5 Topics

1. Type Anatomy 

Apex: A point at the top of a character where two strokes meet.

Ascender: The lowercase character stroke which extends above the x-height.

Baseline: The imaginary horizontal line to which the body, or main component, of characters are aligned.

Bowl: The curved stroke which surrounds a counter.

Bracket: A curved or diagonal transition between a serif and main stroke.

Cap Height: The height of a capital letter measured from the baseline. 

Counter: The empty space inside the body stroke.

Crossbar: The horizontal stroke on the characters H and A.

Cross Stroke: A horizontal stroke that intersects the stem of a lowercase t or f.

Descender: The lowercase character stroke which extends below the baseline.

Ear: Typically found on the lower case g, an ear is a decorative flourish usually on the upper right side of the bowl.

Eye: like a counter, the eye refers specifically to the enclosed space in a lowercase e.

Finial: A tapered or curved edge.

Hook: A curved, protruding stroke in a terminal. Usually found on a lowercase f.

Leg: Short, descending portion of a letter.

Link: A stroke that connects the top and bottom bowls of lowercase double-story g’s.

Lobe: A rounded projecting stoke attached to the main structure of a letter.

Loop: The bottom part of the lowercase roman ‘g’.

Open Counter: The partially open space within a character that is open on one end.

Shoulder: The curved stroke aiming downward from a stem.

Spine: The curved stroke aiming downward from a stem.

Stem: Vertical, full-length stroke in upright characters.

Tail: A descending stroke, often decorative.

Tear Drop Terminal: The tear dropped ends of strokes in letters of some typefaces.

Terminal: The end of a stroke that does not include a serif.

X-Height: The height of lowercase letters reach based on height of lowercase x; does not include ascenders or descenders.

2. Sans Serif vs Serif 

Over the years debates have been sparked over which is the most readable; serif or sans serif fonts.

Arguments in favour of serif typefaces

· Serifs are used to guide the horizontal “flow” of the eyes; The lack of serifs is said to contribute to a vertical stress in sans serifs, which is supposed to compete with the horizontal flow of reading

· Serifs are used to increase spacing between letters and words to aid legibility

· Serifs are used to increase contrast (and irregularity) between different letters to improve identification 

Arguments in favour of sans serif typefaces

· Sans serifs are better on the web

· Sans serif is better at small sizes. Sans serif fonts survive reproduction and smearing because of their simple forms

· Sans serif is better for children learning to read

Include examples of four serif fonts and four sans serif fonts.

Overall both prove to be very useful when used correctly. Serif fonts work better in books and on printed text, whereas sans serif fonts are more successful in digital work.

The best fonts are the ones that readers do not notice.

3. Colour and Print

From the graphic designers colour handbook.

The primary process printing colours are cyan, magenta and yellow. A separate black pallet produces a truer black than the relatively muddy combination of CMY and allows for reproduction of detail that the combined colours couldn't match. Black ink for commercial printing is manufactured in a variety of pigmented compositions. Process black, which is used in four-colour process printing, is a relatively neutral colour and is pigmented so that it doesn't shift the hues of the other three primary colours. Most ink manufacturers produce intense blacks for black and white printing. There generally contain blue toners that help produce a colder, stronger black. 

Accurate colour reproduction is one of the primary goals of printing technology. It can achieve this goal in part, because the human eye is relatively easy to fool with the right props. Think of a really good colour printing as one of the most exhausted and expensive illusions ever created. For all of their flair and dizzying props, Siegfried and Roy can't hold a pen light to the printing industries achievement in convincing us that the colours we see on the printed page are as real as those created in the real world.

The colour you see on your monitor or television is inherently different from colour reproduced in print. Your colour monitors emits light by firing electron guns at phosphors embedded in the screen in the primary colours of red green and blue (RGB). At full intensity these three colours combine to produce white. The absence of RGB produces what appears to be black. With myriad variations of RGB, we can produce the array of colours available today.

4. Colour Associations and Psychology. 

What makes people choose the colours that surround them? Is it a random choice, a conscious choice or a subconscious choice? Perhaps, it's a combination of all three. We choose colours for many reasons, but mostly because they are pleasing to the eye, they blend in with our surroundings. But again, it's all about perception. Just because we like a certain colour, doesn't mean anyone else will. Beauty, in this case, is definitely in the eye of the beholder.

The perception of colour is further complicated by the fact that colours mean different people around the world. Colours are often associated with a variety of events or occurrences. In western culture, for example, white symbolises cleanliness, virtue and chastity, whereas in China, white is associated with mourning and grief. Some colours, such as black, have negative connotations that are hard to dispel: "The dark side," "blacklisted," "the black plague," "black magic." Conversely, green evokes positive notions such as energy, life, growth and money. "The grass is always greener..." is a state of mind often associated with green. The psychology of colour is subject to extreme differences of opinion. Whether consciously or not, individuals have innate and specific reactions to colour. 

Red: passion, strength, power, danger.

Yellow: playfulness, wisdom, optimism.

Orange: creativity, warmth, adventurousness.

Green: healing, life, prosperity, jealousy.

Blue: loyalty, sadness, integrity, rejuvenation.

Purple: royalty, mysticism, imagination.

White: chastity, pure, virtue.

Black: mystery, death, rebirth, determination.  

5. Colour Schemes 

If you are stumped when combining colour, take inspiration from the world around you. Sometimes the least likely colours work in harmony. 

Beyond the warm and cool designations, colours are typically lumped into categories such as natural, rich, muted and calm. Natural colours are the perfect definition for the term "subjective." What you might consider natural, the person next you will deem unnatural. Natural colours are usually associated with the great outdoors: green grass, blue sky, brown tree trunks, or orange leaves. These are terrific no-nonsense colours that appeal to most individuals, they are a safe bet for designers. Reds, purples, royal blue, forest greens, and burgundies with deep tones are examples of rich colours. They work well in contrast and in combination with highlight colour, but you should be careful not to overuse them. A page enveloped in rich colour can quickly overwhelm a design. Certain colours make an impact. Colour has a way of seeping into your brain and staying there. What makes something memorable? Words, expressions and colour. Just ask anyone in advertising. The same rules apply to design. Depending on your medium and project, the use of bold colours, patterns and letters have an enormous impact and longevity.

Colours at the opposite end of the spectrum, like red and green, have caused arguments for years. Some people see spots, while others see Christmas. Colours at the opposite ends of the colour wheel can work together if used in the proper context. Contrasting colours are a tricky business, they can become garish. However when, used for a specific purpose, the end results can be wildly successfull.