Typography Basics text

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ComputerTypography

Basics

2003 David Creamer

I.D.E.A.S.

Publishing Consult Tr

zed Adobe Training Provider for

Photoshop, Illustrator, Acrobat, InDesign, FrameMaker, PageMaker, and Premiere

Authorized Quark Trainer

Authorized FileMaker Trainer

Authorized Markzware FlightCheck Trainer

Authorized Microsoft Publisher Service Provider


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Computer Typography Basics 3

Contents

Font Categories........................................... 1

Serif................................................................ 2

Sans Serif........................................................ 2

Display............................................................ 3

Script.............................................................. 3

Text................................................................. 3

Mono-Spaced.................................................... 4

Dingbats.......................................................... 4

Font Styles....................................................... 5

Font Families.................................................... 6

Identifying and Selecting a Font......................... 8

Special Styles................................................... 9

Font Sizes................................................... 11

Character and Word Spacing....................... 12

Kerning............................................................ 12

Tracking........................................................... 13

Word & Letter Spacing for Justified Type.............. 14

Special Glyphs (Characters).................. 14

Line Spacing (Leading)............................... 15

Line Spacing for Headlines and Subheads............ 17

Leading and Baseline Grid.................................. 18

Paragraph Alignment.................................. 19continued on next page

Copyright 2003 by David Creamer of IRE.A.S. www.IDEAStraining.com


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Paragraph Spacing.......................................................20

Paragraph Spacing for Subheads.......................................................20

Paragraph Rules.........................................................21

Tabs............................................................................22

Paragraph Indents.......................................................24

Widows and Orphans...................................................25

Special Formatting.......................................................26

Hyphens and Dashes..........................................................................26

Line Breaks...........................................................................................27

Drop Caps...........................................................................................27

Raised Caps..........................................................................................28

Typographer Quotes and Inch Marks................................................28

Spaces................................................................................................29

Text in Boxes (Sidebars).................................................................................29

Formatting Styles.........................................................30

Types of Styles....................................................................................30

Based On and Next Style Usage........................................................30

Creating Styles in Desktop-Publishing Programs............................30

Type Specification in Adobe Programs.............................................36

Selecting a Desktop Publishing Program.....................37

Conclusion..................................................................38

About the author................................................................................38



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Computer Typography BasicsEver since the first scribes lettered books by handcenturies ago, the first goal of typography was readability. Ifthe typography makes the information on the page harderto read, it does not matter how "pretty" a page layout is orhow "unique" a font selection is, the page has failed in itsmain duty: to transfer information to the reader in anefficient manner. Jan White, a well-respected publicationdesigner states "...we preferlogically and visuallya senseof order and structure. These basic ideas can make areader's life easier, and they can make your job as adesigner easier, too:' (The Grid Book, Letraset 1987)

Writing a report may not appear to require much designknowledge, but as soon as one chooses a certain font oradjusts the margins to create more white space, that personbecomes a designer. By learning about the differencesbetween fonts, how fonts "work" on the computer, and how touse the various computer font options, the "designer" canproduce a report that not only contains useful information, butis easy to read, and therefore, easy to understand.

Font CategoriesFonts come in many different designs. Some of thesedifferences are subtle, while others stand out like theproverbial "sore thumb:' Many references subdivide type intoonly two major categories: serif and sans serif. However, thesesimplified categories are not adequate for the great varietyof fonts that one might encounter on today's computers.

This report will use these expanded categories to clarify thedifference:

'SerifCopyright 2003 by David Creamer of IRE.A.S. www.IDEAStraining.com


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Serif

Serif fonts are the most common text or "body" copy font.

They can work nicely for headline fonts, as well. "Serifs" are thelittle feet or arms that hang off the end of letter strokes, andtypically add a thick/thin look to the letter. Serif fonts are con-sidered the easiest fonts to read and come in three sub-categories: Oldstyle, Modern, and Square Serif.

OLDSTYLE

Oldstyle is based on classical Roman inscriptions. The letters arevery open, wide, and round with pointed serifs and apleasing contrast between the heavy and light strokes.

MODERN

Their name not withstanding, Modern fonts are based on fontsdesigned over 200 years ago. They have a greater degree ofmechanical perfection than Oldstyle fonts, and a greaterdistinction between the heavy/light strokes, and thin/squaredoff serifs.

SQUARE SERIF

Slab Serifs are a contemporary style used mainly for small amountsof text, such as advertising copy, subheads, and headlines. The

letters have square serifs and mostly uniform strokes with li lecontrast.

Oldstyle Modem SquareSerifFigure 1: Examples of Serif fonts

A

Sans Serif

As the name implies, Sans Serif fonts are "without serifs:' and

usually have an overall even stroke weight, which createslittle contrast for the letters. Sans Serif fonts can evoke amore modern look for a report, but can be harder to read thanSerif fonts. Although generally used for small amounts of copy,subheads, and headlines, Sans Serif can be used for largeramounts of body copy, if applied with care.

As the name implies, Sans Serif fonts are "without serifs," and usually have

an overall even stroke weight, which creates little contrast for the letters.

Sans Serifs fonts can evoke a more modern look for a report, but can be

harder to read than Serif fonts.

Example of a paragraph set in a Sans Serif font (Futura).



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Sans Serif Sans Serif Sans SerifFigure 2: Examples of Sans Serif fonts



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Mono-Spaced

Most fonts are proportionally spaced; that is, smaller

characters take up less space than larger ones. For example,the letter "i" is not as wide as the letter "M." In contrast, mono-

spaced fonts, which are usually t -style fonts, take up thesame amount of space regardless of the actual letter.

This is an 18 point font (proportional)This is an 18 point font(monospaced)Courier is a common monospaced fontFigure 3: Examples of Mono-Spaced fonts

Dingbats

Dingbats are symbols that are small pieces of art used toenhance the design of the text or page. While Zapf Dingbatsand Wingdings are the most common dingbats, there arehundreds, if not thousands, of different designs available.

(OvXliel>ClIkCI*0)CCI'

Chid C c a N

n11,704-4 f tw- - E e , Axs ititS

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-



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JEsCta7ie4L,Ak.



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Figure 7: Examples of Dingbat fonts.



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Font Styles and FamiliesBold and italic versions are available on the computer formany fonts. While this may work for most fonts, not all fontswere designed to be used in bold and italic versions. Acommon error on the part of the new computer designer is to"bold-a-bold," or make a bold version of a font extra bold by thestyle formator to make a bold or italic version of a font thathas no bold or italic version. The problem is that the computertries to make the font bolder, but only ends up distorting theoriginal characters.

Font Styles

Many display, script, and text fonts only come in the "plain"version, even if they appearbold or italic after styling has beenapplied. To make the issue more confusing, some fonts onlycome in plain and italic versions; plain and bold versions; orplain, italic, and bold (but no bold italic) versions.

In programs, which have been around for awhilesuch as

Microsoft Word, QuarkXPress, PageMaker, and FrameMakerthe software does not know if a font has a bold or italic version,and will let the user make whatever style formatting he or shewishes. Whether the font styling actually exists (and will print)is another matter. The only way to be sure that a font has thecorrect variation is to use the font weights from the font menu,and notfrom the style menu or the "B" and "I" buttons on theformat ruler.

Newer programs, such as InDesign, Illustrator, and Photoshop,

allow only the styles that are currently installed on thecomputer. So, if a bold version of a font is not currently installed(whether it exists or not), it is not availa le as a font styleselection.



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Plain I ta l i c Bold Bo l d I ta l i cv 12 vI

1$ III

g

Arial BlackEl

12 pt

Figure 8: Style ruler from Microsoft Word and QuarkXPress 6.0.



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Standard Weights

UltraThin ObliLight Obli

larObliqueMedium/Demi-Bold ObliqueBold ObliqueHeavy/Ex Id ObliqueBlack/SuperBold ObliqueCondensed Weights

Ultra/Extra Licht ObliqueThin ObliqueLight ObliqueRoman/Book/RegularOblique

Medium/Demi-Bold ObliqueBoldObliqueHeavy/Extra BoldObliqueBlack/Super BoldObliqueExtra Black ObliqueExtended Weights

Jtra/__xtra Light Obliquc

Thin ObliqueLight ObliqueRoman/Book/RegularObliqueMedium/Demi-Bold ObliqueBold ObliqueHeavy ObliqueBlackOblique

Figure 9: Examples of various weights and styles from the Helvetica Neue family (total cost: apx. $1250)



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Identifying and Selecting a Font

Deciding what size to use can be easier with an

understanding of the things that affect readability. The mostcrucial factor is the x-height of the lowercase letters and theirrelationship to the uppercase and ascender letters.

Cap Height Ascenders

-A

B a s e l i n eX-Height



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Figure 10A: All characters must "rest" along a baseline. Letters below the baseline are called descenders, and lettersabove the x-height are called ascenders. The x-height is the space between the top of the non-ascender portion of thelower case letters and the baseline.

Axis Ear Hook

irTyp20- raf-'4,.

Serif Counter Bowl St roke Terminal

Figure 10B: Identifying individual parts of characters (glyphs).

The relationship between the uppercase/ascender letters and the x-height depends solely on the design of the font. Fonts with a large x-height, or "tall" lower case characters, are easier to read than fontswith small x-height characters. Another critical factor between

different fonts is the depth of the descenders and their shape.

Figure 11: Note the differences in x-height, ascenders, and descenders in these fonts set at 24pt.

A bit of trivia: Most people know that the terms "uppercase" and"lowercase" refer to capital and minuscule (small) letters, but fewpeople realize that these are actually t In the past, whentypesetters had to set each letter by hand, they stored theletters in big cases, stacked one on top of the other. To keep the lettersorganized, the typesetters stored the capital letters in the top (upper)case, and the small letters in the bottom (lower) case.



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Special Styles

Using computers offers the opportunity to apply many specialeffects to type that years ago would have cost thousands ofdollars from a typesetting house. Unfortunately, this ease ofuse also has meant abuse, making for some hard-to-read com-puter typography.

UNDERLINING

Most programs handle underlining incorrectly; in addition, theuser may not have any options to adjust the settings. Ifpossible, the underlines should be adjusted (lowered) so they

do not touch any of the characters. Underlines come in twostyles: straight(complete underline), and word underline. As itsname implies, word underline only affects words and not thespaces between them.

This is is bad: japqy This is good: jgpqy.Figure 12: Examples of Underlining

SMALL CAPS AND ALL CAPS

Small caps are good for subheads or for the first line of aparagraph, but like other options, they should not be overused.

Text in all caps is harder to read and only should be used forshort headlines or subheads. All caps should neverbe usedfor long sentences or for emphasis (except in e-mail on theinternet, due to lack of formatting capabilities).

This is the Text as Entered

THIS IS THE TEXT SET TO ALL

CAPS THIS IS THE TEXT SETTo FAKESMALL CAPS

THIS IS THE TEXT SET AS TRUE SMALL CAPSFigure 13: Examples of All Caps and Small Caps.

SPECIAL-PURPOSE STYLES

Many styles for making footnotes, references, andmathematical formulas exist in publishing programs. Usually,the user can alter the default settings in the program tochange the affected character size and baseline shift (how far

up or down the letter moves).



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Superscript' Subscript: H2OBaseline Shift Negative & Positive

Skewaxibl3=Strike=ThrolighFigure 14: Examples of special-purpose styles.



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ro

TEXT SCALING

Many programs allow the user tocreate a pseudo-condensed or pseudo-extended font by horizontally squeezing

or stretching a font. This distorts the original design of thefont. If possible, the user should select the true condensed orextended font or alter the design so it does not require thefake font.

Squeeze the Font Pseudo-Condensed (Scaled to 82%)

Sq u e e z e t h e F o n t T r u e C o n d e n s e d F o n tS t r e t c h t h e F o n t P s e u d o - E x t e n d e d ( S c a l e d t o 1 2 8 % )St r e t c h t h e F o n t T r u e E x t e n d e d F o n tFigure 15: Examples of true condensed, horizontally expanded fonts, and scaled fonts.

Fonts also can be vertically stretched. The only advantage tothis method, rather than resizing the type, would be to keepthe type technically the same size.

Stretch the Forst 5043 or200Figure 16: Examples of vertically scaled type; of course, other settings are available.OUTLINE AND SHADOW

Perhaps the most abused styles in older desktop publishingprograms are Outline and Shadowoverused to the point of being

clichedavoid them if possible. Newer programs do notoffer the traditional outline or shadow settings at all, buthave more advanced settings.L

ahe



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ull[irnm

1 3 f f i d o % n 4 0 8 w.

Shadow



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Computer Typography Basics 24Figure 17: Examples of advanced Outline and Shadow formatting from InDesign



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Font SizesFonts come in many different sizes, and use a system ofmeasurement called points. Computers use 72 points to oneinch; traditional typography used 72.27 points to an inch, butthat measurement is hardly used anymore.

Two different font designs at the same point size may actuallyhave different physical sizes. The correct size for a font dependson it usage, but is somewhat arbitrary. Generally, body copyshould be around 9-12 points, depending on the font used,the audience, and the width of the column. Some fonts are

easily read at smaller sizes, while others need to be larger.Audience age should be considered; the older the audience,the larger the type. Also, the longer the column width, thelarger the body type size.

A column of type usually is about 50 characters across, and nomore than 65 characters. Type that is too small will "cram" toomany letters per line and make the copy hard to read.Remember, type that is hard to read may not be read at all.

. 5 7 8 9 1 0 11 12 14 16 18 20 24 28

32 36 42 48 54

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0Figure 18: Samples of some common type sizes; most programs allow a variety of font sizes.

For example, Adobe InDesign can set type from 0.1 to 1296 points.

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Character and Word SpacingMany times, simply typing in the text and formatting the font,

size, and line spacing is enough. However, depending on theprogram used, extra attention is needed. Larger type sizes needadjustments to the space between characters; and paragraphsneed to be adjusted to eliminate "widows" and "orphans."

Kerning

Inter-character spacing, known as kerning, creates a morepleasing look to the text. Most word processors do not allowkerning adjustments and most page-layout programs apply

kerning automatically; however, certain letter combinationsmay require manual adjustments. Some of these lettercombinations include most lowercase letters, and uppercaseletters: F, I, K, L, 0, P, Q, T, V, W, X, and Y. Kerning also isrequired when using all uppercase letter combinations suchas VA and WA.

T im eUnkerned type

TimAuto-kerned type from page-la t programTimOptically-kerned type from page-la

Ily-kerned type from page-la t program

TimeKerned type with tittle-less "i", set TNT (Tight but Not Touching)We To a Other Kern pairsFigure 19: Examples of kerning.



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Tracking

The adjustment of word spacing is called Tracking. It is similarto kerning but refers to the adjustment of a selection ofcharacters, words, and spaces. Its main purpose is to maketype fit a required space without altering the type size orline spacing. Tracking can be either negative, making the wordscloser together; or positive, making the words farther apart.An important use for tracking is to fix single words (or 2-3short words) at the end of a paragraph (sometimes calledorphans or danglers). Although not always avoidable, the problemusually can be solved with some minor tracking. Of course,

this should be done only after all editing is complete.0 Tracking

The adjustment of word spacing is called Tracking. It is similar to kerning but refers to theadjustment of an entire selection of characters, words, and spaces. Its main purpose isto make type fit a required space without altering the type size or line spacing. Tracking

can be either negative, making the words closer together; or positive, making the wordsfarther apart.

-5 TrackingThe adjustment of word spacing is called Tracking. It is similar to kerning but refers to theadjustment of an entire selection of characters, words, and spaces. Its main purpose isto make type fit a required space without altering the type size or line spacing. Tracking can

be either negative, making the words closer together; orpositive, making the words fartherapart.

-10 TrackingThe adjustment of word spacing is called Tracking. It is similar to kerning but refers to theadjustment of an entire selection of characters, words, and spaces. Its main purpose isto make type fit a required space without altering the type size or li . Tracking can be

either negative, making the words closer together; orpositive, making the words fartherapart.

-25 TrackingThe adjustment of word spacing is called Tracking. It is similar to kerning but refers to the adjust-ment of an entire selection of characters, words, a . Its main purpose is to make type fit

a required space without altering the type size or li . Tracking can be either negative,making the words closer together; orpositive, making the words farther apart.

+5 TrackingThe adjustment of word spacing is called Tracking. It is similar to kerning but refers to theadjustment of an entire selection of characters, words, and spaces. Its main purpose isto make type fit a required space without altering the type size or line spacing. Tracking

can be either negative, making the words closer together; or positive, making the wordsfarther apart.

+10 TrackingThe adjustment of word spacing is called Tracking. It is similar to kerning but refersto the adjustment of an entire selection of characters, words, and spaces. Its mainpurpose is to make type fit a required space without altering the type size or line

spacing. Tracking can be either negative, making the words closer together; orpositive,making the words farther apart.

+25 TrackingThe adjustment of word spacing is called Tracking. It is similar to kerning but refersto the adjustment of an entire selection of characters, words, and spaces. Its main

purpose is to make type fit a required space without altering the type size or linespacing. Tracking can be either negative, making the words closer together; or



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positive, making the words farther apart.

Figure 20: Examples of tracking settings.Note: in FrameMaker, tracking is called Spread.



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TRACKING FOR EFFECT

Tracking can be used as a design tool. Like all design tools, itcan be overused and abused. Remember the goal: readability.

0 Tracking

TRACKING AS A DESIGN TOOL+150 Tracking

T R A C K I N G A S A D E S I G N T O O L+300 Tracking

T R A C K I N G A S A D E S I G N T O O LFigure 21: Examples of tracking.

Word & Letter Spacing for Justified Type

Another chance to automatically affect the word, letter, andcharacter spacing is through the justification settings. Thismenu allows a minimum, optimum, and maximumpercentage that the program will use when setting justifiedtext.

Special Glyphs (Characters)Most computers have an option for using foreign charactersand special symbols. Like most special characters, they can bedifficult to access for the beginner, but the user can referencea manual or use the on-screen character locator*.

*InDesign has a built-in Glyph palette, making the special character selection very easy. For other programs,

use either Key Caps (Macintosh) or Character Map, available in the system accessories/utilities folder.

Typical foreign characters include:

i i a e i o u a e i o u a e i o u a e i o a i l 6 a cUAEIO UAEIO UAEIO CART() ANO A cCommon symbols include:

! i -E c t . 4 5 - a E * t i o T t B a f i O A * - . . . . n , . - N I .1 - / < > f i * " % 0 0 1 I " O. ' t

Common ligatures include:

fiflffffifflfbfbfhffiflififhceCEwiE&ctspa

Common swashes include:



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c A - '73 CDETG 1-11 1(.Cc J1/I 7K: P&RJSTVVL7Z

Common number formats include:

Normal: 1234567890 Oldstyle: 1234567890



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Line Spacing (Leading)



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Leading, or line spacing, refers to the amount of space between linesof type. As with type size, there are no set rules for how much linespacing to use; however, there are some major factors to consider:

The font usedsome fonts require more line spacing thanothers to keep their ascenders and descenders from touching.

The line lengthlonger lines require more leading for easierreading.

The type sizethe larger the type size, the more line spacingis required. This rule mostly refers to body copy; headlines,which are normally set larger, may actually be set with tighterline spacing.

A bit of trivia: Leading, pronounced "led-ing", derives from the dayswhen type was set by hand and typesetters used thin strips of lead

to space apart the rows of letters.

Depending on the program one is using, leading may be considereda character format (a line-by-line selection, allowing multiplesettings in a single paragraph) or a paragraph format (one setting foran entire paragraph). If you are using a program that supportscharacter-based leading, select the entire paragraph to ensure auniform setting.

Because type size and line spacing are both measured in points andare inseparable, their sizes are normally written together. They are

commonly written in this manner: 10/12, pronounced "ten overtwelve:' This indicates that the type size is ten points and the linespacing is 12 points, or has two extra points of space over the typesize.



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Palatino 9/9Because type size and line spacing are bothmeasured in points and are inseparable, their sizesare normally written together. They are commonlywritten in this manner: 10/12, pronounced "ten overtwelve." This indicates that the type size is ten

points and the line spacing is 12 points, or has twoextra points of space over the type size.

Palatino 9/10Because type size and line spacing are bothmeasured in points and are inseparable, their sizesare normally written together. They are commonlywritten in this manner: 10/12, pronounced "ten overtwelve." This indicates that the type size is tenpoints and the line spacing is 12 points, or has twoextra points of space over the type size.

Palatino 9/11Because type size and line spacing are bothmeasured in points and are inseparable, their sizesare normally written together. They are commonlywritten in this manner: 10/12, pronounced "ten over

twelve." This indicates that the type size is tenpoints and the line spacing is 12 points, or has twoextra points of space over the type size.

Palatino 9/12Because type size and line spacing are both

measured in points and are inseparable, their sizes

are normally written together. They are commonly

written in this manner: 10/12, pronounced "ten over

twelve." This indicates that the type size is ten

points and the line spacing is 12 points, or has two

extra points of space over the type size.



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Figure 22: Comparison of 9 pt. Palatino and different line spacing. Which is easiest to read?



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Palatino 9/10Because type size and line spacing are both measured in points and are inseparable, theirsizes are normally written together. They are commonly written in this manner: 10/12,pronounced "ten over twelve." This indicates that the type size is ten points and the linespacing is 12 points, or has two extra points of space over the type size.

Palatino 9/12

Because type size and line spacing are both measured in points and are inseparable, their

sizes are normally written together. They are commonly written in this manner: 10/12,

pronounced "ten over twelve." This indicates that the type size is ten points and the line

spacing is 12 points, or has two extra points of space over the type size.

Adobe Garamond 9/10

Because type size and line spacing are both measured in points and areinseparable, their sizes are normally written together. They are commonly writtenin this manner: 10/12, pronounced "ten over twelve." This indicates that the typesize is ten points and the line spacing is 12 points, or has two extra points of

space over the type size.

Adobe Garamond 9/12

Because type size and line spacing are both measured in points and are

inseparable, their sizes are normally written together. They are commonly written

in this manner: 10/12, pronounced "ten over twelve." This indicates that the type

size is ten points and the line spacing is 12 points, or has two extra points of


Helvetica 9/10Because type size and line spacing are both measured in points and are inseparable, theirsizes are normally written together. They are commonly written in this manner: 10/12, pro-nounced "ten over twelve." This indicates that the type size is ten points and the line spacing is12 points, or has two extra points of space over the type size.

Helvetica 9/12

Because type size and line spacing are both measured in points and are inseparable, their

sizes are normally written together. They are commonly written in this manner: 10/12, pro-

nounced "ten over twelve." This indicates that the type size is ten points and the line spacing is

12 points, or has two extra points of space over the type size.

Futura 9/10Because type size and line spacing are both measured in points and are inseparable, their sizesare normally written together. They are commonly written in thi s manner: 10/12, pronounced"ten over twelve." This indicates that the type size is ten points and the line spacing is 12 points,or has two extra points of space over the type size.

Futura 9/12

Because type size and line spacing are both measured in points and are inseparable, their sizesare normally written together. They are commonly written in thi s manner: 10/12, pronounced

"ten over twelve." This indicates that the type size is ten points and the line spacing is 12 points,

or has two extra points of space over the type size.

Figure 23: Comparison between line length, line spacing, and fonts. Even though Helvetica and Futura are

both Sans Serif fonts, notice how Futura is almost touching even at the 9/10, size while Helvetica is not.

The designer can use computers to set line spacing by anumber of methods, depending on the program used. Wordprocessors commonly use multiples of line spacing, such assingle line space, 1.5 line space or double line space. This

method is adequate for simple reports, but for complexformats, a higher degree of control is required. Most page-layout programs and word processors include the ability to



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specify an exact line space setting.



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Line Spacing for Headlines and Subheads

More advanced layout programs provide additional options,including specifying line spacing by a percentage of the type

size and by adding on a set amount to the type size.Normally, the percentage option, or auto leading, should beavoided because it can make larger heads look too spread out.When in doubt, use the exact method for allline spacing.

Auto Leading (120% of type size): Leading set 2 points over type size:

This is a headline This is a headlineset in 18 points set in 18 points

This is a headline This is aheadlineset in 24 points set in 24 points

This is a This is aheadline set headline

set36 points

in 36 points

This is This isset in 48

set in 48 points

pointsCopyright 2003 by David Creamer of IRE.A.S. www.IDEAStraining.com


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Figure 25: Comparison of percentage and absolute line spacing.



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Leading and Baseline Grid

Baseline gridalignment is used to ensure that text cross-aligns acrosscolumns or, less importantly, across pages. The baseline settingsusually are set to the body copy's leading under the file's documentpreferences. Then, paragraphs are locked to the baseline grid duringformatting.



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Because type size and line spacing are bothmeasured in points and are inseparable, their sizesare normally written together. They are commonlywritten in this manner: 10/12, pronounced "ten overtwelve." This indicates that the type size is ten


Figure 26A: Columns of text not cross aligning.





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Figure 26B: Columns of text cross aligning using Baseline

HEADLINES AND SUBHEADS

Headlines' and subheads' line spacing should be set in multiples ofthe body text's line spacing. For example, if the body text is set 12/14(12 pt. text with 14 pt. line spacing), then a subhead could be set at14/14 and a headline could be set at 24/28 (2 x 14 pts.). The pointsize of the type is not as important as keeping the line spacing inmultiples. This creates a symmetrical look to the page, and ondouble-column pages, it keeps the type aligned across the page. Linespacing for headlines and subheads can be combined with paragraph

spacing settings for even more options. (SeeParagraph Spacing for Subheads.)



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ParagraphAlignment

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Alignmentrefers to the side of the page or column with which the text iseven. For example, text that is even with the left side of the pagemargin or column is said to be "flush left:' "aligned left:' or sometimes

"rag right" since it is uneven (or ragged) on the right side. Other optionsare: flush right (also called rag left), centered, justified (flush on bothleft and right sides, except for the last line, which is flush left), andforced just i fied (w l ine). Most body text is ei ther f lushleft or justified. Headlines and subheads are normally flush left orcentered; however, centered text should be used with care. Flush rightshould only be used for design purposes, and then only for smallamounts of text. Forced justified is rarely used.

FLUSH LEFTBecause type size and line spacing are both measured in points and are inseparable, their sizes are

normally written together. They are commonly written in this manner: 10/12, pronounced "ten overtwelve." This indicates that the type size is ten points and the line spacing is 12 points, or has twoextra points of space over the type size.

FLUSH RIGHTBecause type size and line spacing are both measured in points and are inseparable, their sizes

are normally written together. They are commonly written in this manner: 10/12, pronounced"ten over twelve." This indicates that the type size is ten points and the line spacing is 12

points, or has two extra points of space over the type size.

CENTEREDBecause type size and line spacing are both measured in points and are inseparable,their sizes are normally written together. They are commonly written in this manner:10/12, pronounced "ten over twelve." This indicates that the type size is ten pointsand the line spacing is 12 points, or has two extra points of space over the type size.

JUSTIFIEDBecause type size and line spacing are both measured in points and are inseparable, their sizes arenormally written together. They are commonly written in this manner: 10/12, pronounced "ten overtwelve." This indicates that the type size is ten points and the line spacing is 12 points, or has two extrapoints of space over the type size.

FORCED JUSTIFIED (from PageMaker and QuarkXPress)Because type size and line spacing are both measured in points and are inseparable, their sizes arenormally written together. They are commonly written in this manner: 10/12, pronounced "ten overtwelve." This indicates that the type size is ten points and the line spacing is 12 points, O r h a st w o e x t r a p o i n t s o f s p a c e o v e r t h e t y p e s i z e .

FORCED JUSTIFIED (from InDesign)

Because type size and line spacing are both measured in points and are inseparable, their sizesare normally written together. They are commonly written in this manner: 10/12, pronounced"ten over twelve." This indicates that the type size is ten points and the line spacing is 12points, or has two extra points of space over the type size.

Figure 27: Examples of paragraph alignment.Note: For Justified text, InDesign also offers the option to align the last line as flush right and centered.



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Paragraph Spacing



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Paragraph Spacing is an automatic space between each paragraph that isapplied when starting a new paragraph; once set, it can apply spaceeither above the paragraph or below it. Paragraph spacing is a more

elegant way to space out paragraphs than simply double spacingreturns because the settings can be adjusted globally or by fractionalline spaces. More importantly, the space is not inserted when a para-graph falls at the end of a page, whereas traditional double spacingwould leave the extra paragraph return at the beginning of the nextpage.



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Palatino 9/10 with 5 pts Paragraph Spacing Becausetype size and line spacing are both measured inpoints and are inseparable, their sizes are normallywritten together. They are commonly written in thismanner: 10/12, pronounced "ten over twelve.".

This indicates that the type size is ten points andthe line spacing is 12 points, or has two extrapoints of space over the type size.

Palatino 9/10 with 10 pts Paragraph Spacing Becausetype size and line spacing are both measured inpoints and are inseparable, their sizes are normallywritten together. They are commonly written in thismanner: 10/12, pronounced "ten over twelve."

This indicates that the type size is ten points andthe line spacing is 12 points, or has two extrapoints of space over the type size.



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Figure 28: Examples of different settings of paragraph spacing..

Paragraph Spacing for Subheads

As previously mentioned, subheads should be set in multiples of theline spacing. However, where the space is applied is up to the designer.For example, a subhead could be set at 14/14 with paragraph spacingset at 10 points above and 4 points below. The total would still be amultiple of 14 (14 pts. line spacing + 10 pts. above + 4 pts. below =28 pts.). Keep in mind that splitting paragraph spacing can causeproblems with locking to a baseline grid. Paragraph spacing also isused when applying paragraph rules.



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Example 1

Because type size and line spacingare both measured in points and areinseparable, their sizes are normally

written together.

This is a subhead setin 14 points

They are commonly written inthis manner: 10/12,pronounced "ten over twelve."

This indicates that the typesize is ten points and the linespacing is 12 points.

Example 2

Because type size and line spacingare both measured in points and areinseparable, their sizes are normally

written together.

This is a subhead setin 14 points

They are commonly written inthis manner: 10/12,pronounced "ten over twelve."

This indicates that the typesize is ten points and the linespacing is 12 points.



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Figure 29: The first example is set with 14 pts. above the subhead; the second is set with 10 pts. above and 4 pts. below. Both

subheads are equal multiples of the 14 pt. line spacing; notice how the bottom paragraphs line up. Note: In FrameMaker,

paragraph spacing from two paragraphs is not "doubled up"; the paragraph with thegreatestamount of spacing "takes over".



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Paragraph Rules

Copyright 2003 by David Creamer of IRE.A.S.www.IDEAStraining.com


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Figure 30: Examples of paragraph rules set to column width and to line length. Each rule requires extra paragraph spacingabove or below.

In-line rules can be used for reverse-type subheads or subheads withcolor rules, creating a striking contrast to the body text.

Examples:

This is a subhead in 14 pointsThey are commonly written in this manner: 10/12,pronounced "ten over twelve." This indicates that the type sizeis ten points and the line spacing is 12 points.

This is a subhead in 14 points

They are commonly written in this manner: 10/12,pronounced "ten over twelve." This indicates that the type sizeis ten points and the line spacing is 12 points.

Figure 31: Examples of reverse subheads.



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ComputerTypographyBasics 61

Tabs

Copyright 2003 by

David Creamer ofIRE.A.S.

www.IDEAStraining.com
http://www.ideastraining.com/http://www.ideastraining.com/http://www.ideastraining.com/http://www.ideastraining.com/


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Tabs are one of the most difficult tools to master, but only becausemost people do not spend the time to learn to use them properly. The

basic tab settings are: Left Align Tab Right Align Tab Center Align Tab Decimal Align Tab Comma Align Tab User-Defined Align Tab

The left, right, and center tabs align text elements on invisibleguidelines and work similarly to paragraph alignment. Decimal andcomma tabs are for aligning numbers. The user-defined tab will align

on any character, such as a currency symbol or the "@" sign in e-mailaddresses. All of the tabs can be used as leader tabs. Leader tabs areusually the dots that are used to "lead" the reader from one textentry to another, such as in a table of contents; however, the leaderscan be different characters.

There are two simple rules when using tabs:1)Always keep the paragraph alignment set to flush left,2)U le.

Except for FrameMaker, most programs set the default tabs at every

1/2 inch, so most people just keep hitting the tab key until the text isaligned. The correct way to set the text on a tab setting is to use theprogram's tab ruler and place a single tab at the correct setting.

Incorrect: + + + + This- is-thet] most-comment]

4J

Correct: . + + error-using-tabs..]

This. only-usest1 one.tab-setting4 rather-than-ten.

Figure 33: Set a single tab setting on the word processor's ruler rather than entering multiple tabs.

:22 0



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Align On:

EMUX : 7 7 L e a d e r :

CI

6 . 1 . 1 . 1 . 1 . 1 .12

. 1 . 1 . 1 . 1 . 1 .

18. 1 . 1 . 1 . 1 . 1 .

2430

Figure 34: Typical tab ruler showing how single tabs are set.



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This is a left tabset at 2 inchesin from the left margin

This is a right tabset at 4 inches

in from the left margin

This is a C enter tabset at 3 inches

in from the left margin

This is a Decimal tab100.0099.50

This is a user-defined tabDCreamerCPIDEAStraining.

comDHCCPIDEASdtp.comTKennedyCDIDEAStraining.com

Figure 32A: Examples of basic tab settings. The rules have been added to show where the tabs are set.

Leader Tabs .................................... 120

Leader Tabs..................................... 20

Leader Tabs 99

Figure 32B: Examples of leader tabs with various characters set to a right-hand tab.

http://dcreamercpideastraining.com/http://dcreamercpideastraining.com/http://dhccpideasdtp.com/http://dhccpideasdtp.com/http://tkennedycdideastraining.com/http://tkennedycdideastraining.com/http://tkennedycdideastraining.com/http://www.ideastraining.com/http://dcreamercpideastraining.com/http://dcreamercpideastraining.com/http://dhccpideasdtp.com/http://tkennedycdideastraining.com/http://tkennedycdideastraining.com/http://www.ideastraining.com/


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Paragraph IndentsThe most common indent is the small indent at thebeginning of each paragraph, but indents have manymore uses, including adding an element of design tothe page.

First-line paragraph indents only should be used ifthere is no paragraph space because the indents andthe paragraph space exist to inform the reader when aparagraph stops and a new one begins. Using both the

indent and paragraph space is overkill. The standardamount of indent is equal to the type size. Forexample, if the type size is 12 points, the indent shouldbe 12 points. (Most programs allow the user to entersizes in points if typed as "p12" or "12 pt".) The amountof the first-line indent can be extended for designpurposes.

Paragraph indent settings also include indents for theentire left and right side of the paragraph(s). Indenting

on a single side is mostly used for design effect. Forexample, the left indent for the body copy in thisreport is set to 8 picas. Often, quotes are indented onboth sides to stand out from the normal text.

STANDARD FIRST-LINE INDENT: 9 pt. type with 9 pt. (1 Em space)indent

Because type size and line spacing are both measured in points and areinseparable, their sizes are normally written together. They are commonly writtenin this manner: 10/12, pronounced "ten over twelve." This indicates that the typesize is ten points and the line spacing is 12 points, or has two extra points ofspace over the type size.

FIRST-LINE INDENT: 9 pt. type with 1 inch indentBecause type size and line spacing are both measured in points

and are inseparable, their sizes are normally written together. They are commonlywritten in this manner: 10/12, pronounced "ten over twelve." This indicates that thetype size is ten points and the line spacing is 12 points, or has two extra points ofspace over the type size.

LEFT PARAGRAPH INDENT: 1/2 inchBecause type size and line spacing are both measured in points and are



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inseparable, their sizes are normally written together. They arecommonly written in this manner: 10/12, pronounced "ten over twelve."This indicates that the type size is ten points and the line spacing is 12points, or has two extra points of space over the type size.

RIGHT PARAGRAPH INDENT: 1 inchBecause type size and line spacing are both measured in pointsand are inseparable, their sizes are normally written together.They are commonly written in this manner: 10/12, pronounced"ten over twelve." This indicates that the type size is ten pointsand the line spacing is 12 points, or has two extra points ofspace over the type size.

LEFT AND RIGHT PARAGRAPH INDENT: 1/2 inch each sideBecause type size and line spacing are both measured in pointsand are inseparable, their sizes are normally written together.They are commonly written in this manner: 10/12, pronounced"ten over twelve." This indicates that the type size is ten pointsand the line spacing is 12 points, or has two extra points of


Figure 35: Examples of paragraph indents.



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Typically, the first-line indent is measured from the left indent,so even if the left indent is set to one inch, the first-lineindent would still read zero. First-line and left margin indentscan be combined to create hanging indents or outdents. Forexample, by setting the left indent to 1/2 inch and the first-lineindent to a negative 1/2 inch, your first line will extend out fromthe left margin of the paragraph.

Step 1: Because type size and line spacing are both measured in points and areinseparable, their sizes are normally written together. They are commonly written inthis manner: 10/12, pronounced "ten over twelve."

Figure 37A: Example of an outdent.

Step 1: Because type size and line spacing are both measured in points and areinseparable, their sizes are normally written together. They are commonly written inthis manner: 10/12, pronounced "ten over twelve.".

Figure 37B: Combined with a tab set at 1/2 inch.

Paragraph formats include alignment, left indent, right indent, first-line indent,space above, and space below

Character formats include font, font style, and type size.

Figure 37C: Using the same settings, a bullet list can be created.Note: FrameMaker always measures the first line from the left column margin, not the left indent.

Widows and OrphansNormally, a widow is a single line of text at the top of a page orcolumn, separated from its paragraph, and an orphan is asingle line of text at the bottom of a page or column,separated from its paragraph. By setting the paragraph torequire that a minimum number of lines remain either at thebeginning or the end of a paragraph, one can effectively solvethis problem; however, this will create a "rag bottom," oruneven bottom margins, in the document. Subheads oftenend up at the bottom of a page, while the text they belongwith is at the top of the next page. This can be prevented byrequiring the subhead to stay with the next paragraph.

Keep Options



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( C an c e l

Preview

Keep with Next: 0 lines,

Keep Lines, Together

Al l Li ne s in Paragraph

9At Start/ End of ParagraphStart: 2 Ilines

end: 2 7 l ines

Start Paragraph: 4 Anywhere

Figure 38: "Keep options" from InDesign.



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The em-dash is used in place of a comma to set off asection of the sentence that requires special emphasis.However, it does have other uses, such as preceding the

attribution of a quote, so it is best to reference a stylemanual. Typically, em-dashes are the width of the letter"M" and should neverbe typed as two hyphens in a row.While hyphens should always be kept with the firstportion of the word on the upper line and en-dashesshould be kept unbroken with the items theyseparate, em-dashes can be kept with either the upperor lower line. Whether there is a space before and afterthe em-dash is a matter of styleeither option iscorrect as long as the usage is consistent throughout

the document.Hyphens En-Dashes Em-DashesMother-in-law 30-50 peopleThe em-dashavery800-555-1234 Oct. 10-15 importanttypograph-

icelementshould

not beoverused.

Figure 43: Examples of hyphens and dashes.



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Line Breaks

Often, lines (particularly headlines and subheads) need to bebroken for readability. However, just typing a return to break theline can alter formatting when paragraph spacing, rules, andindents are used. To avoid this problem, most programs allowline breaks; these are usually inserted by typing a shift-return, rather than a normal return. U -return alsomaintains the integrity of the paragraph. For example, if asubhead was set to keep all lines togetherand keep with next paragraph, theentire subhead will retain the settings. If standard returns areused, just the last line of the subhead will retain the correct

settings.With normal With shift-return:

This is a subhead This is a subhead_________________________ set in 14 pointsset in 14 points

They are commonly written in thisThey are commonly written in this manner: 10/12,pronounced "ten manner: 10/12, pronounced "tenFigure 44: Examples of line breaks.

Drop Caps

Drop caps are used to start off new chapters and special sectionsof a report. You can create the cap, then alter the font, thestyle, and the color of the character through the use of aCharacter style. Many programs have settings to automaticallycreate the drop caps; if the program does not have automaticsettings, drop caps should be avoided.



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21 Drop Caps

Character Count: coLine Count: 3

;

Aa= ;--7Lli



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Figure 45A: Drop cap settings from Qua kXPress and InDesign. FrameMaker and

PageMaker do not offer automatic drop caps.



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ecause type size and line spacing areboth measured in points and areinseparable, their sizes are normally

written together.

ecause type size and line spacing are bothmeasured in points and are inseparable, their sizesare normally written together.


BB


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Raised Caps

Raised caps also are used to start off new chapters and specialsections of a report. Raised caps are created by making the firstcharacter larger, while making sure the paragraph has enoughspace above it.

Because type size and line spacing are both measured in points and are inseparable, theirsizes are normally written together.

Because type size and line spacing are both measured in points and are inseparable, theirsizes are normally written together.

Figure 46: Examples ofraised caps. The right example was formated with a character

Drop or raised caps should not be overused, otherwise theireffect will be watered down.

Typographer Quotes and Inch Marks

One sure sign of an inexperienced typographer is the use of

"desktop" quotes. These are straight slashes that are"holdovers" from typewriter fonts. Unfortunately, the slashesstand out because they usually do not match the font. Luckily,most programs have automatic settings to convert theseslashes to quotes; if not, most computers allow the quotes tobe typed manually. Quotes come in two varieties, and eachhas an open and closed version. Except for newspapers, doublequotes are used for actual quotations. While it is better to usethe Symbol font for inch and



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Figure 47: Examples of double and single quotes, plus inch and foot marks.



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Ever since the firstscribes letteredbooks by hand

centuries ago, thefirst goal of typography wasreadability. If thetypography makesthe information onthe page harder toread, it does notmatter how "pretty"a page layout is orhow "unique" a fontselection is, the

page has failed in itsmain duty to

Ever since the first scribeslettered books by handcenturies ago, the firstgoal of typography wasreadability. If the typog-raphy makes theinformation on the pageharder to read, it doesnot matter how "pretty" apage layout is or how"unique" a font selectionis, the page has failed inits main duty to

Ever since the firstscribes letteredbooks by handcenturies ago, the

first goal of typog-raphy was readability.If the typographymakes theinformation on thepage harder to read,it does not matterhow "pretty" a pagelayout is or how"unique" a fontselection is, the pagehas



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Figure 48: Don't make boxes too tight to the text. Keep tints lighter than 15% if using black type.



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Ever since the firstscribes lettered books byhand centuries ago,the first goal of

typography wasreadability. If the typog-raphy makes theinformation on thepage harder to read, itdoes not matter how"pretty" a page layout isor how "unique" a fontselection is, the pagehas failed in its main

duty to

Ever since the firstscribes letteredbooks by hand

centuries ago, thefirst goal of typog-raphy was readability.If the typographymakes theinformation on thepage harder to read,it does not matterhow "pretty" a page

layout is or how"unique" a fontselection is, the pagehas

Ever since the f irst

scribes lettered books by

han d cen tur ies ago, the

first goal of typography was

readability. If the typogra-

phy makes the information

o n t he p age h a r d er t o

re ad , it does not matter

how "pretty" a page lay-

out is or how "unique"



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Figure 49: Make the text bold in black boxesbut don't use too much text.



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Formatting StylesWithstyles, also called style tags, the user can incorporate thetype settings covered so far into a single format command.Styles have two major benefits:

1)They are a great time saver because they condense 5-30 different settings into one (eliminating the possibilityof user error), and2)A change to a style will affect the applied text throughoutthe entire document, making "global" edits much easierand quicker.

Types o f S ty les

PARAGRAPH STYLES

Styles generally come in two types: Paragraph and Character.Paragraph styles, as their name suggests, effect the entire paragraph,even if the entire paragraph is not selected. Paragraph styles willbe the most common style used for general formatting.

CHARACTER STYLES

Character styles only effect text that is selected; this could be onecharacter, one word, or multiple words. Popular uses would bewhen formatting a drop cap letter (the drop cap itself would beset through a paragraph style) and for highlighting product orcompany names. Depending on the program, character stylescan be applied when formatting editorial usage of bold anditalic.

Notes: PageMaker does not offer Character styles. QuarkXPress' Character styles require all format

fields to be filled in; InDesign and FrameMaker offer as is" settings for Character styles.

B a s e d O n a n d N e x t S t y l e U s a g e

When creating a style sheet, the user should give the style alogical name, such as "Body-Master". Any style can be based onan existing style, so only the differences need to be set. Also,this allows a cascading of styles. For example, if the "master"style font is changed, all the styles based on the master alsowill change to the new font (unless one of the derivative stylechanges was the font).

Another feature is the Next Style option; this changes the styleautomatically to the another style after typing a return. For



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Helvetica

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J

Hyphenation...

Adobe Single-line Composer Adobe Every-line Composer

Reset Paragraph


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M ed iu m MOpenTypeAll Caps 43g K Small Caps 43g HSuperscript 43g=S u b sc r i p t 1 4 3 e =

0Courier

Underline 43C UStrikethrough

V Ligatures

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Only Align First Line To Grid Balance Ragged Linesjusti fication.. .

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Drop Caps and Nested Styles... Paragraph Rules...

T T : 1 2 p t ( T 4 4 p t ) A '

ASV Metrics a2.4..0IT 100% ! .1 T 100%0 0Copyright 2003 by David Creamer of LaE.A.S.A

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Font

Font Style

Type Size

Leading

Kerning

Tracking

Vertical Scale Horizontal Scale

Baseline Shift Type Skew

Paragraph Alignment Left Indent

Right IndentFirst Line Indent

Space Above Paragraph Space Below

Paragraph Hyphenation On/Off

Hyphenation Settings Lock to Baseline

Drop Cap Settings Language Setting

www.IDEAStraining.com


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ConclusionAlthough it may seem that the "rules" of typography areendless (and this report certainly does not cover allof the rules),the goal should be to present a readable fmished product. It is

not necessary to apply all the rules at once. The user shoulddecide which rules are critical and then scan the work formistakes. After time, formatting that seemed difficult willbecome second nature.

If you have any questions about the topics covered in this reportor have suggestions for future versions/revisions, please e-mailme at [email protected].

About the author

Copyright 2003 by David Creamer of I.D.E.A.S. www.IDEAStraining.com
mailto:[email protected]://www.ideastraining.com/mailto:[email protected]://www.ideastraining.com/


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An award-winning art director withover 20 years of publishingexperience, David Creamer is presi-

dent of I.D.E.A.S.. Launched in 1990,I.D.E.A.S. is a consulting, training,and design-services company andone of the few training firms thatactually has major editorial, design,and production experience.

composite PDF

As an authorized Adobe TrainingProvider and Certified Expert (forPhotoshop, Illustrator, Acrobat,

InDesign, PageMaker, FrameMaker and others), and anauthorized QuarkXPress trainer (since 1988), Creamerhas trained clients in electronic production software,workflow, and publishing methods, includingimplementation of procedures for computer-to-plate,submission, and repurposing material for the web.

Copyright 2003 by David Creamer of I.D.E.A.S. www.IDEAStraining.com


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Training and consulting clients include Hewlett-Pakard, Honda,Xerox, Honeywell, U laska, Los Alamos National Labs,National Park Service, Salt Lake City Olympic Committee.Ziff Davis, Newsweek en Espanol, Florida Sportsman, Homes &Land of Naples, Health Science, and The Gourmet Retailer.

In addition, Creamer has written for numerous publications,including MacDesign, Desktop Publishers Journal, ComputerNews International, and Folio. He trains on both Macintosh &Windows pla lso troubleshoots hardware & softwareproblems.

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