![]() That being said, what you’ll read here is by no means impractical. More importantly, perhaps, there is a way in which seemingly impractical knowledge of one’s profession lends more credence to the designer. There’s a certain intellectual delight in knowledge, particularly knowledge about one’s field of work and study. This article again deals with terminology, probably more specifically than most designers are used to, and the title gets to the heart of what I’m communicating in this article. In my previous article on Smashing Magazine Understanding the Difference Between Typography and Lettering, I wrote about how understanding type terminology can help us better appreciate the arts of typography and lettering. This article, distilling some of the complexities into a more understandable format, lands somewhere in the middle between the basics and genuine type nerdery - the perfect level for a practicing designer. Type classification, while helpful, is often convoluted, confusing and even controversial. ITC Stone Humanist shares this virtue, and can be used successfully at very small sizes, in long passages of text copy, and even as billboard-sized display type.Everyone knows their serifs and sans, slabs and scripts, but most classifications go much deeper than that. The original ITC Stone Sans is a popular typeface, in part because of its notable versatility. It has been produced with the same complement of weights, and the x-heights, proportions, and underlying character shapes are completely compatible with the three original designs. ITC Stone Humanist is a full-fledged member of the ITC Stone family. The top endings of vertical lower case strokes have been cropped on an angle, as have the ascender and descender stroke endings. "The form of the 'g,' 'l,' 'M,' 'W,' and more subtly the 'a' and 'e' are part of the restructuring of the family," he explains. During his experiments with the earlier design, Sumner Stone recalls, I was actually quite surprised at how seemingly subtle changes transformed the face," moving the design firmly into the humanist tradition. ![]() But other aspects of ITC Stone Sans are more closely aligned to the gothics and grotesques, a tradition that accounts for the largest portion of sans serif designs.Įnter ITC Stone Humanist. ITC Stone Sans has proportions based on those of ITC Stone Serif, and its thick-and-thin stroke contrast suggests the bloodline of humanistic sans serif typefaces. ITC Stone Humanist grew out an experiment with the medium weight of ITC Stone Sans, a design that already showed a relationship to these sans serif-serif hybrids. ![]() It is a careful blend of traditional sans serif shapes and classical serifed letterforms. Now, ITC Stone Humanist joins this tradition. ![]() ![]() These were followed by Jan van Krimpen's Romulus Sans, Frederic Goudy's ITC Goudy Sans, Hermann Zapf's Optima, Hans Meier's Syntax and Adrian Frutiger's Frutiger. Early examples are Edward Johnston's design for the London Underground, and Eric Gill's Gill Sans. Type designers have been integrating the design of sans serifs with serifed forms since the 1920s. ![]()
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