanan – memberikan penekanan. Jenis-jenis huruf ini mudah dikenali & digunakan, berkarakter, sangat menyenangkan. 33

34 34 Huruf Decorative/Digital Decorative fonts are easy to identify. Decorative fonts are attention getters used in advertising. Each typeface has individual and distintive characteristics. Decorative typefaces are meant to add punch to a publication, create a definite look or emphasize the content. These fonts are distinctive, easy to use and fun.

35 35 Decorative/Digital Example of Decorative/Digital are: 1. Caslon Openface 2. Serpentine 3. Insignia Alternate 4. Dead History

36 36 Caslon Openface Caslon Openface is a font from Bitstream library. A small x- height typeface, originating with engravers near the start of the twentieth century, appearing in type in the 1923 ATF specimen. Barnhart Brothers & Spindler Opened in Chicago as the Great Western Type Foundry. It became Barnhart Brothers & Spindler in 1883, and was acquired by ATF in 1911; it closed in 1933.ATF 1.

37 37 Caslon Openface Structure of Caslon Openface:

38 38 Serpentine Designed by Dick Jensen for the Visual Graphics Corporation, Serpentine is a display typeface with slight, sharp serifs. The light weight has some of the feel of a computer screen, while the medium and bold weights can be more versatile. Serpentine is a contemporary-looking display font. With the rise of digital typesetting and desktop publishing, this typeface quickly became both popular and ubiquitous. This dynamic, wide, boxy design is identifiable via tiny triangular swellings at the stroke endings – what might be called semi- serifs. This typeface has the uncommon ability to take on distinct personalities in its different weights, even though all three weights exhibit the same basic architecture. Comes complete with light, medium, bold and oblique versions. This typeface comes in both PostScript Type One & TrueType format. 2. The American designer Dick Jensen (born 1926 in St. Paul, Minnesota, died 2000 in Edina, Minnesota) created the font Serpentine in 1972.Serpentine

39 39 Serpentine Structure of Serpentine:

40 Summary Setiap jenis huruf memiliki identifikasi visual yang berbeda-beda menurut struktur dalam fisik huruf. 40

41 Huruf Sans Serif Huruf Sans Serif adalah jenis huruf yang tidak memiliki serif/kait. Pada dasarnya, ketebalan garis sama besar dengan ketebalan bentuk hurufnya. 41

42 Ciri Khas Ujungnya bisa tajam atau tumpul Sifatnya kurang formal, sederhana, akrab Keuntungannya mudah dibaca Cocok untuk huruf desain di layar komputer (web, e-book, CD Profile) 42

43 Rules of Typografi

44 44 RULE 1 Be mindful not to use too many different typefaces at ay one time.

45 45 The primary purpose for using more than one typeface is to create emphasis or to separate one part of the text from another. When too may different typefaces are used, the page becomes a three-ring circus, and the reader is unable to determine what is and what is not important.

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48 48 RULE 7 Use text types of book weight. Avoid typefaces appearing too heavy or too light

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51 51 RULE 2 Use typefaces of medium width. Avoid typefaces that appear extremely wide or narrow in width.

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53 53 RULE 3 For text type, use consistent letter and word spacing to produce an even, uninterrupted texture

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55 55 RULE 4 Use appropriate line lengths

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57 57 RULE 5 Avoid widow and orphans whenever possible

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60 60 RULE 6 Always maintain the integrity of type. Avoid arbitrarily stretching letters

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62 GEOMETRI HURUF

63 Jenis 1.Garis Tegak - Datar : E,F,H,I,L 2.Garis Tegak – Miring : A,K,M,N,V,W,X,Y,Z 3.Garis Tegak – Lengkung : B,D,G,J,P,R,U 4.Garis Lengkung : C,O,Q,S

64 Tracking, Kerning, and Leading Kerning dan Tracking adalah istilah untuk jarak antar huruf Namun kerning memiliki nilai yang khas/beda pada setiap hurufnya. Tips : Dengan kombinasi rapat & renggang akan menambah fokus pada huruf rapat : maniac Jarak antar huruf memungkinkan disisipkan (misal) garis Memungkinkan pula diberi objek background pada setiap hurufnya dengan lebih leluasa

65 Tracking, Kerning, and Leading Bina Nusantara Av Unkerned vA Kerned Reading Line One Leading

66 KARAKTERISTIK a.Huruf Miring ( Italic) – Sample Text Akan menarik mata karena kontras dengan teks normal. Terlalu panjang kalimat dengan teks italic akan sulit dibaca, apalagi jika digunakan di layar komputer b.Huruf tebal (Bold) – Sample Text Biasa dipakai pada judul/subjudul. Terlalu banyak huruf tebal akan mengaburkan fokus pada makna c.Huruf Bergaris Bawah (Underline) Garis bawah menandakan adanya sesuatu penting. Biasa dipakai pada hyperlink di web

67 KARAKTERISTIK d.Huruf Berwarna Cara membedakan teks dapat menggunakan warna, meskipun tidak sekuat bold. Penggunaan teks warna pada website dapat mengelabui pengunjung karena mirip hyperlink e.Huruf KAPITAL Dapat diartikan sebagai perintah atau amarah. Namun jika ditambah komponen garis putus-putus, artinya menjadi sedang berbisik-bisik