Contrast describes the ratio between thin and thick parts of letters. Sans serifs tend to be low contrast, while serif typefaces are typically medium to high. Read more.
Context of Application
Noordzij Principles
Stroke Construction
Stroke Contrast
CEDARS Descriptors
Contrast
Energy
The speed of movement of the writing tool often affects the forms of characters and imbues
them with higher levels of energy when it is fast. Read
more.
Details: Finials
The finishing strokes of a letter can be restrained or flourished or a mix. In Latin, we see
this in the finials of a, l, and t. Read
more.
Details: Stem Terminals
How vertical stems finish. More options available in script specific section (eg. Serifs for
Latin, Loops for Thai, etc.) Read
more.
Details: Transition of arches into stems
Arches can blend into the verticals, intersect, or be detached. In Latin we see this in b, d,
p, q, m, n, and h. Read
more.
Details: Fill
Various styles of fill or decoration. Read
more.
Axis
Characters are typically drawn around an axis. In Latin, grotesques and didones have a
vertical axis (90°), while old style and humanist have a tilted axis closer to 105°. Read
more.
Rhythm: Pattern
The pattern created by the repetition of vertical strokes; for example, condensed typefaces
have a tight rhythm. Read
more.
Rhythm: Tempo
A regular tempo is created by a regular beat of the stems as the letters move forward. An
irregular tempo comes from more differentiation in widths of characters. Read
more.
Structure: loops
Fully or partially closed loops vary in structure. In Latin, this is how they typically map
out:
- Humanist/Old style: oval
- Geometric sans/Slab serif: circle
- Grotesque/Didone: superellipse
- Square grotesque: rounded rectangle
Read
more.
Structure: construction
The way letters are formed varies. Formal is a rational way of drawing letters individually;
cursive connects them; organic is freeform. Read
more.
And now, for something completely different
Contrast
Energy
The speed of movement of the writing tool often affects the forms of characters and imbues them with higher levels of energy when it is fast. Read more.
Details: Finials
The finishing strokes of a letter can be restrained or flourished or a mix. In Latin, we see this in the finials of a, l, and t. Read more.
Details: Stem Terminals
How vertical stems finish. More options available in script specific section (eg. Serifs for Latin, Loops for Thai, etc.) Read more.
Details: Transition of arches into stems
Arches can blend into the verticals, intersect, or be detached. In Latin we see this in b, d, p, q, m, n, and h. Read more.
Details: Fill
Various styles of fill or decoration. Read more.
Axis
Characters are typically drawn around an axis. In Latin, grotesques and didones have a vertical axis (90°), while old style and humanist have a tilted axis closer to 105°. Read more.
Rhythm: Pattern
The pattern created by the repetition of vertical strokes; for example, condensed typefaces have a tight rhythm. Read more.
Rhythm: Tempo
A regular tempo is created by a regular beat of the stems as the letters move forward. An irregular tempo comes from more differentiation in widths of characters. Read more.
Structure: loops
Fully or partially closed loops vary in structure. In Latin, this is how they typically map out:
- Humanist/Old style: oval
- Geometric sans/Slab serif: circle
- Grotesque/Didone: superellipse
- Square grotesque: rounded rectangle
Structure: construction
The way letters are formed varies. Formal is a rational way of drawing letters individually; cursive connects them; organic is freeform. Read more.