TYPO GRA PHY as we KNOW
it.
For Designers, Students & Teachers
Created by Oscar, Nick and Wes
Th bo ty sim
he purpose of this ook is to understand ypography in a short, mple & efficient manner.
Contents
introduction
1 2 3
Dissecting Typography Anatomy, 2 Size + Scale 4
Selecting Your Type Type Classification, 7 Type Families, 8 Classic Typefaces, 10
Putting It Together Alignment, 12 Kerning,Tracking + Leading, 14
credits, 16
CHAPTER 1
Dissecting Typography
2
Anatomy of typography
cap height
1 x-height
baseline
2
descender line
There is a standard set of terms to describe the parts of a character. These terms, and the parts of the letter they represent, are often referred to as “letter anatomy” or “typeface anatomy.” By breaking down letters into parts, a designer can better understand how type is created and altered and how to use it effectively. A few extra terms, such as baseline and x-height, are included to help understand and describe the letter anatomy.
3
7
4
6
5
8
3
10
9
1. Bar
6. Finial
2. Stem
7. Ascender
3. Loop
8. Descender
4. Ear
9. Spine
5. Bowl
10. Cross Bar
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a * 8
5
H
;
size
+
“
) SCALE
5
Typographic size & scale
Size The point system is the standard used today. One point equals 1/72 inch or .35 millimeters. Twelve points equal one pica, the unit commonly used to measure column widths. 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 dramatic
Abbreviating Picas and Points
8 picas = 8p 8 points = p8, 8 pts 8 picas, 4 points = 8p4 8-point Helvetica with 9 points of line spacing = 8/9 Helvetica
type size change will always draw attention.
Scale Scale is the size of design elements in comparison to other elements in a layout as well as to the physical context of the work. Typography needs to be legible and readable at different sizes. Typographic scale creates hierarchy in information. Scaling the space between lines of type creates a vertical rhythm through your text. Changes in scale help create visual contrast, movement, and depth as well as express hierarchies of importance. Scale is physical.
+1
+2
+3
USE SCALE AND CONTRAST USE
SCALE AND
CONTRAST
+12
Minimal differences in size make this look provisional and random.
Strong contrast and scale gives this design depth, energy, and decisiveness.
CHAPTER 2
Selecting Your Type
7
Type Classification
Choosing Appropriate Fonts— Fonts are the Wusthof knives of graphic design. In the hands of a capable, educated and trained professional, fonts can achieve amazing results. In the hands of an amateur – dangerous.
Serif
Serifs are semi-structural details on the ends of some of the strokes that make up letters and symbols. Sans-Serif is one that does not have the small features called “serifs” at the end of strokes. The term comes from the Latin word “sine”, via the French word sans, meaning “without”. Transitional typefaces show more accentuation between thick and think strokes, flat serifs, and very slightly inclined axes on curves.
Has small features at the ends of the letters. Now you see them! No extra features. Now you don’t! A blend of the two. Indentity Crisis?
Sans-Serif
Transitional
8
Type Families
Roman Italic Bold all caps caps and small caps
9
key principles
...the questions always come up at least once: “What should I look for in a font?� Selecting fonts can be a tricky process, when in doubt do some research. The most important things to remember about font selection are: Is it legible?
Is it appropriate and strategic?
If the answer to that question is anything but a definite yes do not be afraid to find another font. The most important concept in good advertising is to communicate your message effectively. Is it appropriate and strategic? A good way to think of fonts is that they have personalities. A traditional serif font is usually used for conservative and formal purposes. San-serif fonts are modern and casual. There are casual, masculine, feminine, retro, fancy, grungy fonts, and the list goes on.
10
CLASSIC TYPEFACES
Fonts are the ones that help a text or design stand out. There are a huge number of different font types available. Some of them have been used and adapted by designers and organizations for decades, making them the most influential fonts in graphic design. This list is about those fonts. Each of the typefaces represent a distinct stage in the evolution of type design and they remain among the most popular and widely used typefaces today. Use them to your advantage.
Helvetica Futura Garamond Bodoni Frutiger
Trajan Myriad Minion Bembo Baskerville
CHAPTER 3
Putting it Together
12
Proper
Alignme n
13
ALIGNMENT
The spacing of text can be used to make a single word, or entire pages more legible. If text is too close it becomes jumbled and hard to depict. If text is spaced too far apart it is difficult to read. The types of line spacing that exist are Leading, Kerning, and Tracking.
Flush Left
Centered
Designers prefer this alignment because it is the easiest to read, that is why it is the most common.
This style is usually meant for poems. It is seen as classical and formal. Creates an organic shape within a body of text.
Flush Right
Justified
This alignment is odd to read and should be used for captions. Can also be used to fit well with images.
Offers a crisp, handsome look if done correctly. It uses a effeciate amount of space and creates a clean shape.
Text aligns to the left side
Text aligns to the right side
This is evenly distributed from the center
Left and right edges are even
14
SPACING OF TEXT
The spacing of text can be used to make a single word, or entire pages more legible. If text is too close it becomes jumbled and hard to depict. If text is spaced too far apart it is difficult to read. The types of line spacing that exist are Leading, Kerning, and Tracking.
15
Leading
The horizontal space between lines of text. Measured from baseline to baseline.
This is an example of leading. Notice the difference in space between the lines of text.
Tracking
The overall spacing between characters. Also known as letter spacing.
Tracking
Tracking
Kerning
The space between individual characters. Commonly used to create uniformity.
Kerning Kern in g
16
SOURCES AND CREDITS
“How did they know that?” because we know you’re wondering
17
*
This information was obtained from the following
Ellen Lupton’s Thinking With Type
Attending the Rocky Mountain College of Art and Design
James Craig’s Designing With Type
Now that I think of it, I think I can start to really comprehend th typography stuff.
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THIS BOOK INCLUDES
typography anatomy typeface families typeface classification size and scale alignment and kearning leading and tracking