Setting type also relies heavily on optical, not mechanical, factors or default settings. What looks correct visually most often stands— a challenging concept to convey, especially to beginners. Typographic training involves learning to see with keen eyes.
Observing type critically, notably flaws that inhibit function, offers valued insight to set it well. Detect problems unseen by most and fix them. Ensure nothing comes between the words and the readers. Skilled type- setting involves learned principles and practice plus thoughtful observation and treatment. Author name and book title typeset in TheSans from the superfamily Thesis on the cover of the book, Handle.
Die Opern, share size and weight. Color and position shifts distinguish them. The photograph inspires the color choices, which ties type and image together. Three levels of text— organization name, tagline, and book title— share uppercase settings and justified alignments.
Changes in type size, width, and tracking provide variation. Without its hollow Carolina de Bartolo interior a jug is merely a lump of clay, and it is with Erik Spiekermann only the empty space inside that makes it into a vessel. Space is as much a physical Willi Kunz presence as typographic marks. Their collective relationship enlivens works. Space can change the look and feel of type, noticeably improving or weakening it.
The act of spacing adjusts and refines the distances between characters, as well as the overall appearance of words, lines, and paragraphs. It includes kerning, tracking, and leading line spacing. The terms normal, loose, tight, and negative describe spacing. Normal typically means an even, gray field of text. For instance, tight spacing creates a blacker Typographic color refers to overall impression than loosely spaced type. Readability type lightness and darkness based on declines as spacing decreases or increases beyond value, not on hue.
Light and dark values average ranges: type looks awkwardly squeezed influence type appearance and hierarchy. Key spacing goals are balance and Type lacking color is dull and flat; strong consistency. The eye guides because spacing color enlivens works with variation and type relies on optical sensitivity.
What works emphasis. Text quantity, typeface, and well once might not work again; always space space in and around letterforms com- with a delicate touch, case by case. Dark elements make strong imprints; light elements connote openness. Their interaction nurtures spatial depth, rhythm, and texture—all highly desirable typesetting attributes. Open leading in the first paragraph gives notice distinct from others.
It is light in typographic color. Quotes in body text achieve strong contrast through weight and width changes from Univers 55 Regular to 67 Condensed Bold. The method allows the text to be easily scanned. Footnotes are consistently positioned below the body text with captions on verso pages. Repeated set- tings and positions of key elements aid typographic hierarchy and navigation. Certain combinations appear too close to or far from each other when typeset by default.
Numerals, notably 1, often need kerning to bring others closer to or farther from them. A well-designed typeface has considered kerning pairs, which ease typesetting because quality spacing is inherent. Still, regardless of the typeface strength, manual adjustments can be required. Body 9 to 14 point and caption 6 to 8 point styles typically need less notice than display styles 24 point and up because space between characters grows at large type sizes. Irregularities are more evident.
Kerning fixes awkward appearances. Tracking affects the overall spacing of words, lines, and paragraphs. Normal tracking refers to standard spacing set by default without adjustments.
Type designers preset it in type- faces. When used decisively, tracking improves type appearance. For instance, uppercase set- The regional charter publication, tings full and small caps rely on open tracking Het Streekpact Voor de Westhoek for identification. Their lack of ascenders and The Regional Pact in Flanders descenders slows readability.
Added space around Fields , offers an example of apt such characters improves recognition. The same tracking applied to uppercase applies to sequences of lining figures numerals settings in the typeface Trajan , the same height as uppercase letterforms , such which rely on open spacing for as phone numbers and zip codes.
Alternatively, best recognition. Condensed typefaces with narrow proportions and counters in upper and lowercase may benefit from slightly open tracking. Avoid tracking paragraphs or continuous text. When spaced too loosely, tightly, or negatively, paragraphs no longer read fluidly. Kerning adjusts the slivers of space between characters. Such fixes are common with letterforms next to T, V, W, and Y.
Delicate shifts closer to or farther from one another remedy awkward character combi- nations. Numerals, especially those paired with 1, often require care, as do punctuation marks, including dashes, parentheses, and backslashes.
Character space increases at large type sizes and makes errors more apparent. Uppercase settings full and small caps and Adjusted Spacing After Tracking lining numeral sequences rely on open tracking for recognition. Lowercase settings typically need — lowercase little to no tracking because of their variation in shape. Condensed Irregular Spacing Normal Spacing typefaces with narrow proportions and counters in upper and lower- case can often benefit from slight — l o w e r c a s e tracking.
Words, lines, Adjusted Spacing Too Loose Spacing and paragraphs loosely, tightly, or negatively tracked look spotty and no longer read as intended.
Leading options in design are the types we select, its appearance when are positive, negative, and solid. Positive leading is greater than the point size; negative leading is printed depends on good composition—the combination less.
Solid leading equals point size. Positive leading is apt for most type settings. Negative leading can of type into words, the arrangement of words into lines, work for display styles 24 point and up but not body styles 9 to 14 point. Leading depth varies and the assemblage of lines to make pages. Typefaces with tall ascenders in design are the types we select, its appearance when and long descenders require more line spacing to printed depends on good composition—the combination of type into words, the arrangement of words into lines, avoid touching.
Long versus short lines also need and the assemblage of lines to make pages. It gives the appear- ance of single lines, not sequential thoughts. Viewers see too much at once. Overlapping leading offers visual interest, as well as typographic texture, via merged yet contrasting text.
Positive W. Norton leading is greater than the type size, solid and the assemblage of lines to make pages.
Overlapping leading is an alternate line spacing method that nests contrasting text types. One text fits into the line space of Design Athens, Greece illustrate solid another. It nests without distraction and leading, in which the leading equals type adds typographic texture. Combined size. Baselines of uppercase letterforms typefaces, Deck and Matrix, as well as in the typeface Helvetica stack on cap type size, distinguish content.
Flush-left settings are common and offer reading ease because the starting points of lines and paragraphs are fixed. They nurture left to right reading with comfort. Flush-right alignments are fit for words or lines. They contrast well with flush-left text, when juxtaposed along alignment edges.
A ragged left edge creates irregular starting points per line, which can make reading paragraphs difficult. Centered alignments connote formality and classic typography.
Useful in limited settings with minimal text, such as book title pages, centering rarely applies to continuous text running paragraphs. Justified settings create clean lines and strong left and right alignment edges. Justified paragraphs pose challenges when variable word spaces, which flex in width based on type size and line-length relationships, cause noticeable flaws such as rivers unsightly gaps or holes that appear in justified settings.
A call-to-action poster promotes the benefits of industrial hemp. A flush-left headline in D I N commands notice. Body text set in Newzald adopts the same align- ment.
The paragraph features a subtle rag with light in-and-out movement along the ragged right edge. Graphic carriers emphasize select text. Optimal settings seek balance among type size, A line length that is too wide makes it difficult to travel back across the paragraph line length, and leading. Type size is neither too small nor to the next line and is tiring to read. Small type sizes are often ill-suited to long big.
Line length is neither too narrow nor wide. Leading lines; there are too many words per line. If the line length is too short, the transition is neither too tight nor open. Forty-five to seventy-five to the next line happens too quickly, and disjointed reading arises. Large type sizes characters per line is an ideal range for continuous text. Small type sizes are often ill-suited to long lines; Above Average Line Length there are too many words per line. If the line length is too 89 characters per line short, the transition to the next line happens too quickly, and disjointed reading arises.
Large type sizes fit poorly in narrow line lengths because the word count per line Optimal settings seek balance among type size, line length, and is limited, and excessive hyphenation, which is typically leading. Forty-five to seventy-five characters per line is an ideal best prevented, may occur.
Generous leading may break range for continuous text. Tight, solid, or negative leading merges lines Average Line Length together. Either too much is read at once or lines collide. Uphold continuous text integrity and invite readers into paragraphs with considered treatments. Forty-five to seventy-five Forty-five to seventy-five characters per characters per line is an line is an ideal range for continuous text. A line length that is difficult to travel back across the paragraph too wide makes it difficult to the next line and is tiring to read.
Small to travel back across the type sizes are often ill-suited to long lines; paragraph to the next line there are too many words per line. If the and is tiring to read. Small line length is too short, the transition to type sizes are often ill-suited the next line happens too quickly, and to long lines; there are too disjointed reading arises. Large type sizes many words per line.
If the fit poorly in narrow line lengths because line length is too short, the the word count per line is limited, and Line length describes the width of a transition to the next line excessive hyphenation, which is typically text line, measured in picas. An ideal line happens too quickly, and best prevented, may occur.
If too long, it is diffi- Large type sizes fit poorly Average Line Length cult to move across and down to the in narrow line lengths 45 characters per line next line. If too short, the transition to because the word count the next line happens too quickly. Large per line is limited, and type sizes work best with wide line excessive hyphenation, lengths, small type with narrow.
Typography is a process, a refined craft making Typography is a process, a refined craft making language visible. Designers shape language with language visible.
Designers shape language with type and give words life and power to speak type and give words life and power to speak text fluently. Letterforms and their supporting text fluently. Letterforms and their supporting characters are simple shapes that do so much. With distinct voices and personalities, type whispers With distinct voices and personalities, type whispers delicately and shouts loudly. Communication lies delicately and shouts loudly. Type is commanding and beautiful one at its core.
It is moment, analytic and instructive the next. Typographic practice and those dedicated to it Typographic practice and those dedicated to it gives spoken and written language vitality across gives spoken and written language vitality across time, generations, and cultures.
It paragraphs. Flush right contrasts offers a fixed point from which words, well with flush left text, when juxta- lines, and paragraphs begin, which posed along alignment edges. Flush eases left to right reading. Fixed word right is less fitting for paragraphs space typically makes ragging easier because the start of each line varies to manage than justified alignments in position. The stable left edge with variable word space.
Typography them with purpose and poise. Typography is a process, is a process, a refined craft making language visible. Designers shape Designers shape language with type and give words language with type and give words life and power to life and power to speak text fluently.
Letterforms speak text fluently. Letterforms and their supporting and their supporting characters are simple shapes characters are simple shapes that do so much. With dis- that do so much. With distinct voices and personalities, tinct voices and personalities, type whispers delicately type whispers delicately and shouts loudly. Type is Communication lies at its core. Type is commanding commanding and beautiful one moment, analytic and and beautiful one moment, analytic and instructive instructive the next.
It is dramatic, whimsical, modest, the next. It is dramatic, whimsical, modest, and and extravagant. Typographic practice and those dedi- extravagant. Typographic practice and those cated to it gives spoken and written language vitality dedicated to it gives spoken and written language across time, generations, and cultures. Centering It has variable word spaces, which means is rarely practical for running paragraphs. Attention to such factors is vital text, nor do they create relationships to well-justified settings, which are prone with format edges.
Flush-right settings work well in limited cases, such as single lines, as seen here. Consistent positioning along the top and side format edges, as well as type set in Nexus Mix from the superfamily Nexus , offer unity. The piece announces and tradition. Business cards for the a musical event at The Monastery Manchester. Serif typeface Utopia in different type sizes further distin- guishes text in an exhibition catalog that celebrates Portuguese literature. An uppercase treatment plus color shift introduces opening words of the first paragraph with distinction.
Type size varies per line to best fit measures and maintain consistent tracking. It is a silent note that A traditional approach is an indent provides a fleeting pause and smooth transition from equivalent to one em space. Indents one paragraph to another. Reading continues fluidly can also match the leading.
Be sure and does not halt. An indent alternative equals or full line returns. A traditional indent is equivalent half the paragraph measure or to one em space. Exaggerated indents range up to half line length. Such extension might the measure of the line length.
Outdents are expressive be excessive for large amounts indicators. First lines of paragraphs shift outside the of continuous text, but in limited body text, rather than into it. Length varies, depending use, the exaggerated effect is on the desired effect. Graphic elements such as circles unexpected and dramatic. Such devices can be lighter in color or Full and half line returns signal value than body text.
Be inventive, but be careful breaks between paragraphs. A not to over-indicate paragraphs—it can inhibit full line return maintains baseline reading and result in the indicator being more alignment see chapter 5 , if in prominent than the text. Full returns can benefit Opening paragraphs, such as chapter or section paragraphs with leading of little introductions, are starting points, not continuations. The space between para- Thus, paragraph indicators that signal a change from graphs is apparent; the pause is the preceding paragraphs are not needed.
First lines clear. Full returns applied to openly of beginning paragraphs occasionally merit special leaded paragraphs can distract. Investigate Too great a distance between changes in type size, style, or case.
Try a baseline paragraphs breaks them apart; shift, which is a type position change above or below the space is too large and leaves the baseline. A companion typeface is also effective. Sequential Drop caps add ornate flair when fit to content. A half line return Opening lines and paragraphs are invitations to is a reasonable substitute. It readers. Create a unique start when appropriate.
Tailor appropriately. Indents can also match the leading. Be sure shift outside the paragraph body. Outdents An indent alternative equals work well when dramatic effect half the paragraph measure or line length. Such extension is desired. They sometimes have might be excessive for large amounts of continuous text, a second emphasis factor, such but in limited use, the exaggerated effect is unexpected as a style or case change, that and dramatic.
Graphic Elements and Symbols Full and half line returns signal breaks between paragraphs. Graphic elements, such as circles, A full line return maintains baseline alignment, if in place. Full returns can benefit paragraphs with leading of little Integrated throughout body text, depth. The space between paragraphs is apparent; the pause they shape what looks like one para- is clear. Full returns applied to openly leaded paragraphs can graph. These devices often appear distract.
Too great a distance between paragraphs breaks lighter in color or value than the them apart; the space is too large and leaves paragraphs body text. Embellished symbols, in chunks. Sequential thought ceases. It is any add decorative character. Consider measure greater than the leading but less than a full the pilcrow for literal repre- return.
Graphic elements and symbols require discretion to point Leading avoid being stronger than the paragraphs they signal. Ledge-like in appearance, outdent lengths vary from a half to a full paragraph width or more.
Outdents work well when dramatic effect is desired. They sometimes have a second emphasis factor, such as a style or case change, that contrasts with the body text.
Graphic elements, such as circles, squares, and triangles, offer expressive ways to indicate paragraphs. These devices often appear lighter in color or value than the body text. Embellished symbols, including fleurons or fists, add decorative character.
Consider the pilcrow for literal representation. Ragging is dedicated to fine-tuning para- not realistic, especially for continuous text running graph edges with manual line breaks. It remedies line paragraphs. Hyphenation splits words across lines ends with awkward angles, curves, holes, and shapes and improves typographic appearance.
With it come that appear when using default settings. Rags may many guidelines. Watch consecutive hyphenations be active, with ample in-and-out movement from line at line ends—strive for no more than two in a row.
No absolute Do not hyphenate proper names and nouns. The first method exists. Achieve a smooth ebb and flow, and and last full paragraph lines are hyphen free. Break adjust anything that distracts from reading. Whether words into grammatically correct syllables. Avoid loose or tight, rag consistently.
Prevent empty spaces, hyphenating words with fewer than five letterforms. Too little into or beyond the average line length. Use such techniques in limited cases when letterforms behind, three ahead. Avoid ragging by to control when refining paragraphs. Rivers are tracking or manipulating word space. It often leads gaps or disruptive holes that run down and across to inconsistent spacing. Save ragging until the end justified alignments. Widows are one, two, or three of typesetting with final text placed.
They do not fill enough line length; their diminutive stature draws attention. Review and alter previous lines with effort to add heft to the last line. It need not meet average line ends; half the measure is fitting. Orphans arise in multiple-page projects. They are first paragraph lines ending pages or last paragraph lines beginning new ones. Ragging is dedicated to fine-tuning paragraph edg- Awkward angles, curves, holes, and Three hyphens in a row, es with manual line breaks.
It remedies line ends with awk- shapes that appear through default lines 1, 2, and 3 ward angles, curves, holes, and shapes that appear settings need tending. Rags may when using default settings. Rags may be active, with be active, with liberal in-and-out Large hole, line 4 ample in-and-out movement from line to line, or under- movement, or unassuming, with stated, with subtle shifts.
No absolute method exists. Hyphenation sup- Angle, lines 4, 5, and 6 Achieve a smooth ebb and flow, and adjust anything that ports ragging by decisively splitting distracts from reading. Unwanted rivers, Ledge on line 9 orphans, and widows also need spe- Before cial attention. Rivers are unsightly gaps or holes that appear in justified Ragging and hyphenation are methods that finesse settings.
Widows are one, two, or paragraphs. Ragging is dedicated to fine-tuning para- three short words on the last para- graph edges with manual line breaks. It remedies line graph line.
Orphans isolate single ends with awkward angles, curves, holes, and shapes paragraph lines between pages. Rags may be active, with ample in-and-out movement from line to line, or understated, with subtle shifts. Achieve a smooth ebb and flow, and adjust anything that distracts from reading.
What does a typographer do? He makes sure the text is easy to read. Do you know the difference between typeface and font? You may have heard about modern fonts or vintage fonts. A typeface is collection of fonts sharing an overall appearance that are designed to be used together.
For example, Verdana is a typeface and Verdana pt italic is a font. A serif is a small line attached to the end of a stroke in a letter or a symbol. If the letters and symbols of a typeface have serifs, then we call it a serif typeface. The thought is that the strokes of the serif typeface help guide the eye across a line of text. Serifs are almost a standard when it comes to most newspapers. Sans-Serif is said to be easier on the eye when reading online.
Display is usually a typeface used with large sizes, usually 20 or above. They are generally not used for body, but they are perfect for demonstrating a visual theme when used for titles and headings. Mind blown?
Applying the principles of typography, designers break up text into blocks and offer visual shortcuts that let users sift through masses of information — making it easier to scan for information. The more information a user gets from one glance, the quicker he achieves his goals on a web page and the less time he spends staring at the screen.
Typography is a tool with which we, designers, can create things. We use it to shape content, give language a physical body and enable the flow of understanding.
From analyzing the basic pixels that make up a well-designed comma to organizing blocks of text along a baseline grid, the study of typography can help us create solid structures of information. Typefaces are to designers as glass, steel and stone are to architects. Typography is about assembling those resources into something sensible and robust—like an architect utilizing industrial materials to build a skyscraper that can withstand the test of weather and time.
In both print and digital design, a typeface refers to the visual design of letterforms; a font is simply how those designs are delivered. A set of metal casts is called a font. These days, however, a font refers to the software that allows us to install and display the design on-screen. Each typeface can consist of different fonts—often representing a single weight or style. In other words, a typeface refers to a family of fonts such as Arial while a font refers to a single member of that family such as Arial Narrow or Arial Black.
Among the various principles of typography, font choice is something we designers must master. Maryjane Joonmee Be the first to know about new publications. Follow publisher Maryjane Joonmee Choi. Info; Share. Spread the word. First principles of typography multimediaman In Stanley Morison wrote, Typography is the efficient means to an essentially utilitarian and only accidentally aesthetic end, for the enjoyment of patterns [PDF] Nondestructive Testing: Radiography, Ultrasonics, Liquid Penetrant, Magnetic Particle, Eddy Current.
0コメント