The History of Linear, Sans Serif Typefaces
The definition of "medium"
The thickness of a stroke is one of the most decisive factors in determining the basic structure of a typeface, especially with regards to what is considered "normal". A stroke thickness norm had already been established in the Carolingian minuscules and especially in the first humanistic roman types. It is the exact relationship between the black and white values which is responsible for lending the x-height strip of a text line a certain grayness. This grayness is what the reader perceives as normal. And these proportions are perceived by readers with astonishing sensitivity. All too often a type foundry came out with a font which later only had to be complemented with a "Book", a "Medium" or a "Heavy" in order to be accepted as legible or "normal". However, it is not easy to exactly define these norm values. The black values are influenced by the thickness of the oblique transitions (and the serifs in roman type). An average value could be defined as when the x-height is approximately 5 1/2 times the width of the stroke (see Fig. 16). The normal width of a sans serif typeface can be defined by the eye’s width which should be approximately 3 times the width of the stroke and with a bearing value of one stroke thickness on each side. And if, in compensation for the oblique black value, 1/2 stroke thickness is subtracted from the x-height, a theoretical x-strip is created whose height is 5 times the thickness of the stroke. The gray value is composed of 2/7 black surface and 5/7 white space, i.e. a density of about 30%.
Optical corrections
Optical effects also have to be taken into consideration. The thickness of a stroke perceived by the eye is relative. From roman type, readers are accustomed to thin upstrokes and thick downstrokes, which is taken into account in the development of new typefaces (see Fig. 15). This example also demonstrates how the stroke thickness becomes more wedge-shaped as it approaches another stroke in order to avoid a conical effect towards the outside. Small eyes are widened from the inside through a thinning of the strokes (see Fig. 17).
The variants
A carefully planned proportional change of the basic grid is needed to be able to design harmonious variants such as narrow, wide, light and bold, without altering the overall impression of the style. Unlike the diagonal endings of old sans serif types, the consistent horizontal endings of the curves (see Fig. 18) improves the acceptance of such variants. The diversity offered by a font family had to be extended beyond the classic triptych of light, bold and italic to include a fully structured font set with many weights. For the first time, the typeface also takes on the character of the text itself (see Fig. 19).
Sans serif italics
The italic weights were also formally structured on a grid of their own. It was not a question of creating independent typefaces, as with roman type, but simply slanting the strokes into a more diagonal position and maintaining the same gray values. The precise angle applied is decisive for the expressiveness of an italic weight. Univers, which was designed right from the start for photosetting, was given a steep diagonal slant of 16°; the barriers between the letters imposed by leadsetting were no longer a consideration. To this day, this steep angle has continued to inspire typographers seeking to add a sense of motion to their print jobs (see Fig. 20).
The thickness of a stroke is one of the most decisive factors in determining the basic structure of a typeface, especially with regards to what is considered "normal". A stroke thickness norm had already been established in the Carolingian minuscules and especially in the first humanistic roman types. It is the exact relationship between the black and white values which is responsible for lending the x-height strip of a text line a certain grayness. This grayness is what the reader perceives as normal. And these proportions are perceived by readers with astonishing sensitivity. All too often a type foundry came out with a font which later only had to be complemented with a "Book", a "Medium" or a "Heavy" in order to be accepted as legible or "normal". However, it is not easy to exactly define these norm values. The black values are influenced by the thickness of the oblique transitions (and the serifs in roman type). An average value could be defined as when the x-height is approximately 5 1/2 times the width of the stroke (see Fig. 16). The normal width of a sans serif typeface can be defined by the eye’s width which should be approximately 3 times the width of the stroke and with a bearing value of one stroke thickness on each side. And if, in compensation for the oblique black value, 1/2 stroke thickness is subtracted from the x-height, a theoretical x-strip is created whose height is 5 times the thickness of the stroke. The gray value is composed of 2/7 black surface and 5/7 white space, i.e. a density of about 30%.
Optical corrections
Optical effects also have to be taken into consideration. The thickness of a stroke perceived by the eye is relative. From roman type, readers are accustomed to thin upstrokes and thick downstrokes, which is taken into account in the development of new typefaces (see Fig. 15). This example also demonstrates how the stroke thickness becomes more wedge-shaped as it approaches another stroke in order to avoid a conical effect towards the outside. Small eyes are widened from the inside through a thinning of the strokes (see Fig. 17).
The variants
A carefully planned proportional change of the basic grid is needed to be able to design harmonious variants such as narrow, wide, light and bold, without altering the overall impression of the style. Unlike the diagonal endings of old sans serif types, the consistent horizontal endings of the curves (see Fig. 18) improves the acceptance of such variants. The diversity offered by a font family had to be extended beyond the classic triptych of light, bold and italic to include a fully structured font set with many weights. For the first time, the typeface also takes on the character of the text itself (see Fig. 19).
Sans serif italics
The italic weights were also formally structured on a grid of their own. It was not a question of creating independent typefaces, as with roman type, but simply slanting the strokes into a more diagonal position and maintaining the same gray values. The precise angle applied is decisive for the expressiveness of an italic weight. Univers, which was designed right from the start for photosetting, was given a steep diagonal slant of 16°; the barriers between the letters imposed by leadsetting were no longer a consideration. To this day, this steep angle has continued to inspire typographers seeking to add a sense of motion to their print jobs (see Fig. 20).
Linotype
