ISSUES IN TYPOGRAPHY
An Introduction
CONTENTS
2
Chapter 1 Visual Hierarchy Reviewed
Chapter 2 Type Parts and Measurement
Chapter 3 Contrast of Typographic Elements
Chapter 4 Typographic Spacing—Basic
Chapter 5 Alignment or Structure
Chapter 6 Body Text & Columns
Chapter 7 Groups and Space
3
CHAPTER 1 Visual Hierarchy Reviewed
C H A P T E R O N E
VISUAL HIERARCHY
4VISUAL HIERARCHY REVIEWEDC H A P T E R O N E
Defined — what is visual hierarchy?
The order in which elements are seen visually — group of visual elements arranged according to their degree of emphasis.
Visual Hierarchy is a key element and underlying principle in graphic design composition.
C H A P T E R O N E
VISUAL HIERARCHY
5VISUAL HIERARCHY REVIEWED
Application of design principles
Controlling the Visual Hierarchy of a design communication piece involves application of some fundamental DESIGN PRINCIPLES.
• Emphasis or Visual Weight for focus.
• Unity with variety for interest. - Repetition - Proximity
• Balance to create harmony.
C H A P T E R O N E
VISUAL HIERARCHY
6VISUAL HIERARCHY REVIEWED
Why is it (visual hierarchy) important?
Attract the viewer • Interest the viewer in a topic.
• Provides the opportunity to inform, persuade, educate, sell.
C H A P T E R O N E
VISUAL HIERARCHY
7VISUAL HIERARCHY REVIEWED
Why is it (visual hierarchy) important?
Communicate information • Organize and delivery information in a clear, well structured format.
• Control the sequence of information delivery.
• Provides access to information deemed important by the viewer.
8
CHAPTER 2 Type Parts and Measurement
C H A P T E R T W O
TYPE DIAGRAMISSUES IN TYPOGRAPHY
TYPE PARTSAND
MEASUREMENT
9TYPE PARTS AND MEASUREMENT
TYPE PARTS
TYPE MEASUREMENT
Defining the basic “pieces” that make up type
Typography baseline
meanlinex-height
cap line
descender
ascender
serifT
C H A P T E R T W O
DETERMINING TYPE SIZEISSUES IN TYPOGRAPHY
TYPE PARTSAND
MEASUREMENT
10TYPE PARTS AND MEASUREMENT
TYPE PARTS
TYPE MEASUREMENT
Understanding how type is measured
Type Type Size from ascender to descender
A 48pt capital character is approx. 1/2” in height.
Type is set in points (pt.) 72 pts. to an inch 12 pts. to a pica 6 picas to an inch
C H A P T E R T W O
EM SPACEISSUES IN TYPOGRAPHY
TYPE PARTSAND
MEASUREMENT
11TYPE PARTS AND MEASUREMENT
A standard unit of measure for horizontal spacing
emSpace a square in the size of the font
Kerning, tracking and indents are done in increments of an em space.
TYPE PARTS
TYPE MEASUREMENT
12
CHAPTER 3 Contrast of Typographic Elements
C H A P T E R T H R E E
Function of typographic contrast
CONTRAST OF TYPOGRAPHIC ELEMENTSISSUES IN
TYPOGRAPHY
13CONTRAST OF TYPOGRAPHIC ELEMENTS
• The contrast of typographic elements provides a method of organizing or presenting information in a sequence or hierarchical fashion.
• Used properly, contrast can greatly clarify and organize multiple units of information.
• Used improperly, contrast can lead to chaotic, and confusing compositions.
C H A P T E R T H R E E
Function of typographic contrast
CONTRAST OF TYPOGRAPHIC ELEMENTSISSUES IN
TYPOGRAPHY
14CONTRAST OF TYPOGRAPHIC ELEMENTS
Wasily Kandinsky major works austin museum of art the modern masters series
WASILY KANDINSKYMAJOR WORKSaustin museum of art the modern masters series
No Contrast
Some Contrast
C H A P T E R T H R E E
There are several kinds of contrast employed in visual hierarchy
CONTRAST OF TYPOGRAPHIC ELEMENTSISSUES IN
TYPOGRAPHY
15CONTRAST OF TYPOGRAPHIC ELEMENTS
• SCALE
• WEIGHT
• STANCE
• CAPITALIZATION
• TYPEFACE
Can be used solo, or in combination.
C H A P T E R T H R E E
• 6pt• 7pt• 8pt
• 9pt• 10pt• 11pt• 12p
• 14pt• 16pt• 18pt
• 20pt• 22pt• 24pt +
disclaimer sizes
body text sizes
subhead sizes
headline sizes
SCALEISSUES IN TYPOGRAPHY
CONTRAST OF TYPOGRAPHIC
ELEMENTS
16CONTRAST OF TYPOGRAPHIC ELEMENTS
SCALE
WEIGHT
STANCE
CAPITALIZATION
TYPEFACE
Type can be set in a variety of sizes (pts.)
Choice of type size is based on the specific function of the typographic element.Type size contrasts are relative to size of composition, and are not absolute.
Type Type Size from ascender to descender
REFRESHER
A 48pt capital character is approx. 1/2” in height.
Type is set in points (pt.) 72 pts. to an inch 12 pts. to a pica 6 picas to an inch
C H A P T E R T H R E E
d x pd x p
SCALEISSUES IN TYPOGRAPHY
CONTRAST OF TYPOGRAPHIC
ELEMENTS
17CONTRAST OF TYPOGRAPHIC ELEMENTS
SCALE
WEIGHT
STANCE
CAPITALIZATION
TYPEFACE
X-height and proportions
An often overlooked influence on the perceived scale of type is the x-height.
dxpAvant Garde AG Old Face
RegularGoudy
Type x-height from meanline to baseline
REFRESHERmeanline
baseline
same type size
C H A P T E R T H R E E
SCALEISSUES IN TYPOGRAPHY
CONTRAST OF TYPOGRAPHIC
ELEMENTS
18CONTRAST OF TYPOGRAPHIC ELEMENTS
SCALE
WEIGHT
STANCE
CAPITALIZATION
TYPEFACE
X-height and proportions
It is ten minutes past six by the invisible clock on the wall. 1
It is ten minutes past six by the invisible clock on the wall.
Avant Garde AG Old FaceRegular
X-height influences the fit of the text — same point size.
1from Einstein’s Dream by Alan Lightman
C H A P T E R T H R E E
O
SCALEISSUES IN TYPOGRAPHY
CONTRAST OF TYPOGRAPHIC
ELEMENTS
19CONTRAST OF TYPOGRAPHIC ELEMENTS
SCALE
WEIGHT
STANCE
CAPITALIZATION
TYPEFACE
Contrast in stroke weight and proportions
OO
Avant Garde
AG Old FaceRegular
Goudy
OBodoniBold
Contrasts of stroke proportions influences the fit, color (value), and texture of the text.
STROKESTROKE
STROKESTROKE
C H A P T E R T H R E E
WEIGHTISSUES IN TYPOGRAPHY
CONTRAST OF TYPOGRAPHIC
ELEMENTS
20CONTRAST OF TYPOGRAPHIC ELEMENTS
SCALE
WEIGHT
STANCE
CAPITALIZATION
TYPEFACE
Type can be set in a variety of weights
• Helvetica Light• Helvetica Regular• Helvetica Bold
Type weight can create emphasis, or a subordinate relationship.
2-4 basic type weights, some typefaces have more, some less.
The variety of weights available will depend upon the typeface chosen.
C H A P T E R T H R E E
STANCEISSUES IN TYPOGRAPHY
CONTRAST OF TYPOGRAPHIC
ELEMENTS
21CONTRAST OF TYPOGRAPHIC ELEMENTS
SCALE
WEIGHT
STANCE
CAPITALIZATION
TYPEFACE
Type can be set in two basic stances
Roman
Italic
— vertical or “normal” stance.
— right leaning, also known as oblique.
Type set in italics can be emphasized or standout from other nearby information.
Some typefaces have both stances, some only one stance.
C H A P T E R T H R E E
STANCEISSUES IN TYPOGRAPHY
CONTRAST OF TYPOGRAPHIC
ELEMENTS
22CONTRAST OF TYPOGRAPHIC ELEMENTS
SCALE
WEIGHT
STANCE
CAPITALIZATION
TYPEFACE
Type can be set in two basic stances
You can mix roman and italic to help differentiate one item from the other, create contrast.
austin museum of art the modern masters series
roman
italic
C H A P T E R T H R E E
CAPITALIZATIONISSUES IN TYPOGRAPHY
CONTRAST OF TYPOGRAPHIC
ELEMENTS
23CONTRAST OF TYPOGRAPHIC ELEMENTS
SCALE
WEIGHT
STANCE
CAPITALIZATION
TYPEFACE
Type can be set in a variety of capitalizations
U/lc - upper and lower case This is an example of type set in upper and lower case.
I/C - Initial Caps This Is An Example Of Type Set In Initial Caps.
CAPS - ALL CAPITALS THIS IS AN EXAMPLE OF TYPE SET IN UPPER CASE (CAPS).
SMC - Small CapS This is An ExAmplE Of TypE sET in smAll CAps.
Pay attention to the size, shape, and readability of type set
in these four options.
C H A P T E R T H R E E
CAPITALIZATIONISSUES IN TYPOGRAPHY
CONTRAST OF TYPOGRAPHIC
ELEMENTS
24CONTRAST OF TYPOGRAPHIC ELEMENTS
SCALE
WEIGHT
STANCE
CAPITALIZATION
TYPEFACE
Appropriate graphic use of capitalization
Capitalization can DIFFERENTIATE elements in a Typographic Unit or Group, create contrast.
All caps can be used for heads and subheads, not a good idea for body text.
All caps creates a more geometric (rectilinear) shape than do I/C or U/lc — more organic.
WASILY KANDINSKY Austin Museum of Art
the modern masters series
CAPS
I/C
U/lc
C H A P T E R T H R E E
TYPEFACEISSUES IN TYPOGRAPHY
CONTRAST OF TYPOGRAPHIC
ELEMENTS
25CONTRAST OF TYPOGRAPHIC ELEMENTS
SCALE
WEIGHT
STANCE
CAPITALIZATION
TYPEFACE
Type can be set in a variety of fonts or typefaces
Two basic categories of typeface selection
SERIF SANS SERIF
Times HelveticaGaramond Avant Garde“with feet” “without feet”classical modernvarying stroke weight consistent stroke weight
Most type falls into one of these two categories, though there are some “hybrid’s.”
C H A P T E R T H R E E
TYPEFACEISSUES IN TYPOGRAPHY
CONTRAST OF TYPOGRAPHIC
ELEMENTS
26CONTRAST OF TYPOGRAPHIC ELEMENTS
SCALE
WEIGHT
STANCE
CAPITALIZATION
TYPEFACE
Type can be set in a variety of typefaces or fonts
Old Style
Transitional
Modern
Slab Serif
Garamond
Baskerville
BodoniAmerican Typewriter
Expanded categories of typeface selection
Through typeface choice, more dramatic type contrast can emphasize an element.
C H A P T E R T H R E E
TYPEFACEISSUES IN TYPOGRAPHY
CONTRAST OF TYPOGRAPHIC
ELEMENTS
27
SCALE
WEIGHT
STANCE
CAPITALIZATION
TYPEFACE
The type family
Roman Italic
Light Regular Medium Bold Ultra
Condensed Expanded
The weights and stances of a typeface.
TIp: a font is actually a specific type stance, weight, and size — not a type “style”
STANCES WEIGHTS OTHER
CONTRAST OF TYPOGRAPHIC ELEMENTS
C H A P T E R T H R E E
TYPEFACEISSUES IN TYPOGRAPHY
CONTRAST OF TYPOGRAPHIC
ELEMENTS
28CONTRAST OF TYPOGRAPHIC ELEMENTS
SCALE
WEIGHT
STANCE
CAPITALIZATION
TYPEFACE
Basic contrast of two typefaces
When contrasting typefaces, a classic approach is to mix a serif and sans serif.
austin museum of art the modern masters series
sans serif
serif
C H A P T E R T H R E E
MULTIPLE CONTRASTSISSUES IN TYPOGRAPHY
CONTRAST OF TYPOGRAPHIC
ELEMENTS
29CONTRAST OF TYPOGRAPHIC ELEMENTS
SCALE
WEIGHT
STANCE
CAPITALIZATION
TYPEFACE
You can “mix & match” typographic contrasts
WASILY KANDINSKYMAJOR WORKSAustin Museum of Art the modern masters series
scaleweightstancecapitalizationtypeface
30
CHAPTER 4 Typographic Spacing
C H A P T E R F O U R
There are many kinds of space employed in visual hierarchy, two of interest now are
TYPOGRAPHIC SPACINGISSUES IN
TYPOGRAPHY
31TYPOGRAPHIC SPACING
• LETTER SPACING
• LINE SPACING or LEADING
C H A P T E R F O U R
LETTER SPACINGISSUES IN TYPOGRAPHY
TYPOGRAPHICSPACING
32TYPOGRAPHIC SPACING
LETTER SPACE
LINE SPACE
Defined
Letter spacing falls under two definitions or applications.
TRACKING Space between all letters in a word, line, or paragraph of text. Used to adjust fit or look of text.
KERNING Space between two specific character pairs. Used to fix awkward space between some character pairs, especially at larger sizes.
C H A P T E R F O U R
LETTER SPACINGISSUES IN TYPOGRAPHY
33TYPOGRAPHIC SPACING
LETTER SPACE
LINE SPACE
Tracking
IT IS TEN MINUTES PAST SIX BY THE
IT IS TEN MINUTES PAST SIX BY THE
IT IS TEN MINUTES PAST SIX BY THE
IT IS TEN MINUTES PAST SIX BY
I T I S T E N M I N U T E S P A S T
Normal
Tight
Touching
Open
Very open
The amount of tracking affects the fit, readability, and value of the text.
TYPOGRAPHICSPACING
C H A P T E R F O U R
LETTER SPACINGISSUES IN TYPOGRAPHY
34TYPOGRAPHIC SPACING
LETTER SPACE
LINE SPACE
Kerning
WellWell
unkerned
kerned
emSpace a square in the size of the font
REFRESHER
Kerning, tracking and indents are done in increments of an em space.
TYPOGRAPHICSPACING
C H A P T E R F O U R
LEADINGISSUES IN TYPOGRAPHY
35TYPOGRAPHIC SPACING
LETTER SPACE
LINE SPACE
Defined
Leading is the vertical space
between two or more lines
of type. It is a baseline to
baseline measurement described
in points. It can also describe the
“extra” space between lines of
type known as the slug.
38pt leading (type size + lead)
18pt lead
20/3820pt. type with38pt. leading
TYPOGRAPHICSPACING
C H A P T E R F O U R
LEADINGISSUES IN TYPOGRAPHY
36TYPOGRAPHIC SPACING
LETTER SPACE
LINE SPACE
Influence of leading
The amount of leading influences the amount of vertical space required to display the desired information.
Correct leading can make lines of text readable, where as too little (or too much) leading can have a negative impact on legibility.
TYPOGRAPHICSPACING
ISSUES IN TYPOGRAPHY
37TYPOGRAPHIC SPACINGC H A P T E R F O U R
Comparison of leading values — U/lcLEADING
LETTER SPACE
LINE SPACE It is ten minutes past six by the invisible clock on the wall.
It is ten minutes past six by the invisible clock on the wall..
It is ten minutes past six
by the invisible clock on
the wall.
Normal leading14/16
Tight leading14/14
Open leading14/24
For U/lc type, “normal” leading is approximately +2pts. So for 14pt. type, the leading would be 16pts written as — 14/16.
TYPOGRAPHICSPACING
C H A P T E R F O U R
LEADINGISSUES IN TYPOGRAPHY
38TYPOGRAPHIC SPACING
LETTER SPACE
LINE SPACE
Comparison of leading values — CAPS
IT IS TEN MINUTES PAST SIX BY THE INVISIBLE CLOCK ON THE WALL.
IT IS TEN MINUTES PAST SIX BY THE INVISIBLE CLOCK ON THE WALL.
IT IS TEN MINUTES PAST SIX BY THE INVISIBLE CLOCK ON THE WALL.
Normal leading18/20
Solid leading18/18
Negative leading18/16
Cap type is generally set with a leading value the same or less than the type size.
TYPOGRAPHICSPACING
C H A P T E R F O U R
LEADINGISSUES IN TYPOGRAPHY
39TYPOGRAPHIC SPACING
LETTER SPACE
LINE SPACE
Leading between typographic units
WASILY KANDINSKYMAJOR WORKSAustin Museum of Art the modern masters series
TYPOGRAPHICSPACING
40
CHAPTER 5 Alignment or Structure
C H A P T E R F I V E
There are four kinds of alignment or structure
ALIGNMENT OR STRUCTUREISSUES IN
TYPOGRAPHY
41ALIGNMENT OR STRUCTURE
• FLUSH LEFT
• FLUSH RIGHT
• CENTERED
• JUSTIFIED
C H A P T E R F I V E
FLUSH LEFTISSUES IN TYPOGRAPHY
ALIGNMENTOR
STRUCTURE
42ALIGNMENT OR STRUCTURE
FLUSH LEFT
FLUSH RIGHT
CENTERED
JUSTIFIED
One sharp edge, one soft edge
Flush Left or FL
Flush left is a standard method of alignment for lines of text. It provides a visually sharp left edge and what is known as a “ragged right” (RR) edge, for a more organic and less formal look.
It is ten minutes past six by the invisible clock on the wall.
C H A P T E R F I V E
Flush Right or FR
Flush right should only be used for small amounts of text to set it off visually from other text elements, or for its right justified vertical edge. In large amounts FR text is difficult to read.
FLUSH RIGHTISSUES IN TYPOGRAPHY
ALIGNMENTOR
STRUCTURE
43ALIGNMENT OR STRUCTURE
FLUSH LEFT
FLUSH RIGHT
CENTERED
JUSTIFIED
For limited use
It is ten minutes past six by the
invisible clock on the wall.
C H A P T E R F I V E
CENTEREDISSUES IN TYPOGRAPHY
ALIGNMENTOR
STRUCTURE
44ALIGNMENT OR STRUCTURE
FLUSH LEFT
FLUSH RIGHT
CENTERED
JUSTIFIED
Creates a symmetrical shape
Centered or CL
Center alignment should only be used for small amounts of text to set it off visually from other text elements, or for its symmetrical shape. In large amounts, centered text is difficult to read.
It is ten minutes past six by the
invisible clock on the wall.
C H A P T E R F I V E
JUSTIFIEDISSUES IN TYPOGRAPHY
ALIGNMENTOR
STRUCTURE
45ALIGNMENT OR STRUCTURE
FLUSH LEFT
FLUSH RIGHT
CENTERED
JUSTIFIED
Creates a strong sense of rectangular shape
Justified or flush left/flush right
Justified is a standard method of alignment for lines of text. It creates a strong sense of rectangular shape due to its sharp vertical left and right edges.
It is ten minutes past six by the invisible clock on the wall. Minute by minute new objects gain form. In the dim
C H A P T E R F I V E
MIXING ALIGNMENTSISSUES IN TYPOGRAPHY
ALIGNMENTOR
STRUCTURE
46ALIGNMENT OR STRUCTURE
FLUSH LEFT
FLUSH RIGHT
CENTERED
JUSTIFIED
Effective use of alignments
WASILY KANDINSKYMAJOR WORKSaustin museum of art the modern masters series
823 Congress AvenueAustin, TX 78767
Mixing alignments can help to create negative space which enhances access to information.
justified
flush left
flush right
47
CHAPTER 6 Body Text & Columns
ISSUES IN TYPOGRAPHY
BODY TEXT& COLUMNS
48
STRUCTURE
LINE SPACE
LETTERSPACE
CAPITALIZATION
SCALE
COLUMN WIDTH
WIDOWS
BODY TEXT & COLUMNSC H A P T E R S I X
Creates an organic or casual feel
ISSUES IN TYPOGRAPHY
TEXTCOLUMNS
48
FLUSH LEFT
Flush left/ragged right
Flush left is a standard method of alignment for columns of body text. It creates an organic or casual feel. May need additional column spacing.
It is ten minutes past six by the invisible clock on the wall. Minute by minute new objects gain form. In the dim light of morning the young patent clerk sprawls in his chair, head down on his desk. For the past several months, he has dreamed many dreams about time. His dreams have taken hold of his research.
It is ten minutes past six by the invisible clock on the wall. Minute by minute new objects gain form. In the dim light of morning the young patent clerk sprawls in his chair, head down on his desk. For the past several months, he has dreamed many dreams about time. His dreams have taken hold of his research.
It is ten minutes past six by the invisible clock on the wall. Minute by minute new objects gain form. In the dim light of morning the young patent clerk sprawls in his chair, head down on his desk. For the past several months, he has dreamed many dreams about time. His dreams have taken hold of his research.
C H A P T E R S I X
ISSUES IN TYPOGRAPHY
BODY TEXT& COLUMNS
49
STRUCTURE
LINE SPACE
LETTERSPACE
CAPITALIZATION
SCALE
COLUMN WIDTH
WIDOWS
BODY TEXT & COLUMNSC H A P T E R S I X
Justified or flush left/flush right
Justified is a standard method of alignment for columns of body text. It creates a strong sense of rectangular shape due to its sharp vertical left and right edges. It is used in magazines and newspapers where columns of text are in close proximity.
It is ten minutes past six by the invisible clock on the wall. Minute by minute new objects gain form. In the dim light of morning the young patent clerk sprawls in his chair, head down on his desk. For the past several months, he has dreamed many dreams about time. His dreams have taken hold of his research.
It is ten minutes past six by the invisible clock on the wall. Minute by minute new objects gain form. In the dim light of morning the young patent clerk sprawls in his chair, head down on his desk. For the past several months, he has dreamed many dreams about time. His dreams have taken hold of his research.
It is ten minutes past six by the invisible clock on the wall. Minute by minute new objects gain form. In the dim light of morning the young patent clerk sprawls in his chair, head down on his desk. For the past several months, he has dreamed many dreams about time. His dreams have taken hold of his research.
Creates a strong sense of rectangular shapeJUSTIFIED
ISSUES IN TYPOGRAPHY
BODY TEXT& COLUMNS
50
STRUCTURE
LINE SPACE
LETTERSPACE
CAPITALIZATION
SCALE
COLUMN WIDTH
WIDOWS
BODY TEXT & COLUMNSC H A P T E R S I X
Flush right centered
Flush right and centered body text can be difficult to read, when applied to more than one paragraph.
It is ten minutes past six by the invisible clock on the wall. Minute by minute new
objects gain form. In the dim light of morning the young patent clerk sprawls in his chair, head down on his desk. For the
past several months, he has dreamed many dreams about time. His dreams have taken
hold of his research.
Can make body text difficult to readFLUSH RIGHT & CENTERED
It is ten minutes past six by the invisible clock on the wall. Minute by minute new
objects gain form. In the dim light of morning the young patent clerk sprawls in his chair, head down on his desk. For the
past several months, he has dreamed many dreams about time. His dreams have taken
hold of his research.
ISSUES IN TYPOGRAPHY
BODY TEXT& COLUMNS
51BODY TEXT & COLUMNSC H A P T E R S I X
STRUCTURE
LINE SPACE
LETTERSPACE
CAPITALIZATION
SCALE
COLUMN WIDTH
WIDOWS
Comparison of leading values — U/lcLEADING
It is ten minutes past six by the invisible clock on the wall. Minute by minute new objects gain form. In the dim light of morning the young patent clerk sprawls in his chair, head down on his desk.
It is ten minutes past six by the invisible clock on the wall. Minute by minute new objects gain form. In the dim light of morning the young patent clerk sprawls in his chair, head down on his desk.
It is ten minutes past six
by the invisible clock on
the wall. Minute by minute
new objects gain form. In
the dim light of morning
the young patent clerk
sprawls in his chair, head
down on his desk.
Normal leading14/16
Tight leading14/14
Open leading14/24
For U/lc type, “normal” leading is approximately +2pts. So for 14pt. type, the leading would be 16pts written as — 14/16.
ISSUES IN TYPOGRAPHY
BODY TEXT& COLUMNS
52BODY TEXT & COLUMNSC H A P T E R S I X
It is ten minutes past six by the invisible clock on the wall. Minute by minute new objects gain form. In the dim light of morning the young patent clerk sprawls in his chair, head down on his desk. For the past several months, he has dreamed many dreams about time. His dreams have taken hold of his research.
It is ten minutes past six by the invisible clock on the wall. Minute by minute new objects gain form. In the dim light of morning the young patent clerk sprawls in his chair, head down on his desk. For the past several months, he has dreamed many dreams about time. His dreams have taken hold of his research.
I t i s t e n m i n u t e s p a s t s i x b y t h e i n v i s i b l e c l o c k o n t h e w a l l . M i n u t e b y m i n u t e n e w o b j e c t s g a i n f o r m . I n t h e d i m l i g h t o f m o r n i n g t h e y o u n g p a t e n t c l e r k s p r a w l s i n h i s c h a i r , h e a d d o w n o n h i s d e s k . F o r t h e p a s t s e v e r a l m o n t h s , h e h a s d r e a m e d m a n y d r e a m s a b o u t t i m e . H i s d r e a m s h a v e t a k e n h o l d o f h i s
Normal Very openTouching
LETTER SPACINGTracking
The amount of tracking affects the fit, readability, and value of the text.
STRUCTURE
LINE SPACE
LETTERSPACE
CAPITALIZATION
SCALE
COLUMN WIDTH
WIDOWS
ISSUES IN TYPOGRAPHY
BODY TEXT& COLUMNS
53BODY TEXT & COLUMNSC H A P T E R S I X
STRUCTURE
LINE SPACE
LETTERSPACE
CAPITALIZATION
SCALE
COLUMN WIDTH
WIDOWS
IT IS TEN MINUTES PAST SIX BY THE INVISIBLE CLOCK ON THE WALL. MINUTE BY MINUTE NEW OBJECTS GAIN FORM. IN THE DIM LIGHT OF MORNING THE YOUNG PATENT CLERK SPRAWLS IN HIS CHAIR, HEAD DOWN ON HIS DESK. FOR THE PAST SEVERAL MONTHS, HE HAS DREAMED MANY DREAMS ABOUT TIME. HIS DREAMS HAVE TAKEN HOLD OF HIS RESEARCH.
It is ten minutes past six by the invisible clock on the wall. Minute by minute new objects gain form. In the dim light of morning the young patent clerk sprawls in his chair, head down on his desk. For the past several months, he has dreamed many dreams about time. His dreams have taken hold of his research.
U/lc ALL CAPS
Body text should be set in upper & lower case.All caps should not be used in large amounts of body text due to space and legibility problems.
Body text and capitalizationCAPITALIZATION
ISSUES IN TYPOGRAPHY
BODY TEXT& COLUMNS
54BODY TEXT & COLUMNSC H A P T E R S I X
STRUCTURE
LINE SPACE
LETTERSPACE
CAPITALIZATION
SCALE
COLUMN WIDTH
WIDOWS
disclaimer sizes
body text sizes
subhead sizes
headline sizes
SCALEBody text size range
• 6pt• 7pt• 8pt
• 9pt• 10pt• 11pt• 12p
• 14pt• 16pt• 18pt
• 20pt• 22pt• 24pt +
Choice of type size is based on the specific function of the typographic element.Type size contrasts are relative to size of composition, and are not absolute.
Type Type Size from ascender to descender
REFRESHER
A 48pt capital character is approx. 1/2” in height.
Type is set in points (pt.) 72 pts. to an inch 12 pts. to a pica 6 picas to an inch
ISSUES IN TYPOGRAPHY
BODY TEXT& COLUMNS
55BODY TEXT & COLUMNSC H A P T E R S I X
STRUCTURE
LINE SPACE
LETTERSPACE
CAPITALIZATION
SCALE
COLUMN WIDTH
WIDOWS
X-HEIGHTX-height and proportions
Avant Garde AG Old FaceRegular
Goudy
X-height influences the fit of the text and the color (value) or texture of the text block.
It is ten minutes past six by the invisible clock on the wall. Minute by minute new objects gain form. In the dim light of morning the young patent clerk sprawls in his chair, head down on his desk. For the past several months, he has dreamed many dreams about time. His dreams have taken hold of his research. 1
It is ten minutes past six by the invisible clock on the wall. Minute by minute new objects gain form. In the dim light of morning the young patent clerk sprawls in his chair, head down on his desk. For the past several months, he has dreamed many dreams about time. His dreams have taken hold of his research.
It is ten minutes past six by the invisible clock on the wall. Minute by minute new objects gain form. In the dim light of morning the young patent clerk sprawls in his chair, head down on his desk. For the past several months, he has dreamed many dreams about time. His dreams have taken hold of his research.
ISSUES IN TYPOGRAPHY
BODY TEXT& COLUMNS
56BODY TEXT & COLUMNSC H A P T E R S I X
Wide text columns provide good readability for novels, and similar publications.
Too wide a column makes for difficult reading as your reader gets lost on way back to the start.
It is ten minutes past six by the invisible clock on the wall. Minute by minute new objects gain form. In the dim light of morning the young patent clerk sprawls in his chair, head down on his desk. For the past several months, he has dreamed many dreams about time. His dreams have taken hold of his research.
It is ten minutes past six by the invisible clock on the wall. Minute by minute new objects gain form. In the dim light of morning the young patent clerk sprawls in his chair, head down on his desk. For the past several months, he has dreamed many dreams about time. His dreams have taken hold of his research. It is ten minutes past six by the invisible clock on the wall. Minute by minute new objects gain form. In the dim light of morning the young patent clerk sprawls in his chair, head down on his desk. For the past several months, he has dreamed many dreams about time. His dreams have taken hold of his research.
Provide good pace for novels, though...WIDE COLUMNS
STRUCTURE
LINE SPACE
LETTERSPACE
CAPITALIZATION
SCALE
COLUMN WIDTH
WIDOWS
ISSUES IN TYPOGRAPHY
BODY TEXT& COLUMNS
57BODY TEXT & COLUMNSC H A P T E R S I X
Narrow text columns provide good readability for “scannable” publications—such as newspapers, and magazines.
But if they are too problems will occur...
It is ten minutes past six by the invisible clock on the wall. Minute by minute new objects gain form. In the dim light of morning the young patent clerk sprawls in his chair, head down on his desk. For the past several months, he has dreamed many dreams about time. His dreams have taken hold of his research.
It is ten minutes past six by the invisible clock on the wall. Minute by minute new objects gain form. In the dim light of morning the young patent clerk sprawls in his chair, head down on his desk. For the past several months, he has dreamed many dreams about time. His dreams have taken hold of his research.
It is ten minutes past six by the invisible clock on the wall. Minute by minute new objects gain form. In the dim light of morning the young patent clerk sprawls in his chair, head down on his desk. For the past several months, he has dreamed many dreams about time. His dreams have taken hold of his research.
Provide a good pace for newspapersNARROW COLUMNS
STRUCTURE
LINE SPACE
LETTERSPACE
CAPITALIZATION
SCALE
COLUMN WIDTH
WIDOWS
ISSUES IN TYPOGRAPHY
BODY TEXT& COLUMNS
58BODY TEXT & COLUMNSC H A P T E R S I X
Provide a good pace for newspapersNARROW COLUMNS
Narrow justified text columns can create problems with word space, river, and hyphenation.
It is ten minutes past six by the invis-ible clock on the wall. Minute by minute new objects gain form. In the dim light of morn-ing the young patent clerk sprawls in his chair, head down on his desk. For the past several months, he has dreamed many dreams
It is ten minutes past six by the invisible clock on the wall. Minute by minute new objects gain form. In the dim light of morning the
It is ten minutes past six by the invisible clock on the wall. Minute by minute new objects gain form. In the dim light of morning the young patent clerk sprawls in his chair, head down on his desk. For the past several months, he has dreamed many dreams about time. His dreams have taken hold of his research.
Normal Rivers Hyphens
STRUCTURE
LINE SPACE
LETTERSPACE
CAPITALIZATION
SCALE
COLUMN WIDTH
WIDOWS
ISSUES IN TYPOGRAPHY
BODY TEXT& COLUMNS
59BODY TEXT & COLUMNSC H A P T E R S I X
STRUCTURE
LINE SPACE
LETTERSPACE
CAPITALIZATION
SCALE
COLUMN WIDTH
WIDOWS
Provide a good pace for newspapersNARROW COLUMNS
Using flush left (and a smaller type size) for text columns can help with the problems of word space, river, and hyphenation.
Though the right rag may become extreme.
It is ten minutes past six by the invisible clock on the wall. Minute by minute new objects gain form. In the dim light of morning the young patent clerk sprawls in his chair, head down on his desk. For the past several months, he has dreamed many
It is ten minutes past six by the invisible clock on the wall. Minute by minute new objects gain form. In the dim light of morning
It is ten minutes past six by the invisible clock on the wall. Minute by minute new objects gain form. In the dim light of morning the young patent clerk sprawls in his chair, head down on his desk. For the past several months, he has dreamed many dreams about time. His dreams have taken hold of his research.
Normal
ISSUES IN TYPOGRAPHY
BODY TEXT& COLUMNS
60BODY TEXT & COLUMNSC H A P T E R S I X
STRUCTURE
LINE SPACE
LETTERSPACE
CAPITALIZATION
SCALE
COLUMN WIDTH
WIDOWS
A definite typographic no no
A widow is the last word in a paragraph on a line by itself, an orphan is the last word or line of a paragraph alone at the top of the next column.
hold of his research. It is ten minutes past six by
the invisible clock on the wall. Minute by minute new objects gain form. In the dim light of morning the young patent clerk sprawls in his chair, head down on his desk. For the past several months, he has dreamed many dreams about
It is ten minutes past six by the invisible clock on the wall. Minute by minute new objects gain form. In the dim light of morning the young patent clerk sprawls in his chair, head down on his desk. For the past several months, he has dreamed many dreams about time. His dreams have taken
It is ten minutes past six by the invisible clock on the wall. Minute by minute new objects gain form. In the dim light of morning the young patent clerk sprawls in his chair, head down on his desk. For the past several months, he has dreamed many dreams about time. His dreams have taken hold of his research.
Try to avoid widows and orphansWIDOWS & ORPHANS
Widow Orphan
6161
CHAPTER 7 Groups and Space
ISSUES IN TYPOGRAPHYGROUPS AND PARAGRAPH
SPACE
62GROUPS AND PARAGRAPH SPACE
DefinedGROUPS AND PARAGRAPH
SPACE
GROUPS AND PARAGRAPH SPACE
PARAGRAPH SPACE
Paragraph spacing is extra vertical space between two or more paragraphs of type. It is generally communicated as a +factor such as +6, +8, +10pts, etc.
In software applications it may also be referred to as space before or space after.
Paragraph space can be used to simply indicate the beginning (as can an indent) of a paragraph, or be used to organize and provide access to different units of information in a hierarchical fashion.
C H A P T E R S E V E N
ISSUES IN TYPOGRAPHY
63
Basic body text paragraph spacingGROUPS AND PARAGRAPH
SPACE
GROUPS AND PARAGRAPH SPACE
PARAGRAPH SPACE
It is ten minutes past six by the invisible clock on the wall. Minute by minute new objects gain form. In the dim light of morning the young patent clerk sprawls in his chair, head down on his desk. For the past several months, he has dreamed many dreams about time. His dreams have taken hold of his research.
It is ten minutes past six by the invisible clock on the wall. Minute by minute new objects gain form. In the dim light of morning the young patent clerk sprawls in his chair, head down on his desk. For the past several months, he has dreamed many dreams about time. His dreams have taken hold of his research.
It is ten minutes past six by the invisible clock on the wall. Minute by minute new objects gain form. In the dim light of morning the young patent clerk sprawls in his chair, head down on his desk. For the past several months, he has dreamed many dreams about time. His dreams have taken hold of his research.
Paragraph spacing is usually less than the leading value of a full return.
GOOD
TOO MUCH
C H A P T E R S E V E N
ISSUES IN TYPOGRAPHY
64
GROUPS AND PARAGRAPH
SPACE
GROUPS AND PARAGRAPH SPACE
Drop Cap
PARAGRAPH INDICATIONThere are several methods to indicate the beginning of a paragraph
emSpace a square in the size of the font
REFRESHER
It is ten minutes past six by the invisible clock on the wall. Minute by minute new objects gain form. In the dim light of morning the young patent clerk sprawls in his chair, head down on his desk.
For the past several months, he has dreamed many dreams about time. His dreams have taken hold of his research.
It is ten minutes past six by the invisible clock on the wall. Minute by minute new objects gain form. In the dim light of morning the young patent clerk sprawls in his chair, head down on his desk.
For the past several months, he has dreamed many dreams about time. His dreams have taken hold of his research.
It is ten minutes past six by the invisible clock on the
wall. Minute by minute new objects gain form. In the dim light of morning the young patent clerk sprawls in his chair, head down on his desk.
For the past several months, he has dreamed many dreams about time. His dreams have taken hold of his research.
Space After Indent — done in em spaces
C H A P T E R S E V E N
ISSUES IN TYPOGRAPHY
65
Alignment, and spacing, can be used to effectively organize multiple units of information
GROUPS AND PARAGRAPH
SPACE
GROUPS AND PARAGRAPH SPACE
GROUPS AND SPACE
WASILY KANDINSKYMAJOR WORKSaustin museum of art the modern masters series
July 1-31, 2010
823 Congress AvenueAustin, TX 78767
542.495.9224www.amoa.org
Alignment and
spacing can be used to
group and isolate units
for emphasis and access,
and in conjunction
with leading and
typographic contrasts
create effective visual
hierarchy.
C H A P T E R S E V E N
ISSUES IN TYPOGRAPHY
66
Line breaks & returns, leading & space after for proper paragraph spacing and control
GROUPS AND PARAGRAPH
SPACE
GROUPS AND PARAGRAPH SPACE
GROUPS AND SPACE—software
July 1-31, 2010
WASILY KANDINSKY MAJOR WORKSaustin museum of art the modern masters series
823 Congress Avenue Austin, TX 78767
542.495.9224 www.amoa.org
July 1-31, 2010
WASILY KANDINSKY MAJOR WORKSaustin museum of art the modern masters series
823 Congress Avenue Austin, TX 78767
542.495.9224 www.amoa.org
C H A P T E R S E V E N
SPACE AFTER
LEADING
ALIGN LEFT WITH A LEFT
INDENT
SPACE AFTER
LEADING
SPACE AFTER
LEADINGSPACE AFTER
LEADING
RETURN
LINE BREAK
RETURN
RETURN
LINE BREAK
LINE BREAK
RETURNLINE BREAK
ALIGN RIGHT WITH A RIGHT INDENT
FIRST BASELINE OFFSET OF 3P (.5”)
RETURN
CONCLUSIONISSUES IN TYPOGRAPHY
67
Effective use of • TYPOGRAPHIC CONTRASTS
• LETTER SPACE and LEADING
• STRUCTURE and ALIGNMENT
• GROUPS and SPACE
Are powerful tools in the organization and the delivery of information in design communications.