Gracia (tipografía)
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Las gracias, serifas o remates son pequeños adornos ubicados generalmente en los extremos de las astas de los caracteres tipográficos. También se las conoce con el nombre de serif. Las tipografías Times, Georgia y Times New Roman son ejemplos de este estilo de letra.
Sans-serif font | |
Serif font | |
Serif font (red serifs) |
La industria de la impresión se refiere a las tipografías sin serifas como sans-serif (del Francés sans: "sin"), o como grotesque (o, en alemán, grotesk), en todo caso estos terminos no son comúnmente utilizados salvo para los nombres de las tipografías.
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[editar] Uso
En las imprentas tradicionales, las tipografías serif están destinadas para grandes cantidades de información, debido a que comúnmente se cree que son más cómodas de leer que las tipografías sans-serif para este propósito. Las tipografías sans-serif se usan para pequeños extractos de texto y para aquellas ocasiones en las que se requiere una apariencia más informal que la apariencia seria de las tipografías serif. Los tipos sans-serif han comenzado a reemplazar a los tipos serif en encabezados para lograr una apariencia 'más limpia'.
Las tipografías serif son la opción más escogida para textos impresos de cierta longitud en libros, periódicos y revistas. Las tipografías sans-serif se están haciendo más populares para estos usos en Europa que en América del Norte, pero aún son menos comunes que las tipografías serif, para este particular propósito.
Aunque las tipografías serif se consideran más legibles en medios impresos, se ha probado que las sans-serif son más legibles en las pantallas digitales; como resultado, la mayoría de las páginas web emplean tipos sans-serif. La tecnologías basadas en el hinting, el renderizado con antialiasing y el renderizado subpixel han mitigado parcialmente el problema de legibilidad de las tipografías serif, aunque la proporción básica de la mayoría de las resoluciones de las pantallas—normalmente 100 píxeles/pulgada o menos—continúa limitando su legibilidad en las pantallas.
[editar] Clasificacion
Serif fonts can be broadly classified into one of four subgroups: old style, transitional, slab serif, or modern.
[editar] Old Style
Old style typefaces date back to 1465, and are characterized by a diagonal stress (the thinnest parts of letters are at an angle rather than at the top and bottom), subtle differences between thick and thin lines (low line contrast), and excellent readability. Old style typefaces are reminiscent of the humanist calligraphy from which their forms were derived.
It has been said that the angled stressing of old style faces generates diagonal lock, which, when combined with their bracket serifs creates detailed, positive word-pictures (see bouma) for ease of reading. However, this theory is mostly contradicted by the parallel letterwise recognition model, which is widely accepted by cognitive psychologists who study reading.
Old style faces are sub-divided into Venetian and Aldine or Garalde. Examples of old style typefaces include Jenson (Venetian), Garamond, Bembo, Goudy Old Style, and Palatino (all Aldine or Garalde).
[editar] Transitional
Transitional (or "baroque") serif typefaces first appeared in the mid-18th century. They are among the most common, including such widespread typefaces as Times Roman (1932) and Baskerville (1757). They are in between modern and old style, thus the name "transitional." Differences between thick and thin lines are more pronounced than they are in old style, but they are still less dramatic than they are in modern serif fonts.
[editar] Slab Serif
Slab serif (a.k.a. "Egyptian") typefaces usually have little if any contrast between thick and thin lines. Serifs tend to be as thick as the vertical lines themselves and usually have no bracket. Slab serif fonts have a bold, rectangular appearance and sometimes have fixed widths, meaning that all characters occupy the same amount of horizontal space (as in a typewriter). They are sometimes described as sans-serif fonts with serifs because the underlying character shapes are often similar to sans serif typefaces, with less variation between thin and thick shapes on the character. (A subcategory of slab serif is the Clarendon typefaces, which do have small but significant brackets, and structures more similar to seriffed typefaces.) Slab serif typefaces date to around 1800. Examples of slab serif typefaces include Clarendon, Rockwell and Courier.
[editar] Modern
Modern serif typefaces, which first emerged in the late 18th century, are characterized by extreme contrast between thick and thin lines. Modern typefaces have a vertical stress, long and fine serifs, with minimal brackets. Serifs tend to be very thin and vertical lines are very heavy. Most modern fonts are less readable than transitional or old style serif typefaces. Common examples include Bodoni and Century Schoolbook.
[editar] Veáse Tambén
- Tipografía
- Tipo de Letra
- Sans-serif
[editar] Enlaces externos
- Robert Bringhurst, The Elements of Typographic Style (version 3.0), 2004, Hartley & Marks, Publishers, Vancouver, BC, Canada
- Father Edward Catich, The Origin of the Serif: Brush writing and Roman letters, 1991,Hartley & Marks, Publishers, Vancouver, BC, Canada
- Ellen Lupton, Thinking with Type: A Critical Guide for Designers, Writers, Editors, & Students, 2004, Princeton Architectural Press, New York
- "The Serif is Dying" discussion at Typographica on the merits and popularity of sans & seriffed type.
- "Serifs—What's the point? discussion at Typophile on the role & function of serifs.
- "Serif vs. Sans Serif", a discussion on Blogdorf about serif versus sans serif type.