Post on 17-Apr-2022
transcript
BBN–ANG–183 Typography
Page layout
Zoltán G. Kiss & Péter Szigetvári
Dept of English Linguistics, Eötvös Loránd University
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aims
working in academia
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aims
working in academia
◮ publishing (a lot of) papers
◮ theses
◮ research: scientific journals and books
◮ needed to evaluate you (appraisal)
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aims
working with publishers
◮ publishing papers in journals of established publishers
◮ working in academia = working with publishers
◮ you will have to know how they work, what they expect from you(and they expect a lot of typographical knowledge from you!)
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aims
people you may be in contact with at a publisher
◮ editor: responsible for the overall content, quality of papers, relies onthe evaluation of reviewers
◮ proof-reader: responsible for the language (grammar, accuracy),stylistic consistency
◮ typographer/technical editor: responsible for the form and visualcontent of the publication
◮ (product manager: financing, contracts, ads; printer)
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aims
working with publishers
◮ publishers expect you to be fully responsible for your content
◮ but also for the form of your publication
◮ this course is about the typographical form of your publication thatsatisfies publishers
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aims
from manuscript to publication
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aims
from manuscript to publication
◮ manuscript → publisher → camera-ready to printer/e-book/online
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aims
from manuscript to publication
◮ manuscript → publisher → camera-ready to printer/e-book/online
1. publisher does it all, manuscript contains basic formatting
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aims
from manuscript to publication
◮ manuscript → publisher → camera-ready to printer/e-book/online
1. publisher does it all, manuscript contains basic formatting
2. publisher provides stylesheet the manuscript must follow, but theycreate the camera-ready version
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aims
from manuscript to publication
◮ manuscript → publisher → camera-ready to printer/e-book/online
1. publisher does it all, manuscript contains basic formatting
2. publisher provides stylesheet the manuscript must follow, but theycreate the camera-ready version
3. author does it all, including camera-ready version
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aims
from manuscript to publication
◮ manuscript → publisher → camera-ready to printer/e-book/online
1. publisher does it all, manuscript contains basic formatting
2. publisher provides stylesheet the manuscript must follow, but theycreate the camera-ready version
3. author does it all, including camera-ready version
3. is increasingly common
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aims
aims to achieve today
◮ raw material of publishing
◮ page sizes, proportions
◮ optimal arrangement of document elements within page
◮ grids
◮ page colour: spacing of text elements
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intro
3 basic considerations for the design of a publication
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intro
3 basic considerations for the design of a publication
◮ the selection of typefaces/fonts– based on general guidelines for legibility, readability, printability,genre, etc.
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intro
3 basic considerations for the design of a publication
◮ the selection of typefaces/fonts– based on general guidelines for legibility, readability, printability,genre, etc.
◮ the compositional arrangement of page elements
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intro
3 basic considerations for the design of a publication
◮ the selection of typefaces/fonts– based on general guidelines for legibility, readability, printability,genre, etc.
◮ the compositional arrangement of page elements
◮ the method of distribution (printed, electronic, book, brochure. . . )
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intro
3 basic considerations for the design of a publication
◮ the selection of typefaces/fonts– based on general guidelines for legibility, readability, printability,genre, etc.
◮ the compositional arrangement of page elements
◮ the method of distribution (printed, electronic, book, brochure. . . )
today. . .
we are going to focus on arrangement = layout
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intro
an example specific workflow
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intro
an example specific workflow
suppose the publisher . . .
◮ wants a camera-ready manuscript from you
◮ on a stock paper A4
◮ and plans to publish it in a book of size “B/5”
◮ with a “measure” of “22 × 31 picas”
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intro
general workflow
the general process of setting up one’s own page layout
◮ (paper type)
◮ page size (book shape) (e.g., “A/5”)
◮ stock (e.g., “A4”)
◮ trim the stock to the size of the page size ⇒ crop marks
◮ design the layout of your manuscript within the boundariesof the trimmed page size
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page size
page size: shape, proportions
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page size
page size: shape, proportions
the shape of books
◮ usually rectangular
◮ exceptions include children’s books, and a book on epitaphs
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page size
page proportions
◮ the ratio of the height (h) to the width (w)of a rectangle
◮ some proportions seem to be more pleasingto the eye than others
◮ tall shapes lead the eye downwards andeasier to hold
◮ the same proportions pop up in manycultures (and nature!)
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page size
?what are the most common traditional
page (& textblock) proportions?
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page size
page proportions
factors
◮ aesthetics
◮ tradition
◮ current industrial (standard) sizes
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page size
the square “unison” (1 : 1)
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page size
the square “unison” (1 : 1) — CD booklets
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page
size
common page proportions
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page size
page (& textblock) proportions: tradition & current standards
name proportion (w : h) corresponding standard
octave 1 : 2 —(double square)
major 6th 3 : 5 (1 : 1.667)golden section 1 : ϕ (1 : 1.618)
≈ US legal sheet (1 : 1.647)
fifth(Gutenberg)
2 : 3 (1 : 1.5) ≈ ISO (1 :√
2/1 : 1.414)
fourth 3 : 4 (1 : 1.294) ≈ US letter sheet (1 : 1.294)
unison 1 : 1 CD booklets
major 3rd 5 : 4 (1 : 0.8) ≈ US landscape letter (1 : 0.773)
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page size
some properties of ISO standard A series paper sizes
◮ A0 = 1 m2 (1189 × 841 mm)
◮ the series has the proportion√
2 : 1
◮ all its members are reciprocal with themselves
some properties of ISO standard B series paper sizes
◮ larger than A0: 1400 × 1000 mm
◮ slightly less reciprocal than A series
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page size
ISO A series paper sizes
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page size
the ISO vs. America
◮ the ISO standard for paper sizes is widespread except in the US andCanada
◮ the most commonly used sizes for everyday activities are:
◮ letter size (8.5 × 11′′ (inch), 216 × 279 mm) – slightly widerand smaller than A4
◮ legal size (14 × 8.5′′, 355.6 × 215.9 mm) – slightly wider andtaller than A4
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the golden section
and now, a brief maths detour
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the golden section
the golden section & Fibonacci series
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the golden section
the golden section & Fibonacci series
four special irrational numbers
◮ π = 3.14159 . . . —the circumference of a circle whose diameter = 1
◮ e = 2.71828 . . . —the base of natural logarithms
◮
√2 = 1.41421 . . . —the diagonal of a unit square
◮ ϕ = 1.61803 . . . —the golden section/ratio
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the golden section
the golden section
◮ also called: “extreme and mean ratio” (Euclid), “the divineproportion”, “medial section”
◮ two elements embody the golden sec. when the ratio of the larger tothe smaller is the same as the ratio of the sum of the two to the larger
◮ ϕ = ba
= a+bb
(a > b)
◮ ϕ = (1+√
5)2 ≈ 1.61803 . . .
◮ named after Phidias (5th c. BC); used it in his sculptures
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the golden section
golden ratios in the Parthenon
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the golden section
the relationship between ϕ, rabbits and sunflowers
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the golden section
the relationship between ϕ, rabbits and sunflowers
◮ Leonardo of Pisa (“Fibonacci”), in: Liber Abaci [Book of the
Abacus], 1202:
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the golden section
the relationship between ϕ, rabbits and sunflowers
◮ Leonardo of Pisa (“Fibonacci”), in: Liber Abaci [Book of the
Abacus], 1202:
◮“How many pairs of rabbits can be produced from a single pair in ayear? Assume that (1) each pair produces a new pair of offspringevery month, (2) a rabbit becomes fertile at age one month, and(3) no rabbits die during the year.”
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the golden section
the relationship between ϕ, rabbits and sunflowers
◮ Leonardo of Pisa (“Fibonacci”), in: Liber Abaci [Book of the
Abacus], 1202:
◮“How many pairs of rabbits can be produced from a single pair in ayear? Assume that (1) each pair produces a new pair of offspringevery month, (2) a rabbit becomes fertile at age one month, and(3) no rabbits die during the year.”
◮ 0, 1, 1, 2, 3, 5, 8, 13, 21, 34, 55, 89, 144, 233, 377, 610, 987, 1,597 . . .
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the golden section
the relationship between ϕ, rabbits and sunflowers
◮ Leonardo of Pisa (“Fibonacci”), in: Liber Abaci [Book of the
Abacus], 1202:
◮“How many pairs of rabbits can be produced from a single pair in ayear? Assume that (1) each pair produces a new pair of offspringevery month, (2) a rabbit becomes fertile at age one month, and(3) no rabbits die during the year.”
◮ 0, 1, 1, 2, 3, 5, 8, 13, 21, 34, 55, 89, 144, 233, 377, 610, 987, 1,597 . . .
◮ this is the Fibonacci series
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the golden section
the relationship between ϕ, rabbits and sunflowers
◮ Leonardo of Pisa (“Fibonacci”), in: Liber Abaci [Book of the
Abacus], 1202:
◮“How many pairs of rabbits can be produced from a single pair in ayear? Assume that (1) each pair produces a new pair of offspringevery month, (2) a rabbit becomes fertile at age one month, and(3) no rabbits die during the year.”
◮ 0, 1, 1, 2, 3, 5, 8, 13, 21, 34, 55, 89, 144, 233, 377, 610, 987, 1,597 . . .
◮ this is the Fibonacci series
◮ the ratio of any adjacent pair of terms oscillates around ϕ
(= 1.618 . . .), approaching it ever more closely
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the golden section
the golden section/“perfect” proportion often used in typography
◮ page sizes
◮ textblocks, margins
◮ font size changes
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the golden section
the Fibonacci (logarithmic) spiral
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the golden section
the Fibonacci (logarithmic) spiral
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the golden section
the Fibonacci (logarithmic) spiral
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the golden section
the Fibonacci (logarithmic) spiral
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the golden section
the Fibonacci (logarithmic) spiral
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the golden section
tablet/mobile devices & the golden ratio
http://gold3nratio.tumblr.com/
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the golden section
Fibonacci spiral in photography: detail vs. space
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the golden section
Fibonacci spiral in photography: detail vs. space
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the golden section
Fibonacci spiral in web design: ‘content clustering’
http://www.hongkiat.com/blog/golden-ratio-in-moden-designs/
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the golden section
Fibonacci spiral in fight scene
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the golden section
Fibonacci patterns in sunflower floret spirals
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the golden section
Fibonacci spiral in a nautilus shell
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the golden section
Fibonacci spiral in clouds
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the golden section
Fibonacci spiral in cats
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the golden section
Fibonacci series in font size changes
font sizes
◮ 5, 8, 13, 21, 34, 55, 89 . . .
◮ more versatile: 5, 6, 8, 10, 13, 16, 21, 26, 34, 42, . . .
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trimming
stock page size 6= trimmed book size
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trimming
A5 stock—A/5 book size
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trimming
B5 stock—B/5 book size
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trimm
ing
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trimming
bleeds & slug
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trimm
ing
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trimming
specifying bleeds & slug in an application
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trimming
some standard stock and trimmed book sizes
press sheet size (mm) stock size (mm) trimmed book size (mm)
841 × 1189 (=A0) A4 210 × 297 A/4: 202 × 285 ± 2A5 148 × 210 A/5: 142 × 197±2
700 × 1000 (≈B1) B4 250 × 353 B/4: 243 × 336 ± 2B5 176 × 250 B/5: 168 × 238±2
press sheet/broadsheet = ‘nyomdai nyersív’
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trimming
length in press sheet in the colophone
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trimming
press sheet
◮ in Hungarian books (colophone) the length of a book is givenin press sheets
◮ one press sheet = 16 pages
◮ the standard is to measure in A/5 pages
◮ if a book is printed on A/5 trimmed size, its length = p16 A/5 sheets
◮ e.g.: if your book is 512 pages long, its length is 51216 = 32 A/5 sheets
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trimming
press sheet
◮ what if the size is B/5 and not A/5?
◮ A-series stock is larger than B-series stock by 1.43(e.g., A0 = 1m2, B1 = 0.7m2)
◮ if a book is printed on B/5 trimmed size, its length = p×1.4316 A/5
sheets
◮ if your B/5 book is 612 pages long, its length is 612×1.4316 = 54.7 A/5
sheets
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grids
now we know the trimmed book size, what next?
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grids
now we know the trimmed book size, what next?
◮ create the textblock (or: typeblock, type area, live area) ‘tükör’,design its optimal horizontal and vertical length
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grids
now we know the trimmed book size, what next?
◮ create the textblock (or: typeblock, type area, live area) ‘tükör’,design its optimal horizontal and vertical length
◮ position the textblock within the book page ⇒ this creates marginsaround the textblock
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grids
now we know the trimmed book size, what next?
◮ create the textblock (or: typeblock, type area, live area) ‘tükör’,design its optimal horizontal and vertical length
◮ position the textblock within the book page ⇒ this creates marginsaround the textblock
◮ we add place for the optional satellites: footer and/or the header,and the marginal notes
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grids
now we know the trimmed book size, what next?
◮ create the textblock (or: typeblock, type area, live area) ‘tükör’,design its optimal horizontal and vertical length
◮ position the textblock within the book page ⇒ this creates marginsaround the textblock
◮ we add place for the optional satellites: footer and/or the header,and the marginal notes
◮ essentially thus we divide the available space of the page into grids(frames)
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grids
grids in typography
◮ essential part of page design
◮ give underlying structure and consistency to a document
◮ grid structure must be balanced and orderly
◮ most professional DTP applications (QuarkXpress, InDesign) rely ongrid structure
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grids
main grid types in typography
◮ column grids: simple publications, books, vertical designs
◮ modular grids: more complex designs, vertical–horizontal designs
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grids
an empty, unstructured trimmed spread
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grids
grids: structured trimmed spread
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grids
grids: structured spread
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grids
grids: underlying structure, consistency
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grids
elements of a recto page
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grids
header, footer, folio, notes vs. the textblock
◮ header & footer: usually not counted in the size of textblock (unlessit contains only the folio)
◮ footnotes: always part of textblock
◮ marginal notes: never part of textblock
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grids textblock/margins
what size should the textblock & margins be?
considerations
◮ industry standards
◮ historical proportions
◮ practical issues: place for the thumbs, consistency of lines, glued orbound book, etc.
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grids textblock/margins
industry standards: textblock sizes
◮ B/5 page size: around 123 mm × 185 mm
◮ A/4 page size: around 110 mm × 155 mm
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grids textblock/margins
textblock & margin sizes in a B/5 book (mm)
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grids textblock/margins
textblock & margin sizes in a B/5 book (mm)
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grids textblock/margins
height of textblock
◮ must be the exact multiple of the baselineskip (= line height)
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grids textblock/margins
height of textblock: example
◮ let’s assume baselineskip = 12 pt & textheight should be 185 mm
◮ how many lines can there be?
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grids textblock/margins
height of textblock: example
◮ 185 mm = 524.4 pt, and so 524.4 / 12 = 43.7 lines
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grids textblock/margins
height of textblock: example
◮ 185 mm = 524.4 pt, and so 524.4 / 12 = 43.7 lines
◮ either reduce the textheight to 43 lines (43 × 12 = 516 pt)
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grids textblock/margins
height of textblock: example
◮ 185 mm = 524.4 pt, and so 524.4 / 12 = 43.7 lines
◮ either reduce the textheight to 43 lines (43 × 12 = 516 pt)
◮ or enlarge it to 44 lines (44 × 12 = 528 pt)
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grids textblock/margins
height of textblock: example
◮ 185 mm = 524.4 pt, and so 524.4 / 12 = 43.7 lines
◮ either reduce the textheight to 43 lines (43 × 12 = 516 pt)
◮ or enlarge it to 44 lines (44 × 12 = 528 pt)
◮ the textblock height will not be exactly 185 mm but having an exactmultiple of the baselineskip is a more important factor
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grids modular grids
two-column grid: Journal of the Acoustical Soc. of America
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grids modular grids
modular grids (Emil Ruder: Typography; 1967)
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examples
Some further examples of page designs/grid structure:
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examples
Historia naturalis, N. Jenson, 1472
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examples
R. Bringhurst: Elements of typographic style, 2005
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examples
Biblia Polyglotta, C. Plantin, 1568
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examples
Phaidon, catalogue, 2003
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examples
The Illustrated London News, 1861
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examples
Form + Zweck, journal, 1995
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examples
L. Antal: A formális nyelvi elemzés, 2005
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leading
vertical spacing: leading
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leading
vertical spacing: leading
leading (or: (base)lineskip, line/interline/interlinear spacing)
Leading /lEdIN/ is the distance in points from the baseline of one line oftype to the baseline of the line that follows (or precedes) it.
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leading
solid leading (baselineskip = point size)
e.g., 12/12 pt (“12 on 12 points”)
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leading
positive leading (baselineskip > point size)
e.g., 12/14 pt (“12 on 14 points”)
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leading
negative leading (baselineskip < point size)
e.g., 12/10 pt (“12 on 10 points”)
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leading
common point sizes and leadings for publications
◮ 9/11 (e.g., footnote)
◮ 10/12 (A/5, B/5 book)
◮ 11/13 (B/5 book)
◮ 12/15 (home papers, theses)
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leading
auto(matic) leading
automatic leading: some characteristics
◮“single” 6= solid leading, but around 1.2 of the point size
◮ it is recommended to turn off automatic leading, and usemanual/fixed leading (height of type area must be exact multiple ofbaselineskip!)
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text colour
solid vs. positive leading
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text colour
text colour
◮ leading influences text colour
◮ proportion of black and white on a page
◮ must be even, not dark (tight setting) or pale (loose setting)
◮ bad text colour affects legibility & readability!
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text colour legibility/readability
legibility and readability
legibility
the reader’s ability to easily recognize letterforms and the word formsbuilt from them
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text colour legibility/readability
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text colour legibility/readability
legibility and readability
legibility
the reader’s ability to easily recognize letterforms and the word formsbuilt from them
readability
the facility and comfort with which text can be comprehended
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text colour legibility/readability
legibility and readability
legibility
the reader’s ability to easily recognize letterforms and the word formsbuilt from them
readability
the facility and comfort with which text can be comprehended
◮ Text with good readability must also be legible, but mere legibilitydoes not make text readable.
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text colour legibility/readability
colour/legibility/readability depends on the. . .
◮ design of typeface (e.g., seriffed or sans serif font; size)
◮ leading
◮ spacing between words (word spacing)
◮ spacing between letters (letter spacing)
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text colour legibility/readability
alternately tight letterspacing ⇒ varying colour
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text colour legibility/readability
tight spacing and legibility/readability
carnal cloth savvyFont: LMRoman17
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text colour legibility/readability
tight spacing and sans serif fonts
Font: Helvetica Neue LT Pro 55 Roman
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text colour legibility/readability
optical (“subjective”) leading
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text colour legibility/readability
optical leading: negative leading
gkz & szp (delg) typo/page layout 97 / 98
sample exam questions
sample exam questions
Which is never part of the textblock?
1. footnotes
2. marginal notes
3. footer
4. folio
gkz & szp (delg) typo/page layout 98 / 98
sample exam questions
sample exam questions
Which is never part of the textblock?
1. footnotes
2. marginal notes
3. footer
4. folio
gkz & szp (delg) typo/page layout 98 / 98
sample exam questions
sample exam questions
Which is never part of the textblock?
1. footnotes
2. marginal notes
3. footer
4. folio
The area of the page that extends outside the cropped page is called
1. bleed
2. slug
3. press sheet
4. satellite
gkz & szp (delg) typo/page layout 98 / 98
sample exam questions
sample exam questions
Which is never part of the textblock?
1. footnotes
2. marginal notes
3. footer
4. folio
The area of the page that extends outside the cropped page is called
1. bleed
2. slug
3. press sheet
4. satellite
gkz & szp (delg) typo/page layout 98 / 98