VISC302 Project 1 Typographic Workbook by travisbodell58

TYPOGRAPHIC EROTICA . E R

E H T

Y T T

E HI

N U RA

TABLE OF CONTENTS

TWENTY TYPE RULES WORKFLOW CHECKLIST HYPHENATION RULES

1 # R E T P

CH A

PHIC POGRA

RULES

2 # R E T P

A H C

TERS

C CHARA

A H C

3 # R E T P

3 7 9

NUMERALS, FIGURES ACCENT MARKS QUOTES, HYPHENS SMALL CAPITALS

13 17 21 25 29

TYPOGRAPHIC COLOR KERNING JUSTIFICATION LENGTH, WIDTH WORDS, PARAGRPHS

35 45 49 55 61

TTING FORMA

TYPE CRIMES, TYPOGRAPHIC SINS, THINGS YOU SHOULD never do with type are committed everyday. How

rules be broken in the designers favor?

Typographers have compiled a number of type crimes that have been labeled as “unforgivable.”

IC PH

important is typographic correctness and how can these

RA G PO S TY LE RU

H C

T P

R E

1 #

T P

R E 5

1 #

INSERT ONLY A SINGLE SPACE AFTER ALL PUNCTUATION Inserting two spaces after a period was common when using a typewriter. Monospace typefaces were designed to occupy the same amount of space no matter the width of the character. Therefore, two spaces were needed to identify the end of a sentence and the beginning of another sentence. With the introduction of the Mac and digital type, characters are designed proportionately, which allows for the correct practice of using one space after all punctuation.

USE PROPER ‘EM’ DASHES, ‘EN’ DASHES, AND HYPHENS An em is a unit of measure equal to the point size that you are using. An

. text the o t . tion text tten wa ned li a r r e d od e un er t writ o us t e p d ty nee f the XT not ys o D TE uld E a o N d h I e RL us in th , yo NDE ilies ID U ack m O b a l V f A fu their use and was e is h p T al ty digit With

em dash is a type of punctuation used to offset clauses in a sentence or to indicate an abrupt change in thought. An en dash is equal to half the length of an em dash. En dashes are used to denote duration (time.)

and arks m h s inc uote S ing ht q f us ARK ig o M a r : d . St PHE key tea arks TRO urn s ins S t m e e O h r n e AP tio trop tes r th ND ota pos quo nea TE A e qu ly da O h r d t n u U e t a C Q ide rks loca (“). PER uote s ins ma PRO arks rly q tion uote u tion a m q c a u t t USE n r le c u e tio quo oub pun re fo ota ), th true ht d e all re a l qu e (’ t ig c e a o a h r Use la ic u T t P s q y. ert rks. the gle aph ric v ma ogr and g sin ene p ) in ‘ y g feet ( s t d te clo two (”). goo quo the the d in uote (‘), e q ingle s are s e u t t le b rks uo igh ma dou le q stra tion sing sing the a t lo g o c e nin qu d th the ope are ), an the “ : ( s r te uote rac le q cha oub d ning ope

#4 #5

USE TRUE SMALL CAPS When setting text that contains acronyms, select a typeface with small caps as a family. Selecting small caps from the style menus is a poor choice

AVOID ALTERING FONTS Don’t alter the original typeface by stretching or condensing the letters improperly. Certain type families provide you with a lot of flexibility, so you should not need to destroy/alter text.

SET THE BODY COPY SIZE Body text is set anywhere from 9-12 points. When you print text, it is usually larger than what it looked like on the screen. Do not use the program default setting for body type or leading. Type studies will help you determine the proper size before you proceed with your layout.

FIND THE PROPER LINE LENGTH Lines should not be too long; the reader’s eye may have difficulty finding the beginning of the next line. Especially when leading is tight. Lines should not

because the computer reduces the overall size of the type by 80%. This

be too short. Very short lines offer little flexibility for adjusting word and letter

changes the stroke weight and the feel of the font. Expert sets in the Adobe

spacing. A rough rule of thumb, 45 - 70 characters per line is a good average

Type Library have small caps options.

for paragraphs. Longer lines will need more leading. For multi—column layouts the range could be between 35 - 55 characters per line.

USE COPYRIGHT, REGISTER, AND TRADEMARK MARKS PROPERLY The copyright, register, and trademark characters need to be reduced to work with body text. At times, depending on the typeface, you may need to reduce the mark between 50% and 70%. The goal is to match the x-height.

#10

INCREASE LEADING TO IMPROVE READABILITY IN BODY TEXT Leading refers to the space between lines of text. It is important for readability and appearance. Leading is measured from baseline to baseline. As a rule

The copyright mark should be approximately 70% of the surrounding text.

of thumb, allow leading that is 120% of the point size. For sans serif, you may

Unlike the ™ symbol, the © should NOT be superscripted and should remain

need 130% or more.

on the baseline. ™ is usually superscripted for the chosen font. ™ and ® are normally set higher than other marks. If you choose superscript ®, reduce it

to about 60% of the size.

#11

AVO ID

Don

LETT

’t le

ERS

PAC IN

G LO WER CAS ody mos EO t pr cop R BO cen o y DY C lific tury a s it re , is re and OPY ally por wou w ell-k ham ted ld st n p t o o ha ers eal wn legib she ve s Am is co ep.” eric aid, ility. nsid a “ S Fred n ty ered Any o ta pe one ke h by u Gou poo des eed who ppe dy, r typ igne ! Ad one r an w o o g r s u ding rap d lo whe ld o f le hy b wer t nw h s t t p e e ace cas eca rspa e re 20th e le bet use ce lo ad, tter wee it br so t wer s. Th e n his t cas aks low ese ype e up t erca sha crim he w se le pes e se o are t r t d e vere rs sha wha pes ly re t the ma duc bra d es re e in re ada cog bilit nize y. s of t he

#12

tter

spa

ce b

ADD LETTER SPACING TO CAPITALIZED TEXT AND SMALL CAPS Add letter spacing (tracking) to all cap text or when using small caps. To increase legibility add tracking to headlines, subheads, or any instances when you are using all capital letters.

#13 #14

KERNING IN HEADLINES Adjust the space between two particular letters to allow for more consistent negative space.

WORD SPACING SHOULD BE FAIRLY CLOSE For text meant for extended reading, the amount of space between words in a paragraph should be fairly close–about the width of a lowercase “i.” If the word spacing is too close, it appears as one giant word and legibility is

#17

AVOID BEGINNING THREE CONSECUTIVE LINES WITH THE SAME WORD Since software programs deal with line breaks automatically based upon a number of variables, it is possible to have paragraphs with consecutive lines beginning with the same word. When this happens simply adjust the text to avoid/fix the problem.

#18

RUL

ES O

Don

F HY

’t re

PHE

NAT

ION e so of li ftwa nes re to , lea forw judg ve a ard . Fo ew t lea here r ex bec st tw a hyp aus m o p cha e it hen le, “ rac take s sh eleend t ould e s g r too s be ant of a be p ly li h t ” h t in le yph is d lace line o a a f the ena cce nd d. A of a ted take pta wor t the par b w d a le agr ord t t hyp o , le b the aph or a a u hen t s t th nex “ele . Av ny w atin ree t lin oid gan go ord spa e. A mor t-ly” r bre sho ce b v e o id le is n akin rter tha efo ot n3 avin tha gp re a con n fo rop g th nd a sec er n ur le e st fter u a u t t ive mes ters b the hyp as t and nam hen he la title ew a t s s e ill en . Cr t d lin eat sure es. A ing tha void a no t the n-b nam rea ew king ill no t bre ak. end

ly o

n th

decreased. Keep the spaces between words fairly thin, consistent and even!

#15

CHOOSE THE ALIGNMENT THAT FITS Make sure the alignment chosen for all areas of text are legible and consistent with the design and guidelines. Left-aligned text is easier to read

#19

#16 5

ALWAYS SPELL CHECK! Once you are finished with your design, spell check the text. If text is given to you by anyone check it. Never ever assume that it is correct.

Add letter spacing (tracking) to all cap text or when using small caps. To increase legibility add tracking to headlines, subheads, or any instances when you are using all capital letters.

and set. Justified text is harder to set w/o inevitable word spacing problems. Right-aligned and centered are generally not used for body copy.

ADD LETTER SPACING TO CAPITALIZED TEXT AND SMALL CAPS

#20

INDENTS In continuous text, mark all paragraphs after the first with an indent of at least one “em” (or about the amount of the leading). Do not use the space bar but rather create a tab for the indent you want.

OPINIONS ON HYPHENATION VARY. SOME DESIGNERS ARE UNCOMPROMISING, saying for example. ‘Never hyphenate ragged right text or proper nouns’. It could be that you take the approach of avoiding hyphenation but it is better to hyphenate than have a bad rag or poor justification.

Don’t rely on the software to judge where hyphens should be placed. Generally, it is better to set hyphenation specifications to a minimum of three characters at the beginning and end of a hyphenated word. That avoids having word breaks such as elegant-ly or mi-gration. Better would be elegantly or migration. The exception could be breaking a word at the prefix such as un-likelihood or de-contaminate.

Hyphens in long compound works makes sense between the compounds.

The hyphenation of proper nouns, such as the names London or Lawrence, is undesirable event though they have clear syllables. If you are dealing with a name such as Michelangelo or Baskerville, it will be better to break the name than to have an ugly rag or poor justification.

OR LES F

N ATIO N E PH

W O L T F S I K L R K O C W CHE 7

S PHEN

HY E OF

QUE

SE ID A

AVO

G NDIN

ID E AVO

ID AVO

CON

TIN ENA

NEV

ATE

HEN

YP ER H

TH T

A, , AT, , OF

: THE

S ORD HE W INE

RL GO

INE ADL

A HE

BY. ER ROP

DP S AN

F NA

SO AKE

S IN

ORD AW

E WO

AM HE S

S WI

ITH T

NES

HYP

ROW

INE VE L

UT SEC

LI DING

ID AVO

IN A

AND

NS.

NOU

TION ENA

ALLO

C IN A

I AVO

PH D HY

9 The following is a list you should run through before finishing every project. Doing so will save you a lot of time; keeping these things in mind while you work will speed up work flow.

THING

S TO R

USE O

EMEM

BER

NLY O

NE SPA CE BE

USE RE

TWEEN

AL QU

OTATIO

USE RE

HANG USE EN KERN

LEAVE

HE AP

OSTRO

OR EM

DASHE S

E SPAC

EBAR

AVOID B

R LINE

EGINN

ING C

AVOID EN

DING

HYPHE

Y THE

UTIVE

ECUTIV

LINES

E LINE

WITH T

S WITH

HE WO

TEXT O

RDS IN

N A SH

TAB KE

AMES

AND 3

AND P

ROPER

NOUN

FOLLO WING

HE SA

ORT LIN

E (WID

OW).

T THE F

HAVE

SPEND IF A C

A CAL

LOUT.

ISTENT

IN LIN

ES WIT

INDEN

T ON A

ONE L

INE IN

B FOR

A PAR

AGRA P

WO SA N

S SERIF

ORE T

E TO C

REATE

ELLED

RS IN

TWEEN

THEM

NUMB

ERED P ARAG

OR FO

– NOT

ERS.

BOTH.

RAPHS

LLOWIN

G (OR

PHAN

NE PA GE. N ONE

PAGE.

CESSA

E FRAC

RY, IN CL

TION O

EEDS A

A SPA CE BE

UMBE

SCEND

D EXTR

LUMN

ER NE

A NIC

ND DE

ON O

HENEV

WORD N

OR AD

YPEFA CES O

TERS W

DERS A

RAPHS

HE CO

HREE T

ARAC

ASCEN

PARAG

ONE P AGE.

FONTS

HAN T

H FEW

THE N

H IN T

TS ON

OR WIT

ENTED

RAPHS

IF FON

CAPS

LL IND

RIGHT -ALIG

INE TW O SER

TLY SP

H ALL

E OF P ARAG

COMB

THE TIM

NED TA

IAL CH

ORREC

CONS

IRST LIN

AL OR

E SPEC

RD.

ATION IN

INDEN

DECIM

USE TH

ME WO

YPHEN

T-LINE

BINE M

RD.

AND A VOID H

M FIRS

RAREL Y COM

ME WO

THE SA

ADING

BINE T

WITH T

THE LE

ONE-E

RAREL Y COM

, BY.

DLINE

USE A

NEVER

HE, OF , AT, A

A HEA

RDS: T

A WO

E THE

AGRA P

S OF N

E LINE

ND US

EITHER

NEVER

Y PAR

ON TH

TABS A

A ROW .

IN AN

BRAKE

ONSEC

CONS

NATE

JUSTIF

NS IN

PHENA TIONS

HARA CTERS

USE A

XT, AL WAYS SET

NATIO

RD SPA CING

EN UP

IGN TE

HYPHE

ST 2 C

DING

TO AL

NY HY

A LEA

HE WO

TIGHT

ATING O

KEEP T

ARY.

RPHAN

YPHEN

GE.

ECESS

S OR O

HAN 3

AVOID H

ED ED

TENTLY .

ERE N

IDOW

ONG.

ONSIS

ES WH

USE TH

EY BEL

ALIGN

, USE C

ADLIN

NO W

ERE TH

FF THE

O MA

AVOID EN

RE WH

NCTUA TION O

AVOID TO

NEVER

PHES A

THE PU

ORE T

NEVER

PHES.

SURE T

AVOID M

LEAVE

RKS.

OSTRO

ALL HE

NEVER

NCES.

N MA

AL AP

MAKE

SENTE

UDING

N ACC

R CHO

ENT M

OSE A

ARK, U

FONT

SE IT.

SUPER

THAT H

- AND

SUBSC

RIPT.

AS FRA CTION

2 R# TE

functional typographic system correctly abides by the formatting standards for special characters like hyphens,

ER #

numerals and quotation marks.

CH DE AR TA AC ILS TE R

CH 14

GREAT TYPOGRAPHY IS ALL ABOUT THE SMALL details. a truly

URES

FIG LINING

LINING FIGURES (ALSO CALLED ALIGNING, CAP, OR MODERN FIGURES) approximate capital letters in that they are uniform in height, and generally align with the baseline and the cap height.

They are useful in tables, invoices, content where the numbers need to align for better legibility. Lining figures are commonly offered in two spacing formats, proportional and tabular. Proportional lining figures are the preferred style for all-cap settings, such as headlines, titles, and such. They are also

, S L A R E M U N S E R FIGU

effective anywhere that additional emphasis is desired for the figures, even in running text. Tabular lining figures are the preferred style for columns of numbers, such as tables, price lists, financial data, and listings.

It should be noted when lining figures are used in body text they will stand out just like USING ALL CAPS WOULD.

IGURES

LE F OLDSTY

NUMBERS ARE A COMMON ELEMENT IN TEXT. THEY ARE USED TO INDICATE

OLDSTYLE FIGURES (ALSO KNOWN AS NON-LINING, LOWERCASE, HANGING,

dates, times, addresses, measurements quantities, prices and other data. In

or text figures) have varying heights and alignments, as opposed to lining

typography, the symbols used to represent numbers are commonly referred

figures, which are of uniform height and alignment. Oldstyle figures are

to as figures or numerals.

similar to lowercase characters in that they share the same x-height and have ascenders (the 6 and 8) and descenders (the 3, 4, 5, 7 and 9).

The uppercase alphabet came from the inscriptional capitals of the Romans. The lowercase came from the European uncial alphabets of the Middle

Unlike lining figures, Oldstyle figures blend in without disturbing the color of

Ages. The numerals or figures we know were invented in India. They spread

the body copy. They also work well in headlines since they’re not as intrusive

westward through the influence of Persian and Arab mathematicians.

as lining figures. In fact, many people prefer them overall for most uses except charts and tables. It’s well worth the extra effort to track down and

Lining figures are one of the two styles of figures, with the other being Old-

obtain typefaces with oldstyle figures; the fonts that contain them might well

style. Serif fonts often have goth variations figures. Sans serif typefaces typi-

become some of your favorites.

cally only have Lining figures – although this is changing with the more contemporary fonts.

LINING FIGURES LINING FIGURES IN US

AKTIV GROTESK

ALLUMI EXTENDED

LTC SQUAREFACE

BALBOA

1234

1234 1234 1234

AKTIV GROTESK

British colonists founded the Jamestown Settlement on May 14, 1607. This colony was named for King James I of England. In 1803, the United States acquired 828,000 square miles of land in the Louisiana territory. This land was originally owned by France, but Thomas Jefferson negotiated a deal to purchase it for just $11,250,000. The United States also agreed to forgive $3,750,000 worth of France’s debts. The northern states started making slavery illegal in 1776. In 1804, the last northern state finally abolished slavery. In 1863, Abraham Lincoln freed more than 3,000,000 slaves with the Emancipation Proclamation. He actually wrote the proclamation in 1862, but it did not take effect until January 1, 1863. In 1920, women were granted the right to vote with the addition of the 19th Amendment to the Constitution. The amendment was introduced in 1878, but it was not ratified until 1920.

OLDSTYLE FIGURES OLDSTYLE FIGURES IN

BODONI OLDSTYLE

BIG CASLON

DIDOT

REAL TEXT PRO

1234 1234

USE

BIG CASLON

1234

ing slavery illegal in 1776. In 1804, the last northern state finally abolished slavery. In 1863,

1234

In 1920, women were granted the right to vote with the addition of the 19th Amendment to

Abraham Lincoln freed more than 3,000,000 slaves with the Emancipation Proclamation. He actually wrote the proclamation in 1862, but it did not take effect until January 1, 1863. the Constitution. The amendment was introduced in 1878, but it was not ratified until 1920.

ACCENT MARKS (SOMETIMES REFERRED TO SIMPLY AS ACCENTS, DIACRITICS or diacriticals)) and accented characters are important elements in both written and spoken language, and, by extension, in typography. While their use in English is largely confined to proper names or “borrowed” words BEYOND THE STANDARD LAYOUT OF THE KEYBOARD, YOU WILL FIND THAT

of foreign origin, such as résumé and tête-à-tête, they occur frequently

producing typographic work may require you to use accents on characters

in several other European languages, including Spanish, French, Italian,

or use punctuation and symbols that are unfamiliar to you.

German and Portuguese.

Creating accented characters may be achieved by typing combinations of ‘alt’ + accent key followed by the character. The most common accents are

N E CC

the acute (á, é, í, ó, ú), grave (è), circumflex (â, î or ô), tilde (ñ), umlaut and

S K R

dieresis (ä, ë, ï, ö, ü, ÿ) – the same symbol is used for two different purposes), and cedilla (ç). Accent marks usually appear above a character. One

A M T

SPECIAL CHARACTERS

exception is the cedilla, which appears directly underneath the letter c; several less common accent marks appear next to the character.

É M SU

YPH L GL

CTIO IN A

SPEC

R E ÜB I A ’ J

A Ç ME

RÉ

E T Ê T

E T Ê -À-T

O Ñ E LAP

THESE SMALL YET SIGNIFICANT SYMBOLS INDICATE PRONUNCIATION, including emphasis. In some instances, the accent mark also clarifies the meaning of a word, which might be different without the accent. With names and other proper nouns, neglecting to include the correct accent marks can be seen as a sign of disrespect.

ACCENTED CHARACTERS CAN BE ACCESSED EITHER DIRECTLY FROM THE GLYPH panel or by using specific key combinations; many more can be created on-the-fly by using key commands to add the floating accent to create the desired character. Note that keyboard commands vary between Mac and other PC software, as well as for non-U.S. keyboard layouts.

Like power sockets, quotation marks are different whoever you travel. When designing international deliverables it is respectful to use the correct quotes.

” H S I ” L E S G E N E U G N U A T C I R R O E P ” M H N A S A “ I I N L I N S I A F “BR DISH + E W ”S „GERMAN + SLAVIC“ „DANISH“ »DANISH« N ATIO T O U

NG ATTI

FOR

IN SPANISH, INTERROGATIVE AND EXCLAMATORY SENTENCES (OR CLAUSES)

” H I S I D L A O R T „P H C T „DU

” L A N O I T

«FRENCH» «GERMAN SWISS» «NORWEGIAN» «RUSSIAN» REGISTER,

TRADEMARK

AND

SYMBOLS

ARE

IMPORTANT

communicators. They help establish brand identities and protect creative work from theft or plagiarism. Despite their legal and symbolic power, these symbols need to speak softly, typographically speaking. Their tasteful and appropriate use is a small but significant part of good typography.

are preceded by and inverted question or exclamation mark. The reason is that in Latin languages the order of the words usually remains the same

The copyright, register, and trademark characters need to be reduced to

in the interrogative and exclamatory sentences so the marks are used at

work with body text. When using a ® or a ™ after a word, adjust the point

the beginning to help the reader or speaker know how to emphasis the

size so the symbol looks clean and legible yet unobtrusive. Here are some

sentence. In private communication these are often not used but in more

general guidelines: At text sizes, set these symbols a little smaller than half

formal situations these are not optional.

the x-height of your text. As your text gets larger, the symbols should become proportionately smaller, especially in headlines.

Use the ellipsis character and NOT three periods. You can access the ellipsis

by typing OPTION + : (COLON). Allow a small amount of space before and

after. However, if it is not crowding the text, leave no space at all.

to the size of the first numeral.

USE TRUE QUOTATION MARKS AND APOSTROPHES INSTEAD OF USING INCH marks and feet marks. Place all punctuations inside the quotation marks use “and” – not “and”. Most software applications will convert the straight

QUOTES, APOSTROPHES, INCHES, FEET

(typewriter) quotes to the real quotes for you automatically as you type.

"T H

“T CO

AT 'S

A' FA T'

HA T ’S

MA TTI

STRAIGHT QUOTES ARE THE TWO GENERIC VERTICAL QUOTATION MARKS located near the return key and curly quotes (smart quotes) are the quotation marks used in good typography. There are four curly quote characters: the opening single quote (‘), the closing single quote (’), the opening double quote (“), and the closing double quote (”).

MA TTI

S!"

A‘

FA T’

S!” 22

“

” ‘ ’

OPTION

OPTION OPTION

+ SHIFT +

An apostrophe indicates the possessive case (Jessica’s bagel). And used in contractions, an apostrophe takes the place of letters or numbers that have been removed.

OPTION

FOR POSSESSIVES: Turn the phrase around. The apostrophe will be placed after whatever word you end up with. For example, in the phrase the boys’ camp, to know where to place the apostrophe say to yourself, “The camp

FOR OMISSION OF LETTERS: In a phrase such as Rock ’n’ Roll, there should be

belongs to the boys.” The phrase the boy’s camp says “The camp belongs

an apostrophe before and after the n, because the a and the d are both left

to the boy.”

out. And don’t turn the first apostrophe around — just because it appears in front of the letter does not mean you need to use the opposite single quote.

“The big exception to this is “its.” “Its” used as a possessive never has an

An apostrophe is still the appropriate mark (not ‘n’).

apostrophe! The word it only has an apostrophe as a contraction — “it’s” always means “it is” or “it has.” Always.

In a phrase such as House o’ Fashion, the apostrophe takes the place of f. There is not reason for an apostrophe to be set before the o. In a phrase such

It may be easier to remember if you recall that yours, hers, and his don’t use

as Gone Fishin’ the same pattern is followed — the g is missing.

apostrophes — and neither should its. In a date when part of the year is left out, an apostrophe needs to indicate FOR CONTRACTIONS: The apostrophe replaces the missing letter. For exam-

the missing year. In the 80s would mean the temperature; In the ’80s would

ple: you’re always means you are; the apostrophe is replacing the a from

mean the decade. (Notice there is no apostrophe before the s! Why would

are. That’s an easy way to distinguish it from your as in your house and to

there be? It is not possessive, nor is it a contraction — it is simply plural.

make sure you don’t say: Your going to the store. As previously noted, it’s

means “it is”; the apostrophe is indicating where the i is left out. Don’t means

It is necessary to know how to set smart quotes/real quotes yourself because

“do not”; the apostrophe is indicating where the o is left out.

sometimes the software doesn’t do it or does it incorrectly.

+ SHIFT +

]

[

, S N E H P Y H S E H S DA ENS

HYPH

THE HYPHEN IS THE SHORTEST OF THE THREE MARKS, AND IS USED TO HYPHENATE a word at the end of a line by breaking after a syllable. Hyphens are also used to join separate words into a compound word, such as dyed–in–the– wool; and to separate the digits in phone and account numbers. A hyphen HYPHENS, EN AND EM DASHES ARE AMONG THE MOST MISUNDERSTOOD, AND misused, punctuation marks in typography. While their appearance is gen-

can be designed as a simple horizontal stroke, or it can have characteristics that match the rest of the typeface.

erally similar, they have distinct designs and serve specific functions. These three marks are not interchangeable, and knowing the difference is key to setting type correctly. Use proper ‘em’ dashes, ‘en’ dashes, and hyphens. Never use two hyphens instead of a dash.

Hyphens, en and em dashes come in many styles and lengths. Note that while the em dashes on the left are in proportion to the ‘n’s and ‘m’s, those on the right are much longer than even their respective cap ‘M’s.

DYED-IN-THE-WOOL CHECK-IN TWENTY-TWO 26

ASH EM D

EN DA

YES, I WILL HELP YOU—ABSOLUTELY! THE EN DASH IS LONGER THAN THE HYPHEN AND SHORTER THAN THE EM DASH

THE EM DASH IS THE LONGEST OF THE THREE MARKS, AND IS USED TO INDICATE

about the width of a capital N). It is used to indicate a duration of time (also

a break in thought, or to set off a thought within a thought. Historically

referred to as a span or a range) such as Monday - Friday, 9am - 5pm, often

(particularly in metal type), the em dash was the length of the em square in

replacing prepositions such as “to” and “through”. Historically, the en dash

a given point size of type, except for some condensed designs which had

was half the length of the em dash, but today both marks vary in relative

shorter dashes. An em is a unit of measure equal to the width of the point size

length from typeface to typeface. The best–looking en dashes are frequently

of type; thus, an em dash in 18 point type often was 18 points long.

designed to approximate the width of the cap or lowercase N, which makes them proportionally pleasing to the overall width of the particular typeface.

When phrases are interjected between different parts of a sentence, they are typically punctuated by surrounding them with commas, parentheses or

In a page layout application, the en dash can be used with a thin space on

em dashes (—).

either side of it. If you want you can kern it so it is not a full space.

OCTOBER–DECEMBER 6:30–8:45 A.M

N OPTIO 30 27

HEN + HYP

(-)

PTION

+O SHIFT

N (-)

HE + HYP

Using two hyphens -- instead of an em dash is typographically incorrect. Be sure to search for any double hyphens and other misuses of hyphens and/or dashes, and to replace them with the correct punctuation.

SMALL CAPS ARE UPPERCASE LETTERFORMS THAT ARE SHORTER IN HEIGHT than the capitals letters. They are designed to blend with lowercase text. When designed as part of a typeface, they are most often the height of the lowercase x (or very slightly taller).

Small capitals have been around since the sixteenth century. Small caps are relatively wide; they have the same height as the lower case x (or sometimes slightly higher). Their proportions are wider than the capital letters. True small caps have line weights that are proportionally correct for the typeface.

MRS. EAVES

Erotica Erotica

P22 UNDERGROUND

AUTO PRO

Erotica

AVOID “FAKE” SMALL CAPS. AVOID SIMPLY RESIZING CAPITAL LETTERS OR USING the small caps feature in some programs. Computer programs can generate small caps for any typeface, but those are not the same as true small caps. The program is taking the capital letters and shrinking them down about 80%. This changes the stroke weight and the feel of the font. Fake small caps will appear narrow and thin.

L L A SM S L A T I P CA

Small caps are basically used in two ways. They substitute all capital words and acronyms in side body text. They are also used as a stylistic device to add another color to the designer’s palette without having to add a different font. When using a string of small caps to replace all caps, in a title, subtitle, a label, etc they require generous tracking.

WITHOUT SM

ALL CAPS

FILOSOFIA

RATIO MODERN

DOLLY

LUSTIG ELEMENTS

SIRENE

LTC SQUAREFACE

Erotica

MRS. EAVES

Erotica

Two NASA astronauts are scheduled to venture outside the International Space Station to finish installing a European science platform and complete long-term battery upgrade work. NASA will preview the work during a news conference at 3:00PM EST. The FBI, CIA and NCAA have no jurisdiction on space walks.

Erotica Erotica Erotica Erotica

MRS. EAVES

Two nasa astronauts are scheduled to venture outside the International Space Station to finish installing a European science platform and complete long-term battery upgrade work. nasa will preview the work during a news conference at 3:00pm est. The fbi, cia and ncaa have no jurisdiction on space walks.

WITH SMALL 31

CAPS 32

formatting of text can make good text great... or make it terrible and illegible. This chapter's content focuses on creating the ideal body copy.

HAPTER #3

FORMATTING

C H A P T ER # 36

ALTHOUGH IT IS THAT MANY READERS DON'T NOTICE, THE

C I H P A R G O YP

R O L O C

READABILITY AND LEGIBILITY ARE TWO KEY ELEMENTS OF PRINTED TEXT THAT A designer should strive to maximize. Legibility and readability both relate to the ease and clarity with which one reads any particular setting of type, but they actually refer to two different concepts: legibility is related to the design of the typeface and the shape of the glyphs, while readability refers to how the font is arranged, used.

TURE

TY OR TEX

ALL QUALI

E OVER REFER TO TH

olor. yness of c ESIGN TO ness or gra USED IN D n IS e ’ v R e n LO a O r PHIC C xt. A hers prefe ‘TYPOGRA page of te typograp THE TERM ite on the ve. Many h a w h y d a n a m tting en black yles. t or type se ce betwe that a fon and serif st the balan e rib sc cter width e ra d a n h a c c t, r h lo hic co th, x-heig Typograp stroke wid rmined by te e d is r ’s colo typeface

Choosing a typeface is almost like selecting a type of thread to weave into material. The tiny detail will impact the quality and feel of the finished product. When deciding between typefaces consideration should be given to the x-height.

Fonts set in the same size, same leading and column width will produce varying degrees of color.

X xhg

Xxhg

EUROPA

CENTURY GOTHIC PRO

X-HEIGHT: Small

X-HEIGHT: Large

X-HEIGHT: Average

CHARACTER WIDTH: Average

CHARACTER WIDTH: Wide

CHARACTER WIDTH: Average

COLOR: Dark

COLOR: Light

AKTIV GROTESK

FUTURA K AVENIR BOO

SANS S F I R E S 37

when y 20, 1909, d on Februar ce by the o un st no ife an first hed a man lis ub e p o Futurism was ar g Fi etti. The nam wspaper Le maso Marin m To is o d the Paris ne p n o lip s Fi si empha and editor t reflected his ar Italian poet ti, t et an in ev ar el M irr ined by static and e th n e b tio Futurism, co va to d d inno t he conceive originality, an e, g an ricarding wha lo ch g g d ns an d celebratin cted traditio of the past an Futurism reje o dominant y. tw et ci ng so zi d si y by empha in culture an nl ai m e, lif porary fied contem motion. machine and e th , themes

verage X-HEIGHT: A e WIDTH: Wid CHARACTER ht COLOR: Lig

1909, when bruary 20, Fe e n o d ce nifesto by th s first announ lished a ma ub e p m ro Futurism wa na a e g Fi Th arinetti. wspaper Le Tommaso M o the Paris ne p n o lip s Fi si r ha emp and edito reflected his nt Italian poet y Marinetti, and irreleva b tic a ed st in e co th , e b to no d in Futurism ve nd ei ginality, a hat he conc change, ori nd g a discarding w tin ns ra o b iti le d tra st and ce rism rejected miart of the pa society. Futu zing two do nd si a ha p re ltu em cu y b ly in a m vation in life, ntemporary n. glorified co e and motio in ch a m e th , es em th nant

verage X-HEIGHT: A rage WIDTH: Ave CHARACTER rk COLOR: Da

Xx h g URW FORM

HELVETICA

X-HEIGHT: Large

CHARACTER WIDTH: Average

CHARACTER WIDTH: Narrow

COLOR: Light

X-HEIGHT: Small CHARACTER WIDTH: Wide COLOR: Dark

Xxhg ATE DIN ALTERN

e 1909, when th February 20, n on lia d Ita ce e un th no by first an anifesto m a d he , is Futurism was bl sm ri pu me Futu er Le Figaro inetti. The na ar M he t o Paris newspap as ha w m m discarding r Filippo To emphasis on s le poet and edito hi ce d ed ct an fle the past inetti, re y. relevant art of et coined by Mar ir ci d so an d ic an at st re cultu be the innovation in conceived to mainly iginality, and or emporary life, , nt ge co an ed ch ifi g or gl d ion. bratin an ot s m d ne an cted tradition es, the machi em th Futurism reje t an in m ing two do by emphasiz

KOHINOOR BANGLA

X xh g

SATHU

X-HEIGHT: Large

verage X-HEIGHT: A rage WIDTH: Ave CHARACTER rk COLOR: Da

CHARACTER WIDTH: Narrow COLOR: Light

Xxhg

AGLET SLAB

SERIFS

Futurism w as first annou nced on Febr the Paris new uary 20, 190 spaper Le Fi 9, when garo publish Italian poet ed a manifes and editor Fi to by the lippo Tomm Futurism, co aso Marinet ined by Mar ti . T in he name et carding what ti, reflected his emphas he is on disof the past an conceived to be the stat ic and irrele d celebratin vant art g change, or in culture an iginality, an d society. Fu d innovation turism reject fied contem ed tradition porary life, m s and gloriainly by em themes, the phasizing tw machine an o dominant d motion.

QUESTA GR ANDE

Futurism was first announ ced on Februa the Paris new ry 20, 1909, w spaper Le Figa hen ro published Italian poet an a manifesto by d editor Filip the po Tommaso Futurism, co Marinetti. The ined by Marin name etti, reflected carding what his emphasis he conceived on disto be the stat of the past an ic and irreleva d celebrating nt art change, origin in culture an ality, and inno d society. Futu vation rism rejected fied contempo traditions an rary life, mai d glorinly by emphas themes, the m izing two dom achine and m inant otion.

X-HEIGHT: A verage CHARACTER WIDTH: Ave rage COLOR: Lig ht

X-HEIGHT: A verage CHARACTER WIDTH: Ave rage COLOR: Da rk

ATHELAS

CHARTER

UTOPIA STD

X-HEIGHT: Small

X-HEIGHT: Average

X-HEIGHT: Large

CHARACTER WIDTH: Average

CHARACTER WIDTH: Wide

CHARACTER WIDTH: Average

COLOR: Light

X x hg

Xxhg

UNIT SLAB PRO

ITC GALLIARD PRO

X-HEIGHT: Small

X-HEIGHT: Large

CHARACTER WIDTH: Wide

CHARACTER WIDTH: Narrow

COLOR: Dark

COLOR: Light

PLANTAGENET CHEROKEE

CASLON

X-HEIGHT: Small

X-HEIGHT: Average

CHARACTER WIDTH: Average

CHARACTER WIDTH: Wide

COLOR: Light

RIF

Fu th turis e Ita Par m w Fu lian is n as fi e ca turis poe wsp rst a rd t m a ing , c nd ape nno of r in the wh oine edi Le unce p fie cult ast at he d by tor F Figa d on r u th d co re a and con Mar ilipp o pu Feb em nt nd cel ce ine o T bl rua e i i es , th mpo soci ebra ved tti, omm shed ry 2 e m rar ety tin to b ref l a 0, 1 a ac y lif . Fu g ch e t ecte so M man 909 h hin e, tu a , i d a e a ma rism nge, e sta his rine festo whe Xt t e HE nd inl o t i b n m IG mo y by rejec rigin c an ph i. Th y th CH d a H e t a t si A ion em ed l i n e CO RA T: La ph tra ity, a rrele s on ame . as dit nd va rg LO CTE izi n dis RW e R: ng ions inn t ar o Lig tw an va t o d d g tio ht IDTH om lor n :N ina iar ro nt w

KERNING SHOULD BE ONE OF THE LAST STEPS IN FINE-TUNING YOUR DESIGNS. Most fonts come with hundreds and sometimes thousands of kerning pairs inserted by the font designer. The need to kern letters may be more apparent in larger sizes of text or uses of text such as in titles, headlines, subheads, large pull quotes, logotypes… The trained eye has to be the judge. Most common kerning pairs are Aw, Av, Ay, Ta, To, Va, Vo, Wa, Wo, Ya, Yo ect..

O NEXT T S L A VERTIC THER NEED O T EACH MOUN A T S O THE M E. C OF SPA

G N I N R E K KERNING IS THE ADJUSTMENT OF SPECIFIC PAIRS OF LETTERS TO IMPROVE

HL HO OC

spacing and fit. It’s distinct from tracking, which affects all the characters. Kerning is a mandatory skill for designers And is totally dependent on your eye, not the machine, not by measuring distance. Type needs the human

eye for fine tuning.

The tracking set the default spacing between letters, each letter existing within its free area and in general should not need to be changed. However, if there are indications that that font is poorly kerned in most cases the letter spacing is too tight and tracking can be added to a paragraph style or in InDesign you can chick on ‘optical’ kerning. This will only help body text, it will not correct headlines that are larger text.

O NEXT T L A C I T SS A VER EDS LE E N E V A CUR . SPACE

TO A T X E N VE A CUR EEDS VERY N CURVE ACE. SP LITTLE

OVERN A C VE , SPACE A CUR E H T TO LAP IN R ABOVE O UNDER OR STEM. R THE BA

RN OVE A C E V , SPACE A CUR E H T TO LAP IN R ABOVE O UNDER OR STEM. R THE BA

AT 46

BAD K

ERN

Aviator Today YOUNG Wayward OTTAWA THE POINT OF KERNING IS TO KEEP THE SPACING VISUALLY CONSISTENT. THE letters should appear to have the same amount of space between them. It doesn’t matter how much, it just needs to be consistent. Most typefaces have reasonably good kerning however a critical look is needed. It could be a typeface you have selected that doesn’t have any kerning pairs.

Aviator Aviator Today Today YOUNG YOUNG Wayward Wayward OTTAWA OTTAWA GOOD

KERN

N O I T A C I

F I T JUS

JUSTIFIED TEXT IS SPACED SO THE LEFT AND RIGHT SIDES OF THE TEXT BLOCK both have a clean edge. The usual alternative to justified text is left-aligned text, which has a straight left edge and an uneven right edge. Compared to left-aligned text, justification gives text a cleaner, more formal look.

Justify text only if the line is long enough to prevent awkward and inconsistent word spacing. The only time you can safely justify text is if your type is small enough and your line is long enough, as in books where the text goes all the way across the page.

Justification works by adding white space between the words in each line so all the lines are the same length. This alters the ideal spacing of the font, but in paragraphs of reasonable width it’s usually not distracting.

Layout programs allow the user to set the limit values for spacing. For most

spacing the Maximum can be 1% or 2% never more.

TTING

E ION S T A C I F TI

fonts setting the “Desired” to less that 100% is a good idea. For the letter

L JUS

A OPTIM

MINIMUM

DESIRED

WORD SPACING

80-90%

85-100% 90-110%

LETTER SPACING

0% 0% 1-2%

MAXIMUM

IM AX 5% 10 0%

ED IR S DE % 90 0%

IN % 85 0%

UM IM X A M 0% 11 1%

D RE I S DE 0% 10 0%

IN % 85 0%

AX % 90 2%

M NI

ED IR S DE % 90 0%

% 0%

CENTURY GOTHIC PRO

HELVETICA

9 PT.

Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society. Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The works were characterized by the depiction of several successive actions of a subject at the same time. Marinetti’s manifesto glorified the new technology of the automobile and the beauty of its speed, power, and movement. He exalted violence and conflict and called

CENTURY GOTHIC PRO

HELVETICA

12 PT.

IM AX 3% 10 1%

ED IR S DE % 92 0%

IM IN % 88 0%

UM IM X A 0% M -11 90 % 2 1-

ED IR % S 0 DE -10 5 8 0%

UM IM IN M -90% 80 0%

UM M I AX 0% M -11 90 % 2 1-

D RE % I S 0 DE -10 85 0%

UM M I IN M -90% 80 0%

LINE LENGTH , COLUMN WID TH LINE LENGTH AND COLUMN WIDTH ARE TWO TYPOGRAPHIC TERMS THAT ARE

TYPEFACE: TH E WIDTH OF TH E INDIVIDUA DESIGN AFFEC L GLYPHS AN T THE WORD D THE OVERA COUNT PER LI LL TYPEFACE NE. POINT SIZE: TH E SIZE OF THE TYPE AFFECTS HOW MANY WORDS FIT IN AVERAGE WO A LINE. RD LENGTH IN THE COPY: YO SHORTER WO U CAN FIT A RDS THAN LO GREATER NUM NGER ONES BER OF IN A GIVEN C OLUMN WIDTH .

closely related. Line length is normally expressed by the number of characters or words per line. Column width is measured in units. The longer the line the more leading will be needed to assist the reader to Column width affects readability because of the way our eyes read. Many

get from the end of one line to the beginning of another. Shorter lines can

people don’t realize that our eyes do not read character by character or

have less leading.

even word by word. Rather, our eyes scan a line, pausing momentarily to record groups of three or four words. Studies have found that a reader can

Typefaces vary in their alphabet length. The alphabet length is determined

make three or four such pauses on a line before it becomes tiring.

by the width of the lowercase a through z, historically measured in points. This measurement varies depending upon the type style and point size being

To determine line length for optimum readability, a good guideline is be-

used. Varying the font and/or point size will affect the optimum column width.

tween 7 and 12 words for unjustified text. Fewer words may cause the sentence structure to break up, and may also result in too many hyphenations.

The final factor to take into account when deciding upon the appropriate

Both of these reduce readability. Conversely, a line with more than 12 words

line length is the nature of the actual text. Some content – such as medical

can become tedious to read. Additionally, a reader can easily get lost when

text – might involve many longer words, lending itself to a wider column

going from the end of one long line to the beginning of the next, and may

width to avoid excessive hyphenations. Text used for children and young

inadvertently reread the same line, or miss a line or two.

readers might involve many short words, allowing for narrower column.

With justified text, the number of words per line should be between 12 and 15 words per line, to avoid excessive hyphenations, uneven word spacing, and rivers of white space in the text.

Some resources will refer to line length in characters not words. A character is a letter, symbol, figure, punctuation, and space. Anything from 45 to 75 characters per line is regarded as satisfactory length for a line. 65 characters is regarded as ideal for one column of text. For multiple columns 40 - 50 characters per line is an ideal average.

CENTURY GOTHIC PRO

9 PT

FLUSHED LEFT Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism,

Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism,

JUSTIFIED Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflect-

CENTURY GOTHIC PRO

13 PT

FLUSHED LEFT

Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published

Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a

JUSTIFIED

Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a 59

MENTS

LIGN RAPH A

PARAG

S E N I L , S D R O W S H P A R G A R A P

TYPOGRAPHY DEALS WITH THE ARRANGEMENT OF WORDS, LINES OF WORD and groups of lines to form paragraphs. Researchers believe that we don’t read words letter by letter, but that we tend to identify words by their outline. This is particularly true of type set in upper and lowercase. An exit sign on a highway is easier and read more quickly than the exit is in upper and lower case. The differentiation of heights of the x-height, ascenders and defenders helps produce distinctive and recognizable word shapes. It is generally considered that words, lines, paragraphs set in uppercase (all caps) is less readable. Setting large amounts of text in all caps should be avoided.

Paragraph Alignments. Paragraph text can be set justified, or ragged left (also known as flush right), ragged right or centered. As with all layouts, alignment depends on the purpose of the piece, the audience and its expectations, the fonts, the margins and white space, and other elements on the page. The most appropriate choice is the alignment that works for that particular design.

No matter what alignment you use, remember to pay close attention to hyphenation and word/character spacing as well to ensure that your text is as readable as possible.

IiCAN’TiKEEPiMYiHANDSiOFFiOFiYOU.

GS RA

WORD SPACING IS AN IMPORTANT ASPECT OF CREATING INVITING, EASY-TOread typography. This seemingly small detail plays a key role in establishing the color, texture and readability of a typographic communication. The word space is suitable for text in most typefaces, but it is work looking at IN TYPOGRAPHY, “RAG” REFERS TO THE IRREGULAR OR UNEVEN VERTICAL

especially in display type. In larger type the word space can be less.

margin of a block of type. Usually it’s the right margin that’s ragged (as in the flush left/rag right setting), but either or both margins can be ragged.

Over-tight word spacing causes words to appear to run into each other, making it more difficult for the reader to distinguish one word from the next.

The text block set Rag Right (unjustified text) as uneven line endings on the

Conversely, word spacing that is too open – the more common occurrence

right side of the paragraph text and is set with normal letter and word spac-

– creates oversized blocks of white space between words, forcing the reader

ing. Because of the even word spacing the text ragged text will have an

to read individual words rather than phrases or blocks of copy. This dramati-

even texture – no large spaces between words. The lines will naturally vary

cally slows down the reading process, reducing reader comprehension and

in length. A ragged text block can integrate with the layout and add visual

increasing the risk of distraction.

interest to the page. How much word spacing is the right amount? Assigning appropriate space The difficulty is making the ragged edge have a pleasing silhouette. When

between words is more of an optical determination than an exact science,

the first line in the text is longer than the second, it becomes separate from

but certain factors have a definite influence. Word spacing will be affected

the layout and creates a box-like shape. This destroys one of the advantages

by the proportions of a typestyle, letter fit, and point size of the setting. One

of unjustified text. The ragged edge needs to have a life, but a narrow col-

rule of thumb is that the word space should be around the character space

umn can be less active. Another advantage to ragged text is less hyphen-

of the loser case “i”. Although the word spacing of any given font is prede-

ation is needed. Therefore, names, dates or words which are normally read

termined, it can be adjusted in most design and page layout software via

together can stay together.

the justification settings. Changing the “desired word spacing” setting is the best method for text.

A good rag goes in and out from line to line in small increments. A poor rag creates distracting shapes. Don’t rely on the line breaks generated by your

For headlines, the kerning feature is the better tool – and yes, you can kern a

software application; get in the habit of spotting and correcting poor rags

character to a space, and vice versa! Proper word spacing is not noticed by

by making manual line breaks or by editing your copy. Slight adjustments in

the reader, but is a major factor in creating text that appears even, inviting

point size or column width might work as well.

and easy to read.

R WO

CI A SP

R O J A M E H “T G N I Z I L I CIV E H T N I E C R FO D L R O W UATION T C N U ING P

HANG

T O IS N . . . N O I G I L E R IT

" . X E S S I FNER

H HE – HUG

ENT

GNM AL ALI

OPTIC

TREMENDOUS ADVANCES IN THE TYPOGRAPHIC CAPABILITIES OF DESIGN software offer an effect similar to hung punctuation, by visually aligning the margins of flush text. Enabling and applying the Optical Margin Alignment feature will not only hang the appropriate punctuation outside the text frame, but also adjust other characters that can disturb alignment, including

HANGING (OR HUNG) PUNCTUATION REFERS TO THE PRACTICE OF EXTENDING

A, T, V, W, Y, and in some instances the numeral 1. This feature is adjustable

certain punctuation marks into the margin of a flush edge of text, to give

in most design software, allowing fine control of the amount of overhang –

the appearance of a more uniform vertical alignment. Punctuation marks

from punctuation being completely extended into the margin, like traditional

that are typically hung include periods, commas, hyphens, dashes, quota-

hung punctuation, down to any lesser degree of overhang.

tion marks and asterisks. These, and any other mark that does not have a

continuous vertical mass, can cause a visual “hole” or indentation in the flush

Optical alignment in text is a mixed blessing. It solves so visual problems but

edge. Hung punctuation should also be applied to headings, subheads, pull

can cause others. It cures the visual indent caused by quotation marks but

quotes and can be used for body text.

can also give them too much prominence.

WID

OW S

ERS

RIV

IN TYPOGRAPHY, RIVERS, OR RIVERS OF WHITE, ARE VISUALLY UNATTRACTIVE

WHEN A PARAGRAPH ENDS AND LEAVES FEWER THAN SEVEN CHARACTERS (not words, characters) on the last line, that line is called a widow. Worse than leaving one word at the end of a line is leaving part of a word.

gaps appearing to run down a paragraph of text. They can occur with any spacing, though they are most noticeable with wide word spaces caused by either full text justification or monospaced fonts.

ORP

HAN

After providing examples of other techniques and the schools that abandoned them, Wolfe concluded with Conceptual Art: “…there, at last, it was! No more realism, no more representation objects, no more lines, colors, forms, and contours, no more pigments, no more brushstrokes. …Art made its final flight, climbed higher and higher in an ever-decreasing tighter-turning spiral until… it disappeared up its own fundamental aperture… and came out the other side as Art Theory!… Art Theory pure and simple, words on a page, lit.

WHEN THE LAST LINE OF A PARAGRAPH, BE IT EVER SO LONG, WON’T FIT AT THE bottom of a column and must end itself at the top of the next column, that is an orphan.

r Ty

Class project fo

AVIS BODELL

le by Robert Typographic Sty s: Elements of ce ur so ng wi llo e fo ia Square, Mac mpiled from th graphy by Victor The text was co d Don'ts of Typo an 's Do e th t : pe k. This book is no g it Right with Ty atthew Butteric M Bringhurst, Gettin by hy ap gr l Typo illiams, Practica iter by Robin W reference. is Not A Typewr designer for their be used by the ly on to d an c e publi to be sold to th

72 69

, Spring 2021.

iversity of Kansas

ms at the Un pographic Syste