![]() ![]() ![]() Verdana also features an average cap height for san-serif typefaces. ![]() In order to be legible at small sizes on screens the x-height must be large. Thus Verdana (which came second) is a legibility-focused typeface whereas Tahoma focused more on the aesthetics. As Daniel Will-Harris puts it in a column written for Typophile “To make the fonts work in extended text settings, it was necessary to open up the counters more, widen the advance widths and loosen the spacing. However these details don’t tell the whole story, because this is the dawn of Tahoma, the thinner (in kerning) twin sister to Verdana. Just like in Georgia, similar shaped letters have clear design differences. Generous proportions and looser spacing separate the typeface from the likes of Helvetica. Verdana also contains the Roman influence around humanism in its lowercase double-storied a, however interestingly doesn’t in its g. Verdana showcases these influences in the lowercase a, e, g, and r, to name a few. Looking to calligraphy and traditional serifs for the answer, humanism flourished over its neo-grotesque counterparts.Īngled and organic flared contrasting strokes, almost as if written by man, help define the humanist san-serif. Helvetica had taken over and was now falling fast. In the 1970s the humanist movement was revived in type design in reaction to the rise of neo-grotesque fonts. Modern humanist san-serif fonts are quite the mouthful of a descriptor but let’s break it down. With the dawn of the internet, the race was on to create the next super-font for the digital age. San-serif fonts such as Helvetica had created waves in the design world dating back to Bauhaus in the 20s. Microsoft’s typography division saw a need to have a san-serif font that worked well on computer screens during the early to mid 90s. ![]()
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