My inked Guide to type

By. Garrett Inman

 Table of contents
1. What is typography
p.1
2. Brief history of
type p.2
3. a history of inked
art form in north amer-
ica
4. Defining type p.3-9
5. About a
designer(saul bass)
p.10-11
6. Defining type con-
tinued p.12-16
7. Glossary p.17-22
 What is Typography
Typography has traditionally been
defined as the study, use, and de-
sign of sets of identical repeat-
ed letterforms. Though typography
evolved from one-of-a-kind hand-
written scripts, the development
of printing technologies so drasti-
cally changed the nature of written
communication, that the term typog-
raphy was coined to describe it.
Whether the typefaces look formal
or informal, geometric or organic,
messy or clean, their typographic
quality has been based in their re-
productively. However, even this
definition has been challenged with
recent digital typographic, innova-
tions that push the boundaries of
type use and design.

1
 Brief history of type
In a way the history of the written
word has come full circle, in that peo-
ple today are sharing the experiences of
the earliest humans who made purposeful
personalized markings, and who devised
picture-based, written language sys-
tems that were relevant and meaningful
to their own lives. Humans continue to
define and redefine thes visual systems
of written language. From the creation
of cave paintings to the synthesis of
digital pictographs, we have constantly
striven to invent new personalized sym-
bols to express our unique experiences,
and new modes of visual communication
to help us share our thoughts, partici-
pation in typography’s recent evolution
and its vibrant and experimental nature
present an optimistic out look for the
continuation of type as a vehicle for
expression and a democratizing cultural
force for social justice.

2
A brief history of tattoos in North America
early jesuit accounts testify to
the widespread practice of
tattooing among native americans.
among the chickasaw, outstanding
warriors were recognised
by their tattoos. among the ontario
iroquoians, elaborate
tattoos reflected high status. in
north-west america,
inuit women’s chins were tattooed
to indicate marital status
and group identity.
the first permanent tattoo shop in
new york city was settled up
in 1846 and began a tradition by
tattooing military servicemen
from both sides of the civil war.
samuel o’reilly invented the elec-
tric
tattooing machine in 1891.

3
 Defining type Stroke- an Stem
Bowl- a Cross individual stroke- a
curved stroke- a straight charac-
stroke second- or curved ters main
that en- ary stroke line that vertical,
closes a that in- is used diagonal
counter. tersects to build a or curved
a stem character. stroke,
stroke. which is
often
thick-
red is bowl er then

PD tT
red is cross stroke the other
strokes of
the let-
ter.

red is stem stroke

LF
4
Waistline- Counter- Counter- Crotch-
a real or area were forms- the the point-
imaginary space is negative ed counter
horizontal contained spaces in- where two
line that or en- side and strokes of
marks the closed by around the a charac-
height of a letter- letter- ter meet.
the body form. forms.
of a tall
lower-
case let-
ter (often
is same

AB
as the x-
height)

AB
Red is counterform

X-Height-
a real or
imaginary red is counter
horizontal
line that
show How
tall to
make the
lowercase
letters of
typeface.

5
 Ascender Base line- Cap Decender
line- a a real or height- a Line- a
real or imaginary real or real or
imagi- horizontal imaginary imagi-
nary line line upon horizontal nary line
that marks which the line that that marks
the proper letters marks the the prop-
height for of a word height of er length
the tall rest so the capi- for the
lowercase that the tal let- lowercase
letters charac- ters of a g,j,p,q,
of type- ter appear typeface. and y of a
face like to line up typeface
b,d,f,h, evenly.
for some
type fac- red is cap height

bdf
es this

gpq
line is Red is baseline

the same
as the cap
height. bdf Descender line

bdf
Ascender line

6
Eye- the Ascender- Descender- Arm- a
small a section the sec- secondary
counter of of a tall tion of a stroke,
a lower- lowercase character extend-
case let- charac- that falls ing hori-
ter. ter that below the zontally
extends baseline. or upward
above the from a stem
x-height. stroke and

e
Red is an eye ending
freely.

bd
ascender

EK
red is arm

7
 Crossbar a Hairline Spine- Leg- a
horizontal stroke- a the curved second-
second- secondary main ary stroke
ary stroke stroke of stroke of that ex-
that con- a charac- a letter tends
nects ter, often S. downward
two main is thinner froma stem
strokes. then the to the
stem. baseline
and ends
freely.

red is leg

s
red is Hairline stroke

A e LF KR
red is crossbar red is spine

8
Tail- the Apex the Vertex the Shoulder-
small point at pint at the tran-
stroke at which two which two sitional
the base upward down ward are of a
of a capi- slanting slanting stroke
tal Q that strokes of strokes of that goes
differen- a letter- a letter- from a
tiates it form meet. form meet. curved
from a O, to a
the de- straight.
scenders
on low-
ercase red is apex red is shoulder
red is vertex

AA
j,p,q,
and y are
sometimes
called
VV hn
tails.

red is tail

Qq

9
 Lead- Sort- the Em square- En square-
ing (pro- typefac- is rela- an en
nounced es used tive unit square is
Led-ing) for let- of mea- in ways
Thins terpress sure- half the
strips print- ment used width of
of lead ing are for mak- the em
placed cast onto ing com- square.
between a rectan- parisons
lines gular lead between
of type SORT. sizes of
in let- characters
terpress an spac-
printing es within
the space a type-
between face of a
two con- particu-
secutive lar point
measures size.
of type
on a page
or lay-
out (line
spacing)

10
 About a designer- Saul Bass
Saul bass was born in New York, New York the Bronx
district, and was not only one of the greatest de-
signers of the 20th century but was really the mas-
ter of movie title designs thanks to his collabora-
tion with great film makers. Some great film makers
that he worked with include The great and horrify-
ing Alfred Hitchcock, Otto Preminger, and the great
martin Scorsese. Saul bass while working with Pr-
eminger and his film the man with the golden arm
caused a sensation and Saul bass had reinvented
movie titles as an art form. By the end of his life
he created over 50 title sequences fro Preminger,
Hitchcock, Stanely Kubric, and john Frankenheimer
and Scorsese.
But even before he started making big film titles
Saul bass was already a celebrated Graphic design-
er. When he was a child he was always very cre-
ative who drew constantly. Bass won a scholarship
in to Art student League In Manhattan in 1936. And
in 1944 enrolled himself into the Brooklyn Col-
lege while under Gyorgy Kepes a great Hungarian de-
signer. Kepes had introduced Bass to the Maholy’s
Bauhaus and to Russian constructivism. And then
started some apprenticeships with a many Manhattan
design firms, Saul bass worked as a freelancer or
also known as a commer cial artist. After getting
what he thought was enough from New York he then
moved to Los Angeles California, were he would die
later in 1996.Bass kept doing some freelance work
once moved to Los Angeles but not longer after he
opened his own studio in 1950 working

11
 mainly with advertising, Until he got offered by
Preminger to design his 1954 movie poster for Car-
men Jones. After doing already a couple movie ti-
tles the next project which would flourish and make
Saul bass well known is the Preminger project for
his new film The man with the golden arm, Which
later established bass as the doyen or master of
film title design. As time progressed bass honed
his skills by creating a animated movie for mike
Todd, the movie was called
around the world in 80 days.
Bass had a gift for iden-
tifying that one image that
would symbol- ize the movie the
best. Then bass recreated
that magic into a strikingly
Modern style. and created an
entire film genre and elevat-
ed it into an art form.” Saul
bass has sub- sequently created
a fair measure of what we now perceive as the mod-
ern and commercial world. Saul bass work touched
many people. Not just designers, or students or ob-
servers of design or even those who know and can
explain what a designer is and dose. But simply
people. Saul bass has really done it all during his
life, from films to packaging, products, architec-
ture, corporate identification and graphics. His
work is all around us, from the phones to the air-
port u can see his work. Saul bass was a great de-
signer a great creative inspiration to us all.

12
Ear- a
Defining type
Link- a Loop- low- Spur- a
small small con- er curved small
stroke necting stroke of stroke
that some- stroke be- a lower- sometimes
times ex- tween the case g found on
tends from loop and the right
the top of the upper side of
a lower- Bowl of a the base
case let- lowercase of a capi-
red is loop

gg
ter g letter g tal G

red is ear red is spur

gg
red is link

gg GG

13
 Terminal- Serif- an Roman- up- Sans-
and end extension right non- serif- a
point of at a ter- italic typeface
a stroke, minal of letters that has
which may a letter which have no serifs.
or may not form also serifs are
have a refers to often re-
serif. a type ferred to
face that as Roman.
has ser-
ifs.

cC
red is terminal
red is serif San-Serif

AA nNA

14
Bracketed Barb- a Beak- a Swash- a
serif- serif that half ser- decorative
a serif is shorter if termi- extend-
that has on one end nal of a ed stroke
a curved found on straight that some-
wedge con- the ter- stroke. times
nect- minal of projects
ing the a curved from a
serif to stroke. termi-
the stem nal of-
stroke, ten found
easing the on script
transition letter-
between forms.
them.

red is barb red is beak red is swash

L T AA
red is bracketed serif

A A SG

15
 Contrast- Angle of Set width-
a differ- stress- the width
ence among the angle of a char-
compared to which acter rel-
elements, the main ative to
to exhibit strokes its cap
dissimi- of a type height.
lar quali- face aim
ties when in rela-
compared, tion to
to compare there
differ- baseline.
ences, and
in type
the varia-
tion in
thickness
between a Inch, Pica, Points-
characters 1inch=6picas=72points
thinnest pica, usually used for
stroke measuring lines of type,
weight. is exactly 1/6 points,
which are often most used
to measure character siz-
es and spacing.

16
Font- a Type- Type fam- Legibil-
collection Metal ily- ity- the
of all the sorts used a collec- ease which
charac- for print- tion of a reader
ters of a ing let- type that can recog-
specific terforms included a Type
nize style-
anda modi-
typeface type set specific fied version of a
differen-
that are text typeface typeface.
tiate be-
necessary printed and all tween let-
for type characters the type terforms.
setting. Typeface- styles of Letter
a collec- that type-
Category space- is
tion of face the space
exmples- letter- a category between
Script forms that that type two let-
Display have been is classi- ters in a
Black let- especially fied into, word.
ter designed based on
Humanist to go to- Readabil-
the his-
Old style gether. torical ity- how
Tradition- origin and easily a
al Physical page of
Modern character- text can
Egyptian istics of be read
San serif the letter and navi-
forms gated.

17
 Glossary
Ascender line- a real or imaginary line that marks
the proper height for the tall lowercase letters
of typeface like b,d,f,h, for some type faces this
line is the same as the cap height.

Base line- a real or imaginary horizontal line

upon which the letters of a word rest so that the
character appear to line up evenly.

Cap height- a real or imaginary horizontal line

that marks the height of the capital letters of a
typeface.

Decender Line- a real or imaginary line that marks

the proper length for the lowercase g,j,p,q, and y
of a typeface

Waistline- a real or imaginary horizontal line that

marks the height of the body of a tall lowercase
letter (often is same as the x-height)

X-Height- a real or imaginary horizontal line that

show How tall to make the lowercase letters of
typeface.

Counter- area were space is contained or enclosed

by a letterform.

18
Counterforms- the negative spaces inside and around
the letterforms.

Crotch- the pointed counter where two strokes of a

character meet.

Eye- the small counter of a lowercase letter.

Ascender- a section of a tall lowercase character

that extends above the x-height.

Descender- the section of a character that falls

below the baseline.

Arm- a secondary stroke, extending horizontally or

upward from a stem stroke and ending freely.

Bowl- a curved stroke that encloses a counter.

Cross stroke- a secondary stroke that intersects a

stem stroke.

Stroke- an individual straight or curved line that

is used to build a character.

Stem stroke- a characters main vertical, diagonal

or curved stroke, which is often thicker then the
other strokes of the letter.

Crossbar- a horizontal secondary stroke that con-

nects two main strokes.

19
 Hairline stroke- a secondary stroke of a character,
often is thinner then the stem.

Spine- the curved main stroke of a letter S.

Leg- a secondary stroke that extends downward froma

stem to the baseline and ends freely.

Tail- the small stroke at the base of a capital Q

that differentiates it from a O, the descenders on
lowercase j,p,q, and y are sometimes called tails.

Apex the point at which two upward slanting strokes

of a letterform meet.

Vertex- the pint at which two down ward slanting

strokes of a letterform meet.

Shoulder- the transitional are of a stroke that

goes from a curved to a straight.

Type family-
a collection of type that included a specific type-
face and all the type styles of that typeface
a category that type is classified into, based on
the historical origin and Physical characteristics
of the letter forms

20
Ear- a small stroke that sometimes extends from the
top of a lowercase letter g

Link- a small connecting stroke between the loop

and the upper Bowl of a lowercase letter g

Loop- lower curved stroke of a lowercase g

Spur- a small stroke sometimes found on the right

side of the base of a capital G

Terminal- and end point of a stroke, which may or

may not have a serif.

Serif- an extension at a terminal of a letter form

also refers to a type face that has serifs.

Roman- upright non-italic letters which have serifs

are often referred to as Roman.

Sans-serif- a typeface that has no serifs.

Bracketed-serif- a serif that has a curved wedge

connecting the serif to the stem stroke, easing the
transition between them.

21
 Leading- (pronounced Led-ing) Thins strips of lead
placed between lines of type in letterpress print-
ing the space between two consecutive measures of
type on a page or layout (line spacing)

Sort- the typefaces used for letterpress printing

are cast onto a rectangular lead SORT.

Em square- is relative unit of measurement used

for making comparisons between sizes of characters
an spaces within a typeface of a particular point
size.

En square- an en square is in ways half the width

of the em square.

Font- a collection of all the characters of a spe-

cific typeface that are necessary for type setting.

Type-
Metal sorts used for printing letterforms
type set text
printed characters
Typeface- a collection of letterforms that have
been especially designed to go together.

22
Barb- a serif that is shorter on one end found on
the terminal of a curved stroke.

Beak- a half serif terminal of a straight stroke.

Swash- a decorative extended stroke that sometimes

projects from a terminal often found on script let-
terforms.

Contrast- a difference among compared elements,

to exhibit dissimilar qualities when compared, to
compare differences, and in type the variation
in thickness between a characters thinnest stroke
weight.

angle of stress the angle to which the main strokes

of a type face aim in relation to there baseline.

Set width- the width of a character relative to its

cap height.

Inch, Pica, Points- 1inch=6picas=72points pica,

usually used for measuring lines of type, is exact-
ly 1/6 points, which are often most used to mea-
sure character sizes and spacing.

Type style- a modified version of a typeface.

23
 I dedicate this book to my grandma
thank you mema texas for everything,
and thank you for the tools to get this
project done and everything else
THank YOU
And a thanks Too
all those people
LOve, your grandson
out there who
like tattoos

24