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Hop 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 TERMINOLOGIAS PARA O DESIGN GRÁFICO E EDITORIAL P. Amado & C. Silva | XXIII ARTEC | 2013-04-18 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. TERMINOLOGIAS PARA O DESIGN GRÁFICO E EDITORIAL P. Amado & C. Silva | XXIII ARTEC | 2013-04-18 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. TERMINOLOGIAS PARA O DESIGN GRÁFICO E EDITORIAL P. Amado & C. Silva | XXIII ARTEC | 2013-04-18 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. TERMINOLOGIAS PARA O DESIGN GRÁFICO E EDITORIAL P. Amado & C. Silva | XXIII ARTEC | 2013-04-18 7 | 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. TERMINOLOGIAS PARA O DESIGN GRÁFICO E EDITORIAL P. Amado & C. Silva | XXIII ARTEC | 2013-04-18 8 | 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. TERMINOLOGIAS PARA O DESIGN GRÁFICO E EDITORIAL P. Amado & C. Silva | XXIII ARTEC | 2013-04-18 Dixon, C. (2012). Keynote. III Encontro de Tipografia: http://www.esmae-ipp.pt/3et/ 9 | 40 TERMINOLOGIAS PARA O DESIGN GRÁFICO E EDITORIAL P. Amado & C. Silva | XXIII ARTEC | 2013-04-18 Lessa J. (2012). Type Anatomy in Portuguese: http://www.joanalessa.com/typo_anatomy.html 10 | 40 TERMINOLOGIAS PARA O DESIGN GRÁFICO E EDITORIAL P. Amado & C. Silva | XXIII ARTEC | 2013-04-18 Rosendorf, T. (2009). The Typographic Desk Reference: http://typedeskref.com/ 11 | 40 TERMINOLOGIAS PARA O DESIGN GRÁFICO E EDITORIAL P. Amado & C. Silva | XXIII ARTEC | 2013-04-18 Cátedra Cosgaya (FADU/UBA) (2012). Open Educational Resources for Typography: http://www.oert.org/ 12 | 40 TERMINOLOGIAS PARA O DESIGN GRÁFICO E EDITORIAL P. Amado & C. Silva | XXIII ARTEC | 2013-04-18 Remy, T. (2007). Chest of drawers XS: http://www.droog.com/store/studio-work/chest-of-drawers-xs/ 13 | 40 TERMINOLOGIAS PARA O DESIGN GRÁFICO E EDITORIAL P. Amado & C. Silva | XXIII ARTEC | 2013-04-18 Updike, D. B. (2001). Printing Types: Their History, Forms, and Use (p. 125) 14 | 40 TERMINOLOGIAS PARA O DESIGN GRÁFICO E EDITORIAL P. Amado & C. Silva | XXIII ARTEC | 2013-04-18 Silva, L. (1962). Manual do Tipógrafo & Buen de Unna, J. (2008). Manual de Diseño Editorial 15 | 40 TERMINOLOGIAS PARA O DESIGN GRÁFICO E EDITORIAL P. Amado & C. Silva | XXIII ARTEC | 2013-04-18 FARIA, Maria Isabel PERICÃO, Maria Graça (2008) Dicionário do Livro. Da Escrita ao Livro Electrónico 16 | 40 TERMINOLOGIAS PARA O DESIGN GRÁFICO E EDITORIAL P. Amado & C. Silva | XXIII ARTEC | 2013-04-18 Reichtag, 1945 © Yevgeny Khaldei. Retirado de: http://bytesdaily.blogspot.pt/2010/07/iconic-photographs-raising-flag-over.html 17 | 40 TERMINOLOGIAS PARA O DESIGN GRÁFICO E EDITORIAL P. Amado & C. Silva | XXIII ARTEC | 2013-04-18 http://en.wikipedia.org/wiki/Gothic, & http://en.wikipedia.org/wiki/Help:Disambiguation 18 | 40 TERMINOLOGIAS PARA O DESIGN GRÁFICO E EDITORIAL P. Amado & C. Silva | XXIII ARTEC | 2013-04-18 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 TERMINOLOGIAS PARA O DESIGN GRÁFICO E EDITORIAL P. Amado & C. Silva | XXIII ARTEC | 2013-04-18 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 TERMINOLOGIAS PARA O DESIGN GRÁFICO E EDITORIAL P. Amado & C. Silva | XXIII ARTEC | 2013-04-18 Krimpen, J. (1931). Romulus Sans & Serif. http://www.flickr.com/photos/fermello78/483869011/ 22 | 40 TERMINOLOGIAS PARA O DESIGN GRÁFICO E EDITORIAL P. Amado & C. Silva | XXIII ARTEC | 2013-04-18 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 TERMINOLOGIAS PARA O DESIGN GRÁFICO E EDITORIAL P. Amado & C. Silva | XXIII ARTEC | 2013-04-18 24 | 40 TERMINOLOGIAS PARA O DESIGN GRÁFICO E EDITORIAL P. Amado & C. Silva | XXIII ARTEC | 2013-04-18 II Encontro Nacional de Tipografia. Aveiro, Setembro de 2011: http://entipografia.web.ua.pt/ (Fotografia © Filipe Roque) 25 | 40 TERMINOLOGIAS PARA O DESIGN GRÁFICO E EDITORIAL P. Amado & C. Silva | XXIII ARTEC | 2013-04-18 II Encontro Nacional de Tipografia. Aveiro, Setembro de 2011: http://entipografia.web.ua.pt/ (Fotografias © Daniel Silva) 26 | 40 TERMINOLOGIAS PARA O DESIGN GRÁFICO E EDITORIAL P. Amado & C. Silva | XXIII ARTEC | 2013-04-18 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 Altura das Descendentes 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 Altura das Maiúsculas 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 Altura das Ascendentes 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 Width / Character Width db Largura do corpo Evk Set Width QQ Linha das Ascendentes Ascender Line g Linha das Descendentes 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 Body Height / Body Size 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 Width / Character Width 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 TERMINOLOGIAS PARA O DESIGN GRÁFICO E EDITORIAL P. Amado & C. Silva | XXIII ARTEC | 2013-04-18 28 | 40 Amado, P.; Silva, C. (2011). Anatomia do Tipo: http://entipografia.web.ua.pt/atas/Poster_ENT_1.pdf (pormenor) C1: MEDIDAS 1 Altura das Ascendentes Ascender Height 2 Altura das Descendentes Descender Height 3 Altura das Maiúsculas Cap Height 4 Altura do Corpo / Força do Corpo Body Height / Body Size 5 Altura-x x-height 6 Espaço de Reserva Beard 7 Espaço Lateral Sidebearing 8 Largura da letra Width / Character Width 9 Largura do corpo Set Width 10 11 Linha das Ascendentes Ascender Line Linha das Descendentes 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 TERMINOLOGIAS PARA O DESIGN GRÁFICO E EDITORIAL P. Amado & C. Silva | XXIII ARTEC | 2013-04-18 38 Cruz / Travessão 8 Largura da letra Cross Stroke Width / Character Width 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 TERMINOLOGIAS PARA O DESIGN GRÁFICO E EDITORIAL P. Amado & C. Silva | XXIII ARTEC | 2013-04-18 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 TERMINOLOGIAS PARA O DESIGN GRÁFICO E EDITORIAL P. Amado & C. Silva | XXIII ARTEC | 2013-04-18 Silva, C.; Amado, P. (2011). Anatomia da Página : http://entipografia.web.ua.pt/atas/Poster_ENT_10.pdf (pormenor) 31 | 40 TERMINOLOGIAS PARA O DESIGN GRÁFICO E EDITORIAL P. Amado & C. Silva | XXIII ARTEC | 2013-04-18 Silva, C.; Amado, P. (2011). Anatomia da Página : http://entipografia.web.ua.pt/atas/Poster_ENT_10.pdf (pormenor) 32 | 40 TERMINOLOGIAS PARA O DESIGN GRÁFICO E EDITORIAL P. Amado & C. Silva | XXIII ARTEC | 2013-04-18 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 TERMINOLOGIAS PARA O DESIGN GRÁFICO E EDITORIAL P. Amado & C. Silva | XXIII ARTEC | 2013-04-18 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 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 C1. Measurement Lines C1. Measurement Lines 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 C3. Positive and Negative Shapes 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 C1. Measurement Lines C1. Measurement Lines 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 C3. Positive and Negative Shapes 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 C3. Positive and Negative Shapes 127 Sheared C4. Strokes 19 Aperture E P S Selected Findings And Future Work C4. Strokes 129 Adnate / Abrupt / Angular 239 21 Open 128 Bracket / Fillet E P S F DB 20 Closed C4. Strokes 42 46 51 129/ Transitive Adnate / Abrupt / Angular 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 C5. Stroke Connections 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 C6. Stroke & Glyph Properties 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 145 Curve Treatment / 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 C5. Stroke Connections 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 C5. Stroke Connections 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 128 Bracket / Fillet 129 Adnate / Abrupt / Angular 130 Bracketed / Transitional / Transitive 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 Roman / Normal / Vertical Sloped / Slanted Left / Backslant Oblique / Sloped / Slanted Right Italic (Italic, Cursive, Round, Spencerian) Stem Properties (Edges) E Parallel Convex Concave / Concave Elements 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 TERMINOLOGIAS PARA O DESIGN GRÁFICO E EDITORIAL P. Amado & C. Silva | XXIII ARTEC | 2013-04-18 36 | 40 8 Categorias (C) 102 Termos (T) 153 Propriedades (P) Termo (C1 T1) Propriedade (C1 T1 P1) Propriedade (C1 T1 P2) Propriedade (C1 T2 P1) Categoria (C1) Termo (C1 T2) Propriedade (C1 T2 P2) Propriedade (C1 T2 P3) Termo (C1 T3) Propriedade (C1 T3 P1) Multilingual Typeface Anatomy Multilingual Typeface Anatomy Developing a proposal for a comprehensive translation fr 96 C1. Measurement Lines TERMINOLOGIAS PARA O DESIGN GRÁFICO E EDITORIAL P. Amado & C. Silva | XXIII ARTEC | 2013-04-18 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 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 TERMINOLOGIAS PARA O DESIGN GRÁFICO E EDITORIAL P. Amado & C. Silva | XXIII ARTEC | 2013-04-18 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 C6. Stroke & Glyph Properties 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. 145 Curve Treatment / Properties 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 Roman / Normal / Vertical 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 Concave / Concave Elements & 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 Bracketed / Transitional / Transitive 102 Termos 153 Propriedades TERMINOLOGIAS PARA O DESIGN GRÁFICO E EDITORIAL P. Amado & C. Silva | XXIII ARTEC | 2013-04-18 39 | 40 The Design Anatomy Series: http://designanatomy.pt/ (Brevemente...) DESIGN ANATOMY ABOUT Dissecting design anatomy terminologies Hop Subscribe to the mailing list email JOIN THE CONVERSATION SUBSCRIBE TERMINOLOGIAS PARA O DESIGN GRÁFICO E EDITORIAL P. Amado & C. Silva | XXIII ARTEC | 2013-04-18 Hop To be Continued... 40 | 40