Typometry-TheGeometry of Type

Typometry The Geometry of Type

shefali adya

Typometry The Geometry of Type

Copyright Š 2013 Shefali Adya First edition All rights reserved. No portion of this book, except for brief review, maybe reproduced, stored in a retrieval system, or transmitted in any form or by any means electronic, photocopying, recording, or otherwise without the written permission of the publisher.

“Type is a beautiful group of letters, not a group of beautiful letters.”

—Matthew Carter

contents

01

Grid Anatomy Kerning Line Spacing

6 8 10 12

02

03

Marking Paragraphs Alignment Widows and Orphans

Scale Wraps and Runaround Typeface Design Type Classification

14 16 18 20

Dashes Ligatures Special Characters Punctuations

30 32 34 36

22 24 28

04

A grid consists of a distinct set of alignment based relationships that act as guides for distributing the same basic parts, no matter how complex the grid becomes. Each part fulfills a specific function; the parts can be combined as needed, or omitted from the overall structure at the designers discretion, depending on how they interpret the informational requirements of the material.

Hierarchical grid The proportions of each area within the page correspond to the function of that area in managing content. The major horizontal divisions, for example, separate a large area for text and images. None of the content areas are the same proportion, but their respective horizontal, vertical and modular dimensions hold each other in quiet sort of tension.

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typometry—the geometry of type

Manuscript grid with a pronounced asymmetry The left and the top margins are dramatically wide, forcing the text block to the right and down. The effect of architectural solidity created by these proportions is offset by the serene, open quality of the margin. A constant hang line for running text, and a second–high above for running head create a quiet, simple structure. Mirrored folios are bent toward asymmetry through the use of hairline rules.

Basic two-column grid The columns roughly divide the page in half. The margins are optically even; the interior margins are a bit wider while linear elements demarcate the margins throughout. Running section folios span the two columns, but at the foot of the page rather than at the top, giving precedence to the more important elements of the hierarchy.

grid

6|7

g chapter 1

typometry—the geometry of type

Tapered Serif

Calligraphic Stroke

Pointed Joint

Asymmetrical Bowl

The characteristics of a serifed type family arises from the form principles and from elements such as serifs and contrast of the strokes. Martin Majoor has described Scala as “based upon a humanist model with influences from different style periods.� The stroke is characterised by pointed joints and rounded curves.

anatomy

8|9

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. In metal type, a kerned letter extends past the lead slug that supports it, allowing two letters to fit more closely together. Working in a page layout, a designer can choose to use metric kerning or optical kerning as well as adjusting space between letters manually where desired.

Typography -66

+43

+16

-7

+48

+5

+2

Typography -90

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-22

-18

-1

-43

-20

-7

typometry—the geometry of type

kerning

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scala regular 6/6 pt. +10 tr

If we consider the symmetry and order which govern all the works of creation, we must admit that geometry pervades the universe. By geometry we may curiously trace nature through her various windings to her most concealed recesses; by it we discover how the planets move in their respective orbits and demonstrate their various revolutions; by it we account for the return of the seasons and the variety of the scenes which each season displays to the discerning eye. By it we discover the power, wisdom and goodness of the Grand Artificer of the Universe and view with delight the proportions which connect the vast machine.

scala regular 6/7.2 pt. +10 tr

If we consider the symmetry and order which govern all the works of creation, we must admit that geometry pervades the universe. By geometry we may curiously trace nature through her various windings to her most concealed recesses; by it we discover how the planets move in their respective orbits and demonstrate their various revolutions; by it we account for the return of the seasons and the variety of the scenes which each season displays to the discerning eye. By it we discover the power, wisdom and goodness of the Grand Artificer of the Universe and view with delight the proportions which connect the vast machine.

scala regular 6/8 pt. +10 tr

If we consider the symmetry and order which govern all the works of creation, we must admit that geometry pervades the universe. By geometry we may curiously trace nature through her various windings to her most concealed recesses; by it we discover how the planets move in their respective orbits and demonstrate their various revolutions; by it we account for the return of the seasons and the variety of the scenes which each season displays to the discerning eye. By it we discover the power, wisdom and goodness of the Grand Artificer of the Universe and view with delight the proportions which connect the vast machine.

scala regular 6/12 pt. +10 tr

If we consider the symmetry and order which govern all the works of creation, we must admit that geometry pervades the universe. By geometry we may curiously trace nature through her various windings to her most concealed recesses; by it we discover how the planets move in their respective orbits and demonstrate their various revolutions; by it we account for the return of the seasons and the variety of the scenes which each season displays to the discerning eye. By it we discover the power, wisdom and goodness of the Grand Artificer of the Universe and view with delight the proportions which connect the vast machine.

chapter 1

typometry—the geometry of type

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. Designers play with line spacing in order to create distinctive typographic 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.

line spacing

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There is geometry in the humming of the strings,

There’s geometry in the humming of the strings,

There’s geometry in the humming of the strings,

There’s geometry in the humming of the strings,

There’s geometry in the humming of the strings,

There’s geometry in the humming of the strings,

There’s geometry in the humming of the strings,

There’s geometry in the humming of the strings,

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. It is relative. Designers create hierarchy and contrast by playing with the scale of letterforms. Changes in scale help create visual contrast, movement, and depth as well as express hierarchies of importance.

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typometry—the geometry of type

there is music in the spacing of the spheres.

there is music in the spacing of the spheres.

there is music in the spacing of the spheres.

there is music in the spacing of the spheres.

there is music in the spacing of the spheres.

there is music in the spacing of the spheres.

there is music in the spacing of the spheres.

there is music in the spacing of the spheres.

scale

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Most of us tend to think of geometry as a relatively dry, if not altogether boring, subject remembered from our Middle school years, consisting of endless axioms, definitions, postulates and proofs, hearkening back, in fact, to the methodology of Euclids Elements, in form and structure a masterly exposition of logical thinking and mental training but not the most thrilling read one might undertake in their leisure time. While the modern, academic approach to the study of geometry sees it as the very embodiment of rationalism and left brain, intellectual processes, which indeed it is, it has neglected the right brain, intuitive, artistic dimension of the subject.

Sacred geometry seeks to unite and synthesize these two dynamic and complementary aspects of geometry into an integrated whole. At the very earliest appearance of human civilization we observe the presence and importance of geometry. It is clearly evident that geometry was comprehended and utilized by the ancient Master Builders, who, laboring at the dawn of civilization some four and one half millennial ago, bestowed upon the world such masterworks as the megalithic structures of ancient Europe, the Pyramids and temples of Pharaonic Egypt and the stepped Ziggurats of Sumeria.

That geometry continued to be employed throughout the centuries from those earliest times until times historically recent is also clearly evident. That it was made use of by cultures far-flung about the globe is evident as well, finding expression in China, Central and South America, in pre-Columbian North America amongst Native Americans, in Africa, SE Asia and Indonesia, Rome and of course in classical Greece and in Europe, from the Megalithic era.

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typometry—the geometry of type

Text blocks are often shaped to accommodate pictures or other graphic elements, in a design, using wraps and runarounds. A wrap is where the text margin is formed to take the shape of another page element such as text that surrounds the picture. A runaround is the amount of space surrounding a picture element, which prevents text from sitting directly next to it.

wraps and runaround

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Joost Schmidt designed the ‘a’ in using organic geometry in 1930. The form was created with eight circles, clearly marking the center for each circle, but without any information how the location and the size of each circle was determined.

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typometry—the geometry of type

a

cut off serif

uniform stroke width

pointed inner stroke

same letterform structure as serif

typeface design

18 | 19

gf >> HUMANIST

gf >> TRANSITIONAL

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gf >> GARALDE

gf >> DIDONE

typometry—the geometry of type

f g >> SLAB-SERIF

gf >> GROTESQUE SANS SERIF

gf >> HUMANIST SANS SERIF

gf >> NEO GROTESQUE SANS SERIF

gf >> GEOMETRIC SANS SERIF

type classification

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Indent and Line break Outdent Extra space inside line without line break

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typometry—the geometry of type

Symbol without indent or line break Line break and 1/2 line space Outdent with rules

marking paragraphs

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scala regular 8/11 | set left +10 tr

In flush left, the left edge is hard and the right edge is soft. Word space do not fluctuate, so there are never big holes inside the lines of text. This format which was used primarily for setting poetry before the twentieth century, respects the flow of language rather than submitting to the law of the box. Despite it advantages, however, the flush left format is fraught with danger. Above all, the designer must work hard to control the appearance of the rag that forms along the right edge. A good rag looks pleasantly uneven, with no lines that are excessively long or short.

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typometry—the geometry of type

Flush right is a variant of the more familiar flush left setting. It is hard to read, because it forces the reader’s eye to find a new position at the start of each line. That being said, the flush right setting is rarely employed for long bodies of text. Used in smaller blocks, however, flush right text forms effective marginal notes, sidebars, pull quotes, or other passages that comment on a main body or image. Flush right text can be a welcome departure from the familiar. Used for captions, side bars, and other marginalia, it can suggest affinities among elements and can annoy cautious readers. scala regular 8/11 | set right +10 tr

alignment

24 | 25

scala regular 8/11 | justified +10 tr

chapter 3

Justified text, which has even edges on both the left and right sides of the column, has been the norm since the invention of printing with movable type, which enabled the creation of page after page of straight edged columns. In metal type setting, the printer justifies each line by hand, using small metal spacers to alter the spaces between words and letters and thus make all the lines the same length. Justified type makes efficient use of space.

Ugly gaps can occur, however, when the line length is too short in relation to the size of type used.

Justified text makes a clean shape on the page.

typometry—the geometry of type

scala regular 8/11 | centered +10 tr

alignment

Centered text is symmetrical, like the facade of a classical building. Centered type often appears on invitations, title pages, certificates, and tomb stones. The edges of a centered column are often dramatically uneven. Centered lines should be broken to emphasize a key phrase or to allow a new thought to begin on its own line.

Breaking lines in this manner is called breaking for sense. Centering is often the simplest and most intuitive way to create place a typographic element.

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widow

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typometry—the geometry of type

orphan

A widow is a single word at the bottom of a paragraph that gets left behind. An orphan is a word or line of text that is forced to go on alone and start its own column or page.

widows and orphans

28 | 29

A hyphen is one third the size of an em rule and is used to link words or parts of words.

An en dash is half of an em rule and is used to indicate ranges and relationships or connections.

Em dashes are used to form lines and house nested clauses. A standard, joining em dash can cause spacing issues as it has no side bearings and fills its bounding box so that it touches the surrounding characters. A row of these em dashes would form a solid line. Punctuating em dashes are slightly shorter, providing space for surrounding characters to breathe. A row of punctuating em dashes form a punctuated line.

En Dash

Em Dash

Hyphen

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30 | 31

dashes

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fl

A ligature is a typographical device that joins two or three separate characters together to form a single unit. They are used as a solution to the interference that certain character combinations create. They are formed either by extending the crossbar or connecting the ascenders depending on the character involved. The term ligature is derived from ‘Ligare’, which is the latin word for ‘bind’. A ligature may also be used to represent a specific sound.

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º typometry—the geometry of type

fi ª ligatures

32 | 33

© @

ß

®

£

§

&

$

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typometry—the geometry of type

There are many special characters which are familiar to most, but understood by few. Most of these have interesting history and evolution as they survived the beatings given to them through rushed handwriting of scribes and misuses through history. They now mostly live on our keyboards and in our software, and a few are used often, so it seems only fitting to know where they come from and how to correctly use them.

special characters

34 | 35

A well designed comma carriers the essence of the typeface down to it delicious details. Helvetica’s comma is a chunky square mounted to a jaunty curve, while Bodoni’s is a voluptuous, thin stemmed orb. Designers and editors need to learn various typographic conventions in addition to mastering the grammatical rules of punctuation. A pandemic error is the use of straight prime or hatch marks (often called dumb quotes) in place of apostrophes

and quotation marks (also known as curly quotes, typographers’ quotes or smart quotes). Double and single quotation marks are represented with four distinct characters, each accessed with a different keystroke combination. It usually falls to the designer to purge the client’s manuscript of spurious punctuation.

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typometry—the geometry of type

{[“‘,.:; ’”]}

punctuations

36 | 37

Academy of Art University San Francisco, California 94105 Fall 2013 Designer: Shefali Adya shefaliadya@hotmail.com Instructor: David Hake Fonts: Scala, Scala Sans Software: Indesign and Illustrator Paper: Moab Lasal Photo Matte, 235 gsm