Typography rules book

F T A K A J Q F T A K A J Q A K A J Q A K

A H S L W Y W A H S L W Y W S L W Y W S L

I S Q Z B S F I S Q Z B Q F Q Z B Q F Q Z

Y B W X T Y V Y B Y X T Z V W X T Z V W X

W E E C M S Y W E X W X D Y E C M D Y E C

S N R V Y T K S N F X G G K R V Y G K R V

C S R B U E M C C W R B B M R B U B M R B

V A T N Q M E V V C E N N E T N Q N E T N

F M Y M B S F F F A A T T F Y M B T F Y M

Q G U P V B T Q Q N D B B T U F V B T U F

Z K I O B H Y Z Y Z W H H Y I G B H Y I G

A H L O Z Z C A A Y T Z Z C O J Z Z C O J

S L V P X Q W S S O H S Q W P H X Q W P H

V V O F W R G V V U I A R G O C W R G O F

K B A T N J E K E W S M J E A R N J E A T

L W S Y M K V L W Y G K K V S Y M K V S Y

P X D U Z X H P X H U Z X H D P Z X H D U

C Q F I X V O C Q H I X V O F S X V O F I

Y J G O C Y E Y J G O C Y E G I C Y E G O

B K H K R U G B K H K R U G H S R U G H K

K C P F H I V A O J P H I V J P H I V J P

What are the rules of typography and are they to be broken? Do’s and Dont’s abound and all graphic designers have their own pet hates in the typography of the printed page. This is a book of typographic principles, most of which will find broad agreement and a few of which might provoke some interesting debates - and why not?

Students on the BA Graphic Design programme were each asked to create a spread featuring one particular issue and the results were subsequently assembeled into this book.

Justified body text can look very effective when used with a working grid system, however it has the power to make a playful publication appear very formal and bland. Justified body text can be found in numerous newspapers within the columns.

Before the creation of even the most basic computers, typesetters were individuals responsible for moving around metal characters during the letterpress era. Due to the technological advantages we are influenced by today, everyone has the power to set their own type. Relative to our culture text is read left to right; top to bottom therefore it is set to Align Left however different languages have other preferences. Body text can also be set Justified, Centre and Alight Right. It’s important that the characteristics of type are modified accordingly otherwise lines may have too many or too few words on them. As a typesetter we all need to pull in readers and make reading text an easy and comfortable experience.

Text should rarely be set to align right, if ever it should be used on headings and/or only for a design based reason as it has a negative impact on the readability of type. Setting large blocks of body text is definitely a don’t.

Body text should only ever be centred for specific publications. Two exceptions would be wedding invitations and menus. Don’t fall into the trap of thinking everything has to be symmetrically balanced.

nt Size

oint Size Point Size Point Size Point Size Point Size Point Size Point Size

Point Size Point Size Point Size Point Size Point Size

Point size is a relative measure of the size of a typeface, which is the vertical measurement of the lettering. Type becomes difficult to read when its small but also light, small but also in colour, small but also set solid, small but also reversed out of colour or black.

Point size is a relative measure of the size of a typeface, which is the vertical measurement of the lettering. Type becomes difficult to read when its small but also light, small but also in colour, small but also set solid, small but also reversed out of colour or black.

Point size is a relative measure of the size of a typeface, which is the vertical measurement of the lettering. Type becomes difficult to read when its small but also light, small but also in colour, small but also set solid, small but also reversed out of colour or black.

Point size is a relative measure of the size of a typeface, which is the vertical measurement of the lettering. Type becomes difficult to read when its small but also light, small but also in colour, small but also set solid, small but also reversed out of colour or black.

Point size is a relative measure of the size of a typeface, which is the vertical measurement of the lettering. Type becomes difficult to read when its small but also light, small but also in colour, small but also set solid, small but also reversed out of colour or black.

narrow columns are hard to read. narrow columns are hard to read. narrow columns are hard to read. narrow columns are

hard to read. narrow columns are hard to read. narrow columns

are hard to read. narrow columns are hard to read.

narrow columns are hard to read. narrow columns are hard to read. narrow columns

are hard to read. narrow columns are hard to read. narrow

columns are hard to read. narrow

columns are hard to read. narrow

columns are hard to read. narrow columns are hard to read.

narrow columns are hard to read.

Having the correct amount of characters on each line is key to the readability of a text.

The fact of legibility comes in to account when dictating the width that a line of text should be. If the text is too narrow, the readers eye will have to travel back to often creating a break in the rhythm.

Lines that are too short also lead the reader to begin a line without finishing the previous line.

The optimum line length is considered to be 50-60 Characters including spaces, but other sources suggest up to 75 characters is an acceptable line length.

This specific line showing 61 characters is an optimum length.

It is very important that the line length of text is correct to ensure that the reader enjoys the read of your text and not struggling with its readability. If the text is too wide, the reader will have issues with keeping a focus on the desired text, therefore finding their eyes wondering away. This is because with a wide line length, the eye struggles to gauge where the beginning and end of the line lie and can further be difficult to read on to the correct line with large blocks of text. Line length is determined by typographic parameters based on a formal grid and template with several goals in mind; balance and function for fit and readability, aesthetic style.

IT IS CRUEL TO LEAVE A WIDOW* ON HER OWN.

*A widow is the term used to define a single word

that has been unintentionally placed at the end of a paragraph, resulting in an unusually short structure that disrupts reading. This can be rectified by either adjusting the tracking or altering the content of the text.

Widows are not to be confused with orphans, a way in which one can distinguish them is through a mnemonic: orphans start out alone, widows end up

alone.

WIDOW S.

ORPHAN

In magazines, books and columns of text an orphan is where the words or short lines at the beginning or end of a paragraph end up being finished in a separate column.

Sentences which are left dangling at the top or bottom of a column are separated from the rest of the

paragraph this causes problems.

These problems would need to be fixed. This is because small bits of text separated from the rest of its paragraph create odd spacing at the top of a column and make text harder to follow, especially when the orphan is on a separate page.

S H P A R G A R PA

art in big p ph is a s play agra raph gn a par hereas g a r i s a pa n de ed. W right ext in n wester ustifi t j f s i o the r ent d. I left o ligned to t difficult e ignm portraye l h t A i a on at it is to be der finds eing in a ned s tors th g w s c i l o a e f l a b h a e any nd to be xt is seen use the r each line ility a are m n b i e e r g e e s le Th ese of te ts of beca to the are hs; th body d, this is ting poin apply grap a d a there n left r n a a r h e p r a g f p t t n o i s a n ern ragr uch as o he ability or ce with the ng, k the read a pa l leadi how . st n a .S n e e i e d d o t i i d lu t c n e isturb hen inc to ange ca m d h age. o l ey de n c t p i h t g T e i o n l t n . w re n th ing ng a at have left o owever rms o diffe track g n usi h te is perfo H a . eavin l n y l e , type Whe factors t g h h t u p d y s i in nh nw look certa ent, whe nd it ole colum esign. a r e m align the read oss the h d good d raph is of acr oint ere arag flow tified is consid a new p e same p ever s u j s h How text i ation on show line by t text. raph is n y to f t e s a o h r w k fi p hy One dent the new bloc w parag n two in ne he wee

, is to ding of t start of a rned bet g n i t the star retu e lea as th y to show ke that is e z i i s a kl her w blan anot ed by a at text. indic of body one e of lows, l s y k t c s o t l bl men at fo h align graph th e uc h S t es. ign ara g s e p n e e a d h h n on as of ame to t

this c ine i e e l r e a a r s e t n s e no sam s wh In mo aph is th area nformatio n on the e r r g a a i o r i ere pa ere mat ver th infor s, wh howe lm poster ds to the fi spon . as in corre r column n m u e l h o t c o n the line i

RIVERS GAPS IN TYPESETTING APPEARING TO RUN DOWN A PARAGRAPH OF TEXT, DUE TO A COINCIDENTAL ALIGNMENT OF SPACES.

RIVERS can occur regardless of space settings, however are most noticeable with bodies of text with full text justification or mono spaced fonts. Rivers are less noticeable with proportional fonts, due to their narrow spacing. Rivers occur because of a combination of the x-height of the typeface, the values assigned to the widths of various characters, and the degree of control over character spacing and word spacing. Broader typefaces are more prone to exhibit rivers.

Increased sentence spacing can also exaggerate the river effect.

To test for rivers, a proof sheet can be turned upside down to examine the text. From this perspective, the eye is less likely to recognize words and the type can be viewed more readily as an overall pattern.

n o i t a t o u Q marks marks, Definition: punctuation f o t e s a f o d either to each ble (“ ”), use u o d r o ’) (‘ title or single and end of a g in n in g e b mark the ate that a e, or to indic g a s s a p d te quo as slang or is regarded e s ra h p r o er than word iscussed rath d g in e b is r jargon o e. the sentenc used within

Examples

“‘”’ ’´ ˝

tion marks Double quota tion marks Single quota Apostrophes

Prime marks

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Spot the difference d 4?

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e that dog v lie e b u o y n "Ca ll? Its huge!" stands 7’3” ta

lieve that dog e b u o y n a “C ll? It’s huge!” ta ˝ ´3 7 s d n ta s

Answers

ot hanging tations are n 1 - The quo ht quotes e. 2 - Straig over the edg of true sed instead have been u otation arks. 3 - Qu quotation m stead of been used in marks have nd 3. after the 7 a prime marks een left out rophe has b 4 - An apost t’s”. in between “i

hea ING D S

PARA AP GR H Paragraph headings are used for emphasis as the first line of a section of text. A heading should be differential from the rest of the text but still fit the hierarchy of the main body of text. If used properly then capitals in a header

can add emphasis to a statement. You should use the existing hierarchy of the text and alter the font size and weight. . Headings should also be consistent the whole way through, this adds to the style of the typography.

Capitalized text is one of the most common and least effective methods for adding typographical emphasis.

We recognize words in two ways, by parsing letter groups and by recognizing word shapes. Words or headlines set in all capital letters form rectangles with no distinctive shape. To read a block of text set in all capital letters we must parse the letter groups, which is uncomfortable and significantly slows reading. Visual Style Capital letters are often used on covers of magazines, in logos and artsytypography, usually to emphasise the visual style of the letters them selves, rather than the word. This usually evolves into Over-use of Caps, which is a common mistake. It looks clumsy, lacks finesse and intelligent. To solve this problem, the use of U/Lc in medium or bold and closely spaced text looks infinitely better. Within a set of text, Capital letters can be considered a third form of emphasis, among Italics and Bold. They are used to denote a louder, almost shouting pronunciation. Tabloid newspapers are an example of third form emphasis using Capital Letters. Again overuse of this can make the piece appear unprofessional.

CAPITAL LETTERS for Emphasis

the only thing worse than being blind is having sight and no vision Its important to remember that when reversing type out of colour, the colour of the text should not be too similar to the background colour, as it may be difficult to read. Its also worth remembering that even if your type is white, if it is too small or thin, the ink from the background may run into the text when it goes to print.

the only thing worse than being blind is having sight and no vision When setting text in colour against a white background it is important to remember that if the colour is too pale, it may be difficult to read, especially from a distance. It’s best to go for darker or brighter colours that will stand out, especially when the text is small.

Combining Typefaces A single font lacks the diversity needed to create an effective hierarchy and the visual interest to keep the viewers attention for a prolonged amount of time.

To help with this there are typographic systems that have been developed to help combine typefaces in an effective and aesthetically pleasing way.

A common modernist adage is “less is more� which is something that is true when combining typefaces as well.

Using more than three fonts on a page more often than not results in an undesirably chaotic look similarly using too many fonts from similar families or styles will also create discord for your viewer.

For example slab serifs tend to want to be upfront so more than one on a page will have them fighting with each other for the viewers attention, inversely too many neutral san serif fonts will look messy and lack hierarchy.

A A a

Use a medium weight font from the chosen type family. Keep the point size slightly bigger ie, at least 9 point for those with a decent ‘x’ height and at least10pt or above for old style and transitional faces. Insert some reasonable leading to the lines to aid the reader. Use a medium weight font from the chosen type family. Keep the point size slightly bigger ie, at least 9 point for those with a decent ‘x’ height and at least 10pt or above for old style and transitional faces. Insert some reasonable leading to the lines to aid the

reader. Use a medium weight font from the chosen type family. Keep the point size slightly bigger ie, at least 9 point for those with a decent ‘x’ height and at least10pt or above for old style and transitional faces. Insert some reasonable leading to the lines to aid the reader. Use a medium weight font from the chosen type family. Keep the point size slightly bigger ie, at least 9 point for those with a decent ‘x’ height and at least10pt or above for old style and transitional faces. Insert some reasonable leading to the lines to aid the reader. Use a medium weight font from the chosen type family. Keep the point size slightly bigger ie, at least 9 point for those with a decent ‘x’ height and at least 10pt or above for old style and transitional faces. Insert some reasonable leading to the lines to aid the reader.

Use a medium weight font from the chosen type family. Keep the point size slightly bigger ie, at least 9 point for those with a decent ‘x’ height and at least10pt or above for old style and transitional faces. Insert some reasonable leading to the lines to aid the reader. Use a medium weight font from the chosen type family. Keep the point size slightly bigger ie, at least 9 point for those with a decent ‘x’ height and at least 10pt or above for old style and transitional faces. Insert some reasonable leading to the lines to aid the reader. Use a medium weight font from the chosen type family. Keep the point size slightly bigger ie, at least 9 point for those with a decent ‘x’ height and at least 10pt or above for old style and transitional faces. Insert some reasonable leading to the lines to aid the reader. Use a medium weight font from the chosen type family. Keep the point size slightly bigger ie, at least 9 point for those with a decent ‘x’ height and at least 10pt or above for old style and transitional faces. Insert some reasonable leading to the lines to aid the reader. Use a medium weight font from the chosen type family. Keep the point size slightly bigger ie, at least 9 point for those with a decent ‘x’ height and at least 10pt or above for old style and transitional faces. Insert some reasonable leading to the lines to aid the reader. Use a medium weight font from the chosen type family. Keep the point size slightly bigger ie, at least 9 point for those with a decent ‘x’ height and at least10pt or above for old style and transitional faces. Use a medium weight font from the chosen type family. Keep the point size slightly bigger ie, at least 9 point for those with a decent ‘x’ height and at least10pt or above for old style and transitional faces. Insert some reasonable leading to the lines to aid the reader.

Use a medium weight font from the chosen type family. Keep the point size slightly bigger ie, at least 9 point for those with a decent ‘x’ height and at least 10pt or above for old style and transitional faces. Insert some reasonable leading to the lines to aid the reader. Use a medium weight font from the chosen type family. Keep the point size slightly bigger ie, at least

9 point for those with a decent ‘x’ height and at least10pt or above for old style and transitional faces. Insert some reasonable leading to the lines to aid the reader. Use a medium weight font from the chosen type family. Keep the point size slightly bigger ie, at least 9 point for those with a decent ‘x’ height and at least10pt or above for old style and transitional faces. Insert some reasonable leading to the lines to aid the reader.

R eversing out Text Use a medium weight font from the chosen type family.

Keep the point size slightly bigger ie, at least 9 point for those with a decent ‘x’ height and at least 10pt or above for old style and transitional faces.

Insert some reasonable leading to the lines to aid the reader.

Use Use Use Use Use Use Use Use Use Use Use Use Use Use Use Use Use Use Use Use Use Use Use Use Use Use Use Use Use Use Use Use

only for short pieces of text, best to stick to strong solid backgrounds rather than pale of colours. only for short pieces of text,best to stick to strong solid backgrounds rather than pale of colours. only for short pieces of text, best to stick to strong solid backgrounds rather than pale of colours. only for short pieces of text, best to stick to strong solid backgrounds rather than pale of colours. only for short pieces of text, best to stick to strong solid backgrounds rather than pale of colours. only for short pieces of text, best to stick to strong solid backgrounds rather than pale of colours. only for short pieces of text, best to stick to strong solid backgrounds rather than pale of colours. only for short pieces of text, best to stick to strong solid backgrounds rather than pale of colours. only for short pieces of text, best to stick to strong solid backgrounds rather than pale of colours. only for short pieces of text, best to stick to strong solid backgrounds rather than pale of colours. only for short pieces of text, best to stick to strong solid backgrounds rather than pale of colours. only for short pieces of text, best to stick to strong solid backgrounds rather than pale of colours. only for short pieces of text, best to stick to strong solid backgrounds rather than pale of colours. only for short pieces of text, best to stick to strong solid backgrounds rather than pale of colours. only for short pieces of text, best to stick to strong solid backgrounds rather than pale of colours. only for short pieces of text, best to stick to strong solid backgrounds rather than pale of colours. only for short pieces of text, best to stick to strong solid backgrounds rather than pale of colours. only for short pieces of text, best to stick to strong solid backgrounds rather than pale of colours. only for short pieces of text, best to stick to strong solid backgrounds rather than pale of colours. only for short pieces of text, best to stick to strong solid backgrounds rather than pale of colours. only for short pieces of text, best to stick to strong solid backgrounds rather than pale of colours. only for short pieces of text, best to stick to strong solid backgrounds rather than pale of colours. only for short pieces of text, best to stick to strong solid backgrounds rather than pale of colours. only for short pieces of text, best to stick to strong solid backgrounds rather than pale of colours. only for short pieces of text, best to stick to strong solid backgrounds rather than pale of colours. only for short pieces of text, best to stick to strong solid backgrounds rather than pale of colours. only for short pieces of text, best to stick to strong solid backgrounds rather than pale of colours. only for short pieces of text, best to stick to strong solid backgrounds rather than pale of colours. only for short pieces of text, best to stick to strong solid backgrounds rather than pale of colours. only for short pieces of text, best to stick to strong solid backgrounds rather than pale of colours. only for short pieces of text, best to stick to strong solid backgrounds rather than pale of colours. only for short pieces of text, best to stick to strong solid backgrounds rather than pale of colours.

Reversing Headline from Colour Use only for short pieces of text, best to stick to strong solid backgrounds rather than pale of colours.

Vertical Letters Vertically stacked letters are often found in street signage. However, the original Roman characters were not designed to sit on top of another, but side by side.

This can therefore be defined as a typographic crime, especially when lowercase letterforms are used, as the differences among ascenders and descenders result to uneven spacing. A striking example is the letter ‘I’ or the abnormal width of characters aligned vertically.

To make vertical stacking work, letterforms should be capitalized or centered as a column. This is a common phenomenon in many of Asian script systems, such as Chinese, where text is traditionally arranged in that way. Frankly, the fact that the characters have a square shape makes it a lot easier. In conclusion, the best way to handle Latin text is to rotate from horizontal to vertical, thus maintaining the natural affinity of type.

explore

explore explore explore

explore Exploring Fonts Exploring fonts is a process every designer needs to go through while creating a piece of design. In order to choose appropriate type, it is necessary to define the message you are trying to communicate. There are no fixed rules behind this, however it is suggested that the designer works with two (maximum three) typefaces, all of which depict the right context.

Every font is different, some have hardly any noticeable differences and others diverge a lot. Type selection should not be driven merely by personal taste, but instead by the information to be presented. In other words, you cannot fit form into an idea, but instead it should express itself from the beginning. The practice of graphic design and typography are complicated activities, which can benefit from project logic and careful planning of elements such as tone of voice, visual language and semiotics.

ITISNEVER AG O O D I D E A TO T R YAND JUSTIFY GROUPS

OFTEXT

LIKETHIS

MEaNN I

Always read the copy supplied thoroughly so you can extract the maximum meaning to communicate between client and consumer.

G

A list of contributors to the ‘Can Your Read This” book.

Assembeled and bound by Sam Brown and Ben Gilpin.

Gemma Brett Samuel Brown Andrew Browne Danielle Cain Charlotte Causer Rob Cheeseman William Clempson Rebecca Collins William Curtiss Louise Donovan Yudhisthir Dookhee Sebastinella Dunne Alice Farrar Nevil Fernandes Oliver Fitton Katharine Fletcher Eithne Flynn Maya Forcione Ayesha Ford-Hayles Benjamin Gilpin Kaya Godfrey-Simson Nadine Grant Nawal Gurung Nischal Gurung Holly Hand Michael Harrison Sarah Harrison Rebecca Haskins

Adam Hassen Yuxin (Ethan) Huang Kieran James Mia Jamieson Matthew Jefferies Tammana Johal Samuel Jones Luke Keen Conor Kelly Henry Kirby Alistair Koh Alexandros Kosmidis Lukasz Kurasinski Sophie Le Marchand Ty Logan Maximillian Lom-Bor James Marshall Jack McFall Akira Mimasu Lewis Morgan Jodie Morris Harry Murr Samuel Nightingale Luka Nikcevic Helen O’Connor Daniela Osorio Jeevan Panesar Ravina Patel

Katarzyna Poplawska Oliver Richings Charles Rodriguez Elizabeth Salisbury Harriet Salmon Toby Sedgewick Georgia Shorey Nick Smith Anna Smith Sophie Taylor Rosaline Thomas Samuel Tillen Thomas Tyler Josh Wainwright Oliver Webb Tyrone Westlake Christiana Wilson Ryan Young

F T A K A J Q F T A K A J Q A K A J Q A K

A H S L W Y W A H S L W Y W S L W Y W S L

I S Q Z B S F I S Q Z B Q F Q Z B Q F Q Z

Y B W X T Y V Y B Y G T Z V W X T Z V W X

W E E C M S Y W E X R X D Y E C M D Y E C

S N R V Y T K S N F A G G K R V Y G K R V

C S R B U E M C C W P B B M R B U B M R B

V A T N Q M E V L V H N N E T N Q N E T N

F M Y M B S F F E F I T T F Y M B T F Y M

Q G U P V B T Q V Q C B B T U F V B T U F

Z K I O B H Y Z E Y W H H Y I G B H Y I G

A H L O Z Z C A L A D Z Z C O J Z Z C O J

S L V P X Q W S Q S E S Q W P H X Q W P H

V V O F W R G V 5 V S A R G O C W R G O F

K B A T N J E K E W I M J E A R N J E A T

L W S Y M K V L W Y G K K V S Y M K V S Y

P X D U Z X H P X H N Z X H D P Z X H D U

C Q F I X V O C Q H !

X V O F S X V O F I

Y J G O C Y E Y J G O C Y E G I C Y E G O

B K H K R U G B K H K R U G H S R U G H K

K C P F H I V A O J P H I V J P H I V J P