OVERLAP OF MEANING AND USAGE IN TYPOGRAPHIC TERMINOLOGY: A SEMANTIC AND PRAGMATIC ANALYSIS OF TYPEFACE AND FONT

Yıl 2026, Cilt: 16 Sayı: 1, 37 - 58, 01.01.2026

Hasan Tekinalp Güreken

https://doi.org/10.7456/tojdac.1797986

Öz

This article examines the semantic and pragmatic ambiguities between the terms ‘typeface’ and ‘font,’ which are often used interchangeably in typography literature. Historically carrying different meanings, these two terms have begun to overlap in practice due to the influence of digital technologies. This situation not only creates linguistic confusion but also affects the aesthetic, functional, and communicative aspects of graphic design. The study offers a broad framework, beginning with the historical evolution of writing and extending to the invention of the printing press and the influence of movements such as Bauhaus and the International Typographic Style on typography. The article discusses the contributions of historical figures such as Giambattista Bodoni, William Morris, Claude Garamond, Jan Tschichold, and Herbert Bayer, as well as contemporary type designers such as Jonathan Hoefler and Tobias Frere-Jones. The research, conducted using qualitative methods, defines the typeface as the formal structure of the letter family and the font as the technical variations (weight, size, style) of this structure. The importance of this terminological distinction is emphasised not only for technical accuracy but also for user experience, brand identity, and effective communication. The article aims to bring conceptual clarity and theoretical depth to the field of graphic design.

Anahtar Kelimeler

: Font , Graphic Design , Typeface , Typography , .

TİPOGRAFİ TERMİNOLOJİSİNDE ANLAM VE KULLANIM ÇAKIŞMASI: YAZI YÜZÜ VE FONT ÜZERİNE, SEMANTİK VE PRAGMATİK BİR ANALİZ

Öz

Bu makale, tipografi literatüründe sıkça birbirinin yerine kullanılan “yazı yüzü” (typeface) ve “font” kavramları arasındaki semantik ve pragmatik belirsizlikleri incelemektedir. Tarihsel olarak farklı anlamlar taşıyan bu iki terim, dijital teknolojilerin etkisiyle uygulamada örtüşmeye başlamıştır. Bu durum, yalnızca dilsel bir karmaşa yaratmakla kalmayıp; aynı zamanda grafik tasarımın estetik, işlevsel ve iletişimsel yönlerini de etkilemektedir. Çalışma, yazının tarihsel evriminden başlayarak matbaanın icadı, Bauhaus ve Uluslararası Tipografik Stil gibi hareketlerin tipografiye etkisine kadar geniş bir çerçeve sunmaktadır. Makalede, Giambattista Bodoni, William Morris, Claude Garamond, Jan Tschichold ve Herbert Bayer gibi tarihsel figürlerin yanı sıra, Jonathan Hoefler ve Tobias Frere-Jones gibi çağdaş yazı tasarımcılarının katkıları da ele alınmaktadır. Nitel yöntemle yürütülen araştırma, yazı yüzünü harf ailesinin biçimsel yapısı olarak, fontu ise bu yapının teknik varyasyonları (ağırlık, boyut, stil) olarak tanımlar. Terminolojik ayrımın yalnızca teknik doğruluk için değil, aynı zamanda kullanıcı deneyimi, marka kimliği ve etkili iletişim açısından da önemli olduğu vurgulanır. Makale, grafik tasarım alanına kavramsal netlik ve kuramsal derinlik kazandırmayı amaçlamaktadır.

Anahtar Kelimeler

Font , Grafik Tasarım , Tipografi , Yazı Yüzü

Kaynakça

• Bayer, H. & Gropius, W.G. (1938). Bauhaus 1919-1928. Museum of Modern Art, Newyork, Printed in the United States of America.
• Becer, E. (2016). Modern Sanat ve Yeni Tipografi. Dost Kitapevi Yayınları, Ankara.
• Berry (Ed.), J.D. (2002). Language Culture Type: International Type Design in the Age of Unicode. New York, N.Y. , ATypI : Graphis.
• Bosler, D. (2012). Mastering Type.The Essential Guide to Typography for Print and Web Design. How Books.Cincinnati, Ohio.
• Bringhurst, R. (1969). The Elements of Typographic Style. Printed Data Reproductions Corporation, Rochester Hills, Michigan.
• Creative Bloq, (2024), Font vs typeface: the ultimate guide. https://www.creativebloq.com/features/font-vs-typeface
• Cheng, K. (2006). Designing Type. Yale University Press
• Craig, J. (2006). Designing with Type: The Essential Guide to Typography. Watson-Guptill Publications Inc.,U.S.
• Cullen, K. (2006). Design Elements ,Typography Fundamentals. Rockport Publishers. Discoveringegypt, (t.y). Mystery of the Rosetta Stone. https://discoveringegypt.com/egyptian-video-documentaries/mystery-of-the-rosetta-stone/
• Emigre Fonts, (t.y). Zuzana Licko. https://www.emigre.com/Designer/ZuzanaLicko
• Felici, J. (2003 The Complete Manual of Typography: A Guide to Setting Perfect Type. Publisher Peachpit Press, First Edition
• Finkel, I. (2015). Cuneiform. British Museum Press, Printed and bound in China by C&C Offset Printing Ltd.
• Frocks in Stocks (2022). Instead of Gotham you can use. https://www.frocksinstock.com/post/instead-of-gotham-you-can-use
• Jonathanhoefler, (t.y). About https://jonathanhoefler.com/about
• Geeksforgeeks, (2024). Filipa Amado, what is the difference between a font and a typeface. https://www.geeksforgeeks.org/websites-apps/difference-between-typeface-and-font/
• Hochuli, J. (2008). Detail in Typography. Published by Hyphen Press, London,
• Lawson, A. (1990). Anatomy of a Typeface. David R. Godine, Publisher, Inc. Boston.
• Livius(t.y). Ephesus, Library of Celsus. Greek İnscription. https://www.livius.org/pictures/turkey/selcuk-ephesus/ephesus-library-of-celsus/ephesus-library-of-celsus-greek-inscription/
• Lupton, E. (2010). Thinking with Type: A Critical Guide for Designers, Writers, Editors, & Students. Publisher Princeton Architectural Pres.
• MacCarthy, Fiona (1990). Eric Gill. Published Faber & Faber, 74–77 Great Russell Caddesi, Londra
• Meggs P.B. & Purvis, A.W (2012). Meggs’ History of Graphic Design. Published by John Wiley & Sons, Inc., Hoboken, New Jersey Published simultaneously in Canada.
• Moma, (2000).Gotham. https://www.moma.org/collection/works/139301
• Myfonts , (t.y.), About Typfece Family. https://www.myfonts.com/pages/fontscom-learning-fontology-level-1-type-families- about-typeface-families?srsltid
• Phoenicians in Phoenicia. (t.y). Phoenician Alphabet Origin. https://phoenician.org/alphabet/
• Robinson, Andrew. (2007). The Story of Writing,Thames&Hudson Publisher
• Ruder, E. (1981). Typographie : a manual of design, New York : Hastings House Publishers
• Sarıkavak, N.K. (2017). Kaligrafik ve Tipografik Deneysel Tasarımlar, Hat Baskı Sanatları ,Topkapı İstanbul, Hayalperest Yayınevi.
• Scribd, (2017). Typography Made to Fit. Uploaded by Muhammad Ridwan Nasution. https://www.scribd.com/document/358180339/Typography-Made-to-Fit
• Scribd,(2022), Terminology related to typography. https://www.scribd.com/document/583559881/Terminology-related- to-typography.
• Snowball, (2020). Filipa Amado, what is the difference between a font and a typeface. https://snowball.digital/blog/what-is-the-difference-between-a-font-and-a-typeface.
• Strizver, I. (2012). Type Rules !The designer’s guide to professional typography. Published by John Wiley & Sons, Inc., Hoboken, New Jersey. Tschichold, J. (1893). New Typography, Translate by Ruari MCLean. University of California Press. https://www.frocksinstock.com/post/instead-of-gotham-you-can-use Wikipedia, (t.y). Tobias Frere-Jones. https://en.wikipedia.org/wiki/Tobias_Frere-Jones