43
A B D personalities t y pe t y pe t y pe t y pe t y pe t y pe t y pe t y pe t y pe t y pe t y pe t y pe t y pe t y pe t y pe elisa chaudet *
AB
Dp e r s o n a l i t i e s
t y p e
t y p e
t y p e
t y p e
t y p e
t y p e
t y p e
t y p e
t y p e
t y p e
t y p e
t y p e
t y p e
t y p e
t y p e
e l i s a chaudet
*
t ype ABD personali t ies : a book on the psychology of t ypography
There are now about as many different varieties of letters as there are different kinds of fools.
Eric Gill
TEXTURE OF TEXT
choosing type 3
type size 6
kerning 8
tracking 9
line spacing 10
caps and small caps 12
punctuation 13
SHAPE OF TEXT
line width 17
alignment 18
centered text 20
vertical text 21
interlineation 22
significant lineation 24
DIVIDING THE TEXT
beginning paragraphs 29
indentation alternatives 30
ornamental division 31
color 32
table of contents
*
A
TEXTURE OF TEXT
TYPE
A basic system for classifying typefaces was devised in the nineteenth century, when printers sought to identify a heritage for their own craft analagous to that of art history. Humanist letterforms are closely connected to calligraphy and the movement of the hand. Transitional and modern typefaces are more abstract and less organic. These three main groups correspond roughly to the Renaissance, Baroque, and Enlightenment periods in
choosing type
art and literature. Historians and critics of typography have since proposed more ÀQHO\� JUDLQHG� VFKHPHV� WKDW� DWWHSPSW� WR�better capture the diversity of letterforms. 'HVLJQHUV�LQ�WKH�WZHQWLHWK�DQG�WZHQW\�ÀUVW�centuries have continued to create new typefaces based on historic characteristics.
3
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Humanist Sans Serif
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choosing type
4
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The Type A and Type B personality theory was published in the 1950s Zl�Z�pZr�mh�^qieZbg�ahp�[^aZobhk�\hne]�bgÜn^g\^�iarlb\Ze�a^Zema'�Ma^�theory has been controversial since the publication, but has persisted pbmabg�[hma�ihi�ilr\aheh`r�Zg]�pbmabg�hnk�`^g^kZe�\nemnk^'
The Type A and Type B personality theory was published in the 1950s as a [E]� XS�I\TPEMR�LS[�FILEZMSV� GSYPH� MR¾YIRGI�TL]WMGEP� LIEPXL��8LI� XLISV]�LEW�been controversial since the publication, but has persisted within both pop TW]GLSPSK]�ERH�[MXLMR�SYV�KIRIVEP�GYPXYVI�
The Type A and Type B personality theory was published in the 1950s DV�D�ZD\� WR�H[SODLQ�KRZ�EHKDYLRU�FRXOG� LQÁXHQFH�SK\VLFDO�KHDOWK��7KH�theory has been controversial since the publication, but has persisted ZLWKLQ�ERWK�SRS�SV\FKRORJ\�DQG�ZLWKLQ�RXU�JHQHUDO�FXOWXUH�
The Type A and Type B personality theory was published in the 1950s as a way toH[SODLQ� KRZ� EHKDYLRU� FRXOG� LQÁXHQFH� SK\VLFDO� KHDOWK�� 7KH� WKHRU\� KDV� EHHQ�controversial since the publication, but has persisted within both pop psychology and within our general culture.
The Type A and Type B personality theory was published in the 1950s as a way \W�M`XTIQV�PW_�JMPI^QWZ�KW]TL� QVÆ]MVKM�XPa[QKIT�PMIT\P��<PM�\PMWZa�PI[�JMMV�controversial since the publication, but has persisted within both pop psychology IVL�_Q\PQV�W]Z�OMVMZIT�K]T\]ZM�
9 pt Garamond
9 pt Baskerville
9 pt Bodoni
9 pt Gill Sans
9 pt Helvetica
9 pt Futura
5
type size
WIDTH A letter also has a horizontal measure, called its set width. The set width is the body of the letter plus a sliver of space that protects it from other letters. The width of a letter is intrinsic to the proportions and visual impression of the typeface. Some typefaces have a narrow set width and VRPH� KDYH� D� ZLGH� RQH�� <RX� FDQ� FKDQJH� WKH� VHW� ZLGWK� RI� D� W\SHIDFH� E\� ÀGGOQJ� ZLWK� LWV� KRUL]RQWDO� RUvertical scale. This distorts the line weight of the letters, however, forcing heavy elements to become thin, and thin elements to become thick. Instead of torturing a letterform, choose a typeface that has the proportions you are looking for, such as condensed, compressed, wide, or extended.
Are type A personalities high achieving “workaholics”?
They tend to push themselves with deadlines, DQG�GLVOLNH�GHOD\V�DQG�FRQÁLFW�
34 pt Futura 34 pt Bodoni
The x-height of a typeface affects its DSSDUHQW� VL]H�� LWV� VSDFH� HIÀFLHQF\�� DQG� LWV�overall visual impact. Like hemlines and hairstyles, x-heights go in and out of fashion. Bigger type bodies became popular in the mid-twentieth century, making letterforms look larger by maximizing the area within the overall point size.
Because of its huge x-height, Helvetica can remain legible at small sizes. Set in 8 pts for a magazine caption, Helvetca can look quite elegant. The same typeface could look bulky and bland, however, standing 12 pts tall on a business card. Typefaces with small x-heights, such as Bauer Bodoni, use VSDFH� OHVV� HIÀFLHQWO\� WKDQ� WKRVH� ZLWK� ELJ� ORZHU�bodies. However, their delicate proportions have lyrical charm.
6
Are type A personalities high achieving “workaholics”?
They tend to push themselves with deadlines, DQG�GLVOLNH�GHOD\V�DQG�FRQÁLFW�
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34 pt Helvetica 34 pt Baskerville
26 pt Garamond26 pt Gill Sans
7
Type A personalities tend to be highly independent and enjoy FKDQJH�
Type A personalities tend to be highly independent DQG �HQMR\�FKDQJH�
Type A personalities tend to be highly independent and enjoy change.
Type A personalities tend to be highly independent and enjoy change.
9 pt Helvetica
9 pt Bodoni
18 pt Helvetica
18 pt Bodoni
kerning
Metric kerning uses the kerning tables that are built into the typeface. When you select metric kerning in your page layout program, you are using the spacing the spacing that was intended by the type designer. Metric kerning usually looks good, especially at small types. Cheap novality fonts often have little or no built in kerning and will need to be optically kerned.
Optical kerning is executed automanically by the page layout program rather than using thepairs addressed in the fonts kerning table, optically kerning assesses the shapes of all characters and adjusts the spacing whereever needed. Some graphic designers apply optical kerning to headlines and metric kerning to text. You can make this SURFHVV� HIÀFLHQW� DQG� FRQVLVWHQW� E\� VHWWLQJ�kerning as a part of your character styles.
Impatient
Ti me Oriented
TRUTH FUL
Organized
Competitiv e
S TRE SS
metric kerning
kerning between the Ti and me
kerning between TRUTH and FUL
kerning between S and TRE and SS
kerning between the v and e
optical kerning
Kerning is an adjustment of the space between two letters. The characters of the Latin alphabet emerged over time; they were never designed with mechanical or automated spacing in mind. Thus some letter combinations look awkward without special spacing considerations. Gaps occur, for example, around letters who’s form angle outward or frame an open space (W, Y, V, T). In metal type, a kerned letter extends past the led slug that supprts it allowing two OHWWHUV� WR� ÀW� PRUH� FORVHO\� WRJHWKHU�� ,Q� GLJLWDO�fonts, the space between letter pairs is controlled by a kerning table created by the type design, ZKLFK� VSHFLÀHV� VSDFHV� EHWZHHQ� SUREOHPDWLF�letter combinations. Working in a page layout program a deisgner can choose to use metric kerning or optical kerning as well as adjusting the space between letters manually or desired. A well-designed typeface requires little or no additional kerning, especially at text sizes.
8
Impatient
Ti me Oriented
TRUTH FUL
8 9
[ Adjusting the overall spacing of a group of letters is called tracking or letter spacing. By expanding the tracking across a word, line, or entire block of text, the designer can created a more airy, open ÀHOG��,Q�EORFNV�RI�WH[W�WUDFNLQJ�LV�XVXDOO\�DSSOLHG�LQ�VPDOO�LQFULPHQWV��creating a subtle effect not noticable to the casual reader. Occasionally a single word or phrase is tracked for emphasis, especially when CAPS or SMALL CAPS are used within a line.
tracking
heart disease
Diabetes
JOB STRESS
high blood pressure
Social Isolation
ALIENATION
lower case, normal tracking
lower case, loose tracking (+75)
italics, normal tracking
italics, loose tracking (+75)
upper case, normal tracking
uppter case, loose tracking (+75)
side e
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avin
g a ty
pe A
per
sona
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line spacing
Physical characteristics of someone with a type A personality include facial tension, tongue clicking or teeth grinding, dark circles under the eyes, and facial sweating.
Physical characteristics of someone with a type A personality include facial tension, tongue clicking or teeth grinding, dark circles under the eyes, and facial sweating.
Physical characteristics of someone with a type A personality include facial tension, tongue clicking or teeth grinding, dark circles under the eyes, and facial sweating.
Physical characteristics of someone with a type A personality include facial tension, tongue clicking or teeth grinding, dark circles under the eyes, and facial sweating.
8 pt type, 6 pt line spacing
8 pt type, 12 pt line spacing
8 pt type, 8 pt line spacing
8 pt type, 7.2 pt line spacing
The distance from the baseline of one line of type to another is called line spacing. It is also called leading, in reference to the strips of lead used to separate lines of metal type. The default setting in most layour and imagine software is 120 percent of the type size. Thus 10-pt type is set with 12 pts of line spacing. Designers play with line spacing in order to create distinctive typographic arrangements. Reducing the standard distance creates a denser typographic color, while risking collisions between ascenders and descenders. Expanding the line spacing creates lighter, more open text block. As leading increases, lines of type become independent graphic elements rather than parts of an overall visual shape and texture.
10
1011
!capitals and small capitals
A word set in ALL CAPS within running text can look big and bulky, and A LONG PASSAGE SET ENTIRELY IN CAPITALS CAN LOOK UTTERLY INSANE. small capitals are designed to match the x-height of lowercase letters. Designers, enamored with the squarish proportions of true small caps, employ them not only within bodies of text but for subheads, bylines, invitations, and more. Rather than Mixing Small Caps with Capitals, many designers prefer to use all small caps, creating a clean line with no ascending elements. InDesign and other programs allow users to create false SMALL CAPS at the press of a button; these SCRAWNY LETTERS look out of place.
Type A personalities typically multi-task and take on more
than they can handle.
TYPE A PERSONALITIES TYPICALLY MULTI-TASK
AND TAKE ON MORE THAN THEY CAN HANDLE.
Type A personalities typically multi-task and take on more
than they can handle.
]Bodoni
20 pt lower case
20 pt s capitals
20 pt small caps
12
punctuation
A well designed comma carries the essence of the typeface down to its delicious details. Helvetica’s comma is a chunky square mounted to a jaunty curve, while Bodoni’s is a voluptuous thin stemmed orb. Designers and editors need to learn various typographic conventions in addition to mastering the grammatical rules of punctuation. A pandemic error is the use of straight prime or hatch marks (often called dumb quotes) in place of apostraphies in quotation marks (also known as curly quotes, typographers quotes, or smart quotes). Double and single quotation marks are represented with four destinct characters, each accessed with a different key stroke combination. Know thy keystrokes! It usually falls to the designer to purge the clients manuscript of spurious punctuation.“”13
500 pt Helvtica
500 pt Helvtica
B
Bsha p e o f t
e
x tt y p
e
16
line width
17
line width means how wide a text block formated. narrow text blocks
tend cut words off unless the type is formated to be smaller. while, wider
text blocks will give one longer lines and be more relaxed to read.
type B personalities
are generally calm
and do not anger
easily. they also take
their time when
accomplishing tasks.
type B
personalities
are generally
calm and do
not anger
easily. they
also take their
time when
accomplishing
tasks.
type B personalities are generally calm and
do not anger easily. they also take their time
when accomplishing tasks.
type B personalities are generally calm and do not anger easily.
they also take their time when accomplishing tasks.
13pt, 3’’ wide
9pt, 3’’ wide
13pt, 1’’ wide 9 pt, 1’’ wide
alignment
MXVWLÀHGMXVWLÀHG�WH[W�PDNHV�D�FOHDQ�VKDSH�RQ�WKH�SDJH��LWV�HIÀFLHQW�XVH�RI�VSDFH�PDNHV�it the norm for newspapers and books. ugly gaps can occur, however, as text is forced into lines of even measure. avoid this by using a line length that is long enough in relation to the size of the type. as type gets smaller, more words will ÀW�RQ�HDFK�OLQH�
ÁXVK�OHIW�UDJJHG�ULJKWÁXVK�OHIW�WH[W�UHVSHFWV�WKH�RUJDQLF�ÁRZ�RI�ODQJXDJH�DQG�DYRLGV�WKH�XQHYHQ�VSDFLQJ�WKDW�SODJXHV�MXVWLÀHG�W\SH��D�EDG�UDJ�FDQ�UXLQ�WKH�UHOD[HG��RUJDQLF�DSSHDUDQFH�RI�D�ÁXVK�OHIW�FROXPQ��GHVLJQHUV�PXVW�VWULYH�YLJLODQWO\�WR�FUHDWH�WKH�illusion of a random, natural edge without resorting to excessive hyphenation.
ÁXVK�ULJKW�UDJJHG�OHIWÁXVK�ULJKW�WH[W�FDQ�EH�D�ZHOFRPH�GHSDUWXUH�IURP�WKH�IDUPLOLDU��XVHG�IRU�FDSWLRQV��VLGH�EDUV��DQG�RWKHU�PDUJLQDOLD��LW�FDQ�VXJJHVW�DIÀQLWHV�DPRQJ�HOHPHQWV��EHFDXVH�ÁXVK�ULJKW�WH[W�LV�XQXVXDO��LW�FDQ�DQQR\�FDXWLRXV�UHDGHUV��EDG�UDJV�WKUHDWHQ�ÁXVK�ULJKW�WH[W�MXVW�DV�WKH\�DIÁLFW�ÁXVK�OHIW��DQG�SXQFWXDWLRQ�can weaken the hard right edge.
18
choosing to align text in MXVWLÀHG��DQG�LQ�UDJJHG�
columns is a fundamental typographic act. each
mode of alignment carries unique formal qualities,
cultural associations, and aesthetic risks.
type B personalities are meant to contrast with type A within this p s y c h o l o g i c a l theory. people with type B personalities generally have lower stress levels than those of type A personalities.
type B personalities are meant to contrast with type A within this psychological theory. people with type B personalities generally have lower stress levels than those of type A personalities.
type B personalities are meant to contrast with type A within this
psychological theory. people with type B personalities generally have
lower stress levels than those of type A personalities.
j u s t i f i e d
ÁXVK�OHIW
ÁXVK�ULJKW
19
centered text
authors may sometimes cast their characters so that together they may actively interpret their passage of text. The invention
of the printed word imposed a new spatial order on the written word, in contrast with the more RUJDQLF�SDJHV�RI�WKH�PDQXVFULSW�HUD��VLJQLÀFDQW�OLQHDWLRQ�FRPPHQWV�RQ�WKH�FRQÁLFWV�EHWZHHQ�
hard and soft, industrial and natural, planning and chance, that underlie all
typographic composition.
centeredlines of uneven length
on a central axis
central text is formal and classical. it invites the designer to break a text for a sense and create elegant, organic shapes. centering is often the simplest and most intuitive way to place a typographic element. used without care, centered text can
look staid and mournful, like a tombstone.
poorly shaped text blockin most uses,
centered text should be broken into phrases
with a variety of long and short lines.
20
}
vertical text
roman letters are designed to sit side by side, not on top of one another. this orientation. the simplest way to make a line of latin text vertical is to rotate the text from horizontal to vertical. this SHUVHUYHV�WKH�QDWXUDO�DIÀLW\�DPRQJ�OHWWHUV�VLWWLQJ�RQ�D�OLQH�ZKLOH�creating a vertical axis. stacked letters are like spines, and lowercase stacked causes scolisosis. stacks of lowercase letters are especially awkward because the ascenders and descenders make the vertical spacing appear uneven, and the varied width of the characters makes the stacks look precarious (the letter I is a perennial problem). capital letters form more stable stacks than lowercase letters. centering the column helps to even out the differences in width. many asian writing systems, including Chinese, are traditionally written vertically; the square shape of the characters supports this orientation. the simplest way to make a line of latin text vertical is to rotate the text from KRUL]RQWDO�WR�YHUWLFDO��WKLV�SHUVHUYHV�WKH�QDWXUDO�DIÀQLW\�DPRQJ�OHWWHUV�sitting on a line while creating a vertical axis.
EX
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TSC
REATIVE
e
procrastinates
s
re
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characteristics of type B personalities
interlineation
22*designers
experiment with extreme line spacing to create distinctive
typographic textures. open spacing allows
designers to play with the space between the lines,
while tight spacing creates intriguiding,
sometimes uncomfort-able, collisions.
the
y e
njo
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ra
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l
an
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rou
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t hey tend to t a ke t h ing s ver y persona l ly
wh
en
dis
l ike
d.
14 pt, 9 pt line spacing
they often ref lect
and ponder.
frequently
thinking about
inner and outer
worlds.
type B personalities are not competative.
when faced with competition they either do
not mind losing or are passive. they also
enjoy achievement, yet do not become
distressed when it is not aquired.
23
ka_faÚ[Yfl�daf]Ylagf
� VLJQLÀFDQW�OLQHDWLRQ�LV�XVHG�LQ�SRHWU\�DQG�LV�WKH�HVVHQFH�RI�ZKHQ�and where a sentence breaks. when reading a line that has been broken down
into two or more lines we naturally pause and reset at the beginning of the
next line. this pause, that is in fact a creation of the pot and in some cases
the designer is not just an arbitrarily executed decision, can effect the way a
VHQWHQFH�LV�UHDG��VLJQLÀFDQW�OLQHDWLRQ��VWUDWHJLFDOO\�EUHDNLQJ�OLQHV��VKRXOG�EH�something a designer should be well aware of their control over.
b
+
+
+
+
+
24
+
+
When I heard the learn’d astronomer,
:KHQ�WKH�SURRIV��WKH�ÀJXUHV��ZHUH�UDQJHG�LQ�FROXPQV�EHIRUH�PH�
When I was shown the charts and diagrams, to add, divide, and measure them,
When I sitting heard the astronomer where he lectured with much applause in the lecture-room,
How soon unaccountable I became tired and sick,
Till rising and gliding out I wander’d off by myself,
In the mystical moist night-air, and from time to time,
Look’d up in perfect silence at the stars.
+
+
+
+
25
Walt Whitman
+
D the
tex
t
d i v i d i n g
TYPE
28
beginning paragraphs
29
dropped subtitles Designers sometimes adapt the drop cap convention for other purposes. Purely typo-graphic alternatives are also possible, such as inserting a title or subtitle into space carved from the primary text block. Such devices mobilize a familiar page structure for deverse and sometimes unexpected uses.
dropped capitals
The letter D in type D personality actually stands for “distressed”.
In this paragraph, the enlarged capitals sit on the same baseline as the text that IROORZV��6HWWLQJ�WKH�ÀUVW�IHZ�ZRUGV�RI�WKH�WH[W�block in small capitals helps smooth the transition between the initial and the text.
In the beginning of a text, the reader needs an invitation to come inside. Enlarged capitals, also called versals, commonly mark the entrance to a chapter in a book or an article in a magazine. Many medieval manuscripts are illuminated with elaborately painted rubrics. This tradition continued ZLWK�WKH�ULVH�RI�WKH�SULQWLQJ�SUHVV��$W�ÀUVW��LQLWLDOV�ZHUH�KDQG�SDLQWHG�RQWR�printed pages, making mass produced books retsemble manuscripts, which were more valuable than printed books. Initials soon became part of typography. A printer could set them together with the main text in wood blocks or cast lead characters, or add them with a separate process such as engraving. Today, enlarged caps are easily styled as part of a publication’s typographic system.
Designers sometimes adapt the drop cap convention for other purposes. Purely typographic alternatives are also
possible, such as inserting a title or subtitle into space carved from the primary text block. Such devices mobilize a familiar page structure for deverse and sometimes unexpected uses.
!!!!!!!!!!!!!!!!#!!!!!!!!!!!&@!%$%^&*$#!!!!!!!!!#$%^&**&^%^!&!!!!!!!!!!!!!!!!!@*&^%^&*%@$!###!!!#!$$!#$%^&&!^%!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!#!!!!!!!!!!!&@!%$%^&*$#!!!!!!!!!#$%^&**&^%^!&!!!!!!!!!!!!!!!!!@*&^%^&*%@$!###!!!#!$$!#$%^&&!^%!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!#!!!!!!!!!!!&@!%$%^&*$#!!!!!!!!!#$%^&**&^%^!&!!!!!!!!!!!!!!!!!@*&^%^&*%@$!###!!!#!$$!#$%^&&!^%!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!#!!!!!!!!!!!&@!%$%^&*$#!!!!!!!!!#$%^&**&^%^!&!!!!!!!!!!!!!!!!!@*&^%^&*%@$!###!!!#!$$!#$%^&&!^%!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!#!!!!!!!!!!!&@!%$%^&*$#!!!!!!!!!#$%^&**&^%^!&!!!!!!!!!!!!!!!!!@*&^%^&*%@$!###!!!#!$$!#$%^&&!^%!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!#!!!!!!!!!!!&@!%$%^&*$#!!!!!!!!!#$%^&**&^%^!&!!!!!!!!!!!!!!!!!@*&^%^&*%@$!###!!!#!$$!#$%^&&!^%!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!#!!!!!!!!!!!&@!%$%^&*$#!!!!!!!!!#$%^&**&^%^!&!!!!!!!!!!!!!!!!!@*&^%^&*%@$!###!!!#!$$!#$%^&&!^%!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!#!!!!!!!!!!!&@!%$%^&*$#!!!!!!!!!#$%^&**&^%^!&!!!!!!!!!!!!!!!!!@*&^%^&*%@$!###!!!#!$$!#$%^&&!^%!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!#!!!!!!!!!!!&@!%$%^&*$#!!!!!!!!!#$%^&**&^%^!&!!!!!!!!!!!!!!!!!@*&^%^&*%@$!###!!!#!$$!#$%^&&!^%!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!#!!!!!!!!!!!&@!%$%^&*$#!!!!!!!!!#$%^&**&^%^!&!!!!!!!!!!!!!!!!!@*&^%^&*%@$!###!!!#!$$!#$%^&&!^%!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!#!!!!!!!!!!!&@!%
30
!!!!!!!!!!!!!!!!#!!!!!!!!!!!&@!%$%^&*$#!!!!!!!!!#$%^&**&^%^!&!!!!!!!!!!!!!!!!!@*&^%^&*%@$!###!!!#!$$!#$%^&&!^%!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!#!!!!!!!!!!!&@!%$%^&*$#!!!!!!!!!#$%^&**&^%^!&!!!!!!!!!!!!!!!!!@*&^%^&*%@$!###!!!#!$$!#$%^&&!^%!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!#!!!!!!!!!!!&@!%$%^&*$#!!!!!!!!!#$%^&**&^%^!&!!!!!!!!!!!!!!!!!@*&^%^&*%@$!###!!!#!$$!#$%^&&!^%!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!#!!!!!!!!!!!&@!%$%^&*$#!!!!!!!!!#$%^&**&^%^!&!!!!!!!!!!!!!!!!!@*&^%^&*%@$!###!!!#!$$!#$%^&&!^%!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!#!!!!!!!!!!!&@!%$%^&*$#!!!!!!!!!#$%^&**&^%^!&!!!!!!!!!!!!!!!!!@*&^%^&*%@$!###!!!#!$$!#$%^&&!^%!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!#!!!!!!!!!!!&@!%$%^&*$#!!!!!!!!!#$%^&**&^%^!&!!!!!!!!!!!!!!!!!@*&^%^&*%@$!###!!!#!$$!#$%^&&!^%!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!#!!!!!!!!!!!&@!%$%^&*$#!!!!!!!!!#$%^&**&^%^!&!!!!!!!!!!!!!!!!!@*&^%^&*%@$!###!!!#!$$!#$%^&&!^%!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!#!!!!!!!!!!!&@!%$%^&*$#!!!!!!!!!#$%^&**&^%^!&!!!!!!!!!!!!!!!!!@*&^%^&*%@$!###!!!#!$$!#$%^&&!^%!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!#!!!!!!!!!!!&@!%$%^&*$#!!!!!!!!!#$%^&**&^%^!&!!!!!!!!!!!!!!!!!@*&^%^&*%@$!###!!!#!$$!#$%^&&!^%!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!#!!!!!!!!!!!&@!%$%^&*$#!!!!!!!!!#$%^&**&^%^!&!!!!!!!!!!!!!!!!!@*&^%^&*%@$!###!!!#!$$!#$%^&&!^%!!!!
!!!!!!!!!!!!!!!!#!!!!!!!!!!!&@!%$%^&*$#!!!!!!!!!#$%^&**&^%^!&!!!!!!!!!!!!!!!!!@*&^%^&*%@$!###!!!#!$$!#$%^&&!^%!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!#!!!!!!!!!!!&@!%$%^&*$#!!!!!!!!!#$%^&**&^%^!&!!!!!!!!!!!!!!!!!@*&^%^&*%@$!###!!!#!$$!#$%^&&!^%!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!#!!!!!!!!!!!&@!%$%^&*$#!!!!!!!!!#$%^&**&^%^!&!!!!!!!!!!!!!!!!!@*&^%^&*%@$!###!!!#!$$!#$%^&&!^%!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!#!!!!!!!!!!!&@!%$%^&*$#!!!!!!!!!#$%^&**&^%^!&!!!!!!!!!!!!!!!!!@*&^%^&*%@$!###!!!#!$$!#$%^&&!^%!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!#!!!!!!!!!!!&@!%$%^&*$#!!!!!!!!!#$%^&**&^%^!&!!!!!!!!!!!!!!!!!@*&^%^&*%@$!###!!!#!$$!#$%^&&!^%!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!#!!!!!!!!!!!&@!%$%^&*$#!!!!!!!!!#$%^&**&^%^!&!!!!!!!!!!!!!!!!!@*&^%^&*%@$!###!!!#!$$!#$%^&&!^%!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!#!!!!!!!!!!!&@!%$%^&*$#!!!!!!!!!#$%^&**&^%^!&!!!!!!!!!!!!!!!!!@*&^%^&*%@$!###!!!#!$$!#$%^&&!^%!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!#!!!!!!!!!!!&@!%$%^&*$#!!!!!!!!!#$%^&**&^%^!&!!!!!!!!!!!!!!!!!@*&^%^&*%@$!###!!!#!$$!#$%^&&!^%!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!#!!!!!!!!!!!&@!%$%^&*$#!!!!!!!!!#$%^&**&^%^!&!!!!!!!!!!!!!!!!!@*&^%^&*%@$!###!!!#!$$!#$%^&&!^%!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!#!!!!!!!!!!!&@!%$%^&*$#!!!!!!!!!#$%^&**&^%^!&!!!!!!!!!!!!!!!!!@*&^%^&*%@$!###!!!#!$$!#$%^&&!^%!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!#!!!!!!!!!!!&@!%$%^&*$#!!!!!!!!!#$%^&**&^%^!&!!!!!!!!!!!!!!!!!@*&^%^&*%@$!###!!!#!$$!#$%^&&!^%!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!#!!!!!!!!!!!&@!%$%^&*$#!!!!!!!!!#$%^&**&^%^!&!!!!!!!!!!!!!!!!!@*&^%^&*%@$!###!!!#!$$!#$%^&&!^%!!!!!!!!!!!!!!!!!!!!!!!!!!!!!#!!!!!!!!!!!&@!%$%^&*$#!!!!!!!!!#$%^&**&^%^!&!!!!!!!!!!!!!!!!!@*&^%^&*%@$!###!!!#!$$!#$%^&&!^%!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!#!!!!!!!!!!!&@!%$%^&*$#!!!!!!!!!#$%^&**&^%^!&!!!!!!!!!!!!!!!!!@*&^%^&*%@$!###!!!#!$$!#$%^&&!^%!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!#!!!!!!!!!!!&@!%$%^&*$#!!!!!!!!!#$%^&**&^%^!&!!!!!!!!!!!!!!!!!@*&^%^&*%@$!###!!!#!$$!#$%^&&!^%!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!#!!!!!!!!!!!&@!%$%^&*$#!!!!!!!!!#$%^&**&^%^!&!!!!!!!!!!!!!!!!!@*&^%^&*%@$!###!!!#!$$!#$%^&&!^%!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!#!!!!!!!!!!!&@!%$%^&*$#!!!!!!!!!#$%^&**&^%^!&!!!!!!!!!!!!!!!!!@*&^%^&*%@$!###!!!#!$$!#$%^&&!^%!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!#!!!!!!!!!!!&@!%$%^&*$#!!!!!!!!!#$%^&**&^%^!&!!!!!!!!!!!!!!!!!@*&^%^&*%@$!###!!!#!$
Paragraphs do not occur in nature. Whereas
sentences are grammatical without units
intrinsic to the spoken language, indent or
indentation alternatives paragraphs are a literary
convention designed to divide masses of content
into appetizing portions. Indents have been
common since the seventeenth century. Adding
space between paragraphs (paragraph spacing) is
another standard device.
A typical indent is an em space, or a quad��D�À[HG�unit of space roughly the width of the letter’s cap
height. An em is thus proportional to the size of
the type; if you change the point size or column
width, the indents will remain appropriately
scaled. Alternatively, you can use the tab key
to create an indent of any depth. A designer
might use this technique in order to align the
indents with a vertical grid line or other page
HOHPHQW��$YRLG�LQGHQWLQJ�WKH�YHU\�ÀUVW�OLQH�of a body text. An indent signals a break or
separtion; there is no need to make break
when the text has just begun.
indentation alternatives
3131
!!!!!!!!!!!!!!!!#!!!!!!!!!!!&@!%$%^&*$#!!!!!!!!!#$%^&**&^%^!&!!!!!!!!!!!!!!!!!@*&^%^&*%@$!###!!!#!$$!#$%^&&!^%!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!#!!!!!!!!!!!&@!%$%^&*$#!!!!!!!!!#$%^&**&^%^!&!!!!!!!!!!!!!!!!!@*&^%^&*%@$!###!!!#!$$!#$%^&&!^%!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!#!!!!!!!!!!!&@!%$%^&*$#!!!!!!!!!#$%^&**&^%^!&!!!!!!!!!!!!!!!!!@*&^%^&*%@$!###!!!#!$$!#$%^&&!^%!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!#!!!!!!!!!!!&@!%$%^&*$#!!!!!!!!!#$%^&**&^%^!&!!!!!!!!!!!!!!!!!@*&^%^&*%@$!###!!!#!$$!#$%^&&!^%!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!#!!!!!!!!!!!&@!%$%^&*$#!!!!!!!!!#$%^&**&^%^!&!!!!!!!!!!!!!!!!!@*&^%^&*%@$!###!!!#!$$!#$%^&&!^%!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!#!!!!!!!!!!!&@!%$%^&*$#!!!!!!!!!#$%^&**&^%^!&!!!!!!!!!!!!!!!!!@*&^%^&*%@$!###!!!#!$$!#$%^&&!^%!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!#!!!!!!!!!!!&@!%$%^&*$#!!!!!!!!!#$%^&**&^%^!&!!!!!!!!!!!!!!!!!@*&^%^&*%@$!###!!!#!$$!#$%^&&!^%!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!#!!!!!!!!!!!&@!%$%^&*$#!!!!!!!!!#$%^&**&^%^!&!!!!!!!!!!!!!!!!!@*&^%^&*%@$!###!!!#!$$!#$%^&&!^%!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!#!!!!!!!!!!!&@!%$%^&*$#!!!!!!!!!#$%^&**&^%^!&!!!!!!!!!!!!!!!!!@*&^%^&*%@$!###!!!#!$$!#$%^&&!^%!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!#!!!!!!!!!!!&@!%$%^&*$#!!!!!!!!!#$%^&**&^%^!&!!!!!!!!!!!!!!!!!@*&^%^&*%@$!###!!!#!$$!#$%^&&!^%!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!#!!!!!!!!!!!&@!%$%^&*$#!!!!!!!!!#$%^&**&^%^!&!!!!!!!!!!!!!!!!!@*&^%^&*%@$!###!!!#!$$!#$%^&&!^%!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!#!!!!!!!!!!!&@!%$%^&*$#!!!!!!!!!#$%^&**&^%^!&!!!!!!!!!!!!!!!!!@*&^%^&*%@$!###!!!#!$$!#$%^&&!^%!!!!!!!!!!!!!!
Although having a type D personality
increases stress and health risks to
one’s life there are ways to cope with the
negativity that one might experience.
For example, going to regular therapy
sessions to talk about life issues and
working hard to create a structured life
that promotes social interaction and
healthy friendships.
Although having a type D
personality increases stress and health
risks to one’s life there are ways to cope
with the negativity that one might
experience. For example, going to
regular therapy sessions to talk about
life issues and working hard to create
a structured life that promotes social
interaction and healthy friendships.
Although having a type D personality
increases stress and health risks to one’s
life there are ways to cope with the
negativity that one might experience.
For example, going to regular
therapy sessions to talk about life issues
and working hard to create a structured
life that promotes social interaction and
healthy friendships.
*
!!!!!!!!!!!!!!!!#!!!!!!!!!!!&@!%$%^&*$#!!!!!!!!!#$%^&**&^%^!&!!!!!!!!!!!!!!!!!@*&^%^&*%@$!###!!!#!$$!#$%^&&!^%!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!#!!!!!!!!!!!&@!%$%^&*$#!!!!!!!!!#$%^&**&^%^!&!!!!!!!!!!!!!!!!!@*&^%^&*%@$!###!!!#!$$!#$%^&&!^%!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!#!!!!!!!!!!!&@!%$%^&*$#!!!!!!!!!#$%^&**&^%^!&!!!!!!!!!!!!!!!!!@*&^%^&*%@$!###!!!#!$$!#$%^&&!^%!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!#!!!!!!!!!!!&@!%$%^&*$#!!!!!!!!!#$%^&**&^%^!&!!!!!!!!!!!!!!!!!@*&^%^&*%@$!###!!!#!$$!#$%^&&!^%!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!#!!!!!!!!!!!&@!%$%^&*$#!!!!!!!!!#$%^&**&^%^!&!!!!!!!!!!!!!!!!!@*&^%^&*%@$!###!!!#!$$!#$%^&&!^%!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!#!!!!!!!!!!!&@!%$%^&*$#!!!!!!!!!#$%^&**&^%^!&!!!!!!!!!!!!!!!!!@*&^%^&*%@$!###!!!#!$$!#$%^&&!^%!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!#!!!!!!!!!!!&@!%$%^&*$#!!!!!!!!!#$%^&**&^%^!&!!!!!!!!!!!!!!!!!@*&^%^&*%@$!###!!!#!$$!#$%^&&!^%!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!#!!!!!!!!!!!&@!%$%^&*$#!!!!!!!!!#$%^&**&^%^!&!!!!!!!!!!!!!!!!!@*&^%^&*%@$!###!!!#!$$!#$%^&&!^%!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!#!!!!!!!!!!!&@!%$%^&*$#!!!!!!!!!#$%^&**&^%^!&!!!!!!!!!!!!!!!!!@*&^%^&*%@$!###!!!#!$$!#$%^&&!^%!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!#!!!!!!!!!!!&@!%$%^&*$#!!!!!!!!!#$%^&**&^%^!&!!!!!
*
Division of paragraphs can be done by
placing ornaments or rules in between each
paragraph. Ornamental Division can be utilized
to give simple text layouts more stylistic and in
some case more traditional and old style qualities.
Units forming borders and ornaments were
considered essential in even the earliest forms
of printing, but whenever used successfully
were used fearlessly.
ornamental division
Type D personality is yet another concept within
WKH�ÀHOG�RI�SV\FKRORJ\��3HRSOH�ZKR�DUH�GHÀQHG�E\�this “type” have a tendency to be neurotic and often
experience negative emotions such as depression,
DQJHU��VRFLDO�DQ[LHW\��DQG�ODFN�RI�VHOI�FRQÀGHQFH�
People with type D personality tend to be very
reserved about their emotions for fear of rejection or
disapproval.
Similarly to type A personalities, type D
personalities have an increased risk in health
issues. About 21% of the population are type D
personalities and about 18%-53% are cardiac
patients.
32
Color is probably the one ingredient designers
often get wrong, overdo, or give the least amount of
thought. Yet a well-chosen color palette can connect with
viewers more quickly and with more intensity than almost
any other element of your layout. Color can resonate with
or put off viewers regardless of the rest of the layout and
design. When colors are unsuitable, garish, or confusing,
your layout may establish an initial dissonance with your
audience that will set the overall tone of their encounter
with your content. With this in mind use color as wisely as
possible.
color
33
Type Atype bTYPE D
Type Atype bTYPE D
The Type A and B personality theory
ZDV� ÀUVW� SXEOLVKHG� LQ� WKH� ����V� DV� D�way to show how behavior and mental
state could affect one’s physical health.
Cardiologists Mayer Friedman and Ray
5RVHQPDQ�ZHUH�WKH�ÀUVW�WR�SUHGLFW�WKDW�type A personalities were more at risk
to heart disease than type B personalities.
Since then, the type D (“distressed”)
concept has been created within the
ÀHOG�RI� SV\FKRORJ\� WR�GHVFULEH� SHRSOH�deal with more emotional or
psychological issues.
