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Terminologias para
o Design Tipográfico
e Editorial
Pedro Amado, [email protected]
UA | DECA | CETAC.MEDIA
ARTEC 23, Instituto Politécnico de Tomar, 2013-04-18
Ana Catarina Silva, [email protected]
EST | IPCA | LIPP
Disponível em: http://wp.me/p4vwP-Gf sob uma licença
Attribution-NonCommercial-ShareAlike 3.0 Portugal. http://
creativecommons.org/licenses/by-nc-sa/3.0/pt/deed.en_US
cetac.media
TERMINOLOGIAS PARA O DESIGN GRÁFICO E EDITORIAL P. Amado & C. Silva | XXIII ARTEC | 2013-04-18
Como se junta o DECA
com o IPCA?
Design de Comunicação (FBAUP, 1998–2003
1997–2002)
2010–
ICPD (2009–
II Encontro Nacional de Tipografia (2011)
3 | 40
4 | 40
Pedro
Assistente convidado no Departamento de Comunicação e Arte
da Universidade de Aveiro onde leciona disciplinas relacionadas
com Design & Media
Licenciado em Design de Comunicação (FABUP) e mestre em
Arte Multimédia (FBAUP) encontra-se a desenvolver uma tese
de doutoramento em Ciências e Tecnologias da Comunicação
e Informação sobre interação social participação em
Comunidades Online de Prática (caso do Typeface Design)
Membro do CETAC.MEDIA e delegado Association
Typographique Internationale (ATypI) em Portugal.
5 | 40
Catarina
Assistente 1º triénio no Instituto Politécnico do Cávado e do Ave
Licenciada em Design de Comunicação (FBAUP) e mestre
em Comunicação Estética (EUAC), encontra-se a desenvolver
uma tese de doutoramento em Ciências da Informação e
Comunicação, onde estuda o design do livro técnico num
contexto editorial híbrido – do impresso ao electrónico.
A sua investigação e actividade lectiva situam-se nas áreas
da edição híbrida de livros, publicação em plataformas digitais,
design de comunicação, design editorial e tipografia.
6 | 40
“Why is it that when describing
typography, the Latins think of food, whilst
the Anglo-Saxons think of authority?”
Erik Spiekermann, acerca da arbitrariedade da escolha de
termos tipográficos nas diferentes línguas. In Rhyme & Reason:
A Typographic Novel, p. 103.
7 | 40
8 | 40
Dixon, C. (2012). Keynote. III Encontro de Tipografia: http://www.esmae-ipp.pt/3et/
9 | 40
Lessa J. (2012). Type Anatomy in Portuguese: http://www.joanalessa.com/typo_anatomy.html
10 | 40
Rosendorf, T. (2009). The Typographic Desk Reference: http://typedeskref.com/
11 | 40
Cátedra Cosgaya (FADU/UBA) (2012). Open Educational Resources for Typography: http://www.oert.org/
12 | 40
Remy, T. (2007). Chest of drawers XS: http://www.droog.com/store/studio-work/chest-of-drawers-xs/
13 | 40
Updike, D. B. (2001). Printing Types: Their History, Forms, and Use (p. 125)
14 | 40
Silva, L. (1962). Manual do Tipógrafo & Buen de Unna, J. (2008). Manual de Diseño Editorial
15 | 40
FARIA, Maria Isabel
PERICÃO, Maria Graça
(2008) Dicionário do Livro. Da Escrita ao Livro Electrónico
16 | 40
Reichtag, 1945 © Yevgeny Khaldei. Retirado de: http://bytesdaily.blogspot.pt/2010/07/iconic-photographs-raising-flag-over.html
17 | 40
http://en.wikipedia.org/wiki/Gothic, & http://en.wikipedia.org/wiki/Help:Disambiguation
18 | 40
19 | 40
Gothic
•
•
•
•
•
•
•
•
•
Grotesque;
Neo-Grotesque
Grotesk (DE)
Sans [Serif]
Lineale
Geometric Sans
Humanist Sans
Blackletter (Gótica)
...
a a aa aa a a
Fette Fraktur
Blackletter
Franklin Gothic
Grotesque
Neogrotesque
Helvetica
Grotesque
Futura
Gill Sans
Sans
Sans
Lineale
Humanist Sans
Geometric Sans
Univers
Optima
Grotesque
Inscriptional
Neogrotesque Caligraphic Sans
Myriad
Sans
Lineale
20 | 40
Lawson, A., & Agner, D. (1990). Printing Types: An Introduction.
D
C
B
A
E
TERMINOLOGIAS PARA O DESIGN GRÁFICO E EDITORIAL Frutiger, A. (1954). Univers
P. Amado & C. Silva | XXIII ARTEC | 2013-04-18
21 | 40
Krimpen, J. (1931). Romulus Sans & Serif. http://www.flickr.com/photos/fermello78/483869011/
22 | 40
23 | 40
Bil’ak, P. (2012). Karloff, convergence of beauty and ugliness: http://www.typotheque.com/blog/beauty_and_ugliness
Typotheque type specimen & OpenType feature
specification. Please read before using the fonts.
Karloff Positive
Karloff Neutral
Karloff Negative
OpenType font family supporting Latin based languages with
their own small caps, with extensive typographic features.
01
OpenType features in Karloff
ewjduhiz
tvnsgfq1
Designed by Peter Biľak and Pieter van Rosmalen, 2012
What is OpenType?
OpenType is a cross-platform font format developed by Adobe and
Microsoft. It has a potential to provide advanced typographic features
such as multilingual character sets, ligatures, small capitals, various
numeral styles, and contextual substitutions.
OpenType, as the new industry standard, supports Unicode,
which enables the fonts to contain a large number of characters. While
PostScript fonts are a technically limited to a maximum of only 256
characters, OpenType fonts can have more than 65,000 glyphs. This
means that a user does not need to have separate fonts for Western,
Central European, Baltic, Cyrillic or Greek languages, but could have
one single file which supports all these encodings.
OpenType fonts work in all applications, however only some
applications take advantage of the advanced OpenType features.
Other applications will only use the first 256 characters.
© 2012, Typotheque.com. For information purposes only.
UGLINES
monstrosit
BEAUTY
pulchritude
hideou
GRANDEUR
degenerat
exquisitenes
24 | 40
II Encontro Nacional de Tipografia. Aveiro, Setembro de 2011: http://entipografia.web.ua.pt/ (Fotografia © Filipe Roque)
25 | 40
II Encontro Nacional de Tipografia. Aveiro, Setembro de 2011: http://entipografia.web.ua.pt/ (Fotografias © Daniel Silva)
26 | 40
C1: MEDIDAS
20
C2: FORMAS
27 | 40
C1: MEDIDAS
C3: TRAÇOS
Amado, P.; Silva, C. (2011). Anatomia do Tipo: http://entipografia.web.ua.pt/atas/Poster_ENT_1.pdf
15
Anatomia do Tipo
16
10
6
11
C1: MEDIDAS
15
C2: FORMAS
13
2
5
1 1 2 1
T
1
3
5
7
9
11
C4: PORMENORES
20
13
4
8
9
8
2
3
3 4
5
5
7 7 7
4
2 2
6 6 5
6 7 7
5 4
5 4 6 2
5
2 5 4
2
4
4 5 4
1 4
1 1
3
3 2 4
2 2 2 2 1
1 1 2 1
1
1
1
1 1
5
13
15
17
19
21
23
25
27
29
31
C5: PROPRIEDADES
33
35
37
39
41
43
45
C6: TERMINAIS
31
Arco da Haste
Arc of Stem
59
Ângulo
Stress / Bias
2
Altura das Descendentes
Descender Height
32
Ascendente
Ascender
60
Contraste
Contrast
3
Altura das Maiúsculas
Cap Height
33
Barra Transversal / Travessão
Crossbar / Bar
61
Eixo
Axis
4
Altura do Corpo / Força do Corpo
Body Height / Body Size
34
Barriga
Bowl
62
Eixo Oblíquo
Oblique Axis / Oblique Shading
5
Altura-x
x-height
35
Braço
Arm
63
Eixo Vertical
Vertical Axis / Vertical Shading
6
Espaço de Reserva
Beard
36
Cauda
Tail
64
Espessura / Peso
Stroke Width / Weight
L2: Português
7
Espaço Lateral
Sidebearing
37
Contracurva / Laço / Olhal
Loop
65
Haste em Bandeira
Flared stem
8
Largura da letra
Width / Character Width
38
Cruz / Travessão
Cross Stroke
66
Inclinação
Slope
9
Largura do corpo
Set Width
39
Descendente
Descender
67
Modulação
Modulation
Linha das Ascendentes
Ascender Line
40
Espinha / Arco Duplo
Spine
68
Linha das Descendentes
Descender Line
41
Bandeira
Flag
69
Linha das Maiúsculas / Caixa Alta
Cap line
42
Finial
Finial
70
Linha de Base
Baseline
43
Gancho
Hook
71
Orelha
Ear
72
Serifa / Patilha
Serif
73
Serifa Bilateral / Reflexiva
Bilateral Serif
14
10
9
8 8
5
5 5
4
10
5
4
N
1
1
T
47
2
49
8
8
51
5
1
1 1 1 1 2
53
55
5
3
57
5
8
5
8
3 6 8
7
6
5
5
5
4
4
3
3 3
3
2 2 2 1 1 3
2 1 1
2
2 1
2
1 2
1 1
59
5
61
2
5
63
65
67
69
71
73
75
77
79
81
83
85
87
10
89
11
GRÁFICO 1 – NÚMERO (N) DE OCORRÊNCIAS DE CADA TERMO (T) NA BIBLIOGRAFIA, DIVIDIDA POR CLASSE (C) E LÍNGUA (L).
12
Resumo
13
Este trabalho apresenta uma proposta de terminologia tipográfica relativa à anatomia do tipo.
Resulta de um trabalho em desenvolvimento que envolve a análise, recolha, comparação e síntese das
14
definições encontradas na literatura. Contribui para a definição, estabilização e atualização dos termos
Linha Média / Linha da Altura-x
Mean Line / Midline / x Line
C1: MEDIDASC2: FORMAS
portugueses e responde especificamente à necessidade de formação dos alunos do Ensino Superior no
20
Desenho de Tipos de Letra (DTL).
Objectivos
15
Abertura
Aperture
16
Contraforma / Espaço Interno
Counter
17
Corpo
Body
18
Diacrítico
Diacritic
19
Extensor
Extender
20
Maiúscula / Caixa Alta
Uppercase
Definiu-se como objectivo principal identificar de forma exaustiva os termos relativos à anatomia do
tipo, para que possam ser compreendidos e utilizados pelos diferentes interessados, no
enquadramento tecnológico atual. Tem como objectivo secundário reduzir a ambiguidade da
Descender Height
15
da tecnologia de tipos móveis. Esta terminologia, é parte integrante de um projeto composto por
quatro glossários anatómicos: Tipo; Texto; Página; Livro.
Metodologia e análise preliminar
13
Foram analisadas 8 referências bibliográficas em português (4 online) e 18 referências internacionais
em inglês (3 online). Foram selecionadas tendo em conta a sua relevância histórica (BRINGHURST, 2001,
10
13
12
4
9
8
3
Cap Height
Haste
Stem
Ligadura
Ligature
Perna
Leg
45
Pescoço
Link / Neck
Corpo / Força do
4 Alturaedo
Lista de termos traduzidos
ilustrados,
Body
Height
/ Body Size
organizados em 8 categorias:
Medidas, Formas, Traços, Pormenores,
5 Altura-x
Propriedades e Terminais
x-height
C6: TERMINAIS
Filete / Perfil
Hairline
44
46
terminologia existente, que é o resultado da intersecção dos termos anglo-saxónicos com vocabulário
8
8
2
4
10
h
oe
h
p
AA
d
1
5
2
H
HA
oe
oe
Hp
db
3
5
3 4
5
5
7 7 7
4
2 2
6 6 5
6 7 7
6 2
x
oe 5
Evk
5
5 4
5 4
5
2
4
4
4
4
4 5 4
2
Hp
QQ
HH
1
1 1
3
3 2
2
2
2
2
2
2
1
1
1 H1 H
1 1
1 1
1
1
1 1
g
N HA
hn
hh
tT
3
5
7jp 9 11 13 SS15 17 19 21 23 25 27 29 31 33 35 37 39 41 43 45
T hn1
h
s
15
p
eA
et
H
Hv
f
n
fifl
g
C1: MEDIDAS
C3: TRAÇOS
x
Rk
C4:
PORMENORES
C6: TERMINAIS
Th PROPRIEDADES
C2:
FORMAS
C3: C5:
TRAÇOS
g
20 c
m
31 Arco da Haste
1 Altura das Ascendentes
ij
NH
no
Arc of Stem
Ascender Height
L1:
Inglês
nb
hp
lN
ãšä
AA
Hh
L2: Português
32 Ascendente
2 Altura das Descendentes
15
13
12 TS
B
Ascender
Descender14
Height
1516 qb
10
14
14
Mx
M
TS
TB
Altura das Ascendentes
Ascender Height
L1: Inglês
15
2
C5: PROPRIEDADES
C3: TRAÇOS
1
14 7
12
4
1
N
15
12
10
14
8
6
11
10
5
C1: MEDIDAS
C3: TRAÇOS
16
13
10
Ascender Height
Anatomia do T
13
20
Análise comparativa da
15
13
12
ocorrência
dos termos
10
14
14 7
nas duas línguas
1
Pinta
Dot / Tittle
74
Serifa Caligráfica / Assimétrica
Calligraphic Serif / Assimetrical
47
Afilamento
Taper
75
Serifa em Copa
Cupped Serif
48
Ápice
Apex
76
Serifa Filiforme
Hairline Serif
49
Cintura
Waist
77
Serifa Rectiforme / Abrupta
Unbracketed Serif / Abrupt serif
50
Enlace
Bracket / Fillet
78
Serifa Mistiforme em Bico
Beaked Serif
C4: PORMENORES
7
h
p
H
Hp
x
Hp
HA
hn
6
7
Espaço de Reserva
Beard
h
Espaço Lateral
d
Sidebearing
Largura daHA
letra
db
Largura do corpo
Evk
Set Width
QQ
Ascender Line
g
tT
Descender Line
8
TS 4
mx
m
qb
13
6
12
8
33 Barra Transversal / Travessão
3 Altura das Maiúsculas
9
8
m
Bg

Crossbar / Bar
Cap Height
2
4
10
M
oe
G
8
8
1
5
10 n
M
hy 2
8
Altura
do
Corpo
/
Força
do
Corpo
34
4
Barriga
3
5
3 4
5
5
2 2
6 6
6 7 7
M7 77 5
ub4
5
5 4
5 4 6h2
4
4
4
4
92 85 28 5 G4 1 4 5 3
Bowl
1 1 2
3 2
m
f2 2 2 2 1
2 1
1
1
1
1
1
1
1
1
1
1
N
4 m
Og
V
3
5
7
9 11 13 15 17 19 21 23 25 27
39 41 43 45
T 1
35 Braço
5 Altura-x
10
9
thl
M29 31 33 35 37 zscf
5
5
Arm
x-height
8
HA
cf
5
5
8
8
2
Conclusão e trabalho futuro
HH
cf
5
3 6
7
6
Reserva
365 Cauda
6 Espaço de
5
5
5 5
5
5
5
C4: PORMENORES Referências C5: PROPRIEDADES
C6: TERMINAIS
4
4
4
20
Tail
1
1 2
3 3 Beard
3
3
3  3 2 2 2
2
2
2
2
2
2
10
1
1 1 1 1
1 1
1
1 1
1
1 1
L1: Inglês
N
L2: Português
37 Contracurva / Laço / Olhal
7 Espaço Lateral
47 49 5114 53 55 57 59 61 63 65 67 Sidebearing
69 71 73 75 77 79 81 83 85 87 89
15
T
Loop
LAWSON, AGNER, 1990; LOXLEY, 2005; MCLEAN, 1996), técnica (CHENG, 2006; FONTSHOP, 2010; SANTOS, 2007; SOUSA,
21
Minúscula / Caixa Baixa
Lowercase
51
Esporão / Farpa
Spur / Barb
79
Serifa Mistiforme em Esporão
Spur Serif
22
Olhal / Lobo (SUPERIOR / INFERIOR)
Bowl / Lobe
52
Floreado / Floreio
Swash / Florish
80
Serifa em Gancho
Hooked Serif
23
Olho
Eye
53
Garganta
Throat
81
Serifa Mistiforme / Enlaçada
Bracketed serif / Adnate Serif
24
Ombro
Shoulder
54
Incisão / Armadilha de Tinta
Ink Trap
82
Serifa Quadrangular / Egípcia
Slab Serif
25
Pé
Foot
55
Junção
Join
83
Serifa Rectiforme / em Cunha
Wedge Serif
26
Projecção Horizontal / Creno
Overhang
56
Queixo
Chin
84
Serifa Reflexiva
Reflexive Serif
27
Projecção Vertical / Rebarba
Overshoot / Beard
57
Vértice
Vertex
85
Serifa Unilateral
Unilateral Serif
28
Remate
End
58
Virilha
Crotch
86
Terminal
Terminal
29
Traço
Stroke
87
Terminal em Bico
Beak Terminal
88
Terminal em Bola (ENLAÇADO / ABRUPTO)
Ball Terminal (BRACKETED / UNBRACKETED)
89
Terminal em Corte / Cisalha
Sheared Terminal
90
Terminal em Gota / Lágrima
Teardrop / Lachrymal Terminal
2002; TRACY, 1986), académica (AMBROSE, HARRIS, 2006; CRAIG, 2006; EARLS, 2002; KANE, 2002; KUNZ, 2002; LUPTON,
2010; PFLUGHAUPT, 2007; WILLEN, STRALS, 2009), relevância para o contexto português (CUNHA, 2009, FERRAND,
BICKER, 2000, HEITLINGER, 2010, LESSA, 2004, MEÜRER, 2009, VILELA, 1998) e completude (38PAGES, 2010, NASEEM,
2011, ROSENDORF, 2009). Até à data, identificaram-se na literatura consultada 710 entradas relativas à
anatomia do tipo. As definições e ilustrações das entradas foram verificadas, de forma a comparar e
11
sintetizar uma lista de 90 termos únicos (T). Representando dois terços da análise (66,7%), as
referências em inglês apresentam um número médio de entradas(25,3) semelhante ao número médio
de entradas nas referências em português (25,1). No entanto, as referências que apresentam um
número de termos únicos superiores a 25 são mais comuns em inglês (33%) do que em português
(25%). Relativamente ao número de vezes que se identificou cada termo da anatomia do tipo nas
referências consultadas (N), observa-se a predominância do inglês (75,9%) face ao português (24,1%).
Como se pode observar no gráfico 1, para alguns termos como Taper (47), ou Ink Trap (54), não foram
encontradas versões portuguesas. Outros, como Aperture (15), ou Stem (42), têm diferentes versões, ou
uso, dada a ambiguidade da relação da tipografia móvel com a digital. Esta também é uma das razões
pela qual esta terminologia se apresenta bilingue. Para os termos mais ambíguos, propõem-se
designações novas, baseadas na análise bibliográfica e na tradução técnica.
Pretende-se contribuir para a definição de nomes únicos, precisos, de fácil compreensão e que
mantenham a relação com a história.
30
Versalete
Small Cap
Apesar de ser um trabalho em desenvolvimento, esta análise permitiu apurar algumas incorreções e
acrescentar entradas novas à terminologia em português. Facto que parece confirmar a ausência de
uma prática generalizada, e de um ensino desatualizado em Portugal. No entanto, este trabalho ainda
está a ser desenvolvido. As ilustrações vão ser complementadas com as respectivas definições textuais
para evitar interpretações erradas. Ainda é necessário continuar a localizar referências em português,
especialmente de autores de cariz histórico como Joaquim dos Anjos. Também é necessário acrescentar
à lista referências internacionais como Haslam, Noordzij, Porchez, Buen, Balius, ou Leonardi, e verificar
referências técnicas como Adobe, ou Fontlab. Por fim, é necessário validar a lista junto de uma
comunidade de especialistas nacionais e internacionais, como a ATypI. Enquanto lista, ou glossário de
uma prática actual, é um trabalho que está sob constante actualização e avaliação.
38PAGES - Typography Decontructed [em linha]. S. l.: 38 Pages. [Consult.
2011-06-15]. Disponível em WWW:<URL:http://bit.ly/pzi8KO>. AMBROSE,
GAVIN; HARRIS, PAUL - The fundamentals of Typography. Lausanne: AVA
Publishing, 2006. ISBN 978-2-940373-45-1. BRINGHURST, ROBERT - The
Elements of Typographic Style. Vancouver: Hartley & Marks Publishers, 2001.
ISBN 0-88179-132-6. CHENG, KAREN - Designing Type. London: Yale
University Press 2006. ISBN 978-0300111507. CRAIG, JAMES - Designing
with Type. New York: Watson-Guptil, 2006. ISBN 0-8230-1423-4. CUNHA,
LEONEL - Fontes: Anatomia e glossário. [em linha]. (2009). [Consult.
2011-06-15]. Disponível na internet:<URL:http://bit.ly/oUEhWC>. EARLS,
DAVID - Designing Typefaces. Mies: Rotovision, 2002. ISBN 2-88046-699-7.
FERRAND, MARIA; BICKER, JOÃO - A Forma das Letras. Coimbra: Almedina,
2000. ISBN 972-40-1435-5. FONTSHOP - The Typographer's Glossary. [em
linha]. (2010). [Consult. 2011-06-18]. Disponível na internet:
<URL:http://www.fontshop.com/education/>. HEITLINGER, PAULO Alfabetos, Caligrafia e Tipografia. Lisboa: Dinalivro, 2010. ISBN
978-972-576-566-1. KANE, JOHN - A Type Primer. Laurence King, 2002.KUNZ,
WILLI - Typography: Macro- and Microaesthethics. Zürich: Verlag Niggli AG,
2002. ISBN 3-7212-0348-8. LAWSON, ALEXANDER; AGNER, DWIGHT Printing Types: An Introduction. Massachusetts: Beacon Press Books, 1990.
ISBN 0-8070-6661-3. LESSA, JOANA - Glossário Tipográfico [em linha]. S. l.
[Consult. 2011-06-01]. Disponível em WWW:<URL:http://bit.ly/ppyaAp>.
LOXLEY, SIMON - Type. The Secret History of Letters. London: I. B. Tauris, 2005.
ISBN 1-85043-397-6. LUPTON, ELLEN - Thinking With Type. New York:
Princeton Architectural Press, 2010. ISBN 978-1-56898-969-3. MCLEAN,
RUARI - The Thames and Hudson Manual of Typography. London: Thames
and Hudson, 1996. ISBN 0-500-68022-1. MEÜRER, MARY - Anatomia e
terminologia tipográfica. [em linha]. (2009). [Consult. 2011-06-21].
Disponível na internet:<URL:http://bit.ly/qkNkWD>. NASEEM, HIRA - The
Anatomy of Type [em linha]. S. l.: Graphictivitis. [Consult. 2011-06-15].
Disponível em WWW:<URL:http://bit.ly/oLL7Z3>. PFLUGHAUPT, LAURENT Letter by Letter. New York: Princeton Architectural Press, 2007. ISBN
978-156898-737-8. ROSENDORF, THEODORE - The Typographic Desk
Reference. New Castle: Oak Knoll Press, 2009. ISBN 978-1-58456-231-3.
SANTOS, DINO - Anatomia da Tipografia . Estuturação do Tipo. [em linha].
(2007). [Consult. 2009-05-15]. Disponível na internet:
<URL:http://bit.ly/n79R1i>. SOUSA, MIGUEL - Guia de Tipos. [em linha].
(2002). [Consult. 2011-07-15]. Disponível na internet:
<URL:http://scr.bi/oioen7>. TRACY, WALTER - Letters of Credit: A View of Type
Design. London: Gordon Fraser, 1986. ISBN 0860920852. VILELA, ANTÓNIO Prontuário de Artes Gráficas. Braga: Editora Correio do Minho, 1998. ISBN
972-97682-0-X. WILLEN, BRUCE; STRALS, NOLEN - Lettering & Type: Creating
Letters & Designing Typefaces. New York: Princeton Architectural Press, 2009.
ISBN 978-1-56898-765-1.
Pedro Amado1, Catarina Silva2
1Departamento
de Comunicação e Arte da Universidade de Aveiro, 2Instituto Politécnico do Cávado e Ave
Centro de Estudos das Tecnologias e Ciências da Comunicação, 2LIPP Laboratório de Imagem, Produção e Percepção
[email protected], [email protected]
1CETAC.MEDIA
10
9
8
8 8
10
4
8
8
Largura da letra
38
GRÁFICO 1 – NÚMERO (N) DE OCORRÊNCIAS DE CADA TERMO (T) NA BIBLIOGRAFIA, DIVIDIDA POR CLASSE (C) E LÍNGUA (L).
Cruz / Travessão
11
Cross Stroke
C5:
59
Ân
Str
60
Con
Con
61
Eix
Axi
62
Eix
Ob
63
Eix
Ver
64
Esp
Str
65
Ha
Fla
66
Inc
Slo
omia do Tipo
5
28 | 40
Amado, P.; Silva, C. (2011). Anatomia do Tipo: http://entipografia.web.ua.pt/atas/Poster_ENT_1.pdf (pormenor)
C1: MEDIDAS
1
Ascender Height
2
Descender Height
3
Cap Height
4
Altura do Corpo / Força do Corpo
5
Altura-x
x-height
6
Espaço de Reserva
Beard
7
Espaço Lateral
Sidebearing
8
Largura da letra
9
Largura do corpo
Set Width
10
11
Ascender Line
Descender Line
h
p
H
Hp
x
Hp
HA
hn
hn
h
p
C3: TRAÇOS
31
Arco da Haste
Arc of Stem
32
Ascendente
Ascender
33
Barra Transversal / Travessão
Crossbar / Bar
34
Barriga
Bowl
35
Braço
Arm
36
Cauda
Tail
37
Contracurva / Laço / Olhal
Loop
38
Cruz / Travessão
Cross Stroke
39
Descendente
Descender
40
Espinha / Arco Duplo
Spine
41
Filete / Perfil
Hairline
h
d
HA
db
Evk
QQ
g
tT
jp
s
eA
C5: PROPRIEDADES
59
Ângulo
Stress / Bias
60
Contraste
Contrast
61
Eixo
Axis
62
Eixo Oblíquo
Oblique Axis / Oblique Shading
63
Eixo Vertical
Vertical Axis / Vertical Shading
64
Espessura / Peso
Stroke Width / Weight
65
Haste em Bandeira
Flared stem
66
Inclinação
Slope
67
Modulação
Modulation
C6: TERMINAIS
68
Bandeira
Flag
69
Finial
oe
AA
oe
oe
oe
HH
HH
hh
SS
15
as
mos
no
o
9
Largura do corpo
Set Width
Corpo
Body
18
Diacrítico
Diacritic
19
Extensor
Extender
s
20
Maiúscula / Caixa Alta
Uppercase
A,
21
Minúscula / Caixa Baixa
Lowercase
io
D,
g
tT
jp
s
eA
Hv
fifl
Rk
g
ij
39
Descendente
Descender
65
Haste em Bandeira
Flared stem
66
Inclinação
Slope
67
Modulação
Modulation
c
no
hp
ãšä
qb
Mx
M
mx
m
47
Afilamento
Taper
48
Ápice
Apex
49
Cintura
Waist
50
Enlace
Bracket / Fillet
51
Esporão / Farpa
Spur / Barb
nb
AA
B
TB
qb
HH
hh
SS
29 | 40
Amado,
C. (2011). Anatomia do Tipo: http://entipografia.web.ua.pt/atas/Poster_ENT_1.pdf
(pormenor)
C6: TERMINAIS
Linha P.;
dasSilva,
Ascendentes
40 Espinha / Arco Duplo
10
Spine
Ascender Line
68 Bandeira
Flag
41 Filete / Perfil
11 Linha das Descendentes
Hairline
Descender Line
69 Finial
Finial
42 Haste
12 Linha das Maiúsculas / Caixa Alta
Stem
Cap line
70 Gancho
Hook
43 Ligadura
13 Linha de Base
Ligature
Baseline
71 Orelha
Ear
44 Perna
14 Linha Média / Linha da Altura-x
Leg
Mean Line / Midline / x Line
72 Serifa / Patilha
Serif
C2: FORMAS
45 Pescoço
Link / Neck
73 Serifa Bilateral / Reflexiva
15 Abertura
Bilateral Serif
Aperture
46 Pinta
Dot / Tittle
74 Serifa Caligráfica / Assimétrica
16 Contraforma / Espaço Interno
Calligraphic Serif / Assimetrical
Counter
C4: PORMENORES
17
N,
HA
hn
hn
h
p
H
n
x
Espaço Lateral
37 Contracurva / Laço / Olhal
Loop
Sidebearing
38 Cruz / Travessão
8 Largura da letra
Cross Stroke
7
75
Serifa em Copa
Cupped Serif
76
Serifa Filiforme
Hairline Serif
77
Serifa Rectiforme / Abrupta
Unbracketed Serif / Abrupt serif
78
Serifa Mistiforme em Bico
Beaked Serif
79
Serifa Mistiforme em Esporão
Spur Serif
Serifa em Gancho
15
et
f
g
Th
m
NH
lN
Hh
TS
TS
TS
30 | 40
Silva, C.; Amado, P. (2011). Anatomia da Página : http://entipografia.web.ua.pt/atas/Poster_ENT_10.pdf
diagramas indexados aos termos
4
55
54
53
1
52
51
50
48
46
5
1
2
42
41
40
2
39
38
1
3
36
3
35
34
4
4
29
28
1
27
2
2
2
26
2
23
22
20
19
18
1
17
16
2
2
3
14
2
13
12
11
09
08
1
1
1
07
06
05
1
03
1
04
02
01
2
2
15
10
3
4
3
1
5
4
4
4
3
4
5
5
5
3
3
3
4
4
4
5
4
5
5
2
2
4
5
3
3
4
2
2
4
2
2
3
5
4
4
5
4
3
1
21
4
5
3
25
24
3
3
4
31
30
5
5
4
33
32
5
5
4
4
37
5
4
4
5
5
3
4
45
43
5
3
3
3
47
44
4
4
2
2
49
4
5
5
3
3
4
5
4
termos pt|EN
Nº de ocorrências
de cada termo,
por língua
Catarina Silva1, Pedro Amado2
1Instituto
Politécnico do Cávado e do Ave, 2Universidade de Aveiro
Laboratório de Imagem, Produção e Percepção, 2CETAC.MEDIA Centro de Estudos das Tecnologias e Ciências da Comunicação
[email protected], [email protected]
1LIPP
Silva, C.; Amado, P. (2011). Anatomia da Página : http://entipografia.web.ua.pt/atas/Poster_ENT_10.pdf (pormenor)
31 | 40
Silva, C.; Amado, P. (2011). Anatomia da Página : http://entipografia.web.ua.pt/atas/Poster_ENT_10.pdf (pormenor)
32 | 40
33 | 40
2 LÍNGUAS (18 EN, 8 PT)
710 ENTRADAS
90 TERMOS ÚNICOS
6 CATEGORIAS
13 US
3 UK
6 PT
2 BR
2 DE
34 | 40
17 US
5 LÍNGUAS (14 PT, 25 EN, 11 SP, 4 FR, 3 DE)
2072 ENTRADAS
102 TERMOS ÚNICOS
153 PROPRIEDADES
8 CATEGORIAS
5 UK
5 DE
7 PT 7 SP
4 FR
1 NL
2 MX
7 BR
2 AR
C1. Measurement Lines
1 Ascender Line
2 Baseline
3 Beard Line
2013-04-18
4 Cap Line
5 Descender Line
6 Meanline / Midline / Waist Line
7 Small Cap Line
E
E
E
E
E
E
E
P
P
P
P
P
P
P
S
S
S
S
S
S
F
FD
107
Plume
215
B
108
Finial
216
H
109
Tongue
217
S
TERMINOLOGIAS PARA O DESIGN GRÁFICO
E EDITORIAL 4 P. Amado
40 218 Seri
1
2
5
6 & C. Silva
7 | XXIII ARTEC |
110 Tail / Finial
E 35
P S |F D
F
3
C2. Proportions
111
Straight
219
S
F
12
112
Curved.
220
A
FD
113
Attached
221
S
114
Dettached
222
S
107
Plume
1 Ascender Line
EPSF
C2. Proportions
115
Cross Stroke
223 Seri
108
Finial
2 Baseline
EPSFD
15
13
14
16
17
18
8
9
10
11
109
Tongue
S
/ Entry
Arc
S D
224
W
8 Ascender Height
E 3PBeard
S Line 116 Talon / LinkE/P Heel
1
2
4
5
6
7
110 Tail / Finial
EPSFD
C3. Positive and Negative Shapes
117 Terminal E P S F
EPS
225
S
9 Beard / Reserve Space / Line Space E 4PCap
S Line
C2. Proportions 3
111
Straight
5 Descender Line
EPSF
118 /Throat
EP
D
226
B
10 12Body (Height) / Glyph Space
E 6PMeanline
S F D / Midline
112
Curved.
Waist Line
EPSFD
22
25
19
113
Attached
E P / Tarabita
S
227
S
11 Cap Height
E 7PSmall
S F Cap
D Line119 Belt / Tongue
114
Dettached
228
L
12 Case / Glyph Form
E PC2.
S FProportions
D
115
Cross Stroke
C5. StrokeE PConnections
8
9
10
11
15
14
16
17
18
116 Talon / Link / Heel / Entry Arc
D
8 Ascender Height
S
229 STerm
13 13 Lowercase
/ Minuscule
21
20
21
20
28
27
26
117 Terminal
EPS
9 Beard / Reserve Space / Line Space E P S
120 Apex
EPSFD
230
T
14
Small Cap
Multilingual Typeface Anatomy Terminology
33
35
36
118 Throat
EP
D
10 Body (Height) / Glyph Space
EPSFD
19
22
25
Developing a proposal for a comprehensive translation framework applicable to multiple languages
121
Pointed
231
T
15
Uppercase
/ Majuscule / Capital
119 Belt / Tongue / Tarabita
S
11 Cap Height
EPSFD
EPSFD
122
Flat
232
A
16 Descender Height / Length
E12PCase
S / Glyph Form
C5.
Stroke
Connections
13
Lowercase / Minuscule
20
21
20
21
Oblique
233
Term
17 Set Width 28 27 26
E14P SSmallDCap 123
29
30
31
32
34
C2. Proportions
120 Apex
EPSFD
33
35
36
37
38
40
121
Pointed
124 / Capital
Concave/ Hollow
234
T
18 x-Height
E15P SUppercase
F D / Majuscule
39
C2. Proportions
122
Flat
16 Descender Height / Length
125
Extended E P S
235
T
123
Oblique
17
Set
Width
E
P
S
D
29
30
31
32
34
C3.
Positive40 and Negative Shapes
126
Rounded /EBlunt
236
T
37
38
C5. Stroke Connections
124
Concave/ Hollow
18 x-Height
PSFD
39
125
Extended
Sheared
237
S
19 Aperture
E PC3.
S Positive 127
and Negative
Shapes
126
Rounded / Blunt
128 Bracket / Fillet
EPSFD
238
S
20
Closed
127
Sheared
C4. Strokes
19
Aperture
E
P
S
Selected Findings And Future Work
C4. Strokes
129
Adnate / Abrupt / Angular
239
21
Open
E P S F DB
20
Closed
C4.
Strokes
42
46
51
129/ Transitive
130
Bracketed / Transitional
240
B
22 Counter
/ Negative51 Space
E21P SOpen
FD
42
46
41
130
Bracketed / Transitional / Transitive
22 Counter / Negative Space
EPSFD
41
241
H
23
Closed
C8. Optical adjustments
Cross / Crossing / Junction
/ / Crossing / Junction /
23
Closed
Cross
131
E
P
S
131
EPS
Crossbar
Crossbar
24
Open
242
S
24
Open
45
43
44
45
47
48
49
50
52
C6. Stroke & Glyph Properties
132 Crotch
EP
25 Extender
EP F
45
43
44 45
47
48
49
50
52
132 Crotch
EP
243
P
25 Extender
E26P Long
F
53
53
58
133 Fork
E
53
53
58
133 Fork
E
244
26
Long
134 Ligature
E P S F DE
27
Medium
135 Thorax / ThoracicE(middle)
28
Short
Abstract
134 Ligature
P S F Spine
D
27
Medium
Acknowledgements
55
55
56
57
59
60
61
62
63
64
C4. Strokes
136 Tie / Link
E P C8.
29 Eye
EPSFD
135 Thorax / Thoracic
Spine
2870
Short 71
58
68
69
72
137 Vertex
EPS D
30 Foot
EP
D(middle)
55
56
55
57
59
60
61
62
63
64
138 Waist / Juncture E P
E P SCou
D
245
136 Tie / Link E P S F
29 Eye
E31PGlyph
SFD
EPS D
58
68
69
70
71
72
246 Ink
137 Vertex
E P SProperties
D
30 Foot
E32PHead D
References
C6.
Stroke
&
Glyph
33
Italic
/
Cursive
E
P
F
65
66
67
73
247
138 Waist / Juncture
EPS D
31 Glyph
E34PKerning
SF
139 Contrast
E P SLigh
D
EPSFD
74
75
78
83
140
Exagerated
248 Not
32 Head
E35POptical
S DCorrections / Ajustments E P S F
Introduction
141
High
36 Shoulder
E
P
S
F
D
249 Opti
33 Italic / Cursive
E PSidebearing
F
65
66
67
73
C6. Stroke and Glyph Properties
142
Medium
/ Exterior Shape /
76 77
82
84
85
84
79
80
81
37
EP
143
Low
139 Contrast
EPS D
250
C
34 Kerning92
E PLetterspace
SFD
74
75
78
83
86
87
94
ExageratedE P S D 144 Null / Monoline
251
T
35 Optical Corrections / Ajustments
E38PStroke
S F / Ductus140
145 Curve Treatment / Properties
E
39 Throat / Aperture
E
High
252
D
36 Shoulder
E40PTorso
S F /DEye 141
146
Continuous
EP
88
89 88
89
91
93
90
147
Angular
142
Medium
253 Ove
Sidebearing 101
/ Exterior Shape /
C4.
Strokes
82
84
85 95 84
76 77
79
80
81
37
EP
148
Broken/Fractured
Methodology
Letterspace
143
Low
254
Ove
149 Modulation
EPS D
41 Arc / Arch (Stem)
EPS
86
87
92
94
C7. Terminal and Serif Properties
144
Null
/
Monoline
255 Tape
150
High
42PArm
EPSFD
38
Stroke
/
Ductus
E
S
D
96
99
97
99
98
98
100
151
Medium
C7. Terminal & Serif Properties
E
39 Throat
E43 Lower
107
106
108 / Aperture
102
103
152
Low
44
Medium
110
117
Abstra
146
Continuous
40
Torso
/
Eye
E
P
153
Null / Monoline
45
Upper
88
89 88
89
91
93
90
E P Swork
D
46 Ascender
147
Angular E P S F D 154 Slope / Slant / Posture / Style / AxisThis
95
101
155
Roman / Normal / Vertical
47
Clubbed
C4. Strokes
148
Broken/Fractured 156 Sloped / Slanted Left / Backslant anatomy t
109
111
112
113
114
115
116
118
119
48
Curved
255 entrie
P S Right
D
41 Arc / Arch (Stem)
E49P SDiagonal 149 Modulation
157
Oblique / SlopedE/ Slanted
C8. Optical Adjustments
158
Italic (Italic, Cursive, Round, Spencerian)synthesis
150
High
42 Arm
E50P SVertical
FD
96
99
97
99
98
98
100
159 Stem Properties (Edges)
E
51 Bowl
EPSFD
120
131
132
128
reference
151
Medium E P S
43
Lower
160
Parallel
52 Chin / Jaw / Hook
107
106
108
102
103
161
Convex
53 Cross Stroke 152
EPSFD
Portugue
Low
44
Medium
110
117
162
Concave / Concave Elements
54 Crossbar / Bar / Horizontal Stroke E P S F D
121
122
123
124
125
126
127
129
130
aims to pr
153
Null / Monoline
45
Upper
163
Irregular
55
Hairline
133
138
Design) p
154 Slope / Slant / Posture
46 Ascender
E56P SForked
FD
164/ Style
Flared / Axis E P S D
Pedro Amado
165 Stress / Bias / Shadow Axis
PSFD
57 Curl / Swash 155
E
ItEexpand
Roman / Normal
/ Vertical
47
Clubbed
134
135
136
137
166
Vertical
58 Curve
EPS D
111
112
113
114
115
116
118
119
109
classificat
156
Sloped / Slanted Left /167Backslant
48
Curved
Angled / Humanist / Oblique
59
Oval
C6. Stroke and Glyph Properties
168 Right
Null / Monoline
60
Round/Circular157
terms. It a
Oblique / Sloped / Slanted
49
Diagonal
169
Horizontal
61
Round/Slightly Square
139
186
the individ
158
Italic (Italic, Cursive, Round,
Spencerian)
50
Vertical 145
Multilingual Typeface Anatomy Terminology
Developing a proposal for a comprehensive translation framework applicable to
Amado, P. (2012). Multilingual Typeface Anatomy Terminology. http://issuu.com/iiiet/docs/livro
1
2
4
3
5
6
8
9
10
20
21
29
30
15
11
19
13
14
16
22
20
17
18
25
21
28
33
31
27
35
32
26
36
34
37
38
40
39
42
46
51
41
45
43
53
44
45
47
48
49
50
52
53
55
65
58
55
58
66
57
56
68
69
59
60
70
61
64
72
78
79
76 77
86
83
80
81
82
84
87
88
89
85
99
97
90
89
94
91
99
98
98
100
102
112
122
113
123
103
107
106
117
114
115
116
118
120
121
128
124
125
126
127
131
129
133
119
132
130
138
134
135
136
137
139
140
145
141
142
143
149
151
144
146
154
152
153
155
166
186
147
157
158
160 161 162
187
148
159
156
188
189
182
162 163 164
165
183
184
185
170
167
168
169
171
172
171
173
172
173
174
175
176
176
176
177
178
190
179
179
191
194
215
195
206
181
181
195
196
195 / 221
206
207
207
215
207
195 / 221
208
209
198
210
199
211
218
199
216
216
217
219
220
212
200
201
220
225
225
224
226
227 227
242
243
228
233
231
232
234
245
247
235 236
237
238
238
239
240
248
241
241
244
249
246
250
251
252
255
253
S
S
S
S
S
S
8
9
10
11
12
13
14
15
16
17
18
Ascender Height
Beard / Reserve Space / Line Space
Body (Height) / Glyph Space
Cap Height
Case / Glyph Form
Lowercase / Minuscule
Small Cap
Uppercase / Majuscule / Capital
Descender Height / Length
Set Width
x-Height
E
E
E
E
E
P
P
P
P
P
S
S
SFD
SFD
SFD
19
20
21
22
23
24
25
26
27
28
29
30
31
32
33
34
35
36
Aperture
Closed
Open
Counter / Negative Space
Closed
Open
Extender
Long
Medium
Short
Eye
Foot
Glyph
Head
Italic / Cursive
Kerning
Optical Corrections / Ajustments
Shoulder
37
Sidebearing / Exterior Shape /
Letterspace
F
FD
F
F
FD
EPS
EPS D
EPSFD
EPS
EPSFD
EP
E
E
E
E
E
E
E
E
P
P
P
P
P
P
P
P
F
SFD
D
SF
S D
F
SFD
SF
SFD
EP
EPS D
E
EP
254
41
42
43
44
45
46
47
48
49
50
51
52
53
54
55
56
57
58
59
60
61
62
63
64
65
66
67
68
69
70
71
72
73
74
75
76
77
78
79
80
81
82
83
84
85
Arc / Arch (Stem)
Arm
Lower
Medium
Upper
Ascender
Clubbed
Curved
Diagonal
Vertical
Bowl
Chin / Jaw / Hook
Cross Stroke
Crossbar / Bar / Horizontal Stroke
Hairline
Forked
Curl / Swash
Curve
Oval
Round/Circular
Round/Slightly Square
Square
Ogee
Exagerated
Open
Closed
Jaws Close-set
Descender
Diacritic
Dot / Jot / Tittle
Ear
Entry Stroke / Head Serif
Exit Stroke
Flag
Hook
Head
Foot
Jaw / Hook
Open / Detached
Closed
Pelican
Knee
Leg
Vertical
Curved
Link / Connection / Joint /
86 Connecting Stroke / Hairline Arc /
Branching
213
223
229
230
181
205
204
205
214
180
197
202
203
179
193
196 / 222
192
P
P
P
P
P
P
P
38 Stroke / Ductus
39 Throat / Aperture
40 Torso / Eye
93
108
111
E
E
E
E
E
E
E
101
110
109
84
92
88
95
150
63
73
75
96
62
71
67
74
Ascender Line
Baseline
Beard Line
Cap Line
Descender Line
Meanline / Midline / Waist Line
Small Cap Line
1
2
3
4
5
6
7
7
12
254
87
88
89
90
91
92
93
94
95
96
97
98
99
100
101
102
103
104
105
106
Lobe / Bowl
Upper
Lower
Loop / Lobe / Bowl
Neck / Link
Serif
Spine / Double Curve
Spur / Barb
Stem
Vertical
Diagonal
Thin / Hairline
Thick / Main Stroke
Stem Body
Swash / Flourish
Attached
Dettached
Ascender
Descender
Flag
EPS
EPSFD
EPSFD
EPSFD
EPS
EPSFD
EPSFD
E
EPS D
E
E
E
E
E
E
E
E
P
P
P
P
P
P
P
P
SFD
FD
SFD
SFD
SFD
S
D
S D
EPS
107
108
109
110
111
112
113
114
115
116
117
118
119
Plume
Finial
Tongue
Tail / Finial
Straight
Curved.
Attached
Dettached
Cross Stroke
Talon / Link / Heel / Entry Arc
Terminal
Throat
Belt / Tongue / Tarabita
120 Apex
121
Pointed
122
Flat
123
Oblique
124
Concave/ Hollow
125
Extended
126
Rounded / Blunt
127
Sheared
129
130
EPSFD
S D
EPS
EP
D
S
EPSFD
EPSFD
131
Cross / Crossing / Junction /
Crossbar
132
133
134
135
136
137
138
Crotch
Fork
Ligature
Thorax / Thoracic (middle) Spine
Tie / Link
Vertex
Waist / Juncture
139
140
141
142
143
144
145
146
147
148
149
150
151
152
153
154
155
156
157
158
159
160
161
162
163
164
165
166
167
168
169
170
171
172
173
174
175
176
177
178
179
180
181
182
183
184
185
186
187
188
189
Contrast
E
Exagerated
High
Medium
Low
Null / Monoline
Curve Treatment / Properties
E
Continuous
Angular
Broken/Fractured
Modulation
E
High
Medium
Low
Null / Monoline
Slope / Slant / Posture / Style / Axis E
Sloped / Slanted Left / Backslant
Oblique / Sloped / Slanted Right
Italic (Italic, Cursive, Round, Spencerian)
Stem Properties (Edges)
E
Parallel
Convex
Irregular
Flared
Stress / Bias / Shadow Axis
E
Vertical
Angled / Humanist / Oblique
Null / Monoline
Horizontal
Stroke Transition
E
Abrupt / Angular / Instant / Broken
Bracketed / Gradual
Transitive / Branching
Stroke With
E
Upstroke / Thin Stroke / Hairline
Stem / Main Stroke
Downstroke / Thick Stroke
Horizontal / Bar / Arm
Crossbar
Cross Stroke
Diagonal / Leg / Arm
Weight / Weight Axis
E
Bold
Regular
Light
Width / Width Axis
E
Expanded / Wide
Normal
Condensed / Compressed
190
191
192
193
194
195
196
197
198
199
200
201
202
203
204
205
206
207
208
209
210
211
212
213
214
Reflection
Unilateral
Bilateral
Serif Angle / End
Horizontal
Sloped / Oblique / Splayed
Vertical
Serif Cup
Cupped
Concave
Flat / Horizontal
Oblique
Serif Inflexion / Transition
Reflexive
Transitive
Serif Shape
Transitional / Classic / Bracketed
Slab / Squared
Rounded / Blunt
Wedge
Point
Hairline
Sans / Grotesk
Hybrid
Spur / Barb
EPS
EP
E
EPSFD
EP
EPS D
EPS D
PS D
PS D
PS D
PSFD
PS
PSFD
PS D
E
EPS D
EPSFD
EPSFD
EP
EP
EP
EP
EP
EP
SFD
S D
SFD
S D
S D
SFD
S
EPS
EP
EP
E
EP
EPSFD
215
216
217
218
219
220
221
222
223
224
225
226
227
228
229
230
231
232
233
234
235
236
237
238
239
240
241
242
243
244
Beak
Hook
Sheared
Serif Symmetry
Symmetric
Assymetric / Calligraphic
Symmetric Splayed
Symmetric Vertical
Serif Taper
Wedge / Point
Squared / Vertical
Blunt / Round
Sharp / Refined
Line
Terminal / Serif Position
Top Serif / Entry Stroke / Head
Terminal / Foot / Exit
Arm
Terminal Shape
Teardrop / Drop / Lachrymal
Tuscan / Bifurcating
Tapered / Finial
Straight
Sheared
Ball
Beak
Hook
Spur
Pot Hook / Transitive Serif
Entasis
245
246
247
248
249
250
251
252
253
254
255
Counter Overshoot
Ink Trap / Ink Well
Light Trap
Notch
Optical Axis
Caption
Text
Display
Overhang
Overshoot
Taper / Link / Joint / Branching
EP
E
EPS
EPSFD
EPS
EPS
F
E
EPS
EPS D
EPS
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.
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.
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
1
Departamento de Comunicação e Arte da Universidade de Aveiro. CETAC.MEDIA, Centro de Estudos das Tecnologias e Ciências da Comunicação
[email protected]
1
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.
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.
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.
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/objetivoclassificacao-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 2012-0701, 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.
diagramas indexados aos termos
termos organizados em:
• 8 categorias;
• 102 termos;
• 153 propriedades
62
Square
170 Stroke Transition
E
36 | 40
8 Categorias (C)
102 Termos (T)
153 Propriedades (P)
Termo (C1 T1)
Propriedade (C1 T1 P1)
Categoria (C1)
Termo (C1 T2)
Termo (C1 T3)
Multilingual
Typeface
Anatomy
Multilingual
Typeface
Anatomy
Developing a proposal for a comprehensive translation fr
96
C1.
Measurement Lines
99
140
97
99
98
98
100
C1. Measurement
141
142 Lines 143
37136| 40
134
135
149
1 Ascender Line
110
154
17
1
EP
EP
3 Beard Line
EP
139 Properties
C7.
Serif
111and112
113
114
115
109 Terminal
1
2
4
5
6
7
150
151 4 Cap
152 Line
153
155
156
C1.
Measurement
Lines
C1.
Measurement
Lines157 158 E P
3
C2.
Proportions
Amado,
P. (2012). Multilingual
Typeface Anatomy Terminology. http://issuu.com/iiiet/docs/livro (Pormenor)
EP
1905 Descender165Line
193
C5. Stroke
Connections
1 Ascender
Line
EP
C1.
Measurement
Lines
C1.
Measurement
Lines
12
/ Waist
Line143 E P
140 6 Meanline
141 / Midline142
C1.
Measurement
Lines
2 Baseline
EP
196 / 222 E P
71149Small
CapLine
Line120
154
Ascender
31 Beard
LineLine
EP
Ascender
192166 2 Baseline
191 167
194
195 169
EP
168
1
2
4
5
6
7
195
/
221
42 Cap
Line
EP
Baseline
C2.
Proportions
3
3 Beard Line
EP
C2. 8Proportions
1.
Measurement
Lines
202121
53 Descender
Line 124
E 17P
Beard
9
10
11
15
13
14
16
17
18
122Line 123
125
126
127
1
2
4
5
6
7
Ascender
48 Cap
Line Height
EE PP
1
2
4
5
7
3
150
151 4
152 Line
153 / Midline
155
156
157 158 E P
126
6 Meanline
/ Waist
Line
Cap
C2.
Proportions
2.
Proportions
133 5
C3.
Positive
and
Negative
Shapes
3
9 Descender
Beard / Reserve
Line Space / Line Space EE PP
C2. Proportions
75 Small
Cap165
Line
EP
Descender
Line
10
Body
(Height)
/ Glyph
Space
EE207PP
12
6
Meanline
/
Midline
/
Waist
Line
3.
Positive
and
Negative
Shapes
203
204
206
206
207
175
176
176/ Midline
176
178
22
25
19
12
6 Meanline
/ 177
Waist Line
EP
117 Cap
Height
EE PP
Small
Cap
Line
C2.
Proportions
205134
135
136
7 Small Cap
Line
E P1
4. Strokes
12 Case / Glyph Form
EP
8
9
10
11
15
13
14
16
17
18
C7. Terminal
andHeight
Serif168Properties
8 Ascender
EP
166 13
167
C2.
Proportions
Lowercase
/ Minuscule 169
5.
Stroke
Connections
20
21
20
21
28
27
26
C2.
Proportions
C6. Stroke
and/Glyph
C3. 8Positive and
Negative10 Shapes11
9 Beard
ReserveProperties
Space / Line Space E P
15
13
14
16
17
18
9
190
193
148 Ascender
Small Cap
Height
E 17P
3514
36 18
15
13
16
17
8
9
10 33
11
214
215
215
216
216 Space
217
219 E P
108 Body
(Height)
/
Glyph
Ascender
Height
6.
Stroke
&
Glyph
Properties
139
15
Uppercase
/
Majuscule
/
Capital
22
25
19 and Negative Shapes
C3.
9 Beard / Reserve Space / Line Space E P
C3. Positive
Positive
and Negative Shapes
119 Cap
Height
EP
Beard
/ Reserve Space / Line 196
Space
229
/ 222 E
16
Height
/ Length
P
7.
Terminal
&
Serif
Properties
10 Descender
Body (Height)
/ Glyph
Space
12
Case
/
Glyph
Form
E
P
22
25
19
10
Body
(Height)
/
Glyph
Space
175
176 Width
176
176194
177195
178
192 17
191
EP
29
3019
31
32
34
22
25
11 Set
Cap
Height
195
/
221
8. Optical
adjustments
/ Minuscule
11 CapLowercase
Height
EP
140 13
141
142
143
20
21
20
27
26
3721
38
4028
18
x-Height
EP
39
12
Case
/
Glyph
Form
202
14
Small
CapSerif
154
12149Case
/ Glyph
Form
EP
33
35
36
C7.
Terminal
and
Properties
13
Lowercase
/
Minuscule
230
231
232
234
235
236
21
20
21
20
28
27
26
15
Uppercase
Majuscule
/
Capital
13
Lowercase
/
Minuscule
C3.
Positive
and
Negative
Shapes
21
20
21
20
28
27
26
14
Small Cap
33
35
36
190
193
16
EP
14 Descender
Small CapHeight / Length
33
35
36
19
Aperture
EP
C8.
Optical
Adjustments
15
Uppercase / Majuscule
/206
Capital 207
203 204
206
17
Width / Majuscule / Capital
E207P
32
29
30
31
34
15 SetUppercase
150
15116
152Closed
153 Height
155 / Length
156
157
20 Descender
196 / 222158 E P
C4. Strokes
205
37
38
40
18
x-Height
EP
39
16
Descender
Height
/
Length
245 SetOpen
247
21
17
Width165
EP
29
30
31
32
34
192
191
194
195
42
46
51
17 Set Width
P
32
34
29
30
31
195 / 221 E
22
Counter
/
Negative
Space
37
38
40
18 x-Height
EE PP
39
C3.
Positive
and
Negative
Shapes
41
37
38
40
18 x-Height
EP
39
202
23
Closed
214 19215Aperture
215
216
216
217
219 E P
Positive
and
Shapes
24 C3.
166
167
169
C3.Open
Positive246168
and Negative
Negative
Shapes
20
Closed
229
45
43
44
45
47
48
49
50
52
C4. Strokes
25
EP
19 Extender
Aperture
21
Open
19
E20717P
203 Aperture
204
206
206
207
53
5342
58
26
Long
46
51
20
Closed
Developing
Developing aa proposal
proposal for
for aa comprehensive
comprehensive translation
translation fr
fr
176
176
176
177
C6.175Stroke
and Glyph
Properties
2 Baseline
8 Categorias:
178
FD
F
FD
D
F
D
F
FD
F
FD
D
FD
FD
FD
FD
FD
– e.g. Taper (#255), or Overhang (#253). Some
240
Beak
were suggestions – e.g. Notch (#248) –, or found in
241
Hook
Cross / Crossing / Junction /
131
EPS
Crossbar
particular languages – e.g. Stem Body (#100, from
242
Spur
38 | 40
the original Pilastra in Spanish). Some were not found
132 Crotch
EP
243
Pot Hook / Transitive Serif
in any reference, but are being proposed as new
133 Fork
E
244
Entasis
original terms to already existing shapes – e.g. Counter
134 Ligature
EPSFD
C8. Optical adjustments
Overshoot (#245), or Thorax (#135). These are needed
135 Thorax / Thoracic (middle) Spine
to describe complex, or specific shapes and properties,
245 Counter Overshoot
136 Tie / Link
EP
Amado,
P.
(2012).
Multilingual
Typeface
Anatomy
Terminology.
http://issuu.com/iiiet/docs/livro
(Pormenor)
and will undergo
experts’ evaluation.
246 Ink Trap / Ink Well
EPS
137 Vertex
EPS D
The translation is currently taking place, having
247 Light Trap
EPS
138 Waist / Juncture
EPS D
identified 94% of the 102 terms in English, 87% in
248 Notch
F
Portuguese, 72% in Spanish, 39% in French and 52%
249 Optical Axis
E
in German. TD experts’ assistance will be fundamental
139 Contrast
EPS D
250
Caption
to complete this task. In the final phase, and when
140
Exagerated
251
Text
this work finds a suitable stabilization, it will be made
141
High
252
Display
available to the public in a format that includes the
142
Medium
253 Overhang
EPS
illustrations, categories, terms and properties with a
143
Low
254 Overshoot
EPS D
brief description
to further
help explain
or
144
Null / Monoline
255During
Taper / Link
/ Joint
/ Branching
EPS
the
end
of the second
phase
an ofineach,
the
current
third
clarify any ambiguity.
E
phase, some terms were validated by experts – e.g. Taper
Abstract
146
Continuous
Acknowledgements
This work proposes a comprehensive typeface
147
Angular
(#255),
or
Overhang
(#253).
Some
were
– e.g.
The author
would suggestions
like to thank all the valuable
anatomy terminology framework in English. The list of
148
Broken/Fractured
comments andlanguages
suggestions provided
improve
this
255Notch
entries results
from the analysis,
149 Modulation
EPS D
(#248)
–, or collection
foundandin particular
–toe.g.
Stem
work. Specially to the professional type designers,
synthesis of 2072 terms found in selected literature
150
High
Bodyin(#100,
original
Pilastra
in Spanish).
friends and educators:
Indra Kupferschmid; Jean
references
five differentfrom
languages:the
English
(E);
151
Medium
Portuguese (P); Spanish (S); French (F); German (D). It François Porchez, Joana Lessa; Joana Correia; Jorge de
152
Low
aims to provide a reference tool for digital TD (Typeface Buen Unna; Luís Moreira; Miguel Sousa; Paul Shaw;
153
Null / Monoline
Rafael Neder; Ricardo
Dias; Rui
Abreu;
Design)
professionals,
and studentsinalike.
154 Slope / Slant / Posture / Style / Axis E P S D
Some
wereeducators
not found
any reference,
butSantos;
areRúben
being
proposed
Vítor Quelhas; and Xavier Dupré.
It expands existing terminologies, adding to the
155
as new
to already existing shapes – e.g. Counter
classification
andoriginal
identification ofterms
specific language
156
Sloped / Slanted Left / Backslant
References
terms. It also proposes an original organization where
157
Oblique / Sloped / Slanted Right
Overshoot
(#245),
or
Thorax
(#135).
These are needed to
the individual entries (#) are organized into 8 Categories Amado, P., & Silva, C. (2012). Anatomia do Tipo. In P. Amado, A.
158
Italic (Italic, Cursive, Round, Spencerian)
Veloso, O. Martins & N. Dias (Eds.), II Encontro Nacional de
(C),describe
that aggregate specific
terms and or
theirspecific
properties. shapes
159 Stem Properties (Edges)
E
Tipografia.and
Aveiro: Universidade
de Aveiro. and will
complex,
properties,
It’s a work in progress that aims to contribute to the Baines, P., & Haslam, A. (2002). Type and Typography. London:
160
Parallel
Laurence King.
undergo
evaluation.
proper
identificationexperts’
of a common set
of terms to be
161
Convex
Bayle, J.-C. L. d. (2006). Glossaire Typographique. Typographie
used and localized into different languages.
162
& Civilisation Retrieved 2012-07-01, from http://caracteres.
typographie.org/description/anatomie.html
163
Irregular
Bracquemond, J., & Dusong, J.-L. (2010). Typographie : La lettre,
Introduction
164
Flared
130
102 Termos
153 Propriedades
39 | 40
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