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Lectures on typefaces

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Slides for my lectures on typefaces — part of the Visual Communications course I'm doing for the Moscow State University Higher School of Business Administration.

Publicada em: Design
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Lectures on typefaces

  1. 1. Lectures on Alexei Kapterev Moscow State University Higher School of Business Administration a TYPEFACES
  2. 2. I could not imagine 
 a situation in which 
 Apple would ever 
 be bigger and more 
 profitable than Microsoft. m WILLIAM GATES III Microsoft, founder and then CEO
  3. 3. But in the end, Microsoft didn’t create products of ethereal beauty. Steve believed you had to control every brush stroke from beginning to end … because he had a passion for perfection. m WALTER ISAACSON Steve Jobs’ biographer
  4. 4. Stanford, 2005
  5. 5. I learned about serif and sans serif typefaces, about varying the amount of space between different letter combinations, about what makes great typography great. It was beautiful, historical, artistically subtle in a way that science can't capture, and I found it fascinating. m STEVEN PAUL JOBS Apple, Inc. founder and then CEO serif and sans serif
  6. 6. E SERIFS
  7. 7. EESERIF SANS-SERIF
  8. 8. I learned about serif and sans serif typefaces, about varying the amount of space between different letter combinations, about what makes great typography great. It was beautiful, historical, artistically subtle in a way that science can't capture, and I found it fascinating. m STEVEN PAUL JOBS Apple, Inc. founder and then CEO typefaces
  9. 9. Fedra Sans 
 Normal Italic Fedra Sans 
 Light Fedra Sans 
 Bold TYPE FAMILY Семейство шрифтов TYPEFACE ГарнитураFedra Serif FEDRA Fedra Sans FONT Шрифт
  10. 10. I. Serifs II. Contrast III. Antiqua IV. Grotesque I WILL TRY NOT TO BOTHER YOU 
 WITH TERMINOLOGY ź
  11. 11. I learned about serif and sans serif typefaces, about varying the amount of space between different letter combinations, about what makes great typography great. It was beautiful, historical, artistically subtle in a way that science can't capture, and I found it fascinating. m STEVEN PAUL JOBS Apple, Inc. founder and then CEO beautiful, historical, artistically subtle
  12. 12. a aHelvetica Myriad Pro
  13. 13. I learned about serif and sans serif typefaces, about varying the amount of space between different letter combinations, about what makes great typography great. It was beautiful, historical, artistically subtle in a way that science can't capture, and I found it fascinating. m STEVEN PAUL JOBS Apple, Inc. founder and then CEO about what makes great typography great.
  14. 14. Robert Paladino’s calligraphy
  15. 15. Mac OSX + Firefox Windows XP + Firefox
  16. 16. WHO 
 THE HELL 
 CARES? It’s just a font ◆ ◆ ß
  17. 17. Imagine you have to stay at one of these hotels…
  18. 18. BELVEDERE Hotel
  19. 19. BELVEDERE HOTEL
  20. 20. hotel Belvedere
  21. 21. BELVEDERE Hotel
  22. 22. BELVEDERE Hotel BELVEDERE HOTEL hotel Belvedere BELVEDERE Hotel 4. 1. 2. 3.
  23. 23. MOST OF YOU 
 VOTED FOR №4! ◆ ◆ Just what I’ve expected! ß CENSORED
  24. 24. MAMMOTH Mammoth http://onlinelibrary.wiley.com/doi/10.1111/j.2044-8295.1989.tb02317.x/abstract
  25. 25. HEAVY Elegant http://onlinelibrary.wiley.com/doi/10.1111/j.2044-8295.1989.tb02317.x/abstract
  26. 26. ELEGANT Heavy http://onlinelibrary.wiley.com/doi/10.1111/j.2044-8295.1989.tb02317.x/abstract
  27. 27. Temptation TEMPTATION http://www.sciencedirect.com/science/article/pii/S0148296302004873
  28. 28. TRACTOR Tractor
  29. 29. Source: Phil Renaud, 2006 http://goo.gl/GOZYe Georgia 23 Trebuchet 18 Times 11 5– 5 4–
  30. 30. This is the case with car dealers also. And I recently had an experience at Fiat of Manhattan that was nothing short of mind-blowingly bad. This is the case with car dealers also. And I recently had an experience at Fiat of Manhattan that was nothing short of mind-blowingly bad. RECALL http://hbr.org/2012/03/hard-to-read-fonts-promote-better-recall/ +14%
  31. 31. Lorem impu dolor sit amet, consetetur more. Lorem impus dolor sit amet, consetetur sadipsing elitrsed. Loremimpus dolor sit met... Lorem impu dolor sit amet, consetetur more. Lorem impus dolor sit amet, consetetur sadipsing elitrsed. Loremimpus dolor sit met... MOTIVATION http://dornsife.usc.edu/assets/sites/780/docs/08_ps_song___schwarz_effort.pdf 15.1 min. 8.2 min.
  32. 32. Times Arial http://www.ncbi.nlm.nih.gov/pubmed/18459353 HUMOUR +10%!
  33. 33. Source: Benjamin Berman, 
 David Dunning
 http://goo.gl/cMd3H Is it true that “we live in an era of unprecedented safety”? ( ) Yes: The claim is true ( ) No: The claim is false How confident are you in your conclusion? ( ) Slightly confident ( ) Moderately confiden ( ) Very confident
  34. 34. ~5% Source: Benjamin Berman, 
 David Dunning
 http://goo.gl/cMd3H
  35. 35. The page from June 9-10, 1855, is notable because the handwriting changes suddenly, halfway down the page. On first inspection it appears to be written by two different people or perhaps someone with multiple personality disorder. The writing on the top half of the page is elegant but unreadable, the writing on the bottom half, awkward but entirely legible. The reason for the abrupt change becomes clear only through reading the journal.
  36. 36. The page from June 9-10, 1855, is notable because the handwriting changes suddenly, halfway down the page. On first inspection it appears to be written by two different 
 people or perhaps someone with multiple personality 
 disorder. The writing on the top half of the page is elegant but unreadable, the writing on the bottom half, awkward but entirely legible. The reason for the abrupt change becomes clear only through reading the journal.
  37. 37. The page from June 9-10, 1855, is notable because the handwriting changes suddenly, halfway down the page. On first inspection it appears to be written by two different people or perhaps someone with multiple personality disorder. The writing on the top half of the page is elegant but unreadable, the writing on the bottom half, awkward but entirely legible. The reason for the abrupt change becomes clear only through reading the journal. 2% The page from June 9-10, 1855, is notable because the handwriting changes suddenly, halfway down the page. On first inspection it appears to be written by two different 
 people or perhaps someone with multiple personality 
 disorder. The writing on the top half of the page is elegant but unreadable, the writing on the bottom half, awkward but entirely legible. The reason for the abrupt change becomes clear only through reading the journal. +
  38. 38. 2%DIFFERENCE Even though most people 
 can’t tell Baskerville from Georgia! ◆
  39. 39. TYPEFACES 
 WORK BELOW 
 THE CONSCIOUS 
 LEVEL TOO ◆ ◆ If you can’t tell the difference 
 doesn't mean it won’t affect you ß
  40. 40. But… WHY? m
  41. 41. TYPOGRAPHYž creates an emotional connection
  42. 42. TYPOGRAPHY CREATES 
 AN EMOTIONAL CONNECTION
  43. 43. Typography creates 
 an emotional 
 connection
  44. 44. CONTROL IT? Ok,butcanwe ß
  45. 45. YES◆ ◆ ß
  46. 46. COFFEE 30 р. Coffee 300 ₽
  47. 47. SEE FEEL ➳
  48. 48. It’saquestionof RESOLUTION ß
  49. 49. ß It’saquestionof RESOLUTION
  50. 50. adidas adidas
  51. 51. adidas adidas
  52. 52. adidas adidas
  53. 53. adidas adidas
  54. 54. I love you I love you
  55. 55. Arial Helvetica
  56. 56. You can’t create good typography with Arial. MATHEW BUTTERICK Typography for Lawyers
 m
  57. 57. y y I love you I love you Arial Helvetica
  58. 58. yy97°90° ArialHelvetica
  59. 59. Lufthansa Lufthansa
  60. 60. Jeep Jeep
  61. 61. GAGARINArial Helvetica GAGARIN
  62. 62. Toimprove
 yourresolution GOAL:
  63. 63. Jenson Cloister Renaissance Baroque Old Style ModernTransitional Slab SerifAntiqua Serif Sans Serif Print Handwriting TYPEFACE < ✖
  64. 64. THERE IS NO UNIVERSAL TYPE CLASSIFICATION m m
  65. 65. Text Text PRAGMATIC Display MEMORABLE Display Main body test Headlines Logos
  66. 66. Слышишь Слышишь Beautiful Readable
  67. 67. Readable Beautiful Might 
 happen
  68. 68. +12%
  69. 69. READABILITY ✤ There is no single “most readable typeface”, sorry ✤ Measure readability whenever you can ✤ Serifs are for paper, sans-serifs for the screen ✤ Good readability: Humanist sans-serif, Transitional serif ✤ Bad readability: Geometric sans-serif, Modern serif
  70. 70. Serif Sans-Serif Respectable, stable and classy Modern, hip and edgy
  71. 71. Readable Humanist GEOMETRIC Warm, friendly and emotional — but sloppy Calculated and rational — but formal and cold Pragmatic and dependable — but boring and easily forgettable
  72. 72. 1. One for a logo — interesting & memorable 2. One for the main text — readable 3. Don’t use: Calibri, Times, Arial, Papyrus, Segoe Script/Print, Monotype Corsiva & Comic Sans TASK #3: PICK 
 TWO TYPEFACES
  73. 73. Visual communications Lorem ipsum dolor sit amet, consectetur adipiscing elit, sed do eiusmod tempor incididunt ut labore et dolore magna aliqua. Ut enim ad minim veniam, quis nostrud exercitation ullamco laboris nisi ut aliquip ex ea commodo consequat. Duis aute irure dolor in reprehenderit in voluptate velit esse cillum dolore eu fugiat nulla pariatur. Excepteur sint occaecat cupidatat non proident, sunt in culpa qui officia deserunt mollit anim id est laborum. LOREM IPSUM Moscow, 19.08.2015 Jannon< Optima< KAPTEREV
  74. 74. QUESTIONS? m
  75. 75. Serifs Antiqua 1
  76. 76. Wheredothe SERIFS ß comefrom?
  77. 77. Phoenician writing, 16 century B.C.E.
  78. 78. Roman reed quill
  79. 79. Rustica
  80. 80. instagram.com/seblester/
  81. 81. SENATVS POPULVS QUE ROMANVS
  82. 82. SERIFS CREATE NICE 
 LINES FOR THE EYE Good for paper and stone
  83. 83. Trajan’s column, 1 century C.E.
  84. 84. Whataboutthe LOWER CASE? ß
  85. 85. Cc Vv
  86. 86. Ff Qq
  87. 87. Nn Ии
  88. 88. Rr Яя
  89. 89. Aa Gg
  90. 90. a A a
  91. 91. AGES!◆ ◆ m
  92. 92. Roman stone inscription, 1 century C.E. - no spaces - capitals only
  93. 93. Italian handwriting circa 1420 - spaces - no capitals
  94. 94. German gothic script circa 1430
  95. 95. Johannes Guttenberg, 1439
  96. 96. Sweynheym & Pannartz, 1465
  97. 97. Carolingian handwriting, 9th century C.E.
  98. 98. oppelgängerD Roman capitals Carolingian lowercase
  99. 99. oppelgänger oppelgängerD Luminari Adobe Jenson D
  100. 100. Doppelgängeroppelgänger
  101. 101. Nicholas Jenson, ~1470
  102. 102. Jenson’s book, 15th century C.E.
  103. 103. Jenson’s rotunda, 15th century C.E.
  104. 104. luntur imagines:&alia. Adobe Jenson Nicholas Jenson, ~1470
  105. 105. luntur imagines:&alia. Adobe Jenson Nicholas Jenson, ~1470
  106. 106. luntur imagines:&alia. Centaur 
 (кириллица есть в Venetian 301) Nicholas Jenson, ~1470
  107. 107. luntur imagines:&alia. Centaur 
 (кириллица есть в Venetian 301) Nicholas Jenson, ~1470
  108. 108. Where do the ITALICS come from? ß
  109. 109. Italian handwriting circa 1420
  110. 110. Francesco Griffo, ~1501
  111. 111. GUCCI GUCCI Old style Transitional Modern
  112. 112. WIKIPEDIA WIKIPEDIA WIKIPEDIA The Free Encyclopedia The Free Encyclopedia The Free Encyclopedia
  113. 113. WIKIPEDIA The Free Encyclopedia
  114. 114. Google Google
  115. 115. Google
  116. 116. Google ➻
  117. 117. AaHumanist
  118. 118. AaHumanist
  119. 119. Fra Luca Pacioli
  120. 120. Leonardo da Vinci
  121. 121. Albrecht Durer
  122. 122. a aRenaissance Baroque ➻
  123. 123. a a➻ Humanist Transitional
  124. 124. John Baskerville, †1775
  125. 125. b bOld style Transitional ➻
  126. 126. s s➻ Old style Transitional
  127. 127. e e eOld style, Jenson Transitional, 
 Baskerville ➻ Carolingian 
 handwriting ➻
  128. 128. Baskerville Centaur Doppelgänger Doppelgänger
  129. 129. Baskerville Centaur The first Roman type designed by Claude Garamond was used in an edition of the Erasmus book Paraphrasis in Elegantiarum Libros LaurentiiVallae published in 1530.The Roman design was based on an Aldus Manutius type, De Aetna, cut in 1455 by Francesco Griffo. After Claude Garamond died in 1561, most of his punches and matrices were acquired by Christophe Plantin from Antwerp, the Le Be type foundry and the Frankfurt foundry Egenolff-Berner.[4] The only complete set of the original Garamond dies and matrices is at the Plantin-Moretus Museum, in Antwerp, Belgium.The term Garamond is today mostly applied to Garamond's designs for the Latin alphabet. Garamond designed type for the Greek alphabet, but these, the glamorous and fluid Grecs du roi, are very different to his Latin designs: they mimic the elegant handwriting of scribes and contain a vast variety of ligatures and alternate glyphs to achieve this. As these are quite impractical for modern printing, several 'Garamond' releases such as Adobe's contain Greek designs that are either a compromise between Garamond's upright Latin designs and his slanted Greek ones or primarily inspired by his Latin designs. The first Roman type designed by Claude Garamond was used in an edition of the Erasmus book Paraphrasis in Elegantiarum Libros Laurentii Vallae published in 1530. The Roman design was based on an Aldus Manutius type, De Aetna, cut in 1455 by Francesco Griffo. After Claude Garamond died in 1561, most of his punches and matrices were acquired by Christophe Plantin from Antwerp, the Le Be type foundry and the Frankfurt foundry Egenolff-Berner.[4] The only complete set of the original Garamond dies and matrices is at the Plantin-Moretus Museum, in Antwerp, Belgium. The term Garamond is today mostly applied to Garamond's designs for the Latin alphabet. Garamond designed type for the Greek alphabet, but these, the glamorous and fluid Grecs du roi, are very different to his Latin designs: they mimic the elegant handwriting of scribes and contain a vast variety of ligatures and alternate glyphs to achieve this. As these are quite impractical for modern printing, several 'Garamond' releases such as Adobe's contain Greek designs that are either a compromise between Garamond's upright Latin designs and his slanted Greek ones or primarily inspired by his Latin designs.
  130. 130. Doppelgänger 13 Century Schoolbook Doppelgänger 13 Times Doppelgänger 13 Georgia
  131. 131. ALBRECH DURER 
 is dead but his ideas live
  132. 132. KK KOld style Transitional ➻ ➻ Modern
  133. 133. B O D O N I Giambattista Bodoni Giambattista Bodoni was born on 16 February 1740 at Saluzzo in Savoy (now the Piedmont region of Italy). He came from a printmaking background, his father and grandfather both being in that trade.[3] He worked for a time in Rome as an apprentice in the Roman Catholic Church's Propaganda Fide printing house. There, it was said, he impressed his superiors so much with his eagerness to learn, studiousness in mastery of ancient languages and types, and energy of effort, that he was allowed to place his own name on his first books, a Coptic Missal and a version of the Tibetan alphabet.[3] Kiambattista Bodoni was born on 16 February 1740 at Saluzzo in Savoy (now the Piedmont region of Italy). He came from a printmaking background, his father and grandfather both being in that trade.[3] He worked for a time in Rome as an apprentice in the Roman Catholic Church's Propaganda Fide printing house. There, it was said, he impressed his superiors so much with his eagerness to learn, studiousness in mastery of ancient Giambattista Bodoni was born on 16 February 1740 at Saluzzo in Savoy (now the Piedmont region of Italy). He came from a printmaking background, his father and grandfather both being in that trade.[3] He worked for a time in Rome as an apprentice in the Roman Catholic Church's Propaganda Fide printing house. There, it was said, he impressed his superiors so much with his eagerness to learn, studiousness in mastery of ancient languages and types, and energy of effort, that he was Parma 1740-1811 Kønigin der Schriften Giambattista Bodoni K 20 21
  134. 134. Giambattista Bodoni, †1813
  135. 135. aaBaskerville Regular Bodoni 72 Bold
  136. 136. CONTRAST Difference between the thickest and the thinnest part aaHuge Small
  137. 137. Bodoni 72 Doppelgänger Baskerville Doppelgänger
  138. 138. Baskerville The first Roman type designed by Claude Garamond was used in an edition of the Erasmus book Paraphrasis in Elegantiarum Libros Laurentii Vallae published in 1530. The Roman design was based on an Aldus Manutius type, De Aetna, cut in 1455 by Francesco Griffo. After Claude Garamond died in 1561, most of his punches and matrices were acquired by Christophe Plantin from Antwerp, the Le Be type foundry and the Frankfurt foundry Egenolff-Berner.[4] The only complete set of the original Garamond dies and matrices is at the Plantin-Moretus Museum, in Antwerp, Belgium. The term Garamond is today mostly applied to Garamond's designs for the Latin alphabet. Garamond designed type for the Greek alphabet, but these, the glamorous and fluid Grecs du roi, are very different to his Latin designs: they mimic the elegant handwriting of scribes and contain a vast variety of ligatures and alternate glyphs to achieve this. As these are quite impractical for modern printing, several 'Garamond' releases such as Adobe's contain Greek designs that are either a compromise between Garamond's upright Latin designs and his slanted Greek ones or primarily inspired by his Latin designs. Bodoni 72 The first Roman type designed by Claude Garamond was used in an edition of the Erasmus book Paraphrasis in Elegantiarum Libros Laurentii Vallae published in 1530. The Roman design was based on an Aldus Manutius type, De Aetna, cut in 1455 by Francesco Griffo. After Claude Garamond died in 1561, most of his punches and matrices were acquired by Christophe Plantin from Antwerp, the Le Be type foundry and the Frankfurt foundry Egenolff-Berner.[4] The only complete set of the original Garamond dies and matrices is at the Plantin-Moretus Museum, in Antwerp, Belgium. The term Garamond is today mostly applied to Garamond's designs for the Latin alphabet. Garamond designed type for the Greek alphabet, but these, the glamorous and fluid Grecs du roi, are very different to his Latin designs: they mimic the elegant handwriting of scribes and contain a vast variety of ligatures and alternate glyphs to achieve this. As these are quite impractical for modern printing, several 'Garamond' releases such as Adobe's contain Greek designs that are either a compromise between Garamond's upright Latin designs and his slanted Greek ones or primarily inspired by his Latin designs.
  139. 139. EMPORIO ARMANI EMPORIO ARMANI EMPORIOARMANI
  140. 140. EMPORIOARMANI
  141. 141. BELVEDERE Hotel BELVEDERE HOTEL hotel Belvedere BELVEDERE Hotel 4. 1. 2. 3.
  142. 142. aOld style aTransitional ➻ ➻ aModern
  143. 143. Humanist Modern Transitional APC Garamond Times New Didot
  144. 144. аa BASKERVILLE Transitional aDIDOT Modern JENSON Old style
  145. 145. aCONSTANTIA Triangular serifs а aa BASKERVILLE Transitional DIDOT Modern JENSON Old style
  146. 146. bCONSTANTIA Triangular serifs bbb BASKERVILLE Transitional DIDOT Modern JENSON Old style
  147. 147. gCONSTANTIA Triangular serifs g gg BASKERVILLE Transitional DIDOT Modern JENSON Old style
  148. 148. zConstantia
  149. 149. zzAdobe Jenson Bodoni 72
  150. 150. zzAdobe Jenson Bodoni 72 zConstantia
  151. 151. Doppelgänger 13 Fedra Serif A Doppelgänger 13 Constantia Doppelgänger 13 Сentro Serif
  152. 152. Sans-serifs Grotesque 2
  153. 153. William Caslon IV
  154. 154. aaDidot News Gothic
  155. 155. gDidot gFranklin Gothic ➻
  156. 156. Grotesque Gothic Гротескный Варварский
  157. 157. Yeah, that blows my mind too
  158. 158. PORT OF GOTHAM GOTHAM CITY
  159. 159. TECHNOLOGY TECHNOLOGY Антиква Гротеск
  160. 160. TOYOTA TOYOTA TOYOTA Old and neo-grotesque Geometric sans-serifs Humanist sans-serifs
  161. 161. TOYOTA
  162. 162. Doppelgänger 13 Doppelgänger 13 News Gothic Franklin Gothic
  163. 163. ALBRECHT DURER 
 is dead but his ideas live
  164. 164. gBaskerville g Franklin Gothic ➻ g FF Din ➻
  165. 165. q Baskerville q Franklin Gothic ➻ q FF Din ➻
  166. 166. a Baskerville a Franklin Gothic ➻ a FF Din ➻
  167. 167. FF DIN Bold Doppelgänger 13 Franklin Gothic Medium Doppelgänger 13
  168. 168. Doppelgänger 13 Futura Medium FF DIN Bold Doppelgänger 13
  169. 169. instagram.com/seblester/
  170. 170. a Franklin Gothic aFF Din ➻ aFutura ➻
  171. 171. Old Bank GothicRodchenko OLD Futura
  172. 172. Doppelgänger 13 Doppelgänger 13 Phosphate Century Gothic Regular Doppelgänger 13 Avenir Medium
  173. 173. TOSHIBA Eurostyle Arial
  174. 174. Neo-grotesque Helvetica Grotesque Franklin Gothic
  175. 175. a a Franklin Gothic Futura ➻ а Helvetica ➻ GROTESQUE GEOMETRIC NEO-GROTESQUE
  176. 176. Doppelgänger 13 Doppelgänger 13 Helvetica Medium Futura Medium
  177. 177. Akzidenz-Grotesk
  178. 178. аAkzidenz-Grotesk Helvetica
  179. 179. а
  180. 180. а
  181. 181. Humanist Sans-Serif Meta Black
  182. 182. Eric Gill
  183. 183. bFutura b bFranklin G.Jenson bGill Sans
  184. 184. eFutura e e Franklin G.Jenson eGill Sans 90˚ 45˚15˚ 90˚
  185. 185. Erik Spiekermann
  186. 186. р рMeta MediumHelvetica Medium
  187. 187. k kMeta MediumHelvetica Medium
  188. 188. Doppelgänger 13 Doppelgänger 13 Meta Medium 96 Helvetica Neue Medium 96
  189. 189. Myriad Semibold
  190. 190. a
  191. 191. aFRANKLIN G. Grotesque aHELVETICA Neo-grotesque aMETA Humanist aFUTURA Geometric aFF DIN Realist
  192. 192. aPRAGMATIC Гротески и нео-гротески aHUMANIST Гуманистические aGEOMETRIC Геометрические
  193. 193. iPhone iPhone Avenir Next Myriad
  194. 194. P PGEOMETRIC Avenir Next HUMANIST Myriad
  195. 195. R RGEOMETRIC Avenir Next HUMANIST Myriad
  196. 196. R RNEO-GROTESQUE Arial HUMANIST Myriad
  197. 197. NEO-GROTESQUE Arial RR RGEOMETRIC Avenir HUMANIST Myriad
  198. 198. cc cNEO-GROTESQUE Arial GEOMETRIC Avenir HUMANIST Myriad
  199. 199. 1. Very open “e” and “c” 2. Narrower than neo-grotesque 
 while maintaining the same height e c 3. “Unnecessary” irregularities e c Fargo tt 4. Much more contrast Fargo Humanist or not?
  200. 200. The rest of them 3 A few more things
  201. 201. O OTIMES Serif ARIAL Sans-serif
  202. 202. OROCKWELL Serif OOPTIMA Sans-serif
  203. 203. KHigh contrast Low contrast К
  204. 204. КKHigh contrast Low contrast
  205. 205. Antique Grotesque Serifs Sans-serifs High Contrast Low contrast Aa Aa
  206. 206. Antique Slab Serif Semi Sans Grotesque Aa Aa Aa Aa Serifs Sans-serifs High Contrast Low contrast
  207. 207. Slab Serif Брусковый
  208. 208. Antique Slab Serif Aa Aa Slab
  209. 209. ASans serifSlab serif Franklin Gothic ⇢ Rockwell Slab
  210. 210. Mygod, WHY?! (
  211. 211. ADVERTISING◆ ◆ (
  212. 212. I NY
  213. 213. American Typewriter Bold
  214. 214. MarcellusWallace Rockwell Bold Marcellus Wallace American Typewriter Regular Marcellus Wallace Clarendon Marcellus Wallace Officina Serif
  215. 215. Clarendon a a Officina SerifAmerican
 Typewriter a Memphis
  216. 216. KSerif Palatino ⇢ Optima Sans serif
  217. 217. KKPalatino Optima
  218. 218. Semi Sans Ленточный Stressed Sans
  219. 219. ASTON MARTIN ASTON MARTIN ASTON MARTIN
  220. 220. ASTON MARTIN
  221. 221. VERSACE VERSACE
  222. 222. Serif Slab Serif Semi Sans Sans Serif Aa Aa Aa Aa Serifs Sans-serifs High Contrast Low contrast
  223. 223. IN-BETWEEN Baskerville AgAg HUMANIST Adobe Jenon GEOMETRIC Didot Ag
  224. 224. IN-BETWEEN Helvetica AgAg HUMANIST Meta GEOMETRIC Futura Ag
  225. 225. IN-BETWEEN Clarendon AgAg HUMANIST Officina Serif GEOMETRIC Rockwell Ag
  226. 226. IN-BETWEEN Orya Ag HUMANIST Optima GEOMETRIC Peignot Ag
  227. 227. DidIimproveyour RESOLUTION? ß
  228. 228. RESOLUTION? ß DidIimproveyour
  229. 229. Design is a major priority because I know it’s what will 
 set my business apart. BOO-KEUN YOON CEO, Samsung Consumer Electronics Division m
  230. 230. ALEXEI KAPTEREV www.kapterev.com alexei@kapterev.com +7 495 764 1898 Visual communications m

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