LCC School of Graphic Design BA (Hons) GMD Information Design Pathway Year One 2006/7 An Introduction to Typography
1 Typographic Structure
Typographic Design Structure a and Composition
Good typographic design is underpinned by a set of rules which are inherently linked to the physical characteristics of metal type
1 Typographic Structure
Typographic Design Structure a and Composition
Good typographic design is underpinned by a set of rules which are inherently linked to the physical characteristics of metal type. For the designer, some experience of metal type and an understanding of the physical constraints within letterpress, can provide useful ground rules for a systematic approach to computer based typographic design
1 Typographic Structure
Typographic Design Structure a and Composition
Good typographic design is underpinned by a set of rules which are inherently linked to the physical characteristics of metal type. For the designer, some experience of metal type and an understanding of the physical constraints within letterpress, can provide useful ground rules for a systematic approach to computer based typographic design
1 Typographic Structure
Typographic Design Structure and Composition
Good typographic design is underpinned by a set of rules which are inherently linked to the physical characteristics of metal type. For the designer, some experience of metal type and an understanding of the physical constraints within letterpress, can provide useful ground rules for a systematic approach to computer based typographic design. Used properly, and with respect for certain fundamental rules, computer based typography can produce results which are superior technically and aesthetically to those possible in letterpress or photo-setting
1 Typographic Structure
Typographic Design Structure and Composition
Good typographic design is underpinned by a set of rules which are inherently linked to the physical characteristics of metal type. For the designer, some experience of metal type and an understanding of the physical constraints within letterpress, can provide useful ground rules for a systematic approach to computer based typographic design. Used properly, and with respect for certain fundamental rules, computer based typography can produce results which are superior technically and aesthetically to those possible in letterpress or photo-setting
1 Typographic Structure 6 7 8 9 10 12 15 18 24 a a a a a a
a
a
30
36
aaa
42
48
60
aaa
72
a
In metal setting, only specific type sizes were available. This simplified the decision making process for the designer. Sizes from 6 to 12 point were generally considered suitable for setting continuous text. Headlines, paragraph headings, etc. would be set in the larger sizes. Certain aesthetic rules follow from this. For example, in changing type size to create typographic emphasis with metal type, the designer had a limited choice – at text sizes it was generally considered necessary to jump two sizes (e.g. 8 to 10) and above 15pt, one size jump was sufficient to create a differentiation that was obvious to the reader
1 Typographic Structure
In computer based digital type, almost any type size can be used. The designer therefore needs to adopt a rigorous approach to choosing a range of type sizes for a particular typographic composition – because the physical constraints of metal no longer apply, it is necessary to create one’s own rules if clear, unambiguous communication is the intent
2 Some Optical Factors in Typeface Design
A circle and square of the same height do not appear to be the same size optically
2 Some Optical Factors in Typeface Design
A circle and square of the same height do not appear to be the same size optically. To optically match the size of the square, the circle has to be about 5% bigger
2 Some Optical Factors in Typeface Design
100
100
105
A circle and square of the same height do not appear to be the same size optically. To optically match the size of the square, the circle has to be about 5% bigger
2 Some Optical Factors in Typeface Design
oxen
2 Some Optical Factors in Typeface Design
oxen The same principles are applied in typeface design. Note how the lowercase ‘o’ and ‘e’ in this example exceed the x-height boundaries, and also how the bowl of the ‘n’ rises above the top of the left-hand downstroke
2 Some Optical Factors in Typeface Design
oxen The same principles are applied in typeface design. Note how the lowercase ‘o’ and ‘e’ in this example exceed the x-height boundaries, and also how the bowl of the ‘n’ rises above the top of the left-hand downstroke
2 Some Optical Factors in Typeface Design
These two strokes are the same thickness. The horizontal stroke is positioned exactly halfway up the vertical. Optically, the horizontal stroke appears thicker than the vertical and feels as if it is positioned lower than halfway.
2 Some Optical Factors in Typeface Design
These two strokes are the same thickness. The horizontal stroke is positioned exactly halfway up the vertical. Optically, the horizontal stroke appears thicker than the vertical and feels as if it is positioned lower than halfway. Although the two elements are ‘balanced’ mathematically, the composition has an unstable appearance
2 Some Optical Factors in Typeface Design 10.0
10.0
32.0
32.0
10.0
8.6
32.0
33.4
These two strokes are the same thickness. The horizontal stroke is positioned exactly halfway up the vertical. Optically, the horizontal stroke appears thicker than the vertical and feels as if it is positioned lower than halfway. Although the two elements are ‘balanced’ mathematically, the composition has an unstable appearance. Subtle adjustments can be made to re-balance the elements so that the composition appears optically stable
2 Some Optical Factors in Typeface Design
EH
These optical principles are inherent in typeface design – the individual forms within the alphabet need to be stable and optically harmonious for the typeface to function properly
2 Some Optical Factors in Typeface Design
EH
Never scale type horizontally as this destroys the inbuilt optical stability of the letterforms
2 Some Optical Factors in Typeface Design
EHEH Never scale type horizontally as this destroys the inbuilt optical stability of the letterforms
2 Some Optical Factors in Typeface Design
EHEH X X Never scale type horizontally as this destroys the inbuilt optical stability of the letterforms (examples 50% and 125%)
3 Measurement Sanserif
Pxyb
3 Measurement Sanserif
Serif
PxybPxyb
3 Measurement Sanserif
1
Serif
PxybPxyb
1 Body height – measured in points (referred to as the point size of the typeface)
3 Measurement Sanserif
1
Serif
PxybPxyb •2
1 Body height – measured in points (referred to as the point size of the typeface) 2 Baseline – imaginary line on which the base of the letters align
3 Measurement Sanserif
1
3
Serif
PxybPxyb •2
1 Body height – measured in points (referred to as the point size of the typeface) 2 Baseline – imaginary line on which the base of the letters align 3 Cap height – distance from baseline to top of capital letter, usually measured in mm
3 Measurement Sanserif
1
3
4
Serif
PxybPxyb •2
1 Body height – measured in points (referred to as the point size of the typeface) 2 Baseline – imaginary line on which the base of the letters align 3 Cap height – distance from baseline to top of capital letter, usually measured in mm 4 x-height – distance from baseline to top of lowercase ‘x’, measured in mm
3 Measurement Sanserif
1
3
4
Serif
PxybPxyb •2
•5
1 Body height – measured in points (referred to as the point size of the typeface) 2 Baseline – imaginary line on which the base of the letters align 3 Cap height – distance from baseline to top of capital letter, usually measured in mm 4 x-height – distance from baseline to top of lowercase ‘x’, measured in mm 5 Descender – that part of a lowercase letter which descends below the baseline
3 Measurement Sanserif
Serif
PxybPxyb •6
1
3
4
•2
•5
1 Body height – measured in points (referred to as the point size of the typeface) 2 Baseline – imaginary line on which the base of the letters align 3 Cap height – distance from baseline to top of capital letter, usually measured in mm 4 x-height – distance from baseline to top of lowercase ‘x’, measured in mm 5 Descender – that part of a lowercase letter which descends below the baseline 6 Ascender – that part of a lowercase letter which ascends above the cap height
3 Measurement Sanserif
Serif
PxybPxyb •6
1
3
4
•2
•5
1 Body height – measured in points (referred to as the point size of the typeface) 2 Baseline – imaginary line on which the base of the letters align 3 Cap height – distance from baseline to top of capital letter, usually measured in mm 4 x-height – distance from baseline to top of lowercase ‘x’, measured in mm 5 Descender – that part of a lowercase letter which descends below the baseline 6 Ascender – that part of a lowercase letter which ascends above the cap height
4 Letter and Word Spacing
Typographic Design
4 Letter and Word Spacing
Typographic Design Metal setting showing character widths
4 Letter and Word Spacing
Typographic Design Metal setting showing character widths
T Typographic ypographic Design Digital setting (InDesign, Metrics spacing) Note automatic kerning pair – Ty
4 Letter and Word Spacing
Typographic Design Metal setting showing character widths
T Typographic ypographic Design Digital setting (InDesign, Metrics spacing) Note automatic kerning pair – Ty
Typographic Design InDesign -15 Tracking
4 Letter and Word Spacing
Typographic Design Metal setting showing character widths
T Typographic ypographic Design Digital setting (InDesign, Metrics spacing) Note automatic kerning pair – Ty
Typographic Design InDesign -15 Tracking
Typographic Design InDesign -30 Tracking
4 Letter and Word Spacing
Typographic Design Metal setting showing character widths
T Typographic ypographic Design Digital setting (InDesign, Metrics spacing) Note automatic kerning pair – Ty
Typographic Design InDesign -15 Tracking
Typographic Design InDesign -30 Tracking
Tracking affects both letter and word spacing to the same degree
4 Letter and Word Spacing Letter and word spacing can be controlled independently in most software packages Word spacing 100%, letter spacing +0%
4 Letter and Word Spacing Letter and word spacing can be controlled independently in most software packages Word spacing 100%, letter spacing +0% (Quark XPress)
Letter and word spacing can be controlled independently in most software packages Word spacing 100%, letter spacing -4% (Quark XPress)
4 Letter and Word Spacing Letter and word spacing can be controlled independently in most software packages Word spacing 100%, letter spacing +0% (Quark XPress)
Letter and word spacing can be controlled independently in most software packages Word spacing 100%, letter spacing -4% (Quark XPress)
Letter and word spacing can be controlled independently in most software packages Word spacing 80%, letter spacing -6% (Quark XPress)
4 Letter and Word Spacing Letter and word spacing can be controlled independently in most software packages Word spacing 100%, letter spacing +0% (Quark XPress)
Letter and word spacing can be controlled independently in most software packages Word spacing 100%, letter spacing -4% (Quark XPress)
Letter and word spacing can be controlled independently in most software packages Word spacing 80%, letter spacing -6% (Quark XPress)
It is sometimes preferable not to use tracking to control letter and word spacing. For example with large sizes of type, word spacing and letter spacing may need to be proportionally different. In Quark XPress, independent (but fixed) values for both letter and word spacing can be set via H&Js
4 Letter and Word Spacing
Kerning
4 Letter and Word Spacing
Kerning 0 0 +18 0 0 0 InDesign (Metrics spacing, Tracking -20) showing values for built-in kerning pairs for the example font (55 Helvetica Neue)
4 Letter and Word Spacing
Kerning 0 0 +18 0 0 0 InDesign (Metrics spacing, Tracking -20) showing values for built-in kerning pairs for the example font (55 Helvetica Neue)
Kerning
4 Letter and Word Spacing
Kerning 0 0 +18 0 0 0 InDesign (Metrics spacing, Tracking -20) showing values for built-in kerning pairs for the example font (55 Helvetica Neue)
Kerning -40 0 +5 -5 -5 -5 InDesign (Metrics spacing, Tracking -20) with manually adjusted kerning pairs to achieve optically balanced letter spacing
4 Letter and Word Spacing
Kerning 0 0 +18 0 0 0 InDesign (Metrics spacing, Tracking -20) showing values for built-in kerning pairs for the example font (55 Helvetica Neue)
Kerning -40 0 +5 -5 -5 -5 InDesign (Metrics spacing, Tracking -20) with manually adjusted kerning pairs to achieve optically balanced letter spacing
PostScript fonts usually have some built-in kerning pairs. (In Quark XPress these can be seen in the ‘Utilities/Kerning Table Edit’ menu). In display work (using large sizes of type) where spacing inconsistencies are often very noticeable, it is usually necessary to apply further manual kerning between character pairs to achieve aesthetically acceptable results.
5 Line Spacing At Ewhurst, I had now to come, according to my project, round among the lanes at about a couple of miles distance from the foot of Leith Hill, in order to get first to Ockley, then to Holmwood, and then to Reigate Reigate. 28pt type set solid (28/28pt)
At Ewhurst, I had now to come, according to my project, round among the lanes at about a couple of miles distance from the foot of Leith Hill, in order to get first to Ockley, then to Reigate. Holmwood, and then to Reigate 28pt type with 6pt leading (28/34pt)
Interline spacing or leading adds white space between lines of type. In text setting, adding leading can improve the legibility of text. The amount to use is dependent on the typeface and type size, relative cap height and x-height, letter and word spacing, and line length.
5 Line Spacing At Ewhurst, I had now to come, according to my 28 project, round among the lanes at about a 28 couple of miles distance from the foot of Leith 28 Hill, in order to get first to Ockley, then to 28 Holmwood, and then to Reigate. 28 28pt type set solid (28/28pt)
At Ewhurst, I had now to come, according to my 28 6 project, round among the lanes at about a 28 6 couple of miles distance from the foot of Leith 28 6 Hill, in order to get first to Ockley, then to 28 6 Holmwood, and then to Reigate. 28 28pt type with 6pt leading (28/34pt)
Leading takes it name from the strips of lead inserted between lines of metal type to increase line spacing
5 Line Spacing At Ewhurst, I had now to come, according to my 28 project, round among the lanes at about a couple of miles distance from the foot of Leith 28 28 Hill, in order to get first to Ockley, then to 28 Holmwood, and then to Reigate Reigate. 28pt on 28pt line feed (28/28pt)
At Ewhurst, I had now to come, according to my 34 project, round among the lanes at about a couple of miles distance from the foot of Leith 34 34 Hill, in order to get first to Ockley, then to 34 Reigate. Holmwood, and then to Reigate 28pt on 34pt line feed (28/34pt) or 28pt type on 12.0mm line feed
In digital typesetting, leading is often referred to as line feed. Line feed is usually defined as the measure from one baseline of text to the next baseline of text. Line feed can be expressed in any unit of measure, for example, when working with a metric page grid it may be helpful to define line feed in millimetres
5 Line Spacing
At Ewhurst, I had now to come, according to my project, round 72pt on 62pt line feed (72/62pt)
With large sizes of type in headlines, it may be desirable to use negative line feed, that is, where the line feed value is less than the body size of the type
5 Line Spacing
At Ewhurst, I had now to come, according to my project, round
72
72
72
72
72pt on 62pt line feed (72/62pt)
62 62 62
With large sizes of type in headlines, it may be desirable to use negative line feed, that is, where the line feed value is less than the body size of the type
6 Type Alignment At Ewhurst, which is a most pretty village, where the Church of which is most delightfully situated, I treated my horse to some oats, and myself a rasher of bacon. I had now to come, according to my project, round among the lanes at about a couple of miles distance from the foot of Leith Hill, in order to get first to Ockley, then to Holmwood, and then to Reigate. From Ewhurst the first three miles was the deepeset clay that I ever saw, to the best of my recollection. I was warned of the difficulty of getting along; but I was not be frightened at the sound of the clay. Wagons, too, had been dragged along the lanes by some means or other; and where a wagon-horse could go, my horse could go. It took me however, a good hour and a half to get along these three miles.
Ranged left (or ragged right)
Ranged left is the simplest alignment method to use when setting text. Word and letter spacing are even throughout. Ranged left type is relatively easy to read (the eye can quickly track back to the start of each new line) and it is suitable for setting large amounts of continuous text.
6 Type Alignment At Ewhurst, which is a most pretty village, where the Church of which is most delightfully situated, I treated my horse to some oats, and myself a rasher of bacon. I had now to come, according to my project, round among the lanes at about a couple of miles distance from the foot of Leith Hill, in order to get first to Ockley, then to Holmwood, and then to Reigate. From Ewhurst the first three miles was the deepeset clay that I ever saw, to the best of my recollection. I was warned of the difficulty of getting along; but I was not be frightened at the sound of the clay. Wagons, too, had been dragged along the lanes by some means or other; and where a wagon-horse could go, my horse could go. It took me however, a good hour and a half to get along these three miles.
Ranged left (or ragged right)
One drawback with ranged left setting is that the ragged right edge can sometimes produce distinct shapes which, if very obvious, can distract the reader. The rag should be as neutral as possible
6 Type Alignment At Ewhurst, which is a most pretty village, where the Church of which is most delightfully situated, I treated my horse to some oats, and myself a rasher of bacon. I had now to come, according to my project, round among the lanes at about a couple of miles distance from the foot of Leith Hill, in order to get first to Ockley, then to Holmwood, and then to Reigate. From Ewhurst the first three miles was the deepeset clay that I ever saw, to the best of my recollection. I was warned of the difficulty of getting along; but I was not be frightened at the sound of the clay. Wagons, too, had been dragged along the lanes by some means or other; and where a wagon-horse could go, my horse could go. It took me however, a good hour and a half to get along these three miles.
Ranged left (or ragged right)
The selective use of kerning (or minimal hyphenation) can be employed to improve the ragged edge. Here for example, selected word spaces on the first line were kerned to allow ‘Church’ to come back to the first line.
6 Type Alignment At Ewhurst, which is a most pretty village, where the Church of which is most delightfully situated, I treated my horse to some oats, and myself a rasher of bacon. I had now to come, according to my project, round among the lanes at about a couple of miles distance from the foot of Leith Hill, in order to get first to Ockley, then to Holmwood, and then to Reigate. From Ewhurst the first three miles was the deepeset clay that I ever saw, to the best of my recollection. I was warned of the difficulty of getting along; but I was not be frightened at the sound of the clay. Wagons, too, had been dragged along the lanes by some means or other; and where a wagon-horse could go, my horse could go. It took me however, a good hour and a half to get along these three miles.
Ranged left (or ragged right)
The selective use of kerning (or minimal hyphenation) can be employed to improve the ragged edge. Here for example, selected word spaces on the first line were kerned to allow ‘Church’ to come back to the first line. Forced line breaks were used after ‘Leith’
6 Type Alignment At Ewhurst, which is a most pretty village, where the Church of which is most delightfully situated, I treated my horse to some oats, and myself a rasher of bacon. I had now to come, according to my project, round among the lanes at about a couple of miles distance from the foot of Leith Hill, in order to get first to Ockley, then to Holmwood, and then to Reigate. From Ewhurst the first three miles was the deepeset clay that I ever saw, to the best of my recollection. I was warned of the difficulty of getting along; but I was not be frightened at the sound of the clay. Wagons, too, had been dragged along the lanes by some means or other; and where a wagon-horse could go, my horse could go. It took me however, a good hour and a half to get along these three miles.
Ranged left (or ragged right)
The selective use of kerning (or minimal hyphenation) can be employed to improve the ragged edge. Here for example, selected word spaces on the first line were kerned to allow ‘Church’ to come back to the first line. Forced line breaks were used after ‘Leith’ and ‘miles’ to further improve the ragged shape
6 Type Alignment At Ewhurst, which is a most pretty village, where the Church of which is most delightfully situated, I treated my horse to some oats, and myself a rasher of bacon. I had now to come, according to my project, round among the lanes at about a couple of miles distance from the foot of Leith Hill, in order to get first to Ockley, then to Holmwood, and then to Reigate. From Ewhurst the first three miles was the deepeset clay that I ever saw, to the best of my recollection. I was warned of the difficulty of getting along; but I was not be frightened at the sound of the clay. Wagons, too, had been dragged along the lanes by some means or other; and where a wagon-horse could go, my horse could go. It took me however, a good hour and a half to get along these three miles.
Centred
Centred text should be used only for display work in more traditional layouts (book title pages for example). Centred text is less easy to read than text which is set ranged left. The eye has to track back to a new position for the start of each line
6 Type Alignment At Ewhurst, which is a most pretty village, where the Church of which is most delightfully situated, I treated my horse to some oats, and myself a rasher of bacon. I had now to come, according to my project, round among the lanes at about a couple of miles distance from the foot of Leith Hill, in order to get first to Ockley, then to Holmwood, and then to Reigate. From Ewhurst the first three miles was the deepeset clay that I ever saw, to the best of my recollection. I was warned of the difficulty of getting along; but I was not be frightened at the sound of the clay. Wagons, too, had been dragged along the lanes by some means or other; and where a wagon-horse could go, my horse could go. It took me however, a good hour and a half to get along these three miles.
Ranged right
Ranged right setting has limited use and is often restricted to short pieces of text such as headings or data entries in columnar or tabular work. It should be avoided for continuous text where ranged right is tiring and slow to read as the eye has to work hard to find the start of each line
6 Type Alignment At Ewhurst, which is a most pretty village, where the Church of which is most delightfully situated, I treated my horse to some oats, and myself a rasher of bacon. I had now to come, according to my project, round among the lanes at about a couple of miles distance from the foot of Leith Hill, in order to get first to Ockley, then to Holmwood, and then to Reigate. From Ewhurst the first three miles was the deepeset clay that I ever saw, to the best of my recollection. I was warned of the difficulty of getting along; but I was not be frightened at the sound of the clay. Wagons, too, had been dragged along the lanes by some means or other; and where a wagon-horse could go, my horse could go. It took me however, a good hour and a half to get along these three miles.
Justifed Setting Word spacing Minimum 80% Optimum 100% Maximum 150%
Letter spacing Minimum -10 Optimum 0 Maximum +10
Justified setting is common in newspapers where tight, even columns of text are packed together in a strict grid and the overall integrity of the page is the primary visual consideration. It is also used extensively in book setting. In justified setting, parameters for variable word and letter spacing are specified by the designer to force each line to fill the width of the text block
6 Type Alignment At Ewhurst, which is a most pretty village, where the Church of which is most delightfully situated, I treated my horse to some oats, and myself a rasher of bacon. I had now to come, according to my project, round among the lanes at about a couple of miles distance from the foot of Leith Hill, in order to get first to Ockley, then to Holmwood, and then to Reigate. From Ewhurst the first three miles was the deepeset clay that I ever saw, to the best of my recollection. I was warned of the difficulty of getting along; but I was not be frightened at the sound of the clay. Wagons, too, had been dragged along the lanes by some means or other; and where a wagon-horse could go, my horse could go. It took me however, a good hour and a half to get along these three miles.
Justifed Setting Word spacing Minimum 80% Optimum 100% Maximum 150%
Letter spacing Minimum -10 Optimum 0 Maximum +10
Even for the experienced typographer, justified setting can be very difficult to specify. Students should avoid using justified setting! Note the extremes of spacing in the two lines highlighted in the example and how the texture of the text overall is uneven. Note as well how the punctuation at line endings creates an irregular right edge. This particular example allows negative values for both word and letter spacing.
6 Type Alignment At Ewhurst, which is a most pretty village, where the Church of which is most delightfully situated, I treated my horse to some oats, and myself a rasher of bacon. I had now to come, according to my project, round among the lanes at about a couple of miles distance from the foot of Leith Hill, in order to get first to Ockley, then to Holmwood, and then to Reigate. From Ewhurst the first three miles was the deepeset clay that I ever saw, to the best of my recollection. I was warned of the difficulty of getting along; but I was not be frightened at the sound of the clay. Wagons, too, had been dragged along the lanes by some means or other; and where a wagon-horse could go, my horse could go. It took me however, a good hour and a half to get along these three miles
Justifed Setting Word spacing Minimum 60% Optimum 100% Maximum 120%
Letter spacing Minimum 0 Optimum 0 Maximum 0
In this example, there is no variable allowed in the value for letter spacing. This at least provides one consistent spacing attribute. As a result the text has a more even appearance than the previous example. A further refinement is the hanging punctuation (where punctuation at the end of lines is allowed to exceed the measure specified for the line length)
7 Type Weight Helvetica Neue Family 25 Ultra Light 35 Thin 45 Light 55 Roman 65 Medium 75 Bold 85 Heavy 95 Black
26 Ultra Light Italic 36 Thin Italic 46 Light Italic 56 Italic 66 Medium Italic 76 Bold Italic 86 Heavy Italic 96 Black Italic
Many typefaces are available in a range of related weights. In the case of the Helvetica Neue series, each weight has the same Cap height and x-height for a given body size. This makes such fonts useful in setting where changes of weight are required to create emphasis. Generally speaking, one should use the font at least two weights above to create a bold emphasis, i.e. for text set in Helvetica 65, the bold would be 85
LCC School of Graphic Design BA (Hons) GMD Information Design Pathway Year One 2006/7 An Introduction to Typography Workshop Exercises
1 Ragged Right
At Ewhurst, which is a most pretty village, where the Church of which is most delightfully situated, I treated my horse to some oats, and myself a rasher of bacon. I had now to come, according to my project, round among the lanes at about a couple of miles distance from the foot of Leith Hill, in order to get first to Ockley, then to Holwood, and then to Reigate. From Ewhurst the first three miles was the deepeset clay that I ever saw, to the best of my recollection. I was warned of the difficulty of getting along; but I was not be frightened at the sound of the clay. Wagons, too, had been dragged along the lanes by some means or other; and where a wagon-horse could go, my horse could go. It took me however, a good hour and a half to get along these three miles. Now, mind, this is the real weald, where the clay is bottomless; where there is no stone of any sort undernetah, as at Worth and all along form Crawley to Billingshurst through Horsham. This clayey land is fed with water soaking from the sand-hills; and in this particular place from the immense hill of Leith. All along the oak-woods are beautiful. I saw scores of acres by the road-side, where the young oaks stood as regularly as if they had been planted. The orchards are not bad along here, and, perhaps they are a good deal indebted to the shelter they receive.
100
130
Using the typesetting supplied, you are asked to create new examples of ranged left text, to the two measures given for maximum line length. Try to create a neutral ragged right edge. For the purposes of this exercise, meaning is not important, our concern is purely the visual. Each line ending must be after a whole letter and there must be at least two letters together at the end of each line. Photocopy your original a few times before you begin
2 Letterspacing and Kerning
Typography 1998–1991 Food Police Restitution Gardening
You will each be given a word or phrase typeset in a display size. By cutting and moving, adjust the overall letter/word spacing within your word or phrase (if you think it needs it), and then adjust spacing inconsistencies between character pairs. You should be aiming for overall balance, where nothing jumps out as being different in terms of positive and negative form. Photocopy your original a few times before you begin
3 Left Alignment
The Weald of Kent and Sussex
Using the typesetting supplied, adjust the left-hand alignment to achieve an optically cleaner alignment. You can see from this example how the letters align physically by default. What further adjustments need to be made? Cut and move the words acccordingly. Photocopy your original a few times before you begin
4 Centred Type
The Weald of Kent and Sussex
Look carefully at the typesetting supplied, adjust the centred alignment to achieve an optically perfect result. Photocopy your original a few times before you begin