“The first time I drew type, I felt like I was at the bottom of Mountain. Everest. In a swimsuit.” Nina Stossinger NORDVEST - MONOKROM TYPE FOUNDRY
INTRODUCTION Typography is a central component of design. It gives us an understanding of the heritage behind our craft. It’s one of the primary ways we, as a society, pass on information to others. Imagine a website, a magazine or even TV without text. Typography is a subject that raises passions and it can become a consuming obsession. If this subject is relatively new to you, or perhaps something you want to know more about, then this guide can start you on that journey.
Ascender Line Cap Height X-Height Baseline Decender Line
Ascender line: this line shows where the top of letters such as k and h touch. Strangely, in a lot of cases, this line is slightly higher than the capital line. X-height: this shows the height of lowercase letters (excluding ascenders and descenders). Cap Height: this marks the top of capital letters.
Baseline: is the line upon which most letters “sit� and below which descenders extend. Descender line: the invisible line marking the lowest point of the descenders within a font.
In metal typesetting, a font is a particular size, weight and style of a typeface. Each font was a matched set of type, one piece for each glyph, and a typeface consisting of a range of fonts that shared an overall design.
In typography, a typeface is a set of one or more fonts each composed of glyphs that share common design features. Each font of a typeface has a specific weight, style, condensation, width, slant, italicization, ornamentation, and designer or foundry.
SERIF In typography, a serif is a small line attached to the end of a stroke in a letter or symbol. A typeface with serifs is called a serif typeface.
Times News Roman Baskerville Garamond Bodoni Rockwell Clarendon
SAN SERIF A typeface without serifs is called sans serif, from the French sans, meaning “without”. Some typography sources refer to sans serif typefaces as “Grotesque” or “Gothic”, and serif typefaces as “Roman”.
Futura Gotham Tahoma Gill Sans Brandon
DISPLAY Display fonts became popular in the 19th century and were used extensively on posters and advertisements. This style of type and lettering could be artistic and eye-catching in a way that wasn’t considered previously.
Script Friday13 Portcullion The dark FABRICSics Marguerite
“Type design is about function. Drawing pretty shapes isn’t enough.” James Todd GARVIS - JTD
A type family consists of a group of related typefaces, unified by a set of similar design characteristics. Each face in the family is individual and each has been created by changing visual aspects of the parent font. In general, type families consisted of 3 fonts: the regular, a bolder version and an italic.
Nanami Thin Nanami ThinOblique Nanami ExtraLight Nanami ExtraLight Oblique Nanami Light Nanami Light Oblique Nanami Book Nanami Book Oblique Nanami Regular Nanami Regular Oblique Nanami Medium Nanami Medium Oblique Nanami Bold Nanami Bold Oblique Nanami Black Nanami Black Oblique Nanami Heavy Nanami Heavy Oblique
aAgh
aAght
CLARENDON
BODONI
The height of lowercase letters reach based on height of lowercase x; does not include ascenders or descenders. In typography, x-height is the distance between the baseline of a line of type and tops of the main body of lower case letters
The height of lowercase letters reach based on height of lowercase x; does not include ascenders or descenders. In typography, x-height is the distance between the baseline of a line of type and tops of the main body of lower case letters
aAght
aAght
TAHOMA
GILL SANS
The height of lowercase letters reach based on height of lowercase x; does not include ascenders or descenders. In typography, x-height is the distance between the baseline of a line of type and tops of the main body of lower case letters.
The height of lowercase letters reach based on height of lowercase x; does not include ascenders or descenders. In typography, x-height is the distance between the baseline of a line of type and tops of the main body of lower case letters.
Kerning describes the amount of space between two characters. Kerning also is the art of adjusting the space between characters so that the eye can flow easily across the copy without being distracted by discrepancies. Remember: good typography is never noticed.
TRACKING SET: -50
TRACKING SET: +50
Tracking or letter-spacing is the space between groups of characters. Tracking can be described as being loose or tight. Loose tracking is when the letters have a larger distance between them. Tight tracking is when the letters are closer. Tracking has similar guidelines as leading, and all of these best practices are tied to readability.
Tracking or letter-spacing is the space between groups of characters. Tracking can be described as being loose or tight. Loose tracking is when the letters have a larger distance between them. Tight tracking is when the letters are closer. Tracking has similar guidelines as leading, and all of these best practices are tied to readability.
“Some one asked, “Do we need so many typefaces?.” I replied, Do we need so many books? Do we need another paintiting? Do we need so many songs? Do we need another movie?” Bill Dawson
CALA BY DIETER HOFRICHTER - HOFTYPE
Leading describes the amount of space between lines of text. You can measure leading by obtaining the distance between two baselines. Leading is powerful. It can affect how readable long blocks of text are. When you decrease leading, lines get closer to each other, making a block of text appear more compacted. Lowering the amount of leading can cause descenders and ascenders to collide, and this could have an adverse effect on readability.
LEADING: AUTO Leading: describes the amount of space between lines of text. You can measure leading by obtaining the distance between two baselines. Leading is powerful. It can affect how readable long blocks of text are.
LEADING: 10 Leading: describes the amount of space between lines of text. You can measure leading by obtaining the distance between two baselines. Leading is powerful. It can affect how readable long blocks of text are.
LEADING: 20 Leading: describes the amount of space between lines of text. You can measure leading by obtaining the distance between two baselines. Leading is powerful. It can affect how readable long blocks of text are.
LEADING: 30 Leading: describes the amount of space between lines of text. You can measure leading by obtaining the distance between two baselines. Leading is powerful. It can affect how readable long blocks of text are.
The point system is the standard unit of measurement for type. Since each size of a typeface had to be cut individually, point size was determined by the distance from the height of the tallest ascender to the tip of the longest descender, plus a wee bit more. In general, 8pts – 12 pts is the good for text reading, from over 14pts is the size for title.
72pt 60pt 48pt 36pt 30pt 24pt 18pt 14pt 12pt 11pt 10pt 9pt 8pt 6pt
In typesetting and page layout, alignment or range, is the setting of text flow or image placement relative to page, column (measure), table cell or tab. The type alignment setting is sometimes referred to as text alignment, text justification or type justification. There are four basic typographic alignments:
Flush left: The text is aligned along the left margin or gutter, also known as leftaligned, ragged right or ranged left;
Flush right: The text is aligned along the right margin or gutter, also known as rightaligned, ragged left or ranged right
J ustifie D :
Centered:
Text is aligned along the left margin, and letter- and word-spacing is adjusted so that the text falls flush with both margins, also known as fully justified or full justification;
Text is aligned to neither the left nor right margin; there is an even gap on each side of each line.
“Type is like the air. We need it to live and don’t notice it, until someone farts.” Fabio Magg FOCO - DALNTON MAAG
ver the centuries,typographic guidelines have been Odeveloped to provide consistency and competency
within the profession, to preserve the beauty and legibility of typographic form, and to ensure that typography functions as often mandated: to clearly represent the thoughts of the author..
The guidelines presented in this part are not absolute or definitive, but they are representatives of a sturdy, time-tested collection of typographic “rules�. They are presented here to provide a context for informed typographic exploration. In other words, rules must first be understood before they can be broken. Once it is known how to obey the rules, one can freely journey into unconventional terrain. For some readers, these guidelines offer a welcome review. For those new to the fascinating but often confusing world of typography, they provide a critical foundation for informed and responsible practice.
For optimum legibility, choose classical, time-tested typefaces with a proven track record.
Well-seasoned typographic designers can usually count their favorite typefaces on one hand. Most often, they are those typefaces that are drawn and crafted with consistency among characters, and those that exhibit highly legible proportions.
Futura Gotham
Didot Bodoni
Gillssans Helvetica
Minion Garamond
Optima Copperplate
Baskerville Times New Roman
Be mindful not to use too many different typefaces at any one time.
The primary purpose for using more than one typeface is to create emphasis or to separate one part of the text from another. When too many different typefaces are used, the page becomes a three-ring circus, and the reader is unable to determine what is or what is not important.
The primary purpose for using more than one typeface is to create emphasis or to separate one part of the text from another. When too many different typefaces are used, the page becomes a threering circus, and the reader is unable to determine what is or what is not important.
Avoid combining typefaces that are to similar in appearance.
If the reason for combining typefaces is to create emphasis, it is important to avoid ambiguity caused by combining types that are too similar in appearance.
When this occurs, it usually looks like a mistake, because not enough contrast exists between the typefaces.
Text set in all capital letters severely retards reading. Use upper- and lowercase letters for optimum readability.
Lower-case letters provide the necessary visual cues to make text most readable. This is due to the presence of ascenders, descenders, and the varied internal patterns of lower-case letters. Using both upper-and lowercase letters is the most normative means for setting text type, and a convention to which readers are most accustomed. Upper-case letters can successfully be used for display type.
“Typography is two-dimensional architechture, based on experience and imagination, and guided by rules and readability.” Hermann Zapf PLATINO - ADOBE
For text type, use sizes that according to legibility studies prove most readable.
These sizes generally range from 8 to 12 points (and all sizes in between) for text that is read from an average distance of 12 to 14 inches. However, it is important to be aware of the fact that typefaces of the same size may actually appear different in size depending upon the x-height of the letters (the distance between the baseline and meanline). These sizes generally range from 8 to 12 points (and all sizes in between) for text that is read from an average distance of 12 to 14 inches. However, it is important to be aware of the fact that typefaces of the same size may actually appear different in size depending upon the x-height of the letters (the distance between the baseline and meanline). These sizes generally range from 8 to 12 points (and all sizes in between) for text that is read from an average distance of 12 to 14 inches. However, it is important to be aware of the fact that typefaces of the same size may actually appear different in size depending upon the x-height of the letters (the distance between the baseline and meanline). These sizes generally range from 8 to 12 points (and all sizes in between) for text that is read from an average distance of 12 to 14 inches. However, it is important to be aware of the fact that typefaces of the same size may actually appear different in size depending upon the x-height of the letters (the distance between the baseline and meanline).
Use text types of book weight. Avoid typefaces appearing too heavy or too light.
The weight of typefaces is determined by the thicknesses of the letter strokes. Text typefaces that are too light cannot easily be distinguished from their backgrounds. In typefaces that are too heavy, counterforms diminish in size, making them less legible. Book weights strike a happy medium, and are ideal for text. The weight of typefaces is determined by the thicknesses of the letter strokes. Text typefaces that are too light cannot easily be distinguished from their backgrounds. In typefaces that are too heavy, counterforms diminish in size, making them less legible. Book weights strike a happy medium, and are ideal for text. The weight of typefaces is determined by the thicknesses of the letter strokes. Text typefaces that are too light cannot easily be distinguished from their backgrounds. In typefaces that are too heavy, counterforms diminish in size, making them less legible. Book weights strike a happy medium, and are ideal for text. The weight of typefaces is determined by the thicknesses of the letter strokes. Text typefaces that are too light cannot easily be distinguished from their backgrounds. In typefaces that are too heavy, counterforms diminish in size, making them less legible. Book weights strike a happy medium, and are ideal for text.
Strive for consistent, rhythmic rags.
Avoid rags in which strange and awkward shapes are formed as a result of line terminations. Also avoid rags that produce arepetitious and predictable pattern of line endings.
Avoid rags in which strange and awkward shapes are formed as a result of line terminations. Also avoid rags that produce a repetitious and predictable pattern of line endings.
Avoid widows and orphans whenever possible.
A widow is a word or very short line at either the beginning or the end of paragraph. An orphan is a single syllable at the end of a paragraph. Both of these lonely conditions should be avoided whenever possible, for they destroy the continuity of text blocks, create spotty pages, and interfere with concentration in reading.
A widow is a word or very short line at either the beginning or the end of paragraph. An orphan is a single syllable at the end of a paragraph. Both of these lonely conditions should be avoided whenever possible, for they destroy the continuity of text blocks, create spotty pages, and interfere with concentration in reading.
Always maintain the integrity of type. Avoid arbitrarily stretching letters.
Well designed typefaces exhibit visual qualities that make them readable. Letters are painstakingly designed with specific proportional attributes in mind. Arbitrarily them compromises their integrity.
When working with type and color, ensure that sufficient contrast exists between type and its background.
Too little contrast in hue, value, or saturation, or combination of these factors, can result in type that is difficult, if not impossible, to read. Too little contrast in hue, value, or saturation, or combination of these factors, can result in type that is difficult, if not impossible, to read.
Instructor: Long Nguyen Designed by: Minh Vu Nhat Photos: Google Email: minhvnse61390@live.com
October 2016