Glyph

V. 1

i n v o k e

character

type casting Steven Brower

grooming the font Robert Bringhurst

typographic cube Vincent Alvarez

back to basics:

stopping sloppy typography

John D. Berry

April 28, 2015

i n v o k e

Chracter Listings

www.glyphemagazine.com glyphmag@verizon.ney +1-410-848-1900

4-7: “Type Casting” Steven Brower 8-9: “How Good is Good?” Stefan Sagmeister 10-13: “Grooming Font” Robert Bringhurst 14: “Business: Personal Fonts” Stephen Coles 15: “Velo Serif Review” Indra Kupferschmid 16-17: “Typographic Cube” Vincent Alvarez 18: “Web Type” Mike Butterick 19: “Practical Tips” Stephen Coles 20-21: “Back to Basics” John D. Berry

character 400 Bennett Cerf Drive Westminster, MD 21157 United States

Editor in Chief: Victor Ameskco (972)439-9908 vameskco@gmail.com Art Director: Ametane Ameone (972)743-8709 ameone1984@gmail.com Designer: Nemmil Trisk (935)337-6712 hammert@hotmail.com Picture Editor: Yvone Juden (972)563-7734 judenrule@verizon.net Copy Editor: Jeremy Hunt (935)665-1732 huntinu@gmail.com Proofreader: Rahat Rejhin (873)886-7843 rahat2hat@hotmail.com Production Manager: Johnny Utah (935)349-3245 jutah@verizon.net Department Editor: Merril Holmes (972)454-6768 merr13@hotmail.com

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Type Casting My first job in book design was at New American Library, a publisher of mass-market books. I was thrilled to be hired. It was exactly where I wanted to be. I love the written word, and viewed this as my entrance into a world I wanted to participate in. Little did I suspect at the time that mass-market books, also known as “pocket” books (they measure approximately 4” - 7”, although I have yet to wear a pocket they fit comfortably into), were viewed in the design world as the tawdry stepchild of true literature and design, gaudy and unsophisticated. I came to understand that this was due to the fact that mass-market books, sold extensively in super- markets and convenience stores, had more in common with soap detergent and cereal boxes than with their much more dignified older brother, the hardcover first edition book. Indeed, the level of design of paperbacks was as slow to evolve as a box of Cheerios.

On the other hand, hardcover books, as if dressed in evening attire, wore elegant and sophisticated jackets. Next in

steven

line in terms of standing, in both the literary and design worlds, was the trade paper edition, a misnomer that does not refer to a specific audience within an area of work, but, rather, to the second edition of the hardcover, or first edition, that sports a paperbound cover. Trade paperbacks usually utilize the same interior printing as the hardcover, and are roughly the same size (generally, 6” - 9”).

Mass-market books were not so lucky. The interior pages of the original edition were shrunk down, with no regard for the final type size or the eyes of the viewer. The interiors tended to be printed on cheap paper stock, prone to yellowing over time. The edges were often dyed to mask the different grades of paper used. The covers were usually quite loud, treated with a myriad of special effects (i.e., gold or silver foil, embossing and de-bossing, spot lamination, die cuts, metallic and Day-Glo pantone colors, thermography, and even holography), all designed to jump out at you and into

Eventually, my eye began to develop, and my awareness and appreciation of good typography increased. I soon

your shopping cart as you walk down the aisle. The tradition of mass-market covers had more in common with, and,

learned the pitfalls that most novice designers fall into, like utilizing a quirky novelty face does not equal creativity and

perhaps, for the most part is the descendant of, pulp magazine covers of earlier decades, with their colorful titles and usually calls attention to the wrong aspects of the solution. The importance of good letterspacing became paramount. over-the-top illustrations, than that of its more stylish, larger, and more expensive cousins.

Finding the right combination of a serif and sans serif face to evoke the mood of the material within was now my

What I Learned

primary concern. The beauty of a classically rendered letterform now moved me, to quote Eric Gill, as much “as any

So, when I made my entry into the elite world of literature, I began in the “bullpen” of a mass-market house. I sculpture or painted picture.” I developed an appreciation for the rules of typography. believed I would be afforded a good opportunity to learn something about type and image. Indeed, in my short tenure there, I employed more display typefaces in a year and a half than I will in the rest of my lifetime. And, I abused type more than I ever dreamed possible.

The Rules Design the rules in an engaging way. This is the most important part of the article. Make sure each stands out on the page so that readers can quickly glance at them. Take a look at infographics to get ideas for interesting layouts.

There, type was always condensed or stretched so the height would be greater in a small format. The problem was that

As I’ve said, it is a common mistake among young designers to think a quirky novelty face equals creativity. Of

the face itself became distorted, as if it was put on the inquisitionist rack, with the horizontals remaining “thick” and

course, this couldn’t be farther from the truth. If anything, for the viewer, it has the opposite of the intended effect.

the verticals thinning out. Back then, when type was “spec’d” and sent out to a typesetter, there was a standing order

Rather than being the total sum of individual expression, it simply calls attention to itself, detracting from, rather

at the type house to condense all type for our company 20 percent. Sometimes, we would cut the type and extend it by than adding to, the content of the piece. It is no substitute for a well-reasoned conceptual solu- tion to the design hand, which created less distortion but still odd-looking faces. Once, I was instructed by the art director to cut the serifs problem at hand. off a face, to suit his whim. It’s a good thing there is no criminal prosecution for type abuse.

As a general rule, no more than two faces should be utilized in any given design, usually the combination of a serif

The art director usually commissioned the art for these titles. Therefore, the job of the designers was to find the face and a sans serif face. There are thousands to choose from, but I find I have reduced the list to five or six in each “appropriate” type solution that worked with these illustrations to create the package. It was here that I learned category that I have used as body text throughout my career: the list below should be designed in a way that one can see my earliest lessons in the clichés of typography. Mass- market paperbacks are divided into different genres, distinct the beauty of these typefaces. You can use examples of these fonts in use, or create an infographic. categories that define their audience and subject matter And so it went. Every month, we were given five to six titles we were responsible for, and every month, new variations on old themes hung up on the wall. For a brief period I was assigned all the romance titles, which, themselves, were

Serif: Bodoni - Caslon - Cheltenham - Garamond Sans Serif: Franklin - Gothic - Futura - Gill Sans - News Gothic - Trade Gothic You should never condense or extend type. As I stated, this leads to unwanted distortions. Much care and

divided into subgenres (historical, regency, contemporary, etc). I made the conscious decision to create the very best consideration went into the design of these faces, and they should be treated with respect. There are thousands of romance covers around. Sure, I would use script and cursive type, but I would use better script and cursive type, so condensed faces to choose from without resorting to the horizontal and vertical scale functions. distinctive, elegant, and beautiful that I, or anyone else, would recognize the difference immediately. (When, six months

Do not use text type as display. Even though the computer will enlarge the top beyond the type designer’s intention,

after I left the job, I went to view my achievements at the local K-Mart, I could not pick out any of my designs from this may result in distortions. all the rest on the bookracks.)

Soon after, I graduated to art director of a small publishing house. The problem was, I still knew little of and had little confidence in, typography. However, by this time, I knew I knew little about typography. My solution, therefore,

Do not use display type as text. Often, display type that looks great large can be difficult to read when small.

Do not stack type.

The result is odd-looking spacing that looks as if it is about to tumble on top of itself. The thinness of the letter

was to create images that contained the type as an integral part of the image, in a play on vernacular design, thereby I is no match for the heft of an O sitting on top of it. As always, there are ways to achieve stacking successfully, but avoiding the issue entirely. Thus began a series of collaborations with talented illustrators and photographers, in which

this requires care. Also, as I noted, much care should be given to letterspacing the characters of each word. This is not

the typography of the jacket was incorporated as part of the illustration.

as simple as it seems. The computer settings for type are rife with inconsistencies that need to be corrected optically.

Mystery books especially lent themselves well to this endeavor. A nice thing about this approach is that it has a certain Certain combinations of letterforms are more difficult to adjust than others. It is paramount that even optical (as informality and familiarity with the audience. It also made my job easier, because I did not have to paste up much type opposed to actual) spacing is achieved, regardless of the openness or closeness of the kerning. It helps if you view the for the cover (as one had to do back in the days of t-squares and wax), since it was, for the most part, self-contained setting upside down, or backwards on a light box or sun-filled window, or squint at the copy to achieve satisfactory within the illustration. This may seem like laziness on my part, but hey, I was busy.

spacing.

brower

“

My solution, therefore, was to create images that contained the type as an integral part of the image, in a play on vernacular design, thereby avoiding the issue entirely. Thus began a series of collaborations with talented illustrators and photographers, in which the typography of the jacket was incorporated as

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Be careful with drop shadows. I would caution you in the judicious use of drop shadows. Shadows these days can be rendered easily in programs such as Adobe’s Photoshop and Illustrator, and convincingly, too. The problem is, it is so easily done that it is overdone. Thus, the wholesale usage of soft drop shadows has become the typographic equivalent of clip art. Viewers know they have seen it before. Rather than being evocative, it mainly evokes the program it was created in. The handed-down wisdom is: If you need a drop shadow to make it read, the piece isn’t working. These solid drop shadows always look artificial, since, in reality, there is no such thing as a solid drop shadow. There should be a better solution to readability. Perhaps the background or the color of the type can be adjusted. Perhaps the type should be paneled or outlined. There are an infinite number of possible variations.

If you must use a solid drop shadow, it should never be a color. Have you ever seen a shadow in life that is blue, yellow, or green? It should certainly never be white. Why would a shadow be 100 percent lighter than what is, in theory, casting the shadow? White shadows create a hole in the background, and draw the eye to the shadow, and not where you want it to go: the text.

Justified text looks more formal than flush left, rag right. Most books are set justified, while magazines are often flush left, rag right.

Centered copy will appear more relaxed than asymmetrical copy. Large blocks of centered type can create odd-looking shapes that detract from the copy contained within.

Column width. It is also common today to see very wide columns of text, with the copy set at a small point size. The problem is that a very wide column is hard to read because it forces the eye to move back and forth, tiring the reader.

On the other hand, a very narrow measure also is objectionable, because the phrases and words are too cut up, with the

steven

eye jumping from line to line. We, as readers, do not read letter by letter, or even word by word, but, rather, phrase by phrase. A consensus favors an average of ten to twelve words per line.1 Don’t forget to adjust leading. Lastly, too much leading between lines also makes the reader work too hard jumping from line to line, while too little leading makes it hard for the reader to discern where one line ends and another begins. The audience should always be paramount in the designer’s approach, and it is the audience—not the whim of the designer, or even the client—that defines the level of difficulty and ease with which a piece is read. As Eric Gill said in 1931, “A book is primarily a thing to be read.”2 Type size. A final consideration is the size of the type. As a rule of thumb, mass-market books tend to be 8 point for reasons of space. A clothbound book, magazine, or newspaper usually falls into the 9.5 point to 12 point range.

Oversized art books employ larger sizes—generally, 14 point to 18 point or more.

Use the right type. Choosing the right typeface for your design can be time-consuming. There are thousands to choose from. Questions abound. Is the face legible at the setting I want? Does it evoke what I want it to evoke? Is it appropriate to the subject matter? There are no easy answers. When a student of mine used Clarendon in a self-promotion piece, I questioned why he chose a face that has 1950s connotations, mainly in connection with Reid Miles’ Blue Note album covers. He answered, “Because I thought it was cool.” I lectured him profusely on selecting type simply based on its “coolness.” Later, I relayed the incident to Seymour Chwast, of the legendary Pushpin Group (formerly Pushpin Studios). He observed that Clarendon is actually a Victorian face, which he and his peers revived as young designers in the 1950s. When I asked him why they chose to bring this arcane face back to life, he replied, “Because we thought it was cool.”

Breaking the Rules Of course, there are always exceptions to the rules. An infinite number of faces can be used within one design,

About Steven Brower

particularly when you employ a broadside-style type solution, a style that developed with the woodtype settings of the

Steven Brower is an award-winning former Creative Director for PRINT, a former art director at the New York

nineteenth century. Another style, utilizing a myriad of faces, is that influenced by the Futurist and Dada movements of

Times and currently for The Nation, co-author and designer of Woody Guthrie Artworks (Rizzoli, 2005), and author

the early twentieth century. As Robert N. Jones stated in an article in the May 1960 issue of Print magazine: “It is my and designer of Satchmo: The Wonderful Art and World of Louis Armstrong (Abrams, 2009). In addition his writings belief that there has never been a type- face that is so badly designed that it could not be handsomely and effectively on design and pop culture have appeared in several publications. He is the director of the “Get Your Masters with the used in the hands of the right . . . designer.”3 Of course, this was before the novelty type explosion that took place later

Masters” MFA program for working professionals and educators at Marywood University in Scranton, PA.

that decade, and, again, after the advent of the Macintosh computer. Still, Jeffery Keedy, a contemporary type designer whose work appears regularly in Emigre, con- curs: “Good designers can make use of almost anything. The typeface is the point of departure, not the destination.” Note the caveat “almost.” Still, bad use of good type is much less desirable than good use of bad type. When I first began in publishing, a coworker decided to let me in on the “secrets” of picking the appropriate face. “If you get a book on Lincoln to design,” he advised, “look up an appropriate typeface in the index of the type specimen book.” He proceeded to do so. “Ah, here we go—‘Log Cabin!’” While, on the extremely rare occasion, I have found this to be a useful method, it’s a good general rule of what not to do.

Notes 1. Eric Gill, “An Essay on Typography” (Sheed and Ward, 1931), p. 136; (Godine, 1988). 2 and 3.

Richard Hendel, On Book Design (New Haven: Yale University Press, 1998).

Adapted from Publication Design (Delmar Learning, 2004).

brower

“ Good designers can make use of almost anything. The typeface is the point of departure, not the destination. �

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HOW GOOD IS GOOD? In September design felt impotent and frivolous. There is

about the layout, by life style magazines, with Neville

nothing inherent in our profession that forces us to support

Brody’s Face seen as the big event. The 90s were dominated

worthy causes, to promote good things, to avoid visual pollution.

by

There might be such a responsibility in us as people. In August,

with David Carson emerging as the dominant figure.

questions

about

typography,

readability,

layering,

when thinking about my reasons for being alive, for getting out

With prominent figures like Peter Saville recently talking

of bed in the morning, I would have written the following down.

about the crisis of the unnecessary and lamenting about

1. Strive for happiness

the fact that our contemporary culture is monthly, there

2. Don’t hurt anybody

might now finally be room for content, for questions

3. Help others achieve the same

about what we do and for whom we are doing it. The

Now I would change that priority:

incredible impact the First Things First manifesto had

1. Help others

on my profession would certainly point in that direction.

2. Don’t hurt anybody

The first sentence on page 1 of Victor Papanek’s “Design

3. Strive for happiness

for the Real World” reads: “There are professions more

My studio was engaged in cool projects, things designers like

harmful than industrial design, but only very few of them.

to do, like designing a cover for David Byrne. We had a good

And possibly only one profession is phonier: Advertising

time designing them, and since the products and events these

design. In persuading people to buy things they don’t need,

pieces promoted were fine, I don’t think we hurt anybody who

with money they don’t have, in order to impress others that

bought them.

don’t care, it is probably the phoniest field in existence today.”

One of the many things I learned in my year without clients, a

I do know that bad design can harm our lives. From the

year I had put aside for experiments only, was that I’d like a part of

problems this little piece of bad typography caused in Florida

my studio to move from creating cool things to significant things.

to unnecessary junk mail and overproduced packaging, bad

The 80s in graphic design were dominated by questions

design makes the world a more difficult place to live in.

At the same time, strong design for bad causes or products can hurt us even more.

Good design + bad cause = bad

Bad design + good cause = good?

When philosopher Edward DeBono talks

Zero is directly involved, when I design a pin

interested in participating and many from

about values, he puts them into four equally

to raise money to help the rescue worker, I’m

designers and architects offering ideas.

important sections: Me-values: ego and

a couple of degrees further removed. But

pleasure Mates-values: belonging to a group,

I might just function twice as effective as a

not letting it down Moral-values: religious

designer than I would as a rescue worker.

values, general law, general values of a

a violently negative one; - the writer stating

year ago, I got invited to participate in a media

that this is the absolute worst idea he ever saw

design exhibition in Vienna, Austria. One of

in this context, that it’s a case of designing

I often make the mistake of concentrating

the perks that came with the exhibit was a free,

poverty, just plain ignorant and stupid.

on just a couple of these values in my life. We

full-page ad in Austria’s best newspaper, space

all have heard of the philanthropist who gave

I was free to fill with whatever I liked.

culture Mankind-values:

human

rights, ecology

Bad design for a good cause can still be a good thing. From a design point of view, the statue of liberty playing a guitar is a trite cliché.

Among all the positive responses was also

Well, while pondering those questions half a

particular

Just consider this age old and powerful symbol and its transformation into a very successful identity program by the Nazis.

Also, it was an opportunity to feel and look good myself: The caring designer.

I got really nervous. I am just not used to having my work hated that much. Maybe I

away millions to charity and was a genuine

It’s an idea for a packaging that might

asshole to all his friends. Or the guy who is

be applied in zones of large catastrophes,

The e-mail did prompt me to get quickly

had no problems with this attitude.

totally devoted to his family and friends but

earthquakes and such. At the time I was naively

in contact with aid organizations and I had

have to be selfless? Am I allowed

When GE gives 10 million to

hates himself, drives a Suburban and works

thinking of far away locations, India or Africa,

subsequently a discussion with the Director of

to get something out of myself ?

the WTC victim families, is it ok

for a Nuclear Missile Plant. Or Mr. Bin Laden

not for a second conceiving that my hometown

Emergency Preparedness at CARE, the largest

If I do help, am I permitted

for them to look good for doing

himself: I am sure he is totally devoted to his

New York itself might be turned into the

of them all.

to have fun while doing so?

so? Poor Sting practically ruined

religious values as well as to the values of his

largest catastrophe zone.

I read an interview with an art

his career with all his do gooding,

own culture, but does not really care about

It is basically a large, hollow Lego like block

tends to buy food whenever possible locally

director in England discussing

transforming himself from the

human rights much. For a full life I would have

containing basic foods like milk powder,

in bulk: That way they don’t have to package,

his award winning campaign ad

cool leader of the Police to just

to be involved in all four.

water, dried fish, rice. After the food has been

there is less garbage, they avoid shipping

campaign for an association for

another sappy rain forest bard.

I do think there is a role for everyone. It does

consumed, the empty packaging can be filled

problems and the food will be compatible with

the blind, featuring a striking

Where do the critics come in? If

not really matter if I am the Mayor of New

with sand or dirt and used as an interlocking

local tastes.

image of

I make fun of Sting, do I keep

York, or if I design the tourist brochures for

brick to build a shelter.

in.

He

other celebrities from following

New York or if I sweep the streets in New

In the ad I explained the idea and asked other

to everybody’s advantage to use as much local

mentioned that he knew that a

his lead and therefore somehow

York. There is always room to be nice to a

designers, packaging manufacturers and aid

building material as possible. Care just supplies

picture of a cute puppy would

contribute to the destruction of

co-worker, to send a sweet letter to Mom, to

organizations to contribute.

some additional resource materials like rolls of

have raised more donations for

the rainforest? If I do criticize

love Anni.

the association, but was more

Sting, do I have to have a

interested in winning awards. He

better idea to help the world?

How to be good?

Well, does help by definition

human

a guide dog with

eyes

stripped

should have stuck to CD covers.

It turns out that in emergency cases, Care

And similar thinking applies for shelter: It’s

Responses came into my laptop immediately.

plastic or corrugated metal sheets and utilizes

Of course there are different degrees of

Many from students who just wanted to help,

the ingenuity of the population. This results in

separation. The rescue worker down at Ground

some from Austrian packaging companies

sturdier, better-built shelter.

Good Design + Good Cause = Good Design can unify Design can raise money Design can simplify our lives Design can make us more tolerant Design can make the world a safer place Design can help people rally behind a cause Design can make someone feel better Design can inform and teach Design can raise money Design can unify Good Design + Good Cause = Good

It turns out, my e-mail writer was right: This is a stupid idea. So, I have to be part of an organization, part of a problem to be able to come up with a solution. Do-gooding from afar, as a tourist, won’t do.

In the meantime in New York I was also at the center of a disaster, I was not tourist anymore. One of the tasks at hand was the creation of a symbol that could also work as a fundraiser for various charities hit hard by current events.

Our idea was a pin, made of the rubble of the World trade Center, a piece of metal that refused to be destroyed. After the WTC disaster over 1 000 000 tons of rubble was removed from the site and brought by truck and barge to the Fresh Kills landfill in Staten Island.

About Sagmeister:

“known for upsetting norms,

tricking the senses through design, typography, environmental art, conceptual exhibitions and video.”

Address

Sagmeister & Walsh.

206 West 23rd Street

Website

Floor 4

http://www.sagmeisterwalsh.com/

New York, NY 10011

Telephone

US

(212) 647-1789

Graphic designer and typographer Stefan Sagmeister is known for upsetting norms, tricking the senses through design, typography, environmental art, conceptual exhibitions and video. His diverse client list includes the Rolling Stones, HBO and the Solomon R. Guggenheim Museum. Sagmeister’s work has earned him accolades from all realms of art and design, including the American Institute of Graphic Arts Medal, the National Design Award from the Smithsonian’s Cooper-Hewitt National Design Museum, as well as two Grammy Awards for package designs for albums by the Talking Heads and Brian Eno and David Byrne. Solo shows with Sagmeister’s work have been exhibited throughout the U.S. and around the world, including shows in Paris, Zurich, Tokyo, Prague and Seoul, among others. He is the author of “Things I Have Learned in My Life So Far,” an eclectic mix of visual audacity and sound advice that blends Sagmeister’s personal revelations, art and design. A native of Austria, he received his M.F.A. from the University of Applied Arts in Vienna and earned a master’s degree from Pratt Institute, where he was a Fulbright Scholar. He resides in New York City where his firm, Sagmesiter & Walsh, is based.

Stefan Sagmeister

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bringhurst

“ Typography is to literature as musical performance is to composition: an

essential act of interpretation, full of endless opportunities for insight or obtuseness.” ― Robert Bringhurst, The Elements of Typographic Style

Digital fonts are usually licensed to the user, not sold outright, and the license terms may vary. Some manufacturers claim to believe that improving a font produced by them is an infringement of their rights. No one believes that tuning a piano or pumping up the tires of a car infringes on the rights of the manufacturer – and this is true no matter whether the car or the piano has been rented, leased or purchased. Printing type was treated the same way from Bi Sheng’s time until the 1980s. Generally speaking, metal type and phototype are treated that way still. In the digital realm, where the font is wholly intangible, those older notions of ownership are under pressure to change.

The Linotype Library’s standard font license says that “You may modify the Font’ Software to satisfy your design requirements.” FontShop’s standard license has a similar provision: “You do have the right to modify and alter Font Software for your customary personal and business use, but not for resale or further distribution.” Adobe’s and Agfa Monotype’s licenses contain no such provision. Monotype’s says instead that “You my not alter Font Software for the purpose of adding any functionality.... You agree not to adapt, modify, alter, translate, convert, or otherwise change the Font Software….”

If your license forbids improving the font itself, the only legal way to tune it is through a software override. For example, you can use an external kerning editor to override the kerning table built into the font. This is the least elegant way to do it, but a multitude of errors in fitting and kerning can be masked, if need be, by this means.

Ethical and Aesthetic Considerations If it ain’t broke….

Any part of the font can be tuned – lettershapes, character set, character encoding, fitting and sidebearings, kerning table, hinting, and, in an OpenType font, the rules governing character sub-situation. What doesn’t need tuning or fixing

robert Bringhurst’s book The Elements of Typographic Style (1992) is considered one of the most influential reference books on typography and book design. The work has been translated into ten languages, and is now in its third edition.

Writing begins with the making of meaningful marks. That is to say, leaving the traces of meaningful gestures.

Typography begins with arranging meaningful marks that are already made. In that respect, the practice of typography is like playing the piano – an instrument quite different from the human voice. On the piano, the notes are already fixed, although their order, duration and amplitude are not. The notes are fixed but they can be endlessly rearranged, into meaningful music or meaningless noise.

Pianos, however, need to be tuned. The same is true of fonts. To put this in more literary terms, fonts need to be edited just as carefully as texts do – and may need to be re-edited, like texts, when their circumstances change. The editing of fonts, like the editing of texts, begins before their birth and never ends.

You may prefer to entrust the editing of your fonts, like the tuning of your piano, to a professional. If you are the editor of a magazine or the manager of a publishing house, that is probably the best way to proceed. But devoted typographers, like lutenists and guitarists, often feel that they themselves must tune the instruments they play.

shouldn’t be touched. If you want to revise the font just for the sake of revising it, you might do better to design your own instead. And if you hack up someone else’s font for practice, like a biology student cutting up a frog, you might cremate or bury the results.

If the font is out of tune, fix it once and for all: One way to refine the typography of a text is to work your way through it like by line, putting space in here, removing it there, and repositioning errant characters one by one. But if these refinements are made to the font itself, you will never need to make them again. They are done for good.

Respect the text first of all, the letterforms second, the type designer third, the foundry fourth: The needs of the text should take precedence over the layout of the font, the integrity of the letterforms over the ego of the designer, the artistic sensibility of the designer over the foundry’s desire for profit, and the founder’s craft over a good deal else.

Keep on fixing: Check every text you set to see where improvements can be made. Then return to the font and make them. Little by little, you and the instrument – the font, that is – will fuse, and the type you set will start to sing.

Remember, though, this process never ends. There is no such thing as a perfect font.

If there are defective glyphs, mend them: If the basic lettershapes of your font are poorly drawn, it is probably better to abandon it rather than edit it. But many fonts combine superb basic letterforms with alien or sloppy supplementary characters. Where this is the case, you can usually rest assured that the basic letterforms are the work of a real designer, whose craftsmanship merits respect, and that the supplementary characters were added by an inattentive foundry employee. The latter’s errors should be remedied at once.

You may find for example that analphabetic characters such as @ + ± × =  - − © are too big or too small, too light or too dark, too high, or too low, or are otherwise out of tune with the basic alphabet. You may also find that diacritics in glyphs such as å çé ñ ô ü are poorly drawn, poorly positioned, or out of scale with the letterforms.

If text figures, ligatures or other glyphs you need on a regular basis don’t reside on the base font, move them: For readable text, you almost always need figures, but most digital fonts are sold with titling figures instead. Most digital fonts also include the ligatures fi and fl but not ff, ffi, ffl, fj or ffj. You may find at least some of the missing glyphs on a supplementary font (an ‘expert font’), but that is not

Legal Considerations A font license grants the owner the right to use a typeface in a specific manner as outlined in the license. (Note that

enough. Put all the basic glyphs together on the base font.

If, like a good Renaissance typographer, you use only upright parentheses and bracketscopy the

in this article we are going to use the terms “font” and “typeface” rather interchangeably.) Every typeface comes with a upright forms from the roman to the italic font. Only then can they be kerned and spaced correctly without fuss. license of some sort – even those free online typefaces.

The big caveat about font licenses is that every type house or designer has the right to create a license of any type. So

If glyphs you need are missing altogether, make them: Standard ISO digital text fonts (PostScript or

it is imperative that as a designer you check the specific license for any typeface you use commercially before you use TrueType) have 256 slots and carry a basic set of Western European characters. Eastern European it. You can find these rules in the End-User License Agreement that is “attached” to every font you download or buy. characters such as ą ć đ ė ğ ħ ī ň ő ŗ ș ť ů are usually missing. So are the Welsh sorts ŵ and ŷ, and a (And if you don’t have one, you can find it with a quick online search.)

host of characters needed for African, Asian and Native American languages.

11

12

bringhurst

“ If it ain’t broke…”

robert

The components required to make these characters may be present on the font, and assembling the pieces is not hard, but you need a place to put whatever character you make. If you need only a few and do not care about system compatibility, you can place them in wasted slots – e.g., the ^ < > \ | ~ ` positions, which are accessible directly from the keyboard, or slots such as ¢ ÷ 123 ™ ☐ 0/100 l, which can be reached through insertion utilities or by typing character codes or by customizing the keyboard.

The spacing of many analphabetics, however, has as much to do with editorial style

as with typographic design. Unless your fonts are custom made, neither the type

If you need to add many such characters, you will need to make a supplementary

designer nor the founder can know what you need or prefer. I habitually increase

font or, better yet, an enlarged font (TrueType or OpenType). If these are for your

the left sidebearing of semicolon, colon, question and exclamation marks, and the

own use only the extra characters can be placed wherever you wish. If the fonts

inner bearings of guillemets and parentheses, in search of a kind of Channel Island

are too be shared, every new glyph should be labeled with its PostScript name and

compromise: neither the tight fitting preferred by most anglophone editors nor the

Unicode number.

wide-open spacing customary in France. If I worked in French all the time, I might increase these sidebearings further.

Check and correct the sidebearings: The spacing of letters is part of the essence of their design. A well-made font should need little adjustment, except for refining the

Three options for spacing of basic analphabets in Monotype digital Centaur:

kerning. Remember, however, that kerning tables exist for the sake of problematical

foundry issue(top); French spacing(bottom); and something in between. Making

sequences such as ƒ*, gy, “A, To, Va and 74. If you find that simple pairs such as

such adjustments one by one by the insertion of fixed spaces can be tedious. It is

oo or oe require kerning, this is a sign that the letters are poorly fitted. It is better to

easier by far, if you know what you want and you want it consistently, to incorporate

correct the sidebearings than to write a bloated kerning table.

your preferences into the font.

13

14

Taking Your Fonts to Market: Foundry, Reseller, or Go Solo?

Stephen Coles on November 20, 2014

When the

people ol’

ask

bottom

about line:

“I

selling

their

wanna

make

fonts, some

the

conversation

bank!

Who

almost

offers

always

the

best

begins

with

royalty

rate?”

But the question of commission or discount percentage should be only one of many: What else is in the contract? What services do they guarantee? Do I respect their brand? What kind of audience do they speak to? Is their library a good fit for my typeface design? Is signing with a retailer even the right thing to do?

It’s

also

publisher)

important and

a

to

reseller

understand (AKA

the

distributor

difference or

between

retailer).

1. Signing with a Foundry

Here’s

a

foundry a

(AKA

rundown

of

vendor your

or

options.

2. Signing with a Reseller

3. Going it Alone

A foundry can be considered a font manufacturer. Examples

A reseller offers fonts from multiple foundries. The major type

Building a foundry and selling fonts exclusively on your own

are Linotype, Monotype, P22, and FontFont. Foundry type can be

resellers are Fonts.com, FontShop, MyFonts, and Veer. Resellers

web shop brings you 100% of sales, of course. Exclusivity has its

distributed through multiple channels, such as their own web shop

sign a contract with a foundry/publisher and offer the fonts in that

benefits, as Hoefler & Frere-Jones, Jeremy Tankard, and Lineto will

and the shops of their resellers. When you submit a typeface to a

foundry’s library. The foundry usually receives between 40–65% of

attest. It can give your brand a certain boost in value. But unless

foundry for release it is usually an exclusive deal. They will maintain

the retail price of the font. Each reseller has a different customer

you are already well known, it can be a lot of very hard work to get

the right to sell the font according to their contract. Royalties range

base and produces different kinds and quantities of promotional

customers to your shopfront, while lesser fonts are benefitting from

from 20%-50% but there is also an important distinction: most

materials. Examine them thoroughly and ask about their marketing

broader exposure and marketing. There is also that nagging feeling

foundries pay a percentage of the wholesale price of the font. In

strategies. Some independent foundries (like ShinnType and Mark

that you don’t know how much more you could be selling were your

this model, as the font goes further down the distribution chain,

Simonson) have found success in reaching a wide audience by

fonts available elsewhere.

the designer is getting less of the retail price. Other foundries, like

offering their fonts through many different resellers. Others go for

Advantages

FontFont, give a percentage of the suggested retail price — no

a more exclusive strategy (like Porchez Typofonderie at FontShop,

o

Full control of brand and pricing

matter where or how the font is sold, the designer gets the same cut.

Jukebox at Veer) benefiting from a boost in promotion that comes

o

Receive 100% of sales revenue

when a retailer can claim they are the exclusive reseller.

o

Maintain a relationship with every customer

Advantages o

No business knowledge required, the foundry

Advantages

Disadvantages

will handle all customer support (big!), marketing, and reseller

o

Reach more customers and diverse markets

o

Must be business savvy

relationships

o

Maintain some control of brand, pricing, and the

o

Spend more time administrating, less time drawing

o

Some foundries offer technical and design assistance

to complete font production o

Foundries are an advocate for your work, monitoring

piracy and misuse o

Spend less time administrating, more time drawing

type

ability to sign with multiple resellers

type

Disadvantages o

Must be somewhat business savvy

o

Receive a portion of each sale

o

Questions to ask yourself about a reseller o

Who is their clientele?

Disadvantages

o

How is their customer service?

o

Very little control of where and how fonts are sold

o

What marketing materials and other tools do they

o

Receive a portion of each sale

Questions to ask yourself about a foundry o

Is the library a good fit for my style of type?

o

What production assistance do they offer?

o

Where are the foundry’s fonts sold and how are they

Responsible for customer support

o

Maintain a relationship with every customer

o

How many fonts and foundries are already in their

shop? Do I risk getting lost among similar offerings? o

What do they offer if I sell my fonts exclusively

through them?

What is the length of the contract agreement?

Charting a Course to the Market So the first decision to be made with each of your fonts is whether you want to go the foundry or reseller route. If you decide to submit your fonts to a foundry, find the outfit and agreement that is right for you. If you choose to build your own foundry, decide whether you want to sell the fonts exclusively on your own, or through one or more resellers.

Success can be wrought from any of these models. Much depends on what’s important to you, the fonts you’re selling, and what kind of work you’re willing to put into distributing them.

I almost certainly neglected something in this summary and I welcome any rebuttals or filling of holes from those who are actually making a buck from drawing type. There are hundreds of you out there and many lessons to glean from your experience.

o

use to draw customers?

marketed? o

Potential for substantial overhead (marketing,

website, e-commerce costs)

“Success can be wrought from any of

these models. Much depends on what’s important to you, the fonts you’re selling, and what kind of work you’re willing to put into distributing them.”

Velo Serif won my heart four seconds after hitting my inbox with

Not only have the House team and Ben Kiel, Mitja Miklavčič,

seductive gifs and a big ‘ä’. No one was surprised. I have a super-soft

and Christian Schwartz won “Best Super Elliptical Squarish Serif

spot for squarish serifs. I love Zapf Book, not Palatino, I collect Old

of 2014” in my book, they’ve also scooped “Most Eloquently

Hamcherry, have researched Corvini, and stare at Antikva Margaret

Worded Typeface Descriptions and Promo Blurbs of the Decade”.

in awe. Velo Serif brings several of these loves together in one

I hesitate to call Velo Serif a slab serif. The Thin styles become

contemporary retro type family, but avoids becoming too gimmicky

almost monoline, yes, but the bracketed serifs are notably thinner

1970s (e.g., by resisting the obvious temptation for ball terminals).

than the stems. I admit that Ye Olde Classification System has no

The first features that spring to your eye are the ridiculously

good drawer for these kinds of squarish serifs (and even that term

large

x-height

and

the

wide

super-elliptic

forms

of

the

is inadequate; I only use it because I don’t know a better one, yet).

lowercase. They are capital without being majuscule. Where

Obsessed with topics such as the history of sans-serifs, font rendering,

other display serifs go for delicacy and long extenders, Velo

and the classification of typefaces, Indra Kupferschmid is a German

rides the opposite way. The bolder styles get so wide that they

typographer, teacher, and traveling activist for the good cause of good type.

feel more at home in packaging and advertising than headlines.

Alongside the main act, the twelve display styles, there are four text styles available, which — contrary to the classic display/textrelationship — have a lower x-height and narrower shapes. This makes them less obtrusive in running text and easier to read (a generous x-height doesn’t improve legibility infinitely). However, the boxy shapes and large counters still make the glyphs rather uniform and monotonous, especially in the Regular Italic. The bold weight of the text styles with its higher stroke contrast is the most readable one to me.

But Velo Serif is not charted for long novels anyway. The overexcited display styles prompt big splendid uses (the text styles may assist here and there): sparkling large words in the almost monoline* Thin Italic, cigarette packages in Regular, and please, please, please, a tear-off calendar in the Black style that uses the lovely curvy alternate figures.

In short, Attack design doldrums with stylistic souplesse. Fashionable figures break away from the populist peloton. Comprehensive characters for culturally correct creations. Sturdy serifs nimbly negotiate any typographic terrain.

Designer Ben Kiel, Christian Schwartz,

Classification

Mitja Miklavčič

Serif Slab Serif

Foundry House Industries

Featured in Typefaces of 2014

Velo in use

Reviewed by Indra Kupferschmid on March 19, 2015

Elsewhere

Typeface Reveiw: Velo Serif

15

16

m D

mm

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Foundations

This project is meant to bring familiarity to the world of typography and how type is an art form all its own.

First off, establish upon each face of the cube, a typographic design that correlates with each adjacent face of the cube creating a seamless design. Use no other element than what is available on a given keyboard. Once thoroughly designed, place the cube in an environment fitting to the given theme attached to it or simply install the cube, via photoshop, into a museum space that ties in with the theme selected, the goal being to achieve a general foundation

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of typographic elements and technical knowhow.

Process My experience with the cube led me to a deeper appreciation of type and revealed before my very eyes a word of art I hadn’t paid much attention to. Before all this, I vaguely knew the importance of type to be almost exclusively used in advertisements that flashed before me on a daily basis and just essentially that. Meeting any individual associated within this bizarre little world of type always seemed to carry with them the habit of stressing over every label they came across to the point of ridiculousness. I’m beginning to fear now that I may have fallen into that hole as well.

Once someone takes that first plunge into typography, it’s uncertain if that same person will leave it unscathed. To work with type on its own, you discover a new world filled with possibilities that only seem to grow with the inclusion of other mediums.

Text can be as powerful as any image often times more so given its presentation. When working with text, there are an overwhelming amount of elements and rules to take into consideration to evenly portion out every bit of text to reach that perfect presentation. What does draw the attention of a reader more, bold text or a single lanky, spaced out block of text? Depending on where they are in relation with one another, either one could hold significant dominance over the other.

Theme The idea of the drive-in theatre seemed to have called me in for this one. The focus on sound from the birth of

But back to my own experience with the cube, never had I thought of using armies of miniaturized text so closely

the theatre to where the structure still lies now within that same field, to me, seemed like such an interesting topic to

packed together to one another to the extent of the small hoard nearly killing my computer with their sheer numbers

pursue. The cube itself consists of text related to the history of the drive-in theatre. I also wished to reunite this history

alone due to simply tapping the cluster one pixel to left to create the organic or geometric structure I had been striving

to the forgotten locations of these theatres and with the power of photoshop, I attempted just that.

for. Turning these blocky little symbols into organic shapes was truly the highlight of this little project.

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My solution, therefore, was to create images that contained the type as an â&#x20AC;&#x153;never had of using miniaturized textthereby so closely packedtheto integral partI ofthought the image, in aarmies play onofvernacular design, avoiding one another the extent the small hoard nearly with killing my computer with issue entirely.toThus began ofa series of collaborations talented illustrators theirphotographers, sheer numbers in alone â&#x20AC;? the typography of the jacket was incorporated as and which

17

18

Abandon 5 Obsolete Habits If Leo Tolstoy were alive and working in San Francisco as a web developer, he might tell us that poorly de-signed websites are all alike; each well-designed website is well-designed in its own way. And, having watched the web evolve over its first 20 years, I would agree.

Mike Butterick on April 16, 2015

We’ve seen how typewriter habits have maintained a peculiar influence on the typography of today’s documents (e.g., research

Before

papers). These habits arose from the mechanical limitations of the

1.

typewriter. When the typewriter disappeared, so did the limitations.

But the habits remained. Detached from their original justification, they’ve become pointless obstructions.

Likewise, the web-design habits of the mid-’90s continue to influence today’s web. These habits also arose from the technological limitations of a previous era. The limitations are obsolete. But the habits are still with us.

Five have been especially tenacious: 1.

Tiny point sizes for body text. This practice was

size)

2.

Enormous headings, redundantly highlighted with gray.

3.

All fonts are system fonts Arial, Trebuchet, and Courier.

4.

Navigation links dominate the foreground; body text relegated to

the background.

5.

Layout filled with colored rectangles the large green rectangle at

left, and farther down the page, rectangles of pink, green, gray,

yellow, and two shades of purple.

made necessary by small displays, which other-wise

couldn’t fit much text. But today’s displays are large.

2.

Huge point sizes for headings. These arose from the elephantine default styling of HTML heading tags

in old browsers. But today’s CSS allows finer control.

3.

Reliance on a small handful of system fonts, like

Arial, Georgia, and Verdana. This arose from a lack

of technology for downloadable fonts. But today,

we have webfonts.

4.

After 1.

Bigger point size for body text (that changes to suit the window

size)

Page edges crammed with inscrutable wads of

2.

Headings that are smaller while still being distinct.

navigational links. These emerged on the early web

3.

Better fonts (Equity, Concourse, and Triplicate).

because content was so sparse. Links gave readers

4.

Naviga tion less prominent and integrated into the body text.

something else to do click and move. (Hence the

5.

Colored rectangles used sparingly to denote special sections.

idiom became surfing the web, not reading the

6.

Liberal use of white space.

web.) But today, getting content onto the web is

relatively easy, and navigational confusion tends to

be a greater risk than boredom.

5.

Layouts built with large blocks of color. These were

made necessary by the bandwidth limitations of

the early web. (They also filled space on those

patience. So we should expect more of the web. Because when we do, we

content-deprived web pages.) But today, high-speed

necessarily expect more of ourselves. And when we expect more of ourselves,

connections are common, even on mobile devices.

we expand possibilities for everyone. Let’s not settle for less.

What we get from technology tends to be a matter of expectations, not

“ We must set these habits aside. Especially the five listed

above. Anyone who is still relying on those habits is either lazy or careless. You are neither.”

Small point size for body text (that doesn’t change with window

Ready? Go. 1.

The typographic quality of your document is determined largely by

how the body text looks. Why? Because there’s more body text than anything else. So start every project by making the body text look good, then worry about the rest.

In turn, the appearance of the body text is determined primarily by these four typographic choices:

2.

Point size is the size of the letters. In print, the most comfortable

range for body text is 10–12 point. On the web, the range is 15–25 pixels. Not every

“The typographic quality of your document

is determined largely by how the body text looks.”

If you’re ready for a little more, try the summary of key rules:

font appears equally large at a given point size, so be prepared to adjust as necessary.

Summary of key rules 1.

3.

Line spacing is the vertical distance between lines. It should be 120–

145% of the point size. In word processors, use the “Exact” line-spacing option

loose. In CSS, use line-height.

4.

Line length is the horizontal width of the text block. Line length

should be an average of 45–90 characters per line (use your word-count function) or

thebody text looks.

2.

point size should be 10–12 points in printed documents, 15-25 pixels on the web.

3.

line spacing should be 120–145% of the point size.

4.

The average line length should be 45–90 characters (including spaces).

5.

The easiest and most visible improvement you can make to your typography is to use a

2–3 lowercase alphabets, like so: abcdefghijklmnopqrstuvwxyzabcdefghijklmnopqrstuvwxyzabcd In a printed document, this usually means page margins larger than the traditional one inch. On a web page, it usually means not allowing the text to flow to the edges of the browser window.

5.

spacing, line length, and font (passim), because those choices determine how

to achieve this. The default single-line option is too tight; the 1½-line option is too

And finally, font choice. The fastest, easiest, and most visible

improvement you can make to your typography is to ignore the fonts that came free with your computer (known as system fonts) and buy a professional font (like my fonts Equity and Concourse, or others found in font recommendations). A professional font gives you the benefit of a professional designer’s skills without having to hire one.

profes-sional font, like those found in font recommendations.

6.

Avoid goofy fonts, monospaced fonts, and system fonts, especially times new roman and Arial.

7.

Use curly quotation marks, not straight ones (see straight and curly quotes).

8.

Put only one space between sentences.

9.

Don’t use multiple word spaces or other white-space characters in a row.

10.

Never use underlining, unless it’s a hyperlink.

11.

Use centered text sparingly.

12.

Use bold or italic as little as possible.

13.

all caps are fine for less than one line of text.

14.

If you don’t have real small caps, don’t use them at all.

15.

Use 5–12% extra letterspacing with all caps and small caps.

16.

kerning should always be turned on.

17.

Use first-line indents that are one to four times the point size of the text, or use 4–10 points

If that’s impossible, you can still make good typography with system fonts. But choose wisely. And never choose Times New Roman or Arial, as those fonts are favored only by the apathetic and sloppy. Not by typographers. Not by you.

of space between paragraphs. But don’t use both.

18.

If you use justified text, also turn on hyphenation.

19.

Don’t confuse hyphens and dashes, and don’t use multiple hyphens as a dash.

20.

Use ampersands sparingly, unless included in a proper name.

21.

In a document longer than three pages, one exclamation point is plenty (see question marks

Stephen Coles on November 20, 2014

The four most important typographic choices you make in any document are point size, line

and exclamation points).

22.

Use proper trademark and copyright symbols—not alphabetic approximations.

23.

Put a nonbreaking space after paragraph and section marks.

24.

Make ellipses using the proper character, not periods andspaces.

25.

Make sure apostrophes point downward.

26.

Make sure foot and inch marks are straight, not curly.

This is a bold claim, but i stand behind it: if you learn and follow these five typography rules, you will be a better typographer than 95% of professional writers and 70% of professional designers. (The rest of this book will raise you to the 99th percentile in both categories.)

All it takes is ten minutes—five minutes to read these rules once, then five minutes to read them again.

Typography in Ten Minutes

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berry

“ Maybe it’s time for a nationwide—no, worldwide—program of remedial courses in using type.”

naively believe the software they use will do the job for them.

Maybe it’s time for a nationwide—no, worldwide—program of remedial courses in using type.

Automated Errors As my own small gesture toward improvement, I’ll point out a couple of the more obvious problems—in the hope that maybe, maybe, they’ll become slightly less commonplace, at least for awhile.

Typewriter quotes and straight apostrophes are actually on the wane, thanks to word-processing programs and page-layout programs that offer the option of automatically changing them to typographers’ quotes on the fly. (I’m not sure what has made the phenomenon I spotted on that billboard so common, but I’ve noticed a lot of examples recently of text where the double quotation marks are correct but the apostrophes are straight.) But those same automatic typesetting routines have created another almost universal mistake: where an apostrophe at the beginning of a word appears backwards, as a single open quotation mark. You see this in abbreviated dates (‘99, ‘01) and in colloquial spellings, like ‘em for them. The program can turn straight quotes into typographers’ quotes automatically, making any quotation mark at the start of a word into an open quote, and any quotation mark at the end of a word into a closed quote, but it has no way of telling that the apostrophe at the beginning of ‘em isn’t supposed to be a single open quote, so it changes it into one. The only way to catch this is to make the correction by hand— every time.

john

There’s a billboard along the freeway in San Francisco that’s entirely typo- graphic, and very simple. Against a bright

Anemic Type The other rude noise that has become common in the symphony hall is fake small caps. Small caps are a wonderful thing, very useful and some- times elegant; fake small caps are a distraction and an abomination.

Fake caps are what you get when you use a program’s “small caps” command. The software just shrinks the fullsize capital letters down by a predetermined percentage—which gives you a bunch of small, spindly- looking caps all huddled together in the middle of the text. If the design calls for caps and small caps—that is, small caps for the word but a full cap for the first letter—it’s even worse, since the full-size caps draw attention to themselves because

blue background, white letters spell out a single short line, set in quotation marks: “Are you lookin’ at me?” The style

they look so much heavier than the smaller caps next to them. (If you’re using caps and small caps to spell out an

of the letters is traditional, with serifs; it looks like a line of dialogue, which is exactly what it’s supposed to look like.

acronym, this might make sense; in that case, you might want the initial caps to stand out. Otherwise, it’s silly. (And—

Since this is a billboard, and the text is the entire message of the billboard, it’s a witty comment on the fact that you

here comes that word again— distracting.)

are looking at “me”—that is, the message on the billboard—as you drive past.

But, as my partner and I drove past and spotted this billboard for the first time, we both simultaneously voiced the same response: “No, I’m looking at your apostrophe!”

If it weren’t for a single exception, I’d advise everyone to just forget about the “small caps” command—forget it ever existed, and never, ever, touch it again. (The exception is Adobe InDesign, which is smart enough to find the real small caps in an OpenType font that includes them, and use them when the “small caps” command is invoked.

The quotation marks around the sentence are real quotation marks, which blend in with the style of the lettering—

Unfortunately, InDesign isn’t smart enough, or independent enough, to say, “No, thanks,” when you invoke “small

“typographers’ quotes,” as they’re sometimes called—but the apostrophe at the end of “lookin’” is, disconcertingly, a

caps” in a font that doesn’t actually have any. It just goes ahead and makes those familiar old fake small caps.) You

single “typewriter quote,” a straight up-and-down line with a rounded top and a teardrop tail at the bottom.

don’t really need small caps at all, in most typesetting situations; small caps are a typo- graphic refinement, not a

To anyone with any sensitivity to the shapes of letters, whether they know the terms of typesetting or not, this

crutch. If you’re going to use them, use real small caps: properly designed letters with the form of caps, but usually a

straight apostrophe is like a fart in a symphony—boorish, crude, out of place, and distracting. The normal quotation

little wider, only as tall as the x-height or a little taller, and with stroke weights that match the weight of the lowercase

marks at the beginning and end of the sentence just serve to make the loud “blat!” of the apostrophe stand out. If

and the full caps of the same type- face. Make sure you’re using a typeface that has true small caps, if you want small

that had been the purpose of the billboard, it would have been very effective. But unless the billboards along Highway

caps. Letterspace them a little, and set them slightly loose, the same way you would (or at least should) with a word in

101 have become the scene of an exercise in typographic irony, it’s just a big ol’ mistake. Really big, and right out there

all caps; it makes the word much more readable.

in plain sight.

The Devil Is in the Details This may be a particularly large-scale example, but it’s not unusual. Too much of the signage and printed matter that

Pay Attention, Now There are plenty of other bits of remedial typesetting that we ought to study, but those will do for now. The obvious corollary to all this is, to pro- duce well-typeset words, whether in a single phrase on a billboard or sev- eral

we read—and that we, if we’re designers or typographers, create—is riddled with mistakes like this. It seems that an

pages of text, you have to pay attention. Proofread. Proofread again. Don’t trust the defaults of any program you

amazing number of people responsible for creating graphic matter are incapable of noticing when they get the type

use. Look at good typesetting and figure out how it was done, then do it yourself. Don’t be sloppy. Aim for the best.

wrong.

Words to live by, I suppose. And, certainly, words to set type by.

This should not be so. These fine points ought to be covered in every basic class in typography, and basic typography ought to be part of the education of every graphic designer. But clearly, this isn’t the case—or else a lot of designers skipped that part of the class, or have simply for- gotten what they once learned about type. Or, they

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character