EURYPHARYNX DUX by Cassia The

EURYPHARYNX DUX type with weird sea creatures

Cassia The

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Copyright ÂŠ 2010 by Cassia Putri The First Edition All rights reserved. No part of this book may be reproduced in any form or by any means without permission from the designer. Critics, however, are welcome to quote brief passages by way of criticism and review.

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TABLE OF CONTENTS 20 atm

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TABLE OF CONTENTS

8–9

INTRODUCTION

10–15

KERNING

16–19

TR ACKING

20–23

LE ADING

24–27

TE X T ALIGNMENT

28–29

WIDOW AND ORPHAN

30–31

HE ADING AND SUBHE AD

32–33

NUMER AL S

34–37

QUOTATION MARKS

38–39

ONE SPACE

40–41

SPECIAL CHAR ACTERS

42–43

DASHES

44–45

MISCELL ANEOUS

COLOPHON

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INTRO DUC TION 20 atm

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INTRO DUC TION 750 atm

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Typography, especially the bad kind, is literally everywhere. It is there when you look at your clock, get your favorite cereal, read your favorite book, driving down to your parentâ&#x20AC;&#x2122;s house, on your clothes, and just about everywhere in the supermarket. We are unconsciously exposed to type every single moment of our lives, and yet

most people know so little of them, especially the good kind. Everybody needs to take the time to learn good typography, because it means better communication and definitely better on the eyes, which leads to a better life. This book is a covers the basic and useful rules for fixing bad type and creating beautiful pieces of work.

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K ERNING 20 atm

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-7

-3

-4

-15

-8

-16

-24

-4 +6

-13 -10

-12

-4

-1

-13

-7

-3

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K ERNING 750 atm

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It is the process of removing small units of space between letters to create a visually consistent letterspacing. The secret of it is that it is totally dependent on your eyes. Some spaces appear larger because of the shapes of the lettersâ&#x20AC;&#x201D; angled or rounded. Here are the combinations: Characters with verticals next to each other need

the most amount of space (HL). A vertical next to a curve needs less space (HO). A curve can actually overlap into the white space under or above the bar or stem of a character, and vice versa (OT). A curve next to a curve needs very little space (OC). The closest kerning is done where both letters have a lot of white space around them (AT).

-4

Rely on your eyes, not your Mac.

-21 -6 -1

-4

-15

-3

-5

-10 -14

+4 -10

-5

-13

-15

-3

-5

-9

-6

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01. kerning is loose.

02. kerning is tight.

03. Metric kerning.

04. Optical kerning.

WAYS TO K ERN

The first one produces bad type. Never add more kerning to words in order to fill up the remaining white space. The second one also produces bad type. Never kern the type too tight in order to fit a paragraph. The third one is the default setting for kerning type, but not the best one. Metric kerning calculates the space between each letter. The last one is the preferred setting for kerning. Optical kerning means that the space between two letters is adjusted based on how the eyes sees the type.

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TR ACK ING 20 atm

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TR ACK ING 750 atm

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The act of adjusting the overall space between letters, rather than the space between two letters is called tracking, also known as letterspacing. It is normally adjusted to cure the spacing problems caused by changes in point sizes (especially very small and large type). It is a common practice to letterspace capitals and small capitals, because

they appear more regal when standing apart. By slightly expanding the tracking across a body of text, the designers can create a more airy field. Negative tracking is rarely desirable. Lowercase letters respond less favorably to letterspacing than do the uppercase letters, because they are designed to sit together intimately in a line.

Tracking affects the overall space

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normal tracking

positive tracking +80

negative tracking -50

L e t te r s d o l ove o n e a n ot h e r, b u t d u e to t h e i r a n a to m i c a l d i f f e re n c e s , s o m e l e t te r s h ave a h a rd t i m e a c h i e v i n g i n t i m a c y. S o m e l e t te r s m ay re q u i re p e r s o n a l a t te n t i o n a t la rg e r s i ze s a n d c a p i t a l l e t te r s , b e i n g s q ua re, n e e d s a li t t l e m o re d i s t a n c e f ro m t h e i r l ove l y n e ig h b o u r s .

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Leading is the space between lines of text.

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loose 6/10

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LE A DING 20 atm

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auto 6/8

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tight 6/5

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TE X T ALIGNMENT 20 atm

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left-justified ragged-right

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this is a desired rag

right-justified ragged-left

use only in small doses

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centered

the rags should look like a fish bone

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TE X T ALIGNMENT S 750 atm

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Left-justified-ragged right text is the most legible of text alignment because most of us read from left to right. With this alignment, the rags need to imitate the shape of a dramatic wave. Be careful of the weird shapes that can be the result of a bad rag. The ragged left margins produced by centered and right-justified text make scanning

and reading texts much harder, because your eye needs to search for the beginning of each new line. These two types of alignments can be used, but only in small doses, such as to set a callout or for a three sentences information. Never set a long line of text with these two alignments, because the reader will not even want to take a look at the text.

justified

be careful of rivers

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WIDOW AN D ORPHAN 20 atm

orphan

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worse than an orphan is a hyphenated orphan

widow

check and avoid both of these at all times.

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heading should be first read.

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HE A DING & SUBHE A D 750 atm

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The job of indicating hierarchical status of text sections typically falls to headings and subheads. One glance at a heading on a page should tell you whether the following text is subordinate to what went before, whether it is equal in its importance, or whether a new and superior section is starting. Hyphenation should be avoided in headings of all

kinds. Most of the time, subheads have two roles: The first one is to graphically separate the sections of text and to identify the relative significance of the text they introduce. They are usually set in a contrasting typeface, different weight,or different point sizes. Both of them must help guide the readers through the page.

HE A DING AN D SUBHE A D

never hyphenate in your heading.

a subhead introduces a body of text.

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SUPERSCRIP T & SUBSCRIP T 750 atm

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Don’t forget about the superscript and subscript options. Superscript reduces the size of selected text and raises it up; subscript reduces the size of the text and lowers it. A note for the superscript, technically, the preferred form of the ordinals “second” and “third” use just the “d,” not “nd” or “rd” but you have to be brave to set it like this.

They are very useful in typing fractions. especially when you encounter an uncommon one, like 87⁄100, for example. First you type it normally, and make sure you use a fraction bar ( ⁄ ) instead of the slash ( / ). Select numeral 87 and make it a superscript. Select numeral 100 and change the point size to 4 or 5, since this text is set in a 7pt.

NUMER AL S

superscript

command + shift + +

just use “d” be brave.

1st

⁄2

fractions

subscript

H2 0

⁄16

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“”

option + [ option + shift +[

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QUOTATION M ARK S 750 atm

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Use real quotation marks—never the grotesque generic marks that symbolize ditto marks. You must know how to set them manually because sometimes, the software does not do it correctly. Sometimes there seems to be confusion about where the quotation marks belong when there is punctuation involved. In America, the commas and

periods are always placed inside the quotation marks. Colons and semicolons go outside of the quotation marks. Exclamation points and question marks and go in or out depending on the context. If more than one paragraph is quoted, then the double quote is placed at the beginning of each paragraph, but only at the end of the last one.

QUOTATION MARK S

“.,”

“”:;

“!?”

“”!?

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possesive: captain’s compass

contraction: you’re, she’s

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omission of letter: band o’ brothers

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decades: in the ’80s

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wrong! band ’o’ brothers

wrong! band ‘o’ brothers

’

option + shift + ]

APOS TROPHE S

Use real apostrophes, not the footmarks. Some people don’t connect it with quotation marks, but the apostrophes are nothing but a single closing quotation marks. Many people are confused about where they belong. These are several rules that work very well: It is used for possesives (captain’s compass) with the exception of its, for contractions (you’re, he’s), for omission of letters (Gone Fishin’), and to distinguish between decades, ages (the ’80s) and temperatures.

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one space

ONE SPACE

Always use only one space after exclamation points, question marks, quotation marks, colons, periods, or any punctuation that separates two sentences. This is a typewriter rule because all of the characters used to be monospaced. However, the fonts in the computer are proportional and they do not share the same amount of space. The eye of the reader does not need that extra space to tell them when the next sentence begins. It is an old typewriter rule that should be avoided.

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⁄

•

fraction bar option + shift + 1

bullet option + 8

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£ option + 3

…

ﬁ

ellipsis option + ;

option + shift + c

option + shift + 5

500 atm

° degree option + shift + 8

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¿ option + shift + ?

SPECIAL CHAR AC TERS

option + $

option + r

Ω

™ option + 2

SPECIAL CHAR AC TERS

These characters are the characters that are not printed on the keyboard. Here are the list of the more common alternate characters included in the special characters section: extra ligatures, fractions, ordinals, superior characters, swashes, titling characters, tabular old-style figures, finials, proportional lining figures, or terminal letters, ornaments and fleurons, and almost anything else that you can think of. This page shows the more common special characters used in general typing.

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em —

indicates an abrupt change in thought

—

en –

indicates a duration.

–

hyphen -

belongs in some words.

—

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–

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DA SHE S 750 atm

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Never use two hyphens instead of a dash. Know and use hyphens, en dashes, and em dashes wisely. A hyphen is that tiny little dash that belongs in some words, for example: mother-in-law, or in phone numbers, and to break a word at the end of a line. An en dash is used between words that indicate a duration, such as time or months or

years. Use it where you might otherwise use the word “to.” For example: Mon–Fri, 5–8 years. The em dash is twice as long as the en dash. This dash is often used in place of a colon or parentheses, or it might indicate an abrupt change in thought. For example: Emilia is an amazing—she helped me with my posters— and cute girl.

DA SHE S

—

–

—

–

—

–

—

–

—

–

—

–

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with more than one column of text on a page, align the first baselines of each column.

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be consistent.

a.m & p.m should be in small caps.

MISCELL ANEOUS

reduce the size of punctuation marks in large type.

don’t crowd text inside a box.

don’t be afraid of white space.

COLOPHON 20 atm

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This book is designed by using Adobe InDesign CS4 & Illustrator CS4. The typography is set by Cassia The using Avenir. All of the illustrations are based on Ernst Haeckelâ&#x20AC;&#x2122;s Art Forms from Nature. The texts are taken and some of them rephrased from Thinking with Type, Ellen Lupton, The Mac is Not a typewriter, Robin Williams, and The Complete Manual of Typography, Frank Romano. It is printed by the designer using Epson Stylus Pro 3800 on Moab by Legion Paper entrada Rag Bright 190. It is beautifully binded in Herring and Robinson Bindery, Brisbane, CA.

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