The Old Fisherman's Guide to Typography by kellryan56

the old fishermanâ&#x20AC;&#x2122;s Guide to

Typography

designed & edited by Kelly Ryan

the old fishermanâ&#x20AC;&#x2122;s Guide to

Typography

designed & edited by Kelly Ryan

the old fishermanâ&#x20AC;&#x2122;s Guide to

Typography

Table of Contents

Chapter One typeface interletter spacing interword spacing interline spacing cases punctuation

Chapter Two line width justification lineation skewed lines shaped text interlineation hypertext

Chapter Three

initial letter & paragraph mark indentation ornamental & space division color

Chapter One typeface interletter spacing interword spacing interline spacing cases punctuation

Texture of Text

Type Classification Typefaces are an essential resource employed by graphic designers, just as line, hooks, rods, and other materials are used by fishermen. Graphic designers sometimes even create their own typefaces and custom lettering. More commonly, however, they tap the vast library of existing typefaces, choosing and combining them in response to a particular audience of situation. To do this with wit and wisdom requires knowledge of howâ&#x20AC;&#x201D;and whyâ&#x20AC;&#x201D;letterforms have evolved. There are many different knots required for fishing, and in relation to typography, a typeface needs to be chosen carefully in order to work. Typefaces are manufactured images designed for infinite repetition. A basic system for classifying typefaces was devised in the nineteenth century, when printers sought to identify a heritage for their own craft analogous to that of art history. Humanist letterforms are closely connected to calligraphy and the movement of the hand. Transitional and modern typefaces are more abstract and less organic. These three main groups correspond roughly to the Renaissance, Baroque, and Enlightenment periods in art and literature. Designers in the twentieth and twenty-first centuries have continued to create new typefaces based on historic characteristics.

Sabon Humanist or Old Style The roman typefaces of the fifteenth and sixteenth centuries emulated classical calligraphy. Sabon was designed by Jan Tschichold in 1966, based on the sixteenth-century typefaces of Claude Garamond.

Aa Baskerville Transitional

These typefaces have sharper serifs and a more vertical axis than humanist letters. When the typefaces of John Baskerville were introduced in the mid-eighteenth century, their sharp forms and high contrast were considered shocking.

Clarendon Egyptian or Slab Serif Numerous bold and decorative typefaces were introduced in the nineteenth century for use in advertising. Egyptian typefaces have heavy, slablike serifs.

Helvetica Transitional Sans Serif Helvetica, designed by Max Miedinger in 1957, is one of the world’s most widely used typefaces. Its uniform, upright character makes it similar to transitional serif letters. These fonts are also referred to as “anonymous sans serif.”

Gill Sans Humanist Sans Serif Sans serif tyepfaces became common in the twentieth century. Gill sans, designed by Eric Gill in 1928, has humanist characteristics. Note the small, lilting counter in the letter a, and the calligraphic variations in line weight.

Futura Geometric Sans Serif Some sans-serif types are built around geometric forms. In Futura, designed by Paul Renner in 1927, the O’s are perfect circles, and the peaks of the A and M are sharp triangles.

Sabon 8 pt

“He always thought of the sea as ‘la mar’ which is what people call her in Spanish when they love her. Sometimes those who love her say bad things of her but they are always said as though she were a woman. Some of the younger fishermen, those who used buoys as floats for their lines and had motorboats, bought when the shark livers had brought much money, spoke of her as ‘el mar’ which is masculine.They spoke of her as a contestant or a place or even an enemy. But the old man always thought of her as feminine and as something that gave or withheld great favours, and if she did wild or wicked things it was because she could not help them. The moon affects her as it does a woman, he thought.”

Bodoni 8 pt “He always thought of the sea as ‘la mar’ which is what people call her in Spanish when they love her. Sometimes those who love her say bad things of her but they are always said as though she were a woman. Some of the younger fishermen, those who used buoys as floats for their lines and had motorboats, bought when the shark livers had brought much money, spoke of her as ‘el mar’ which is masculine.They spoke of her as a contestant or a place or even an enemy. But the old man always thought of her as feminine and as something that gave or withheld great favours, and if she did wild or wicked things it was because she could not help them. The moon affects her as it does a woman, he thought.”

Gill Sans 8 pt “He always thought of the sea as ‘la mar’ which is what people call her in Spanish when they love her. Sometimes those who love her say bad things of her but they are always said as though she were a woman. Some of the younger fishermen, those who used buoys as floats for their lines and had motorboats, bought when the shark livers had brought much money, spoke of her as ‘el mar’ which is masculine. They spoke of her as a contestant or a place or even an enemy. But the old man always thought of her as feminine and as something that gave or withheld great favours, and if she did wild or wicked things it was because she could not help them. The moon affects her as it does a woman, he thought.” 3

Baskerville 8 pt

“He always thought of the sea as ‘la mar’ which is what people call her in Spanish when they love her. Sometimes those who love her say bad things of her but they are always said as though she were a woman. Some of the younger fishermen, those who used buoys as floats for their lines and had motorboats, bought when the shark livers had brought much money, spoke of her as ‘el mar’ which is masculine. They spoke of her as a contestant or a place or even an enemy. But the old man always thought of her as feminine and as something that gave or withheld great favours, and if she did wild or wicked things it was because she could not help them. The moon affects her as it does a woman, he thought.”

Clarendon 7 pt “He always thought of the sea as ‘la mar’ which is what people call her in Spanish when they love her. Sometimes those who love her say bad things of her but they are always said as though she were a woman. Some of the younger fishermen, those who used buoys as floats for their lines and had motorboats, bought when the shark livers had brought much money, spoke of her as ‘el mar’ which is masculine.They spoke of her as a contestant or a place or even an enemy. But the old man always thought of her as feminine and as something that gave or withheld great favours, and if she did wild or wicked things it was because she could not help them. The moon affects her as it does a woman, he thought.”

Futura 7.5 pt “He always thought of the sea as ‘la mar’ which is what people call her in Spanish when they love her. Sometimes those who love her say bad things of her but they are always said as though she were a woman. Some of the younger fishermen, those who used buoys as floats for their lines and had motorboats, bought when the shark livers had brought much money, spoke of her as ‘el mar’ which is masculine.They spoke of her as a contestant or a place or even an enemy. But the old man always thought of her as feminine and as something that gave or withheld great favours, and if she did wild or wicked things it was because she could not help them. The moon affects her as it does a woman, he thought.”

crossbar

spine

bowl

serif finial ascender

descender Both ships and typefaces are made up of many parts, creating their anatomy. Just like a ship has a bow and a stern, a letterform has an ascender and descender.

ascender height

cap height descender height

x-height

baseline 4

Type Size All fishermen will tell you that â&#x20AC;&#x153;the bigger the betterâ&#x20AC;? when it comes to fishing, but this is not always the case in typography. Typesize is an important element to making typography look appropriate in many cases. Height Attempts to standardize the measurement of type began in the eighteenth century. The point system is the standard used today. One point equals one pica, the unit commonly used to measure column width. Typography can also be measured in inches, millimeters, or pixels. Most software applications let the designer choose a preferred unit of measure; picas and points are standard defaults. a typeface is measured from the top of the capital letter to the bottom of the lowest descender, plus a small buffer space.

Big

12 points equal 1 pica 6 picas (72 points) equal 1 inch

60 point scala

A typeface is measured from the top of the capital letter to the bottom of the lowest descender, plus a small buffer space.

The x-height of a typeface affects its apparent size, its space efficiency, and its overall visual impact. Like hemlines and hair styles, x-heights go in and out of fashion. Bigger type bodies became popular in the mid-twentieth century, making letterforms look larger by maximizing the area within the overall point size. The size of a typeface is a matter of context. A line of text that looks tiny on a television screen may appear appropriately scaled in a page of printed text. Smaller proportions affect legibility as well as space consumption. A diminutive x-height is a luxury that requires sacrifice.

STRIPER

Interstate Black Compressed

The letters in the compressed version of the typeface have a narrower set width.

Width A letter also has a horizontal measure called its set width. The set width is the body of the letter plus a sliver of space that protects it from other letters. The width of a letter is intrinsic to the proportions and visual impression of the typeface. Some typefaces have a narrow set width, and some have a wide one. You can change the set width of a typeface by fiddling with its horizontal or vertical scale. This distorts the line weight of the letters, however, forcing heavy elements to become thin, and thin elements to become thick. Instead of torturing a letterform, choose a typeface that has the proportions you are looking for, such as condensed, compressed, wide, or extended.

MANTA RAY Interstate Black

The set width is the body of the letter plus the space beside it.

Gill Sans 6 pt Aa

Gill Sans 8 pt

Scala 6 pt Aa

Scala 8 pt

Gill Sans 12 pt

Scala 12 pt

Gill Sans 16 pt

Scala 16 pt

Gill Sans 18 pt

Scala 18 pt

Gill Sans 24 pt

Scala 24 pt

Gill Sans 32 pt

Scala 32 pt

Scala 48 pt

Gill Sans 36 pt

Aa Gill Sans 48 pt

Scala 36 pt

Aa Aa

Gill Sans 70 pt

Gill Sans 120 pt

Scala 70 pt

Scala 120 pt

Bodoni Book 5 pt

Helvetica 5 pt

Two men went fishing. One was an experienced fisherman, the other wasn’t. Every time the experienced fisherman caught a big fish, he put it in his ice chest to keep it fresh. Whenever the inexperienced fisherman caught a big fish, he threw it back. The experienced fisherman watched this go on all day and finally got tired of seeing the man waste good fish. “Why do you keep throwing back all the big fish you catch?” he asked. The inexperienced fisherman replied, “I only have a small frying pan.”

Bodoni Book 9 pt

Helvetica 9 pt

Bodoni Book 12 pt

Helvetica 12 pt

Interletter Spacing Spacing has become crucial to alphabetic writing, which translates the sounds of speech into multiple characters. Spaces were introduced after the invention of the Greek alphabet to make words intelligible as distinct units. Kerning is an adjustment of the space between two letters. The characters of the Latin alphabet emerged over time; they were never designed with mechanical or automated spacing in mind. Thus some letter combinations look awkward without special spacing considerations. Gaps occur, for example, around letters whose forms angle outward or frame an open space (W, Y, V, T). In metal type, a kerned letter extends past the lead slug that supports it, allowing two letters to fit more closely together. In digital fonts, the space between letter pairs is controlled by a kerning table created by the type designer, which specifies spaces between problematic letter combinations. You can apply this spacing (tracking) to all text or selected portions of text. This selective tracking allows the designer to refine and adjust line lengths. Metric Kerning uses the kerning tables that are built into the typeface. When you select metric kerning in your page layout program, you are using the spacing that was intended by the type designer. Metric kerning usually looks good, especially at small sizes. Cheap novelty fonts often have little or no built-in kerning and will need to be optically kerned. 9

Optical Kerning is executed automatically by the page layout program. Rather than using the pairs addressed in the fontâ&#x20AC;&#x2122;s kerning table, optical kerning assesses the shapes of all characters and adjusts the spacing wherever needed. Some graphic designers apply optical kerning to headlines and metric kerning to text. You can make this process efficient and consistent by setting kerning as part of your character styles.

Normal Tracking

Positive Tracking (+20)

Positive Tracking (+150)

Negative tracking (-20)

Negative Tracking (-80)

Metric Kerning

Optical Kerning

“You did not kill the fish only to keep alive and to sell for food, he thought. You killed him for pride and because you are a fisherman. You loved him when he was alive and you loved him after. If you love him, it is not a sin to kill him. Or is it more?” “You did not kill the fish only to keep alive and to sell for food, he thought. You killed him for pride and because you are a fisherman. You loved him when he was alive and you loved him after. If you love him, it is not a sin to kill him. Or is it more?”

Interword Spacing The space between words (interword spacing) plays an important role in the color, texture, and readability of your typographic layout. Proper word spacing is something that should not be noticed at all. Rather, the copy should simply flow. Word spacing that’s too tight makes it hard for the eye to distinguish one word from the next, so that words appear to run into each other. Word spacing that’s too open creates oversized blocks of white space making reading more difficult. At times these visible gashes of negative space or “rivers” zigzag vertically through a paragraph block distracting and impeding reading.

0/10/20

10/20/100

“Then,whiletheoldmanwasclearingthelinesand preparingtheharpoon,themalefishjumpedhigh intotheairbesidetheboattoseewherethefemale wasandthenwentdowndeep,hislavenderwings, thatwerehispectoralfins,spreadwideandallhis widelavenderstripesshowing.Hewasbeautiful, theoldmanremembered,andhehadstayed.That wasthesaddestthingIeversawwiththem,theold manthought.”

“Then,while the old man was clearing the lines and preparing the harpoon,the male fish jumped high into the air beside the boat to see where the female was and then went down deep,his lavender wings, that were his pectoral fins,spread wide and all his wide lavender stripes showing.He was beautiful, the old man remembered,and he had stayed.That was the saddest thing I ever saw with them,the old man thought.”

40/45/100

80/100/100

“Then, while the old man was clearing the lines and preparing the harpoon, the male fish jumped high into the air beside the boat to see where the female was and then went down deep, his lavender wings, that were his pectoral fins, spread wide and all his wide lavender stripes showing. He was beautiful, the old man remembered, and he had stayed. That was the saddest thing I ever saw with them, the old man thought.”

100/175/200

100/250/300

“Then, while the old man was clearing the lines and preparing the harpoon, the male fish jumped high into the air beside the boat to see where the female was and then went down deep, his lavender wings, that were his pectoral fins, spread wide and all his wide lavender stripes showing. He was beautiful, the old man remembered, and he had stayed. That was the saddest thing I ever saw with them, the old man thought.”

Interline Spacing The distance from the baseline of one line of type to another is called line spacing. It is also called leading, in reference to the strips of lead used to separate lines of metal type. The default setting in most layout and imaging software is 120 percent of the type size. Thus 10-pt type is set with 12 pts of line spacing. Designers play with linespacing arrangements. Reducing the standard distance creates a denser typographic color, while risking collisions between ascenders and descenders. Expanding the line spacing creates a lighter, more open text block. As leading increases, lines of type become independent graphic elements rather than parts of an overall visual shape and texture. Designers experiment with extreme line spacing to create distinctive typographic textures. Open spacing allows designers to play with the space between the lines, while tight spacing creates intriguing, sometimes uncomfortable, collisions.

8 pt

30 pt

“The fish is my friend too...I have never seen or heard of such a fish. But I must kill him. I am glad we do not have to try to kill the stars. Imagine if each day a man must try to kill the moon, he thought. The moon runs away. But imagine if a man each day should have to try to kill the sun? We were born lucky; he thought”

“The fish is my friend too...I have never seen

11 pt “The fish is my friend too...I have never seen or heard of such a fish. But I must kill him. I am glad we do not have to try to kill the stars. Imagine if each day a man must try to kill the moon, he thought. The moon runs away. But imagine if a man each day should have to try to kill the sun? We were born lucky; he thought”

15 pt “The fish is my friend too...I have never seen

or heard of such a fish. But I must kill him. I

or heard of such a fish. But I must kill him. I am glad we do not have to try to kill the stars. Imagine if each day a man must try to kill the moon, he thought. The moon runs away. But imagine if a man each day should have to try to kill the sun? We were born lucky; he thought”

35 pt

am glad we do not have to try to kill the stars.

“The fish is my friend too...I have never seen

moon, he thought. The moon runs away. But

or heard of such a fish. But I must kill him. I

Imagine if each day a man must try to kill the

imagine if a man each day should have to try to kill the sun? We were born lucky; he thought”

20 pt “The fish is my friend too...I have never seen or heard of such a fish. But I must kill him. I am glad we do not have to try to kill the stars. Imagine if each day a man must try to kill the moon, he thought. The moon runs away. But imagine if a man each day should have to try to

am glad we do not have to try to kill the stars. Imagine if each day a man must try to kill the moon, he thought. The moon runs away. But imagine if a man each day should have to try to kill the sun? We were born lucky; he thought”

kill the sun? We were born lucky; he thought” 14

Cases

Some fishermenâ&#x20AC;&#x2122;s stories can be over the top, and in some cases of typography the use of capitals can be considered extreme. A word set in all caps within running text can look big and bulky, and a long passage set entirely in capitals can look utterly insane. Small capitals are designed to match the x-height of lowercase letters. Designers, enamored with the squarish proportions of true small caps, employ them not only within bodies of text but for subheads, bylines, invitations, and more. Rather than mixing small caps with capitals, many designers prefer to use all small caps, creating a clean line with no ascending elements. Pseudo small caps are shrunken versions of full-size caps

True small caps integrate peacefully with lowercase letters.

Adobe Caslon

Bembo With small caps

With pseudo small caps Let your shadow fall on the water while you are fishing and you will scare the fish away.

Let your shadow fall on the water while you are fishing and you will scare the fish away.

Helvetica

Scala

With pseudo small caps Let your shadow fall on the water while you are fishing and you will scare the fish away.

With small caps Let your shadow fall on the water while you are fishing and you will scare the fish away.

Adobe Caslon using all caps Adobe Caslon using caps and lowercase The clouds were building up now for the trade wind and he looked ahead and saw a flight of wild ducks etching themselves against the sky over the water, then blurring, then etching again and he knew no man was ever alone on the sea.

Adobe Caslon using all lowercase the clouds were building up now for the trade wind and he looked ahead and saw a flight of wild ducks etching themselves against the sky over the water, then blurring, then etching again and he knew no man was ever alone on the sea.

Helvetica using all caps THE CLOUDS WERE BUILDING UP NOW FOR THE TRADE WIND AND HE LOOKED AHEAD AND SAW A FLIGHT OF WILD DUCKS ETCHING THEMSELVES AGAINST THE SKY OVER THE WATER, THEN BLURRING, THEN ETCHING AGAIN AND HE KNEW NO MAN WAS EVER ALONE ON THE SEA.

THE CLOUDS WERE BUILDING UP NOW FOR THE TRADE WIND AND HE LOOKED AHEAD AND SAW A FLIGHT OF WILD DUCKS ETCHING THEMSELVES AGAINST THE SKY OVER THE WATER, THEN BLURRING, THEN ETCHING AGAIN AND HE KNEW NO MAN WAS EVER ALONE ON THE SEA.

Helvetica using caps and lowercase The clouds were building up now for the trade wind and he looked ahead and saw a flight of wild ducks etching themselves against the sky over the water, then blurring, then etching again and he knew no man was ever alone on the sea.

Helvetica using all lowercase the clouds were building up now for the trade wind and he looked ahead and saw a flight of wild ducks etching themselves against the sky over the water, then blurring, then etching again and he knew no man was ever alone on the sea.

Punctuation Punctuation can be altered or removed entirely if the text treatment creates the equivalent meaning. For example, a colon separating a title and subtitle must remain if they follow each other on the same line; remove the colon if the subtitle is treated differently enough from the title to visually imply the same grammatical separation.

{[‘‘‘,.;:’’’]} Helvetica Neu Bold

{[‘‘‘,.;:’’’]} Bodoni Bold

{[‘‘‘,.;:’’’]} Interstate Black

{[‘‘‘,.;:’’’]} Clarendon Bold 17

Hanging punctuation Most punctuation marks— especially quotations— should be hung outside the aligned text if it occurs at the beginning of a line. This rule sometimes applies to bullets as well; a designer may opt to maintain the alignment of bulleted text and hang the bullets in the margin. “I have never seen or heard of such a fish. But I must kill him. I am glad we do not have to try to kill the stars.” Imagine if each day a man must try to kill the moon, he thought. The moon runs away. . . . Then he was sorry for the great fish that had nothing to eat and his determination to kill him never relaxed in his sorrow for him. . . . There is no one worthy of eating him from the manner of his behavior and his great dignity. I do not understand these things, he thought. But it is good that we do not have to try to kill the sun or the moon or the stars. It is enough to live on the sea and kill our true brothers.”

!@#?/|()_-+=~` Helvetica Neu Bold

!@#?/|()_-+=~` Bodoni Bold

!@#?/|()_-+=~` Interstate Black

!@#?/|()_-+=~` Clarendon Bold

line width justification lineation skewed lines shaped text interlineation hypertext

Chapter Two

Shape of Text

Line Width Anything from 45 to 75 characters is widely regarded as satisfactory length of line for a single-column page set in a serifed text face in a text size. The 66-character line (counting both letters and spaces) is widely regarded as ideal. For multiple-column work, a better average is 40 to 50 characters. If the type is well set and printed, lines of 85 or 90 characters will pose no problem in discontinuous texts, such as bibliographies, or, with generous leading, in footnotes. But even with generous leading, a line that averages more than 75 or 80 characters is likely to be too long for continuous reading. A reasonable working minimum for justified text in English is the 40-character line. Shorter lines may compose perfectly well with sufficient luck and patience, but in the long run, justified lines averaging less than 38 or 40 characters will lead to white acne or pig bristles: a rash of erratic and splotchy word spaces or an epidemic of hyphenation. When the line is short, the text should be set ragged right. In large doses, even ragged-right composition may look anorexic if the line falls below 30 characters, but in small isolated patches - ragged marginal notes, for example - minimum line (if the language is English) can be as little as 12 or 15 characters.

Line width: 7 picas

Line width: 10 picas

Line width: 13 picas

He remembered the time he had hooked one of a pair of marlin. The male fish always let the female fish feed first and the hooked fish, the female, made a wild, panic-stricken, despairing fight that soon exhausted her, and all the time the male had stayed with her, crossing the line and circling with her on the surface. He had stayed so close that the old man was afraid he would cut the line with his tail which was sharp as a scythe and almost of that size and shape.

Line width: 20 picas He remembered the time he had hooked one of a pair of marlin. The male fish always let the female fish feed first and the hooked fish, the female, made a wild, panic-stricken, despairing fight that soon exhausted her, and all the time the male had stayed with her, crossing the line and circling with her on the surface. He had stayed so close that the old man was afraid he would cut the line with his tail which was sharp as a scythe and almost of that size and shape.

Line width: 30 picas He remembered the time he had hooked one of a pair of marlin. The male fish always let the female fish feed first and the hooked fish, the female, made a wild, panic-stricken, despairing fight that soon exhausted her, and all the time the male had stayed with her, crossing the line and circling with her on the surface. He had stayed so close that the old man was afraid he would cut the line with his tail which was sharp as a scythe and almost of that size and shape.

Alignment Flush left/ragged right

Left edge is hard; right edge is soft In justified text, there is always a trade-off between evenness of spacing and frequency of hyphenation. The best available compromise will depend on the nature of the text as well as on the specifics of design. Good compositors like to avoid consecutive hyphenated line-ends, but frequent hyphens are better than sloppy spacing, and ragged setting is better yet. Narrow measures-which make good justification extremely difficult-are commonly used when the text is set in multiple columns. Setting ragged right under these conditions will lighten the page and decrease its stiffness, as well as preventing an outbreak of hyphenation.

Centered

Lines of uneven length on a central axis Centered text is formal and classical. It invites the designer to break a text for sense and create elegant, organic shapes. Centering is often the simplest and most intuitive way to place a typographic element. Used without care, centered text can look staid and mournful, like a tombstone.

Flush left text respects the organic flow of language and avoids the uneven spacing that plagues justified type. A bad rag can ruin the relaxed, organic appearance of a flush left column. Designers must strive vigilantly to create the illusion of a random, natural edge without resorting to excessive hyphenation.

Flush right/ragged left

Right edge is hard; left edge is soft Flush left text can be a welcome departure from the familiar. Used for captions, sidebars, and other marginalia, it can suggest affinities among elements. Because flush right text is unusual, it can annoy cautious readers. Bad rags threaten flush right text just as they afflict flush left, and punctuation can weaken the hard right edge.

Justified

Left and right edges are both even Left and right edges are both even Justified text makes a clean shape on the page. Its efficient use of space makes it the norm for newspapers and books. Ugly gaps can occur, however, as text is forced into lines of even measure. Avoid this by using a line length that is long enough in relation to the size of type. As type gets smaller, more words will fit on each line.

Centered

Justified

One of Ernest Hemingway’s techniques that he used to stop sharks from eating his catch was to shoot them merciless with a submachine gun. However, his technique didn’t turn to be quite effective since the explosion of blood only caused the sharks to attack his catch with even greater fury. He kept working on his fishing techniques throughout time, his techniques turned out to be so great, that they were able to help him establish a world record by catching seven marlin in one day. And he was also the first person to ever boat a giant tuna in an undamaged state.

Flush left/ragged right

Flush right/ragged left

Significant Lineation Significant lineation is seen most often in headlines, poetry, and titling. When reading a sentence that has been broken into two or more lines, we naturally pause and reset at the beginning of the next line. This pause greatly effects the way a sentence is read and understood and can be used by the designer to great effect, subverting, empowering and manipulating meaning.

They have always reminded me of lace-makers. The way they stand at the shore, looking at the sea as if it is an open page of knots, never a closed fabric stitched by needles. And the way they stand as if darning a yacht, a bird, distant waves breaking in circles, the passages the moon takes out through the cliffs.

Skewed Lines Skewed lines of text do not align to a hard edge. They may or may not align horizontally. Skewing lines of text gives the text a sense of motion. Skewed lines appear to advance and recede in space. The technique of skewing text can be very useful when putting emphasis on the z-axis. Working with this level of depth in mind can be useful when oneâ&#x20AC;&#x2122;s goal is to liven up a flat, lifeless layout.It is common for amateur designers to skew lines of text to make italics or to give the type an extended or condensed appearance. This method compromises the anatomical make-up of the typeface and is not recommended.

He was an old man who fished alone in a skiff in the Gulf Stream and he had gone eighty-four days now without taking a fish. In the first forty days a boy had been with him. But after forty days without a fish the boyâ&#x20AC;&#x2122;s parents had told him that the old man was now definitely and finally salao, which is the worst form of unlucky, and the boy had gone at their orders in another boat which caught three good fish the first week. It made the boy sad to see the old man come in each day with his skiff empty and he always went down to help him carry either the coiled lines or the gaff and harpoon and the sail that was furled around the mast. The sail was patched with flour sacks and, furled, it looked like the flag of permanent defeat.

Before it was really light he had his baits out and was drifting with the current. One bait was down forty fathoms. The second was at seventy-five and the third and fourth were down in the blue water at one hundred and one hundred and twenty-five fathoms. Each bait hung head down with the shank of the hook inside the bait fish, tied and sewed solid and all the projecting part of the hook, the curve and the point, was covered with fresh sardines.

Shaped Text Before it was really light he had his baits out and was drifting The eye is sensitive to the form and placement with the of type. Shaped text can create a recognizable current. object, a distinct shape, or may wrap around an One image, object, or box. A good text wraps closely bait was follows the contour of the object being wrapped. down forWell shaped text maintains readability. ty fathoms. The second was at seventy-five and the third and fourth were down in the blue water at one hundred and He was one hundred and rowing steadily twenty-five fathoms. and it was no Each bait hung head down effort for with the shank of the hook inside the him bait fish, tied and sewed solid since he and all the projecting kept well part of the hook, the within his speed curve and the point, and the surface of the was covered with fresh ocean was flat except sardines. Each sardine for the occasional swirls was hooked through of the current. He was both eyes so that they letting the current do a third of the work and as made a half-garland it started to be light he on the projecting saw he was already steel. There was no further out than part of the hook he had hoped that a great fish to be at this could feel which hour. was not sweet smelling and good tasting.

Interlineation

Now the goldfish began to implore him,

There once lived an old man and his good-wife And it spoke like a real human being:

Interlineation is when lines of text are set in between other lines of text. Interwoven bodies of text can be offset from each other by differentiating typeface, type size, and the color of type. Interlineated type can, for example, fuse together agreeing texts, contrast opposing texts, and combine headings and subheadings. Now the goldfish began to implore him,

There once lived an old man and his good-wife And it spoke like a real human being:

On the shore of the deep blue ocean;

Put me back, old man, into the ocean —

They lived in a tumble-down hovel

I will pay you a right royal ransom,

For thirty-three summers and winters.

I wilt give you whatever you ask me.»

The old man used to fish for his living,

The old man was astonished and frightened —

And his wife spun yarn on her distaff.

He’d been fishing for thirty-three summers,

He once cast his net in the ocean,

Bat had not heard of any fish talking.

And pulled it up with mud from the bottom; So with care he untangled the goldfish

He again cast his net in the ocean,

And tenderly said as he did so:

And this time caught nothing but seaweed; God bless you, my dear little goldfish!

When he cast his net for the third time,

Thank you kindly, I don’t want your ransom.

One fish was all that he landed,

Go back to your home in the ocean,

No common fish, though, but a goldfish.

On the shore of the deep blue ocean; Put me back, old man, into the ocean —

They lived in a tumble-down hovel I will pay you a right royal ransom,

For thirty-three summers and winters. I wilt give you whatever you ask me.»

The old man used to fish for his living, The old man was astonished and frightened —

And his wife spun yarn on her distaff. He’d been fishing for thirty-three summers,

He once cast his net in the ocean, Bat had not heard of any fish talking.

And pulled it up with mud from the bottom; So with care he untangled the goldfish

He again cast his net in the ocean, And tenderly said as he did so:

And this time caught nothing but seaweed; God bless you, my dear little goldfish!

When he cast his net for the third time, Thank you kindly, I don’t want your ransom.

One fish was all that he landed, Go back to your home in the ocean,

No common fish, though, but a goldfish. And roam where you will without hindrance.

And roam where you will without hindrance. This is considered hypertext

Hypertext The screen is a reading environment even more fugitive than the newspaper. Intricate, long sentences full of unfamiliar words stand little chance. At text size, subtle and delicate letterforms stand little chance as well. Superscripts and subscripts, footnotes, endnotes, sidenotes disappear. In the harsh light and coarse resolution of the screen, such literate accessories are difficult to see; what is worse, they dispel the essential illusion of speed. So the links and jumps of hypertext replace them. All the subtexts then can be the same size, and readers are at liberty to skip from text to text like children switching channels on tv. When reading takes this form, both sentences and letterforms retreat to blunt simplicity. Good text faces for the screen are low contrast, a large torso, open counters, sturdy terminals, and slab serifs or no serifs at all.

Apart from text, hypertext is sometimes used to describe tables, images and other presentational content forms with hyperlinks.

initial letter & paragraph mark indentation ornamental & space division color

Chapter Three

Dividing Text

Initial Letter & Paragraph Mark Traditionally a large, illustrated initial capital letter introduced the beginning of chapters in a book, initial letters are typically set in a different typeface than the surrounding text. Some initial letters are highly decorative while others are simple. Initials can be created from your existing fonts, created, or purchased in sets of highly decorative letterform graphics. A raised initial sits on the baseline of the first line of copy and ascends above the body copy. With far fewer alignment variables, raised caps are relatively simple to incorporate.

he old man returned to the seashore, where the blue waves were frolicking lightly. He called out aloud for the goldfish, and the goldfish swam up and demanded: What is it, old man, you are wanting? With a bow, the old man said in answer: Forgive me, Your Majesty Goldfish! My old woman has scolded me roundly—won’t leave me alone for a minute, she says that she wants a new wash-tub, for ours is all falling to pieces. The goldfish murmured in answer: Do not worry, go home, God be with you — very well, you shall have a new wash-tub.

The key to using initial letters well is proper alignment. If the character is intended to appear flush left with the text, it should align optically rather than mechanically. Certain characters such as those with rounds (C, O, S, etc.), diagonals (A, V, W, Y ) as well as characters with serifs (which get proportionally larger with size), should be pulled out to the left a bit to visually align. If the character is the letter of a word (as opposed to a single letter word), try to space the rest of the word close enough to the initial to read as a word. Your type can look amateurish and be hard to read when the rest of the word seems to be floating away. A drop cap is set within the column block; the top of it is no higher than the top of the first line of the text. Sub- sequent type flows around its lower “dropped” portion and should occupy a space least three lines deep. Make sure the letter optically aligns with the cap height of the first line and that the base aligns with the baseline of the line of type on which it rests.

he old man returned to the sea shore, where the blue waves were frolicking lightly. He called out aloud for the goldfish, and the goldfish swam up and demanded: What is it, old man, you are wanting? With a bow, the old man said in answer: Forgive me, Your Majesty Goldfish! My old woman has scolded me roundly—won’t leave me alone for a minute, she says that she wants a new wash-tub, for ours is all falling to pieces. The goldfish murmured in answer: Do not worry, go home, God be with you — very well, you shall have a new wash-tub.

Again he went back to the seashore, and this Another type of special character is the paragraph mark, which graphically divides sections of text.

time the blue sea was troubled. He called out aloud for the goldfish, and the goldfish swam up and demanded: What is it, old man, you are wanting? With a bow, the old man said in answer: Forgive me, Your Majesty Goldfish! My old woman is angrier than ever, Won’t leave me alone for a minute—the old scold says she wants a new cottage. The goldfish murmured in answer: Do not worry, go home, God be with you! So be it! You’ll have a new cottage!

Indentation It is common to see paragraphs separated just by the device of indenting the first line of the paragraph. This scheme has the big advantage of using less space. Publishers of fiction often use this style of paragraph saving tons of paper yearly. Indentation is a textual use of white space; it is visually striking, and its use should be restricted for specific purposes. You can indent the first line of text from the left margin or keep the first line flush left and indent the body text underneath it (exdentation). Note that with paragraphs separated marginally with indentation, it is white space that is the design element drawing the eyesâ&#x20AC;&#x2122; attention to the fact that a new paragraph has begun. .5 pica indentations

2 pica indentations

There was a certain fisherman, advanced in age, who had a wife and three children; and though he was in indigent circumstances, it was his custom to cast his net, every day, no more than four times. One day he went forth at the hour of noon to the shore of the sea, and put down his basket, and cast his net, and waited until it was motionless in the water, when he drew together its strings, and found it to be heavy: he pulled, but could not draw it up: so he took the end of the cord, and knocked a stake into the shore, and tied the cord to it. He then stripped himself, and dived round the net, and continued to pull until he drew it out: whereupon he rejoiced, and put on his clothes; but when he came to examine the net, he found in it the carcass of an ass.

.1 pica exdentations

2 pica exdentations

3/1 pica alternating indentations

.5/5 pica alternating indentations

Ornamental & Space Division Paragraphs can be divided by placing a pilcrow, an ornament or a rule in between each paragraph. Ornamental division can be used to give text layouts specific stylistic qualities. Graphic borders and ornaments were considered essential in even the earliest forms of printing. Arabesque is the name given to the whole category of graphic ornaments and embellishments. Also called printer’s flowers and fleurons, these decorative elements have been used by designers and printers since the invention of moveable type. Arabesques range from simple geometric designs to ornate configurations of intertwining leaves and flowers. Modern arabesques are often digital recreations or interpre- tations of traditional historic designs, while others bring this delightful practice of yesteryear unapolo- getically into the twenty-first century. Type designers sometimes create arabesques that are specifically designed to accompany their typefaces. Arabesques have countless uses – the key is to play with them and have fun. Don’t be afraid to mix up the elements and combine them into unexpected pat- terns. When it comes to these versatile graphic elements, the number of configurations is limited only by your imagination.

He was an old man who fished alone in a skiff in the Gulf Stream and he had gone eightyfour days now without taking a fish. In the first forty days a boy had been with him. But after forty days without a fish the boy’s parents had told him that the old man was now definitely and finally salao, which is the worst form of unlucky, and the boy had gone at their orders in another boat which caught three good fish the first week. It made the boy sad to see the old man come in each day with his skiff empty and he always went down to help him carry either the coiled lines or the gaff and harpoon and the sail that was furled around the mast. The sail was patched with flour sacks and, furled, it looked like the flag of permanent defeat. The old man was thin and gaunt with deep wrinkles in the back of his neck. The brown blotches of the benevolent skin cancer the sun brings from its reflection on the tropic sea were on his cheeks. The blotches ran well down the sides of his face and his hands had the deep-creased scars from handling heavy fish on the cords. But none of these scars were fresh. They were as old as erosions in a fishless desert. Everything about him was old except his eyes and they were the same color as the sea and were cheerful and undefeated.

Paragraphs can be separated using a method called space division; rather than indenting each new paragraph, a space is used to indicate the beginning of a new block of text. 4 pt space divison He was an old man who fished alone in a skiff in the Gulf Stream and he had gone eightyfour days now without taking a fish. In the first forty days a boy had been with him. But after forty days without a fish the boyâ&#x20AC;&#x2122;s parents had told him that the old man was now definitely and finally salao, which is the worst form of unlucky, and the boy had gone at their orders in another boat which caught three good fish the first week. It made the boy sad to see the old man come in each day with his skiff empty and he always went down to help him carry either the coiled lines or the gaff and harpoon and the sail that was furled around the mast. The sail was patched with flour sacks and, furled, it looked like the flag of permanent defeat. The old man was thin and gaunt with deep wrinkles in the back of his neck. The brown blotches of the benevolent skin cancer the sun brings from its reflection on the tropic sea were on his cheeks. The blotches ran well down the sides of his face and his hands had the deepcreased scars from handling heavy fish on the cords. But none of these scars were fresh. They were as old as erosions in a fishless desert. Everything about him was old except his eyes and they were the same color as the sea and were cheerful and undefeated.

12 pt space divison He was an old man who fished alone in a skiff in the Gulf Stream and he had gone eightyfour days now without taking a fish. In the first forty days a boy had been with him. But after forty days without a fish the boyâ&#x20AC;&#x2122;s parents had told him that the old man was now definitely and finally salao, which is the worst form of unlucky, and the boy had gone at their orders in another boat which caught three good fish the first week. It made the boy sad to see the old man come in each day with his skiff empty and he always went down to help him carry either the coiled lines or the gaff and harpoon and the sail that was furled around the mast. The sail was patched with flour sacks and, furled, it looked like the flag of permanent defeat. The old man was thin and gaunt with deep wrinkles in the back of his neck. The brown blotches of the benevolent skin cancer the sun brings from its reflection on the tropic sea were on his cheeks. The blotches ran well down the sides of his face and his hands had the deepcreased scars from handling heavy fish on the cords. But none of these scars were fresh. They were as old as erosions in a fishless desert. Everything about him was old except his eyes and they were the same color as the sea and were cheerful and undefeated.

Color Color is the overall value of lightness or darkness that is created by words, lines, paragraphs, or pages of type when viewed against their background. The combination of typographic factors that contribute to the color of a text include the typeface design, weight, size, x-height in relation to capital height, line length, leading, word spacing, and character spacing. Some authors use this term to refer to the overall appearance of a typeface. The color that you use for your letters effects the legibility. One must also take into consideration the size of the text. Sure, your text might look smashing with a subtle tint when it is bigger, but it becomes very hard to see when it gets smaller.

Red at night, sailor’s delight. Red in morning, sailor take warning.

Red at night, sailor’s delight. Red in Red at night, sailor’s delight. Red in morning, morning, sailor take warning. sailor take warning. Red at night, sailor’s delight. Red in morning, sailor take warning. Red at night, sailor’s delight. Red in morning, sailor take warning. Red at night, sailor’s delight. Red in morning, sailor take warning.

Red at night, sailor’s delight. Red in morning, sailor take warning. Red at night, sailor’s delight. Red in morning, sailor take warning. Red at night, sailor’s delight. Red in morning, sailor take warning.

Red at night, sailor’s delight. Red in morning, sailor take warning.

Typography Sources

Thinking With Type by Ellen Lupton The Elements of Typographic Style by Robert Bringhurst

Fishing Excerpts

The Old Man and the Sea by Ernest Hemingway The Fishermen The Fisherman and the Golden Fish by Alexander Pushkin Old Wiveâ&#x20AC;&#x2122;s Tales

Typefaces Used Adobe Caslon Helvetica Helvetica Neu Baskerville Gill Sans Clarendon Futura Bodoni Interstate Bembo Scala