D I G I T A L
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D I G I T A L by H U Y A. TRAN
A B S T R A C T
Copyright Š 2012 by Huy A. Tran
All rights reser ved. No par t of this book may be r epr o du c e d in any for m or b y any me ans, except for the inclusion of brief quot ations in review, without permission in writing from the author.
dedicated to
you
T A B L E
O F
C O N T E N T S
M EAS UR E ME NT S OF TYPE KERNI NG / 8 TRACKI NG / 10 LEADI NG / 12 M O DULAR SCALE S / 15
S P E CIAL CHA RACTERS Q UOTATI O N MA R K S / 18 DASHES / 2 1
P R INCI PLES O F TYPE TYPE AEST H ET I C S / 2 6 W I DOW S & O R P H A N S / 2 8 LI GATURES / 3 2 CO NTRAST / 3 4
01 01 01
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Digital Abstract
K
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M e a s u re m e nts o f Ty p e
In typography, kerning (less commonly mortising) is the process of adjusting the spacing between characters in a proportional font, usually to achieve a visually pleasing result. Kerning adjusts the space between individual letter forms, while tracking (letter-spacing) adjusts spacing uniformly over a range of characters. In a well-kerned font, the two-dimensional blank spaces between each pair of characters all have similar area.
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Digital Abstract
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M e a s u re m e nts o f Ty p e
I n t y p o g r a p h y, t r a c k i n g , al s o c all e d l e t t e r- s p a c i n g , r e f e r s t o t h e a m o u n t o f sp a c e b e t w e e n a gr o up o f le t t er s t o a f f e c t d e n si t y in a lin e o r blo c k of tex t . Tr acking adjus t ment s are f requently used in new s design. T he sp eed with w hich p ages mus t be built on deadline does not usually leave t i m e t o r e w r i t e p ar a gr ap h s t h a t e n d in spli t w o r d s o r t h a t c r e a t e o r p h an s o r w id o w s . Tr a c k i n g i s i n c r e a s e d o r d e c r e a s e d b y m o d e s t , u s u a l l y un n o t ic e able, am o un t s t o f i x t h e s e un a t t r a c t i v e si t u a t io n s .
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Digital Abstract
L
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In t ypography, leading refers to the distance bet ween the baselines of successive lines of t ype. T he term originated in the days of hand-t ypeset ting, when thin s t rip s of lead were inser ted into t he for mes to increase the ver tical distance bet ween lines of t ype.
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M e a s u re m e nts o f Ty p e
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Digital Abstract
25 10
55
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45 5
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45 72 7 304 35 90 55 5 529 72 7 2 60 35 6 60 0 590 55 5 072 55 9 55 7 2 90 45 5 3 55 30 6 60 0 90 45 5 72 7 2 60 55 5 5 5 34455 37 55 90 9 45 72 2 55 5 5 72 45 7 8
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20 20 00 25 25
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25 2 1 25 15
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0 1 20 15 15 1 5
20 2 0 8
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M e a s u re m e nts o f Ty p e
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In t ypography, a point is the smallest unit of measure, being a subdivision of the larger pica. It is commonly abbreviated as “pt.� T he point has long been the usual unit for measuring font size on a printed page.
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02 02 02
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Digital Abstract
Q U O T A T I O N
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M A R K S
Spe c ial Charac ters
In E nglish w r i t ing, quo t at ion mar ks or inver ted commas (in f or mall y referred t o as quo tes or speech mar ks) are punc t uat ion mar ks surrounding a quo t at ion, direc t speech, or a li teral t i t le or name. Q uo t at ion mar ks can also be used t o indica t e a di f f er en t meaning o f a w or d or p hr ase t han t he one t y picall y associated w i t h i t and are of ten used t o ex press irony.
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S p e c i a l C h a ra c te rs
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A dash is a punc t uation mar k , similar to a hy phen bu t dif fering primarily in leng t h, and ser ving dif ferent f un c t io n s . T h e m o s t c o m m o n v er sio n s o f t h e d as h ar e t h e en dash (–) and t he em dash (—).
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Digital Abstract
– — _ 22
H y p h e n : a p un c t u a t io n m ar k us e d t o join w o r d s an d t o s e p ar a t e s y llable s o f a sin gle w o r d.
En dash: commonly used to indicate a closed range of values, meaning a r ange wit h clearly defined and non -infinite upp er and lower boundaries. T his may include r an g e s su c h as t h o s e b e t w e e n d a t e s, t im e s, o r num b er s . E m d a sh: o f t e n d e m ar c a t e s a b r e ak o f t h o u g h t o r some similar inter polation stronger than the inter polation demarcated by parentheses. It is also used to indicate that a sentence is unfinished because the speaker has been interrupted. U n d e r s c o r e : u s e d t o c r e a t e v i s u al s p a c i n g w i t h i n a s e qu e n c e o f c h ar a c t er s, w h er e a w hi t e sp a c e c h ar a c t er is n o t p er mi t t e d, e.g., in c o m p u t er f ile n am e s, e - m ail addresses, and in World Wide Web URLs.
S p e c i a l C h a ra c te rs
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03 03 03
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Digital Abstract
T Y POGR A PHIC A
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A es t hetic comes in t he sele c tions and combinations of le t t er f o r m s . T h e f un c t io n sp e ak s t o t h e c o m munic a t io n . Wor king wit h t y pogr aphy is a v er y c ur io us t hin g. L ike s o m e t hin g s, i t lo o k s d e c e p t i v el y sim ple. A f t er all, t h e y are still the same t went y-six characters we’ve all seen and de alt wit h since we were six year s old in fir s t gr a d e jus t le ar ning to re ad. A is s till A and Q is s till Q . W hat m o s t p e o p l e (e x c e p t d e s i g n e r s w h o w o r k w i t h t y p e ever y day) fail to re alize is t hat t y pogr aphy is quite a di f f ic ul t e n t er p r is e t o m as t er.
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P r i n c i p l e s o f Ty p e
type
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Digital Abstract
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P ri n c i p l e s o f Ty p e
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In typesetting, widows and orphans are words or short lines at the beginning or end of a paragraph, which are left dangling at the top or bottom of a column, separated from the rest of the paragraph.
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Digital Abstract
Widow is w hen a p ar agr aph - ending line that falls a t t h e b e g i n n i n g o f t h e f o ll o w i n g p a g e /c o lu m n , t h u s separated from the rest of the text. Orphan is w hen a p ar agr aph - op ening line t hat app e ar s b y it s elf a t t he b ot t om of a p age/c olumn; or a w or d, p ar t of a wor d, or ver y shor t line t hat app e ar s b y it self at t he end of a paragraph. Orphans result in too much white space bet ween p ar agr aphs or at t he bot tom of a p age.
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P ri n c i p l e s o f Ty p e
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Digital Abstract
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A ligature occur s w here t wo or more graphemes are joined as a single gly ph. Ligatures usually replace consecutive char ac ter s sharing common component s and are p ar t of a more gener al class of gly phs called “c o n t e x t u al f o r m s�, w h e r e t h e s p e c i f i c s h a p e o f a l e t t e r d e p e n d s o n c o n t e x t such as surrounding let ters or proximit y to the end of a line.
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P ri n c i p l e s o f Ty p e
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Digital Abstract
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P ri n c i p l e s o f Ty p e
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D e s i g n e r s c r e a t e t y p o g r a p h i c c o n t r a s t a n d f l o w b y e m p h a s i z i n g c e r t ai n t e x t . C o n t r a s t i s i m p o r t a n t b e c a u s e n o t all t h e c o n t e n t w i t h i n a p a g e have the same value, some have greater significance than the others. B y c r e a t i n g c o n t r a s t , y o u c a n d i r e c t t h e r e a d e r ’s a t t e n t i o n t o t h e i m p o r t a n t m e s s a g e s a n d a t t h e s a m e t i m e e n h a n c e t h e v i s u al a p p e a r a n c e .
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T his b o o k w as de sign e d b y Hu y Tr an, s e t in t o t y p e b y H u y Tr a n a t t h e A c a d e m y o f A r t U ni v e r si t y, a n d p r in t e d a n d b o u n d in S a n F r a n c is c o, C ali f o r ni a . T h e t y p e f a c e u s e d is L in o t y p e U ni v e r s d e si g n e d b y A d r i a n F r u t i g e r in 19 9 7.