| A | B |
|---|
| Proximity | This principle states that related items should be grouped closer together and items not related should be separate. |
| Alignment | This principle's basic purpose is to unify and organize. Every element should have some visual connection with another element on the page. |
| Repetition | The purpose of this principle is to unify and add visual interest. It ties together mulit-page documents and ties together otherwise separate parts. |
| Contrast | The basic principle of this principle is to organize the page and create an interest on the page. It helps a reader instantly understand the way the information is organized. |
| Oldstyle | This category of type is based on handlettering scribes, always has a serif, a diagonal stress, and a transition that is thick/thin. |
| Modern | This category of type depicts the cultural changes of the industrial revolution. It has a vertical stress, serifs that are thin and horizontal, and a transition that is very thick vs very thin. |
| Slab Serif | This category of type came out of advertising. These typefaces were designed to be seen at a distance. The serifs are horizontal and thick slabs, the stress is vertical (if there is a stres), and the names are usually Egyptian references. |
| Sans Serif | This category of type refers to those typefaces without serifs. There is no thick/thin transition, no stress, and no serifs anywhere. |
| Script | This category of typefaces appear to have been handlettereed with a calligraphy pen or brush. They are difficult to read at small sizes, but look formal on invitations and certificates. |
| Decorative | These typefaces can add punch to a publication or a definite "look" or emphasize content with their zany designs. If overused, they can destroy a design. |
| Grunge | This category of type came from the advent of personal computers and the ability for anybody to make fonts. These typefaces are typically distorted, schizophrenic, deliberately trashed, and often difficult to read. |
| Font | The voice of the page is the .. |
| Languages | Typefaces are to the written word what different dialects are to different _________. |
| Ancient Rome | What ancient civilization did typographers look to for what the ideal letter should look like. |
| Identity | Typefaces aren't just about tone, they are about _____________. |
| Personal Computer | Today type has changed because of the ______________. |
| Cap Height | The height of the capital letter. |
| Ascenders | Strokes that rise above the x-height. |
| Thick/Thin | The contrast in the thickness of the curved strokes. |
| Stress | The angle through the thinnest parts of the curves |
| Descenders | Strokes that dip below the baseline. |
| Baseline | The invisible line upon which type sits. |
| Stroke | The main line of a character. |
| Terminal | The end of a stroke without a serif. |
| Bar | The horizontal stroke such as in A, H, t. |
| Body Copy | Text in sizes from about 8- to 12- point, set in paragraphs. |
| Display Type | Text in sizes above 14 point, as in headlines or advertising titles. |
| Roman | Type that does not have a slant. |
| Italic | A style of type where the letters stlant to the right. |
