Typography Describe and explain the different design elements that go in making a typeface in three paragraphs Typography is what language looks like.

Typography Describe and explain the different design elements that go in making a typeface in three paragraphs Typography is what language looks like.

!”#$ %&'( )#!*#+)#,

(-./”0,# /!*#+)#,

1-+-/(

“#,$-+/( /!*#+)#,

!2-+#

*,&!! %/,

!#,-1

022#,*/!# !$/(( */2-“/(

*/2 3#-.3″

4-3#-.3”

%/!#(-+#

(&’#,*/!#*&0+”#,

anatomy

36 | “3-+5-+. ‘-“3 “62#

Bone

*/2 3#-.3”
The distance from the
baseline to the top of the
capital letter determines
the letter’s point size.

skin, Body
“3# %/!#(-+# is where all the
letters sit. This is the most stable
axis along a line of text, and it
is a crucial edge for aligning text
with images or with other text.

&7#,3/+. The curves at the
bottom of letters hang slightly
below the baseline. Commas
and semicolons also cross the
baseline. If a typeface were not
positioned this way, it would
appear to teeter precariously.
Without overhang, rounded
letters would look smaller than
their flat-footed compatriots.

/!*#+)#, 3#-.3″
Some elements may
extend slightly above
the cap height.

Hey, look!
They supersized
my x-height.

Two blocks of text
are often aligned along
a shared baseline.
Here, 14/18 Scala Pro
(14-pt type with 18 pts
of line spacing) is paired
with 7/9 Scala Pro.

Although kids learn to write using
ruled paper that divides letters
exactly in half, most typefaces are
not designed that way. The
x-height usually occupies more
than half of the cap height. The
larger the x-height is in relation
to the cap height, the bigger the
letters appear to be. In a field of
text, the greatest density occurs
between the baseline and the
x-height.

4-3#-.3″ is the height of the
main body of the lowercase letter
(or the height of a lowercase x),
excluding its ascenders and
descenders.

(#””#, | 37

)#!*#+)#, 3#-.3″
The length of a letter’s
descenders contributes
to its overall style and
attitude.

7-!0/((6 !2#/5-+., %/!#(-+#! /+) 4-3#-.3”! )#”#,$-+# “3# ,#/( #).#! &1 “#4″

3#-.3″ Attempts to standardize the
measurement of type began in the eighteenth
century. The point system is the standard used
today. One point equals 1/72 inch or .35
millimeters. Twelve points equal one pica, the
unit commonly used to measure column widths.
Typography can also be measured in inches,
millimeters, or pixels. Most software applications
let the designer choose a preferred unit of
measure; picas and points are standard defaults.

nerd alert:
/%%,#7-/”-+. 2-*/! /+) 2&-+”!
8 picas = 8p
8 points = p8, 8 pts
8 picas, 9 points = 8p9
8-point Helvetica with : points of line spacing =
8/: Helvetica

‘-)”3 A letter also has a horizontal measure,
called its set width. The set width is the body of
the letter plus a sliver of space that protects it
from other letters. The width of a letter is intrinsic
to the proportions and visual impression of the
typeface. Some typefaces have a narrow set width,
and some have a wide one.
You can change the set width of a typeface by
fiddling with its horizontal or vertical scale.
This distorts the line weight of the letters,
however, forcing heavy elements to become thin,
and thin elements to become thick. Instead of
torturing a letterform, choose a typeface that has
the proportions you are looking for, such as
condensed, compressed, wide, or extended.

size

12 points
equal 1 pica

6 picas
(72 points)
equal 1 inch

60-2&-+” !*/(/
A typeface is measured
from the top of the
capital letter to the
bottom of the lowest
descender, plus a small
buffer space.

In metal type,
the point size
is the height of
the type slug.

Wide load

tight wad

tight Wad

-+”#,!”/”# %(/*5
The set width is the body of the letter
plus the space beside it.

-+”#,!”/”# %(/*5 *&$2,#!!#)
The letters in the compressed version of the typeface
have a narrower set width.

type crime
3&,-;&+”/( < 7#,"-*/( !*/(-+. The proportions of the letters have been digitally distorted in order to create wider or narrower letters. Big Wide load 38 | "3-+5-+. '-"3 "62# When two typefaces are set in the same point size, one often looks bigger than the other. Differences in x-height, line weight, and set width affect the letters’ apparent scale. Mrs Eaves rejects the twentieth-century appetite for supersized x-heights. This typeface, inspired by the eighteenth-century designs of Baskerville, is named after Sarah Eaves, Baskerville’s mistress, housekeeper, and collaborator. The couple lived together for sixteen years before marrying in 1764. Like his lovely wife, MR EAVES has a low waist and a small body. His loose letterspacing also makes him work well with his mate. The size of a typeface is a matter of context. A line of text that looks tiny on a television screen may appear appropriately scaled in a page of printed text. Smaller proportions affect legibility as well as space consumption. A diminutive x-height is a luxury that requires sacrifice. 12/14 $, #/7#! 8/10 $,! /+) $, #/7#! The x-height of a typeface affects its apparent size, its space efficiency, and its overall visual impact. Like hemlines and hair styles, x-heights go in and out of fashion. Bigger type bodies became popular in the mid- twentieth century, making letterforms look larger by maximizing the area within the overall point size. Because of its huge x-height, Helvetica can remain legible at small sizes. Set in 8 pts for a magazine caption, Helvetica can look quite elegant. The same typeface could look bulky and bland, however, standing 12 pts tall on a business card. Typefaces with small x-heights, such as Mrs Eaves, use space less efficiently than those with big lower bodies. However, their delicate proportions have lyrical charm. 12/14 $,! #/7#! 12/14 3#(7#"-*/ 8/10 3#(7#"-*/ Do I=look fat in this paragraph? 32-2" !*/(/ 2,& 32-2" -+"#,!"/"# ,#.0(/, 32-2" %&)&+- 32-2" $,! #/7#! The default type size in many software applications is 12 pts. Although this generally creates readable type on screen displays, 12-pt text type usually looks big and horsey in print. Sizes between 9 and 11 pts are common for printed text. This caption is 7.5 pts. 32-2" 3#(7#"-*/ 32-2" $,! #/7#! 32-2" $, #/7#! (#""#, | 39 %-. %&""&$! /,# /+ #11-*-#+" 0!# &1 ,#!&0,*#! Mr. Big versus Mrs. & Mr. Little 40 | "3-+5-+. '-"3 "62# All the typefaces shown below were inspired by the sixteenth-century printing types of Claude Garamond, yet each one reflects its own era. The lean forms of Garamond 3 appeared during the Great Depression, while the inflated x-height of ITC Garamond became an icon of the flamboyant 1970s. 1930s: Franklin D. Roosevelt, salvador dalí, Duke Ellington, Scarface, chicken and waffles, shoulder pads, radio. 1970s: Richard Nixon, Claes Oldenburg, Van Halen, The God father, bell bottoms, guacamole, sitcoms. 1980s: Margaret Thatcher, barbara kruger, Madonna, Blue Velvet, shoulder pads, pasta salad, desktop publishing. 2000s: Osama Bin Laden, ! "# #$%& '" ( )%*, the White Stripes, !e Sopranos, mom jeans, heirloom tomatoes, Twitter. 18-2" ./,/$&+) 3, designed by Morris Fuller Benton and Thomas Maitland Cleland for ATF, 1936 18-2" -"* ./,/$&+), designed by Tony Stan, 1976 18-2" /)&%# ./,/$&+) 2,#$-#,# 2,& $#)-0$ !0%3#/), designed by Robert Slimbach, 2005 18-2" /)&%# ./,/$&+), designed by Robert Slimbach, 1989 Grapes of Wrath 30-2" ./,/$&+) 3 30-2" -"* ./,/$&+) size garamond in the twentieth century: variations on a theme (#""#, | 41 ! "#$%&'(#) are slim, high-strung prima donnas. !"#$%&'! are !isky supporting characters. !"#$ is the everyman of the printed stage. !"#$%&'( get heavy to play small roles. 27-2" /)&%# ./,/$&+) 2,#$-#,# 2,& */2"-&+ A type family with optical sizes has different styles for different sizes of output. The graphic designer selects a style based on context. Optical sizes designed for headlines or display tend to have delicate, lyrical forms, while styles created for text and captions are built with heavier strokes. 27-2" /)&%# ./,/$&+) 2,#$-#,# 2,& )-!2(/6 27-2" /)&%# ./,/$&+) 2,#$-#,# 2,& ,#.0(/, 27-2" /)&%# ./,/$&+) 2,#$-#,# 2,& !0%3#/) 8 2" 80 2" A %')*&$+ or headline style looks spindly and weak when set at small sizes. Display styles are intended for use at ,- pts. and larger. In the era of .#/$& /+*#, type designers created a different punch for each size of type, adjusting its weight, spacing, and other features. Each size required a unique typeface design. When the type design process became automated in the %&%"$""%$' ("%$)*+, many typefounders economized by simply enlarging or reducing a base design to generate different sizes. This )*+,"'%-*. "##/&"+, to type sizes became the norm for photo and digital type production. When a text-sized letterform is enlarged to poster-sized proportions, its thin features become too heavy (and vice versa). /)&%# ./,/$&+) 2,#$-#,# 2,& */2"-&+ /)&%# ./,/$&+) 2,#$-#,# 2,& )-!2(/6 /)&%# ./,/$&+) 2,#$-#,# 2,& ,#.0(/, Basic !"#$ styles are designed for sizes ranging from , to -. pts. Their features are strong and meaty but not too assertive. !"#$%&' styles are built with the heaviest stroke weight. They are designed for sizes ranging from 0 to 1 pts. optical sizes 10 2" No Job Too Small 48-2" %&)&+- 8-2" %&)&+- type crime Some typefaces that work well at large sizes look too fragile when reduced. / 2 !-;# -! ,#(/"-7# "& *&+"#4" 42 | "3-+5-+. '-"3 "62# scale Scale is the size of design elements in comparison to other elements in a layout as well as to the physical context of the work. Scale is relative. 12-pt type displayed on a 32-inch monitor can look very small, while 12-pt type printed on a book page can look flabby and overweight. Designers create hierarchy and contrast by playing with the scale of letterforms. Changes in scale help create visual contrast, movement, and depth as well as express hierarchies of importance. Scale is physical. People intuitively judge the size of objects in relation to their own bodies and environments. THE WORLD IS FLAT THE WORLD IS FLAT type crime Minimal differences in type size make this design look tentative and arbitrary. !*/(# *&+",/!" The strong contrast between type sizes gives this design dynamism, decisiveness, and depth. "3# 4-4 /$#+)$#+" Typographic installation at Grand Central Station, New York City, 1995. Designer: Stephen Doyle. Sponsors: The New York State Division of Women, the Metropolitan Transportation Authority, Revlon, and Merrill Lynch. Large-scale text creates impact in this public installation. (#""#, | 43 %(&'-02: 23&"&.,/236, *-+#$/, /+) "3# %,/-+ Book cover, 2003. Designers: Paul Carlos and Urshula Barbour/Pure + Applied. Author: Warren Niedich. Cropping the letters increases their sense of scale. The overlapping colors suggest an extreme detail of a printed or photographic process. 1LHGLFKB�FRYHU�LQGG���� �������������������30 $/5# -" %-..#, scale 44 | "3-+5-+. '-"3 "62# 0+-"#) +/"-&+!’ &11-*# &+ ),0.! /+) *,-$# (0+&)*) Maps, 2009. Design: Harry Pearce and Jason Ching/ Pentagram. This series of posters for the United Nations’ Office on Drugs and Crime uses typographic scale to compare drug treatment programs, HIV incidence, and other data worldwide. The designers built simple world maps from country abbreviation codes (GBR, USA, RUS, etc.). The posters are aimed specifically at the Russian police, whose country has a poor track record in drug treatment. Note Russia’s high incidence of HIV and low availability of addiction rehabilitation programs. revolver: zeitschrift für film (magazine for film) Magazine, 1998–2003. Designer: Gerwin Schmidt. This magazine is created by and for film directors. The contrast between the big type and the small pages creates drama and surprise. !*/(# -! !&$#"3-+. 6&0 */+ 3&() -+ 6&0, 3/+)! (#""#, | 45 type classification A basic system for classifying typefaces was devised in the nineteenth century, when printers sought to identify a heritage for their own craft analogous to that of art history. Humanist letterforms are closely connected to calligraphy and the movement of the hand. Transitional and modern typefaces are more abstract and less organic. These three main groups correspond roughly to the Renaissance, Baroque, and Enlightenment periods in art and literature. Historians and critics of typography have since proposed more finely grained schemes that attempt to better capture the diversity of letterforms. Designers in the twentieth and twenty-first centuries have continued to create new typefaces based on historic characteristics. Aa Aa Aa !/%&+ %/!5 #,7-((# %&) &+ - 30$/+-!" &, &() !"6(# The roman typefaces of the fifteenth and sixteenth centuries emulated classical calligraphy. Sabon was designed by Jan Tschichold in 1966, based on the sixteenth-century typefaces of Claude Garamond. ",/+!-"-&+/( These typefaces have sharper serifs and a more vertical axis than humanist letters. When the typefaces of John Baskerville were introduced in the mid- eighteenth century, their sharp forms and high contrast were considered shocking. $&)#,+ The typefaces designed by Giambattista Bodoni in the late eighteenth and early nineteenth centuries are radically abstract. Note the thin, straight serifs; vertical axis; and sharp contrast from thick to thin strokes. Aa *(/,#+ ) &+ #.62"-/+ &, !(/% !#,-1 Numerous bold and decorative typefaces were introduced in the nineteenth century for use in advertising. Egyptian typefaces have heavy, slablike serifs. AaAaAa . -(( !/+ ! 3 #(7#"-*/ 10 "0 , / 30$/+-!" !/+! !#,-1 Sans-serif typefaces became common in the twentieth century. Gill Sans, designed by Eric Gill in 1928, has humanist characteristics. Note the small, lilting counter in the letter a, and the calligraphic variations in line weight. ",/+!-"-&+/( !/+! !#,-1 Helvetica, designed by Max Miedinger in 1957, is one of the world’s most widely used typefaces.Its uniform, upright character makes it similar to transitional serif letters. These fonts are also referred to as “anonymous sans serif.” .#&$#",-* !/+! !#,-1 Some sans-serif types are built around geometric forms. In Futura, designed by Paul Renner in 1927, the Os are perfect circles, and the peaks of the A and M are sharp triangles. 46 | "3-+5-+. '-"3 "62# This is not a book about fonts. It is a book about how to use them. Typefaces are essential resources for the graphic designer, just as glass, stone, steel, and other materials are employed by the architect. This is not a book about fonts. It is a book about how to use them. Typefaces are essential resources for the graphic designer, just as glass, stone, steel, and other materials are employed by the architect. This is not a book about fonts. It is a book about how to use them. Typefaces are essential resources for the graphic designer, just as glass, stone, steel, and other materials are employed by the architect. This is not a book about fonts. It is a book about how to use them. Typefaces are essential resources for the graphic designer, just as glass, stone, steel, and other materials are employed by the architect. This is not a book about fonts. It is a book about how to use them. Typefaces are essential resources for the graphic designer, just as glass, stone, steel, and other materials are employed by the architect. This is not a book about fonts. It is a book about how to use them. Typefaces are essential resources for the graphic designer, just as glass, stone, steel, and other materials are employed by the architect. This is not a book about fonts. It is a book about how to use them. Typ efaces are essential resources for the graphic designer, just as glass, stone, steel, and other materials are employed by the architect. Bodoni 14 2" Baskerville 14 2" Clarendon 14 2" Gill Sans 14 2" Helvetica 14 2" Selecting type with wit and wisdom requires knowledge of how and why letterforms evolved. Selecting type with wit and wisdom requires knowledge of how and why letterforms evolved. Selecting type with wit and wisdom requires knowledge of how and why letterforms evolved. Selecting type with wit and wisdom requires knowledge of how and why letterforms evolved. Sabon 14 2" Selecting type with wit and wisdom requires knowledge of how and why letterforms evolved. Futura 14 2" Selecting type with wit and wisdom requires knowledge of how and why letterforms evolved. !/%&+ 9/12 7/9 %/!5#,7-((# 9/12 7/9 %&)&+- %&&5 9.5/12 7.5/9 *(/,#+)&+ (-.3" 8/12 6/9 .-(( !/+! ,#.0(/, 9/12 7/9 3#(7#"-*/ ,#.0(/, 8/12 6/9 10"0,/ %&&5 8.5/12 6.5/9 Selecting type with wit and wisdom requires knowledge of how and why letterforms evolved. (#""#, | 47 "62# -! "& 2/2#, /! %0""#, -! "& %,#/) classic typefaces type families In the sixteeenth century, printers began organizing roman and italic typefaces into matched families. The concept was formalized in the early twentieth century. The roman form is the core or spine from which a family of typefaces derives. Italic letters, which are based on cursive writing, have forms distinct from roman. !"#$$ %#&! '#() # ')*+', ,'#, *! !*"*$#- ,. the lowercase /-')*+',. Bold (and semibold) typefaces are used for emphasis within a hierarchy. Bold (and semibold) typefaces each need to include an italic version, too. /)&%# ./,/$&+) 2,& ,#.0(/, /)&%# ./,/$&+) 2,& -"/(-* /)&%# ./,/$&+) 2,& ,#.0(/, (/(( !$/(( */2!) /)&%# ./,/$&+) 2,& %&() /+) !#$-%&() /)&%# ./,/$&+) 2,& %&() /+) !#$-%&() -"/(-* The roman form, also called plain or regular, is the standard, upright version of a typeface. It is typically conceived as the parent of a larger family. The italic form is used to create emphasis. Especially among serif faces, it often employs shapes and strokes distinct from its roman counterpart. Note the differences between the roman and italic a. Small caps (capitals) are designed to integrate with a line of text, where full-size capitals would stand out awkwardly. Small capitals are slightly taller than the x-height of lowercase letters. Bold versions of traditional text fonts were added in the twentieth century to meet the need for emphatic forms. Sans-serif families often include a broad range of weights (thin, bold, black, etc.). The typeface designer tries to make the two bold versions feel similar in comparison to the roman, without making the overall form too heavy. The counters need to stay clear and open at small sizes. Many designers prefer not to use bold and semi-bold versions of traditional typefaces such as Garamond, because these weights are alien to the historic families. Italics are not slanted letters. type crime: 2!#0)& -"/(-*! The wide, ungainly forms of these mechanically skewed letters look forced and unnatural. /)&%# ./,/$&+) 2,&, designed by Robert Slimbach, 1988 48 | "3-+5-+. '-"3 "62# Some italics aren’t slanted at all. In the type family Quadraat, the italic form is upright. >0/),//”, designed by Fred Smeijers, 1992.

“,0#
-“/(-*

anatomy of a type family

(#””#, | 49

$*!’##+#6’! Magazine cover, 2002. Design: Dave Eggers.
This magazine cover uses the Garamond 3 typeface family in
various sizes. Although the typeface is classical and conservative,
the obsessive, slightly deranged layout is distinctly contemporary.

.& ‘,/2 6&0, “-+6, /”,&236-+. /,$! /,&0+) !&$# ‘-((-+. “62#1/*#

50 | “3-+5-+. ‘-“3 “62#

superfamilies

Scala
Scala Italic
!*/(/ */2!
Scala Bold
!*/(/ 2,&, designed by
Martin Majoor, includes
Scala (1991) and Scala Sans
(1993). The serif and sans-
serif forms have a common
spine. Scala Pro (OpenType
format) was released in 2005.

Scala Sans Light
Scala Sans
Scala Sans Condensed
Scala Sans Cond Bold
Scala Sans Bold
Scala Sans Black
SCala jewel crystal

scala jewel diamond

scala jewel pearl

Scala jewel saphyr

A traditional roman book face typically has a
small family—an intimate group consisting of
roman, italic, small caps, and possibly bold and
semibold (each with an italic variant) styles. Sans-
serif families often come in many more weights
and sizes, such as thin, light, black, compressed,
and condensed. A superfamily consists of dozens
of related fonts in multiple weights and/or
widths, often with both sans-serif and serif
versions. Small capitals and non-lining numerals
(once found only in serif fonts) are included in
the sans-serif versions of Thesis, Scala Pro, and
many other contemporary superfamilies.

0+-7#,! was designed by the Swiss typographer Adrian Frutiger
in 1957. He designed twenty-one versions of Univers, in five weights
and five widths. Whereas some type families grow over time, Univers
was conceived as a total system from its inception.

“,-(&.6, a superfamily designed by Jeremy Tankard in 2009, is
inspired by three nineteenth-century type styles: sans serif, Egyptian,
and fat face. The inclusion of the fat face style, with its wafer-thin
serifs and ultrawide verticals, gives this family an unusual twist.

C E R E � O � Y.

Ticket of �dmittance,

One Shillin�

W I T H I N T H E E N C L O S U R E ,
T O V I E W T H E

The Money raised by these Tickets will be applied to defray
the expences of the Day.

W. Pratt, Printer, Stokesley

anatomy of a superfamily

“3#!-!, designed by Lu(cas) de Groot, 1994

energize typography today. Writing

in the West was revolutionized early

in the Renaissance, when Johannes

Gutenberg introduced moveable type

This is not a book about fonts. It is a book about how to use them. Typefaces

are essential resources for the graphic designer, just as glass, stone, steel, and

other materials are employed by the architect. some designers create

“3# !#,-1 $#)-0$ ,&$/+

“3# !#,-1 $#)-0$ -“/(-*

“3# !#,-1 $#)-0$ !$/(( */2!

their own custom fonts. But most

graphic designers will tap the vast

store of already existing typefaces,

choosing and combining each with

“3# !#,-1 %(/*5 ,&$/+

“3# !#,-1 #4”,/ %&() ,&$/+

“3# !#,-1 %&() ,&$/+

“3# !#,-1 !#$- %&() ,&$/+

regard to the audience or situation.

Selecting type with wit and wisdom

requires knowledge of how and why

letterforms have evolved. The history

“3# !#,-1 $#)-0$ ,&$/+

“3# !#,-1 !#$- (-.3”

“3# !#,-1 (-.3” ,&$/+

“3# !#,-1 #4″,/ (-.3” ,&$/+

of typography reflects a continual tension between the hand and machine, the

organic and geometric, the human body and the abstract system. These tensions

marked the birth of printed letters five centuries ago, and they continue to

“3# !/+! $#)-0$ ,&$/+

“3# !/+! $#)-0$ -“/(-*

“3# !/+! $#)-0$ !$/(( */2!

“3# !/+! %(/*5 ,&$/+

“3# !/+! #4”,/ %&() ,&$/+

“3# !/+! %&() ,&$/+

“3# !/+! !#$- %&() ,&$/+

in Germany. Whereas documents and

books had previously been written by

hand, printing with type mobilized all

of the techniques of mass production.

“3# !/+! $#)-0$ ,&$/+

“3# !/+! !#$- (-.3” ,&$/+

“3# !/+! (-.3” ,&$/+

“3# !/+! #4″,/ (-.3” ,&$/+

(#””#, | 51

“62#1/*#! %,##) (-5# ,/”!

anatomy of a superfamily

52 | “3-+5-+. ‘-“3 “62#

capitals and small capitals

+#’ 6&,5 $/./;-+#
Design: Chris Dixon,
2009. This page detail
mixes serif types from the
Miller family (including true
Small Caps) with the sans-
serif family Verlag.

A word set in ALL CAPS within running text can
look big and bulky, and A LONG PASSAGE SET
ENTIRELY IN CAPITALS CAN LOOK UTTERLY
INSANE. !$/(( */2-“/(! are designed to match
the x-height of lowercase letters. Designers,
enamored with the squarish proportions of true
!$/(( */2!, employ them not only within bodies
of text but for subheads, bylines, invitations, and
more. Rather than M-4-+. S$/(( C/2! ‘-“3
C/2-“/(!, many designers prefer to use /(( !$/((
*/2!, creating a clean line with no ascending
elements. InDesign and other programs allow
users to create FALSE SMALL CAPS at the press of a
button; these SCRAWNY LETTERS look out of place.

PSEUDO SMALL CAPS are shrunken versions of FULL-SIZE CAPS.
type crime

2!#0)& !$/(( */2!
Helvetica was never meant to include

small caps. These automatically
generated characters look puny and
starved; they are an abomination

against nature.

“,0# !$/(( */2! integrate 2#/*#10((6 with lowercase letters.
!$/(( */2!, !*/(/ 2,&

Only use small caps when they are
officially included with the type family.
When working with OpenType fonts
(labeled Pro), access small caps in

InDesign via the Character
Options>OpenType menu. Older formats

list small caps as a separate file in the
Type>Font menu.

CAPITAL
investment
CAPITAL
punishment
CAPITAL
crime

type crime
In this stack of lowercase

and capital letters, the
spaces between lines appear
uneven because caps are tall

but have no descenders.

/)?0!”#) (#/)-+.
The leading has been fine-
tuned by selectively shifting
the baselines of the small
capitals to make the space
between lines look even.

CAPITAL
investment
CAPITAL
punishment
CAPITAL
crime

+

(#””#, | 53

4 4 A M U S E M E N T N U M É RO 5 J U I N 2 0 0 9

F R E E P L AY E R S

4 5 A M U S E M E N T N U M É RO 5 J U I N 2 0 0 9

F R E E P L AY E R S

« MA
PHILOSOPHIE
PASSE PAR

LE GAMEPLAY »
KEITA TAKAHASHI

En cette fin du mois de mars, Keita Takahashi fait escale en France.
Quelques jours plus tôt, le game designer japonais était à San Francisco

pour la Game Developers Conference, grand raout annuel de la profession où,
comme à son habitude, il a abreuvé ses confrères de réflexions rafraîchissantes sur le jeu vidéo.

Mais, avant toute chose, il leur a montré sa nouvelle écharpe, qu’il porte encore sur lui
pour ce mini-séjour parisien. Confectionnée par Madame Takahashi mère, celle-ci

a notamment pour avantage de permettre au fiston d’y glisser ses mains afin
de les protéger en cas de grand froid. Ce précieux tricot est aussi

le premier « produit dérivé » de Noby Noby Boy, le dernier jeu
en date de Keita Takahashi, disponible depuis le mois de février

sur le service de téléchargement de la PS3 pour la somme quasi-ridicule
de 3,99 euros. Cette écharpe à l’effigie du souriant Boy se révèle même

remarquablement en phase avec le jeu qui l’a inspirée :
tranquillement singulière, résolument artisanale et conçue

pour qu’on se sente bien quand on y met les mains.

Clay Fighter Erwan Higuinen
Photographie Sébastien Agnetti

F R E E P L AY E R S F R E E P L AY E R S

9 6 A M U S E M E N T N U M É RO 5 J U I N 2 0 0 9

A M U S E M E N T x S I M S 3

9 7 A M U S E M E N T N U M É RO 5 J U I N 2 0 0 9

A M U S E M E N T x S I M S 3

« JE FINIRAI
PAR METTRE LE

BAZAR UN PEU
PARTOUT ! »

SARA
FORESTIER

CASSE LA
BARAQUE DANS

LES SIMS 3
Simuler avec une grande finesse ses traits psychologiques, personnaliser son avatar

avec tant de possibilités qu’elles le rendent unique, proposer une expérience interactive qui va au-
delà du simple jeu, et vous propulse dans les subtilités de nos modes de vie ? Voici un petit aperçu

de ce que propose Les Sims 3, dernier épisode de la saga culte lancée il y a tout juste dix ans.

Jeune actrice pleine d’énergie et aux réactions imprévisibles, Sara Forestier montre
dans chacun de ses rôles une grande créativité qu’elle exprime également depuis plusieurs …

Looking for this or a Similar Assignment? Click below to Place your Order