Simple Trebuchet

The Trebuchet typeface family, like Verdana and Georgia, was created for use on the screen. Designed and engineered in 1996 by Microsoft’s Vincent Connare, it has a strong and unmistakable appearance. Borrowing elements from both the geometric and humanist classifications of sans serif type - Connare acknowledges the influence of designs as diverse as Gill Sans, Erbar, Frutiger, Akzidenz Grotesk and the US Highway sign- ing system - Trebuchet infuses any page with energy and personality. Its letterforms, loosely based on sans serif typeface designs of the 1920s and 1930s, carry a large x-height and clean lines designed to promote leg- ibility, even at small sizes. Vincent Connare is no stranger to designing and working with type in restrictive environments. He has spent as many years as anyone solv- ing problems in displaying type on various kinds of screens, from small handheld devices to wide-screen television sets. Although much of his working life has been spent making existing typeface designs work in new environments and technologies, he is already well known for his Comic Sans, which among other faces of his has received an immediate and warm response from users all over the world. With Trebuchet, Connare has managed to create a face which has become an instant classic, winning more admir- ers day after day. Perhaps Connare’s greatest achieve- ment with the Trebuchet family is to have created a font that works at heading and display sizes as well as small sizes and low resolutions; no mean task given the low resolution of the computer screen, which tends to dilute the characteristics of letterforms, rendering them dull and bor- ing. After all, a lower case e, which at 8pt on the screen can be at most four or five pixels high, can only be drawn in a limited number of ways. One of Connare’s intentions when designing Trebuchet was to instill personality into the letterforms, even at small sizes, while retaining clarity and readability. He wanted to create a typeface which was ‘significantly distinguishable from Verdana and MS Sans’. He has accomplished this by departing from the classical model in characters such as the lowercase g and uppercase M, unique yet reminis- cent of some of Paul Renner’s alter- nate designs for Futura. Less notice- able details include the serif-like bars of the lowercase i and j, and the curled, kicking stem of the lowercase l - efforts intended to make each character as distinct and recogniz- able as possible. Trebuchet is well-suited to use for ex- tended texts, User Interface scenari- os and spreadsheet design, given the font’s narrow letterforms. Trebuchet works brilliantly on the screen and has quickly become a classic choice for Web page design. Vincent Connare ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1 2 3 4 5 6 7 8 9 0 !@#$%^&*(),.<>/?~`”’:;-_=+ Devi Soewono 42408177 http://www.microsoft.com/typography/Fonts/family.aspx?FID=2

Upload
devi-lin
Category

Documents
view
227
download
0

Embed Size (px):

description

one of my project for my university ^^

Transcript of Simple Trebuchet

The Trebuchet typeface family, like Verdana and Georgia, was created

for use on the screen. Designed and engineered in 1996 by Microsoft’s

Vincent Connare, it has a strong and unmistakable appearance. Borrowing

elements from both the geometric and humanist classifications of sans serif type - Connare acknowledges

the influence of designs as diverse as Gill Sans, Erbar, Frutiger, Akzidenz Grotesk and the US Highway sign-

ing system - Trebuchet infuses any page with energy and personality. Its

letterforms, loosely based on sans serif typeface designs of the 1920s

and 1930s, carry a large x-height and clean lines designed to promote leg-

ibility, even at small sizes.

Vincent Connare is no stranger to designing and working with type in

restrictive environments. He has spent as many years as anyone solv-

ing problems in displaying type on various kinds of screens, from small

handheld devices to wide-screen television sets.

Although much of his working life has been spent making existing typeface

designs work in new environments and technologies, he is already well

known for his Comic Sans, which among other faces of his has received

an immediate and warm response from users all over the world. With

Trebuchet, Connare has managed to create a face which has become an

instant classic, winning more admir-ers day after day.

Perhaps Connare’s greatest achieve-ment with the Trebuchet family is

to have created a font that works at heading and display sizes as well as small sizes and low resolutions; no

mean task given the low resolution of the computer screen, which tends to

dilute the characteristics of letter-forms, rendering them dull and bor-ing. After all, a lower case e, which at 8pt on the screen can be at most four or five pixels high, can only be drawn in a limited number of ways.

One of Connare’s intentions when designing Trebuchet was to instill

personality into the letterforms, even at small sizes, while retaining clarity and readability. He wanted to create

a typeface which was ‘significantly distinguishable from Verdana and MS

Sans’. He has accomplished this by departing from the classical model

in characters such as the lowercase g and uppercase M, unique yet reminis-

cent of some of Paul Renner’s alter-nate designs for Futura. Less notice-

able details include the serif-like bars of the lowercase i and j, and the curled, kicking stem of the lowercase

l - efforts intended to make each character as distinct and recogniz-

able as possible.

Trebuchet is well-suited to use for ex-tended texts, User Interface scenari-os and spreadsheet design, given the font’s narrow letterforms. Trebuchet

works brilliantly on the screen and has quickly become a classic choice

for Web page design.