Hey, everyone, and welcome back.
We're going to be talking about a big topic, and that is typography.
Where do I even begin?
There's so many different things to talk about.
But what I want to do is I want to start right at the basics.
So let's talk about the different categories of type.
Now, the first category is something we're all familiar with, and that is serape typefaces.
Now, the first word that comes to mind when I'm thinking about serif typefaces is traditional.
Now, the little curls at the end of the letter forms are called serifs.
Now, these are these little little krosa seem on the edge of the S.
You'll see them at the bottom of the hour.
Even on the top of the hour, you get the point.
Now, cities are generally used in body copy and they embody a more traditional feel.
Some even say elegant.
It really depends on the typeface.
Now, even though they have their standard applications, we usually can bend the rules if it needs
to suit our need.
And you'll see that later on in these lessons.
Now, you may be thinking, Daniel, there are so many different types of seraphs and some looks so
different from each other.
And, you know, you're definitely right.
Seraphs are categorized into four categories.
So let's jump right in.
So that first category or the first subtype is called old style.
Now also serves these are generally referred to as humanised or, you know, the oldest typefaces in
the classification.
And this will date back all the way to the mid fourteen hundreds.
Now, typefaces in this category include Gensen Center and Gote.
Now we're using Goudey over here.
It's a really nice typeface.
The next subtype is transitional.
This is a transitional phase where we're using here as times new Roman now times New Roman Baskerville.
Now, those are both transitional funds.
And one thing you'll notice is the difference between thick and thin lines over here, the strokes.
They're a bit more pronounced here.
If we're going to compare this to like say something like old style, you know, we start seeing a little
more contrast between those strokes when in comparison, but not as much as modern or do you don't know
what is our next subtype.
So they are modern and this includes typefaces like ditto, but right here we have dough.
And you can tell that these strokes are very, very contrasting.
They're much more pronounced.
You'll see them right here in the counters, in the O, in the inside the E over here, that thick to
thin up here.
In the end, you'll see the difference between the strokes on the the left side of the M and the the
far side of the arm.
So you'll see much more contrast with these types of typefaces.
And lastly, we have Slab Saraph now slab seraphs.
They have little to no contrast between thick and thin lines.
You also notice that at the end there seraphs are much more rectangular or boxy and typefaces in this
category.
They include typefaces like Archer.
We're using courier over here and that's going to be it for serif typefaces.