Formgestalt 01
Great, you made it through a long bit of theory. Now, let’s focus on type-images and details instead. In the next section I present the various design parameters that I introduced in the previous chapter. They are visualized with the word “Formgestalt”.
The basic form of the word has no optical contrast in the stroke width, it has angled terminals as well as straight spurs and sharp corners. The connections between the stems and arches are harmonious and the letters tend to be of equal width. I personally find the typeface smooth, open and friendly, but not particularly spectacular.
The comparison of the typefaces is done on two different levels. On the one hand, there are the “descriptive adjectives” (d), which compare the typeface only according to visual changes. On the other hand there are the “emotional adjectives” (e), which describe the resulting emotional effect of the font.
Have fun and click through the individual pictures, If you don’t agree with my adjectives, I am happy to receive your responses via mail.
Connection of Stem and Arch
The visual effect of a different connection
The typeface is more (e) cold, tough — (d) moving, constructed, dynamic, technical, composed than the default variant.
Reversed Contrast
The visual effect of a reversed contrast
The typeface is more (e) extraordinary, quirky, noisy, exceptional, heavy — (d) dynamic, modern, contemporary, livly than the default variant.
Low Contrast
The visual effect of a low contrast in stroke width
The typeface is more (e) elegant, retro, trustful, credible — (d) classic, balanced, light, curved, clean than the default variant.
High Contrast
The visual effect of high contrast in stroke width
The typeface is more (e) elegant, gentle, fashionable, attractive — (d) classic, light, fragile, delicate than the default variant.
Ink Traps
The visual effect of ink traps
The typeface is more (e) exciting, funky, fast, sportive, energetic — (d) dynamic, moving, active, lively/restless, instable, sweeping than the default variant.
Large x-Height
The visual effect of a large x-height
The typeface is more (e) loud, pushy — (d) big, wide, clear, space-filling, present, generous than the default variant.
Small x-Height
The visual effect of a small x-height
The typeface is more (e) elegant, shy, decent — (d) small, delicate, short than the default variant.
Round Terminals
The visual effect of round terminals
The typeface is more (e) friendly, childish, warm, optimistic, mellow, young — (d) soft, fluid, playful than the default variant.
Rounded Terminals
The visual effect of rounded terminals
The typeface is more (e) friendly, childish, warm, optimistic — (d) soft, blurred than the default variant.
Classic Proportions
The visual effect of classic proportions
The typeface is more (e) classic, humanistic, exciting, surprising — (d) lively, restless, active, jiggling, various, uneven
Bracket Spurs
The visual effect of bracket spurs
The typeface is more (e) dynamic, modern — (d) technical, sharp, pointy than the default variant.
Horizontal Terminals
The visual effect of horizontal terminals
The typeface is more (e) locked, reserved, chilled, structered — (d) constructed, solid, closed, calm, mechanic than the default variant.
Vertical Terminals
The visual effect of vertical terminals
The typeface is more (e) friendly, fast, fluid — (d) open, dynamic, cutting, sharp, pointy than the default variant.
Wide Letters
The visual effect of wide letters
The typeface is more (e) slow, safe — (d) wide, static, calm, stable, robust than the default variant.
Narrow Letters
The visual effect of narrow letters
The typeface is more (e) fast, constricted — (d) space saving, economic, tight, short, squeezed than the default variant.
Next Chapter: Next Chapter: Type Characteristics / Formgestalt 02