Counter space. Looking at negativity, positively.
Copyright Š 2014 by Hannah White. Printed and bound in Wellington, New Zealand. Book set in typeface Univers 45 Light and 65 Bold.
Looking at negativity, positively.
can you see it?
Its whats on the inside that counts.
While many people look at negativity, negatively, I’m encouraging a new approach the unrecognised white space. Within the left minded creatives of the design world, whitespace has forever held its own. However, how many of us actually consider the thought process and time put into the inner workings of the lowercase letter ‘g’ designer or not.
It is the portion of a page left unmarked: margins, gutters, and space between columns, type, graphics, figures, or objects drawn or depicted. The term arises from graphic design practice, where the printing processes generally use white paper. White space should not be considered merely ‘blank’ space — it is an important element of design which enables the objects in it to exist at all; the balance between positive (or non-white) and the use of negative spaces is key to aesthetic composition. Inexpert use of white space, however, can make a page appear incomplete. Counter space is no different.
Counter space. noun 1. a continuous area or expanse that is free, available, or unoccupied 2. a blank between printed, typed, or written words, characters or numbers.
Aa No matter how you look at it, counter space is the unwanted, chiseled out, unprinted, unwarranted or invisible element of typographic anatomy. Invisible design, is the thing to emphasize however. Typographic designers are obsessive, precise, concise and methodical. Its safe to say, the white space within the letter ‘d’ was not forgotten, while the interior of the uppercase ‘R’ probably cannot be blamed on laziness. But thoroughly thought over and developed to ensure the ‘positive’ printed space is presented both aesthetically and with legibility also in mind.
Aa
Counter space can often be mis-lead to be any old opening. But counter space is only the white space confined within letters such as ‘O,’ ‘B’ and ‘D’ to help to define the characteristics. Counter space is also referenced in partially closed areas, or open counters and are called apertures. While this is the technical name for them, a lot of basic typographic anatomy will label them all counter space to limit confusion. Why bother with such a passive element of typographic anatomy you ask? It’s time to move the counter space into an active realm, and pronounce its importance, similar to that of the great whitespace of all good graphic design.
QRU Active white space: Space intentionally left blank for a better structure and layout. It also gives emphasis to the content area. It leads a reader from one element to another.
IFL Passive white space: Empty space around the outside of the page or blank areas inside the content which is the by product of the layout process.
Typefaces should not draw attention to themselves. However, legibility relies on big, pronounced figures. This, among other not so important things, refers to the counter. Yet, counter space manages to remain almost invisible, even to some designers of anatomic type design. Invisible so much so, that to the common individual, the negative space is irrelevant and not even considered part of the typographic anatomy at all. How is it possible that such an integral element of typographic design can go unappreciated by so many?
Ne Sta An Overshot
Bracket
14
egativity arts Wit wit natomic Stem
Tail
Descender
Tittle
Shoulder
Terminal
Example of traditional anatomic break down of typography. Counter space is often forgotten.
A
B
C
D
E
F
G
H
I
J
.
K
L
M
N
O
Q
R
P
S
T
U
V
-
W
X
Y
Z
Hieroglyphic letter A 305-30 BC
Letters have been developed for centuries, originating as cave drawings. From the beginning, counter space has been included to define and ensure recognition of the varied shapes that developed from Hieroglyphics, Phoenician letters, and reek symbols into the alphabet we know today.
Phoenician letter A 1000 BC
Early Greek letter A 800 BC
If they are not legible, then they letters. Illegible
letters do not exis does not exist.
are not Peter Mertens 1990
st. Illegibility First, not all typefaces are – or should be – created with legibility as a primary design function. Many faces are drawn for the purpose of creating a typographic statement, or for providing a particular spirit or feeling to graphic communication. Some typefaces are just designed to stand out from the crowd. To the degree that a typeface has personality, spirit, or distinction, however, it almost always suffers proportionally on the legibility scale.
While Peter makes a good point, where would type be without counter space? Counter space plays a large role in the legibility of text and typeface letterforms. Fonts with very small or thin counters may not reproduce well at very small font sizes. Depending on the size and the printing method the counters may close up. Small counters in large text also has implications, as the more printed (traditionally black) space on the document, billboard or business card, the less credibility and attention is spent on reading the text.
a
g
Aperture space of rotated uppercase ‘G’
Lowercase letters such as ‘b,’ ‘d,’ ‘q’ and ‘g’ often have very similar counter spaces, dependent on the typeface.
D Contrast of stark vertical lines with large curves makes the uppercase letter ‘B’ a very recognisable counter space.
e
Lowercase letter ‘e’ contains both open and closed counter.
Small characters were traditionally “cut” somewhat wider, which was not merely a consequence of making the strokes bolder* but also in an effort to make their counter space larger and the white space between the strokes more apparent. Practically, these coarser features also made them easier to print and the relative openness of the characters made their fine white spaces less likely to plug with ink.
D
*As typefaces are made smaller, the letter form strokes are traditionally made larger, to ensure the typeface/word has presence on the page.
Counter space: The white space enclosed by a letterform, wholly enclosed. Aperture: The white space in partially closed letterforms.
The white spaces within a character have an important bearing on its form, and the spacing of words and lines greatly affect the look and legibility of text. Similarly an optical impression may very largely depend on the unprinted spaces.
Nothing can replace white space. The importance of the correct amount of space between objects can be articulated by the most inexperienced graphic designer. This space is an important design tool and can affect everything from mood to eyestrain. Designers are trained to understand the effects of space and to use it appropriately. Prescribing the correct use of white space is similar to defining art. Guidelines may be appropriate for white space but, as with art, any attempt to define it solidly will fail as someone tests the boundaries of taste and the status quo. A prescription for the correct use of white space as well as the definition of art are both well beyond the scope of this book.
Similarly within typographic design the struggle becomes real when the designer limits the white space found within both enclosed and partially closed counters. Not only do small counters slow legibility and natural flow on the page, they also hold too much dominance on a page, which for the most part, is not the aim.
“Good typography is invisible.” To that famous maxim, one might reword “Good typographic balance is invisible.” Counter space is a well established secret of typography. 31 This page cost roughly $3.40 to print.
B
Stencils are created in the reverse, in which case the normally positively printed area is cut out, leaving the counter space and the letterspace to hold the form of each letter and to be revealed by the material of choice. Stenciling text, for whatever reason requires close attention to counter space. Amateur use of stencils can result in rather clunky, illegible typography, as the spray paint (the traditional choice of stencil medium) runs.
TB AO Univers 65 Bold 400pt. Not a designed stencil font.
White space makes the most noise. Large counter spaces add value to a page, as the well designed, slavishly set typographic elements on a page can be quickly read for starters but intern also saves money when you go to the printers.
N
e
g
a
It
t
only
mlakmclkmalcwhen Training for this type of typographic expertise was originally passed as craft from typographer to apprentice in the ancient print shops of the past. A similar method is still used today as graphic design students are told by their instructors which areas need more or less space in a composition. However, today typographic design, much like most creative professions can be researched, produced and distributed online without much thought or censorship.
see
it
the
reveals.
i
v
i
t
y
.
exists
you
cannot
positivity
Ncnanclakncla
The subtly of counter space allows silence — pensive thoughts between academic analysis — leaves room for imagination in poster design — saves money when printing a collaborative homemade Zine and still remains silent to those who aren’t looking.
Now, maybe we shouldn’t see it?