Process Book: Dr. Type

A Surgically-Enhanced Guide to Typography

Dr. Type

Kristen YoungmanAcademy of Art University

San Francisco, CA

The Process to:

Design a book that demonstrates the

fundamental principles of typography

in a simple, powerful way.

Week 1: Select 3 “Fields of Study”

Create Mind Maps

Concept Selection

Mood Boards

Choose a Typeface

Sketches

Week 2: Define Message & Concept

Design a Grid

Collect Content

Present Design Directions

Week 3: Gather Content

Title Options

Week 4: Explore Cover Designs

Table of Contents

Collect More Content

Start Defining Spreads

Week 5: Refine Design

Refine Copy/Content

Color Study

Week 6: Rework Cover

Design In-Paper

Finalize Copy/Content

Refine Design

Week 7: Rework Copy/Content

Refine Design

Week 8: Finalize Copy/Content

Refine Design

Week 9: Last Sami Tweaks

Take to Bindery!

The Process

The Assignment

• Select 3 “Fields of Study”

• Create Mind Maps

• Concept Selection

• Mood Boards

• Choose a Typeface

• Sketches

Week 1 : October 19, 2010

2

1. Periodic table

2. lab equipment (lab coat, googles, gloves, etc.)

3. symbols for energy

4. measuring instruments (test tubes, beakers, etc.)

5. Molecular Structure

6. atoms

7. formulas

8. hazardous material/ haz mat symbols

9. models/diagrams (hot springs, valleys, mountains, grand canyons, etc.)

10. solid, liquid, gas

chemistry words 11. boiling/freezing point

12. Centrifuge

13. setup/clean up procedures

14. If/then statements

15. charts of reactions

16. Minerals

17. bunson burners

18. elements

19. acids and bases

20. experiment/ write up

Field of Study 1: CHEMISTRY

16

Chemistry - Mind MapMind Map

Mind Map Results

Week 1

4

chemistry

5

A B C D E F G H I J K L M N O P Q R S T U V W X Y Za b c d e f g h i j k l m n o p q r s t u v w x y z 1 2 3 4 5 6 7 8 9 0 ! @ # $ % ^ & * ( ) _ + { }[]\|;:”’æ…®´∂ß÷?.,<>

scientific measurements - Bell CententialBell Centential - Name and Number 60pt.

Bell Centential - Address 12pt. abcdefghijklmnopqrstuvwxyzABCDEFGHIJKLMNOPQRSTUVWXYZ1234567890

Bell Centential - Name & Number 12pt.abcdefghijklmnopqrstuvwxyzABCDEFGHIJKLMNOPQRSTUVWXYZ1234567890

Bell Centential - Sub Caption 12pt.abcdefghijklmnopqrstuvwxyzABCDEFGHIJKLMNOPQRSTUVWXYZ1234567890

Bell Centential - Bold Listing 12pt.abcdefghijklmnopqrstuvwxyzABCDEFGHIJKLMNOPQRSTUVWXYZ1234567890

A B C D E F G H I J K L M N O P Q R S T U V W X Y Za b c d e f g h i j k l m n o p q r s t u v w x y z 1 2 3 4 5 6 7 8 9 0

Bell Centential - Address 24pt.

Visual Research

Typeface Specimen: Bell Centenial

Concept> SCIEnTIFIC MEASuREMEnT

17

Chemistry - Sketches

Scientific Measurement Sketches

17

Chemistry - Sketches

Week 1

6

Typography Project 02: 36-Page Book Design

Field of Study 2: AnATOMY

7

1. medicine/prescriptions

2. first aid kit

3. cellular structure

4. ways to stitch up the skin

5. vital organs & their purpose

6. bones

7. DNA

8. diseases

9. man vs. woman build

10. genes

11. cultural physical traits

anatomy words 12. range of motion

13. stretching/exercises

14. muscles

15. nutrients/vitamins

16. diagrams of the body

17. natural remedies

18. process of reproduction

19. hospital rooms

20. medical forms

20

Anatomy - Mind MapMind Map

Mind Map Results

9

first aid

10

A B C D E F G H I J K L M N O P Q R S T U V W X Y Za b c d e f g h i j k l m n o p q r s t u v w x y z 1 2 3 4 5 6 7 8 9 0 ! @ # $ % ^ & * ( ) _ + { }[ ] \ | ; : ” ’ æ … ® ´ ∂ ß ÷ ? . , < >

first aid - Meta PlusMeta Plus Book - Roman 60pt.

Meta Plus Normal - Roman 12pt. abcdefghijklmnopqrstuvwxyzABCDEFGHIJKLMNOPQRSTUVWXYZ1234567890

Meta Plus Bold - Roman 12pt.abcdefghijklmnopqrstuvwxyzABCDEFGHIJKLMNOPQRSTUVWXYZ1234567890

Meta Plus Normal - Italic 12pt.abcdefghijklmnopqrstuvwxyzABCDEFGHIJKLMNOPQRSTUVWXYZ1234567890

Meta Plus Black - Roman 12pt.abcdefghijklmnopqrstuvwxyzABCDEFGHIJKLMNOPQRSTUVWXYZ1234567890

Meta Plus Normal – Caps 12pt.abcdefghijklmnopqrstuvwxyzABCDEFGHIJKLMNOPQRSTUVWXYZ1234567890


Visual Research

Typeface Specimen: Meta Plus

Concept> FIRST AId PROCEduRES

Week 1

8


21

Anatomy - Sketches

First Aid Procedure Sketches

21

Anatomy - Sketches Field of Study 3: ARCHITECTuRE

12

1. buildings

2. blueprints

3. columns

4. urban planning

5. construction

6. tools

7. drafting tools

8. electrical wiring

9. heating/AC/ventilation

10. floor materials

11. support systems

architecture words 12. foundations

13. tiles

14. plumbing

15. roofs

16. archways

17. windows

18. entrances

19. commercial architecture

20. residential architecture

18

Architecture - Mind MapMind Map

Mind Map Results

Week 1

10


19

Architecture - Sketches

Construction Sketches

19

Architecture - Sketches

14

architecture

15

A B C D E F G H I J K L M N O P Q R S T U V W X Y Za b c d e f g h i j k l m n o p q r s t u v w x y z 1 2 3 4 5 6 7 8 9 0 ! @ # $ % ^ & * ( ) _ + { }[ ] \ | ; : ” ’ æ … ® ´ ∂ß ÷ ? . , < >

construction - PMN CaecilliaPMN Caecillia - Roman 60pt.

PMN Caecillia - Roman 12pt. abcdefghijklmnopqrstuvwxyzABCDEFGHIJKLMNOPQRSTUVWXYZ1234567890

PMN Caecillia - Light 12pt.abcdefghijklmnopqrstuvwxyzABCDEFGHIJKLMNOPQRSTUVWXYZ1234567890

PMN Caecillia - Italic 12pt.abcdefghijklmnopqrstuvwxyzABCDEFGHIJKLMNOPQRSTUVWXYZ1234567890

PMN Caecillia - Bold 12pt.abcdefghijklmnopqrstuvwxyzABCDEFGHIJKLMNOPQRSTUVWXYZ1234567890

PMN Caecillia – Light Small Caps & oldstyle 12pt.abcdefghijklmnopqrstuvwxyzABCDEFGHIJKLMNOPQRSTUVWXYZ1234567890


PMN Caecillia - Roman 24pt.

Visual Research

Typeface Specimen: Meta Plus

Concept> COnSTRuCTIOn

Week 1

12


• Define Message & Concept

• Design a Grid

• Collect Content

• Present Design Directions

Week 2 : October 26, 2010

8

Type Diagn

osis

The accent marks are a little sneakier than the special characters, discussed in the previous chapter—easy, but sneaky. If you’ve ever tried to use the tilde key to type the word piñata with the tilde over the n, you’ve noticed that it doesn’t work—you get pin˜ata. That looks kinda silly.

This is the trick: The accent marks are all hidden on the Option keyboard. First find out which letter is hiding the accent mark; typically it’s the character with which the accent mark is most likely to be used.

To type an accent over a letter in your document, first hold down the Option key and hit the accent character; nothing will happen. That’s good! Now, type the character you want under that accent mark; they will then appear together.

For example to type résumé:

1. Open Key Caps. Notice on the layout that you get the accent mark ´ with the combination of the Option key and the letter e. Close Key Caps ( or you could just look up the key combination in the chart).

2. Type r.

3. Now hold down the Option key and press the letter e; nothing will happen. That’s good.

4. Now, without holding down the Option key, type the letter e; you will get é.

5. Repeat the sequence when you get to the last e.

hold down the Shift and Option keys, then tap the hyphen key

Here is a list of accent marks and where to find them. These are the most common accent marks you’ll need.

´ Option e

` Option ~ (upper-left or next to the Spacebar)

¨ Option u

˜ Option n

ˆ Option i

This accent mark is only found on the letter c, so it just comes along with the letter, there is no need to press twice:

ç Option c Ç Option Shift c

ACCENT MARKSWhere an accent mark is appropriate, use it.

10

Type Diagn

osis

Have you ever seen a word underlined in a magazine or book? Most likely not (except for special effect). That’s because typesetters italicize words for emphasis or for proper convention, such as book titles, periodicals, operas, symphonies.

On a typewritter, of course, there is no way to underline those items just mentioned—books, periodicals, etc. This underline was originally a signal to the typesetter to italicize the underlined word—and remove the underline).

Underlining in general should be avoided —the underline tends to be too heavy, it’s usually too close to the type, and it bumps into the “descenders” of the letters (those parts that hang below the invisible line on which type sits, as in the letters g, j, p, q, and y).

If you want to emphasize a word or two, you have other options also.

Try bold type, larger type, or a different font.

Simply setting text apart from the rest of the copy can call extra attention to a bit of it.

UNDERLININGNever underline. Underlining is for typewriters; italic is for professional text.

This doesn’t mean you should never use any sort of line with text —just don’t use the underline style that appears on the menu. If your typographic design calls for a line, use a drawn line (called a “rule” in typesetter’s jargon). Most word processors and all page layout, paint and draw programs have some feature where you can draw a line under a word or headline. When you draw a line, you can place it where you want and make it as thick or thin or long as you want. You can avoid making the line bump into the descenders. the drawn line also tends to look smoother than the underline because it is one long line, not a series of short lines hooked together.

This is an underlined phrase.

This phrase has two rules drawn beneath it.

This phrase has an italic word.

2

Type Diagn

osis

DASHES

Everyone knows what a hyphen is—that tiny little dash that belongs in some words, like mother-in-law, or in phone numbers. It’s also used to break a word at the end of a line, of course.

You might have been taught to use a double hyphen to indicate a dash, like so: --. This is a typewriter convention because typewriters didn’t have the real dash used in professional typesetting. On a Mac, no one needs to use the double hyphen—we have professional em dash, the long one, such as you see in this sentence. We also have an en dash, which is a little shorter than the em dash.

hyphen -

en dash –

em dash —

See the following pages for details about when to use hyphens and dashes and how to type them.

Never use two hyphens instead of a dash. Use hyphens, en dashes, and em dashes appropriately.

To type a hyphen —

Between the zero and the plus sign at the top-right of the keyboard.

Hyphen -

A hyphen is strictly for hyphenating words or line-breaks. Your punctuation style manual, such as The Chicago Manual of Style, goes into great detail about the proper use of hyphens.

There doesn’t seem to be a lot of confusion about when to use a hyphen, especially since your computer automatically inserts them at the ends of lines when necessary.

6

Type Diagn

osis

Em dash –

The em dash is twice as long as the en dash—it’s about the size of a capital letter M in whatever size and typeface you’re using at the moment. This dash is often used in place of a color or parentheses, or it might indicate an abrupt change in thought, or it’s used in a spot where a period is too strong and a comma is too weak (check your punctuation style manual for the exact use of the dash).

Our equivalent on the typewriter was the double hyphen, but now we have a real em dash. Using two hyphens (or worse, one) where there should be an em dash makes your work look very unprofessional.

To type an em dash — Shift Option Hyphen hold down the Shift and Option keys, then tap the hyphen key

DASHES

Since you were properly taught, of course, you know that the double hyphen is not supposed to have a space on either side of it—neither is the em dash, as you can see right here in this sentence. There are six other examples of the em dash in this chapter.

Grid 1

Week 2

16


EmergencyType Kit

5

En dash –

An en dash is called an en dash because it’s approximately the width of a capital letter N in that particular font and size. It is used between words that indicate a duration, such as time or months or years. Use it where you might otherwise use the word “to.”

In a page layout application, the en dash can be used with a thin space on either side of it if you want a little room, but don’t use a full space. (Check your manual for how to set a thin space.)

Here are a few examples of places to use the en dash. Notice that these are really not hyphenated words, and a plain hyphen is not the logically correct character to use. Notice that you automatically read the en dash as the word “to.”

October – December

6:30 – 8:45 a.m.

4 – 6 years of age

The en dash is also used when you have a compound adjective and one of the elements is made of two words or a hyphenated word, such as:

Santa Fe – Chicago flight (if you used a hyphen here, you’d be taking the Santa “Fe-Chicago” flight)

pre – Gulf War period

high-stress – high-energy lifestyle

To type an en dash

en dash – Option Hyphen hold down the Option key, then tap the hyphen key

DASHES DASHES

EmergencyType Kit

11











Nev

er u

nder

line.

Und

erlin

ing

is fo

r ty

pew

rite

rs; i

talic

is fo

r pro

fess

iona

l tex

t.

UNDERLINING UNDERLINING

EmergencyType Kit

3

DASHES

Dashes are used to stitch words, numbers and sentences together. It is important to know what kind of dash is needed in each situation so the thought you wish to communicate doesn’t fall apart.



hyphen -

en dash –

em dash —


Hyphen -



To type a hyphen

hyphen — Between the zero and the plus sign at the top-right of the keyboard.

Nev

er u

se tw

o hy

phen

s in

stea

d of

a d

ash.

U

se h

yphe

ns, e

n da

shes

, and

em

das

hes

appr

opri

atel

y.

DASHES

EmergencyType Kit

9





1. Open Key Caps (Or Keyboard Viewer if your on a MacBook Pro). Notice on the layout that you get the accent mark ´ with the combination of the Option key and the letter e. Close Key Caps ( or you could just look up the key combination in the chart).

2. Type r.






´ Option e


¨ Option u

˜ Option n

ˆ Option i

This accent mark is only found on the letter c, so it just comes along with the lette, there is no need to press twice:

ç Option c

Ç Option Shift c

Whe

re a

n ac

cent

mar

k is

app

ropr

iate

, use

it.

ACCENT MARKS ACCENT MARKS

Type Ofor Option

Grid 2

Week 2

18


6

Type Diagnosis





1. Open Key Caps (Or Keyboard Viewer if your on a MacBook Pro). Notice on the layout that you get the accent mark ´ with the combination of the Option key and the letter e. Close Key Caps ( or you could just look up the key combination in the chart).

2. Type r.






´ Option e


¨ Option u

˜ Option n

ˆ Option i

This accent mark is only found on the letter c, so it just comes along with the lette, there is no need to press twice:

ç Option c

Ç Option Shift c

ACCE

NT

MA

RKS

Where an accent mark is appropriate, use it.

8

Type Diagnosis











UN

DER

LIN

ING Never underline. Underlining is for typewriters;

italic is for professional text.

2

Type Diagnosis

DA

SH

ES



hyphen -

en dash –

em dash —


Hyphen -






4

Type Diagnosis

En dash –





6:30 – 8:45 a.m.






Em dash –


Our equivalent on the typewriter was the double hyphen, but now we have a real em dash. Using two hyphens (or worse, one) where there should be an em dash makes your work look very unprofessional.

Since you were properly taught, of course, you know that the double hyphen is not supposed to have a space on either side of it—neither is the em dash, as you can see right here in this sentence. There are six other examples of the em dash in this chapter.

DA

SH

ES

To type an em dash — Shift Option Hyphen hold down the Shift and Option keys, then tap the hyphen key

To type an en dash —

Option Hyphen hold down the Option key, then tap the hyphen key

Grid 3

Week 2

20


9

Type Diagn

osis






2. Type r.






´ Option e


¨ Option u

˜ Option n

ˆ Option i

ACCENT MARKSWhere an accent mark is appropriate, use it.

11

Type Diagn

osis











UNDERLININGNever underline. Underlining is for typewriters; italic is for professional text.

3

Type Diagn

osis

DASHES



hyphen -

en dash –

em dash —


Hyphen -






5

Type Diagn

osis

En dash –





6:30 – 8:45 a.m.




DASHES





Grid 4

Week 2

22


• Gather Content

• Title Options

Week 3 : november 02, 2010

Prescriptions for Type

ailment:

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34

refill:

SECTION

In typography, a counter or aperture is an area entirely or partially enclosed by a letter form or a symbol (the counter-space/ the hole of ).[1][2] Let-ters containing closed counters include A, B, D, O, P, Q, R, a, b, d, e, g, o, p, and q. Letters containing open counters include c, f, h, i, s etc. The digits 0, 4, 6, 8, and 9 also possess a counter.

Counter The partially or fully enclosed space within a character.

Ascender The part of a lowercase character (b, d, f, h, k, l, t) that extends above the x-height.

Descender The part of a character (g, j, p, q, y, and J) that descends below the baseline.

Type Anatomy

e oty

Indentification


ailment:

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34

refill:

SECTIONRising Heights

X-height The height of lowercase letters, specifically the lowercase x, not including ascenders and descenders.

Cap Height The height of capital letters from the baseline to the top of caps, most accurately measured on a character with a flat bottom (E, H, I, etc.).

Type Anatomy

Gather Content

Week 3


ailment:

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34

refill:

SECTION

R

Unbandaging Sans & Serifs

Serif The projections extending off the main strokes of the characters of serif typefaces. Serifs come in two styles: bracketed and unbracketed. Brackets are the supportive curves which connect the serif to the stroke. Unbracketed serifs (also known as slab serifs) are attached sharply, and usually at 90 degree angles.R

Bracketed Serif

Unbracketed Serif

RSans Serif A typeface is one that does not have the small features called “serifs” at the end of strokes. The term comes from the Latin word “sine”, via the French word sans, meaning “without”.

San Serif

Type Anatomy


ailment:

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34

refill:

SECTIONExtracting Dashes



Hyphen -

A hyphen is strictly for hyphenating words or line-breaks. Everyone knows what a hyphen is—that tiny little dash that belongs in some words, like mother-in-law, or in phone numbers. It’s also used to break a word at the end of a line.

cc

1

2

3

4

5

6

7

8

9

10

————————————

Keyboard Regimen

cc

1

2

3

4

5

6

7

8

9

10

––––––––––––

cc

1

2

3

4

5

6

7

8

9

10

------------


ailment:

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34

refill:

SECTION

En dash –




6:30 – 8:45 a.m.








DASHES

cc

1

2

3

4

5

6

7

8

9

10

————————————

cc

1

2

3

4

5

6

7

8

9

10

––––––––––––

cc

1

2

3

4

5

6

7

8

9

10

------------

Extracting DashesKeyboard Regimen


ailment:

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34

refill:

SECTION

Em dash –


To type an em dash — Shift Option Hyphen (hold down the Shift and Option keys, then tap the hyphen key)

DASHES

cc

1

2

3

4

5

6

7

8

9

10

————————————

cc

1

2

3

4

5

6

7

8

9

10

––––––––––––

cc

1

2

3

4

5

6

7

8

9

10

------------

Extracting DashesKeyboard Regimen

Week 3

26



ailment:

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34

refill:

SECTION



2. Type r.






´ Option e


¨ Option u

˜ Option n

ˆ Option i

This accent mark is only found on the letter c, so it just comes along with the letter, there is no need to press twice:

ç Option c Ç Option Shift c

Where an accent mark is appropriate, use it.

Accent Mark AversionsKeyboard Regimen


ailment:

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34

refill:

SECTIONPiercing Bullets

Here are a few guidelines to making the most out of this simple yet strong element:

# Bullets should be centered on either the cap height or x-height, depending on the nature of your copy. If all of your items begin with a cap, center the bullet on the cap, or a bit lower so it balances with the negative spaces created by the lowercase. If your items all begin with lowercase characters, center the bullets on the x-height. Insert some space after the bullet to avoid crowding.

# The preferred way to align bullets is with the left margin. You can also have the bullets overhang the margin, and keep all your text aligned with the left margin. Whichever style you choose, your listing will look best if items that run more than one line are indented so that the copy aligns with itself, and not with the bullet on the first line.

# To be more creative, substitute symbols or dingbats for the actual bullets. Try squares, triangles or check marks (just not all at once, as shown in the illustra-tion!). Keep these simple and in proportion with the rest of your text.

# To save time and maintain consistency, copy and paste your perfectly styled and adjusted bullet for each usage. TIP: Remember to copy a bullet that is a dingbat or other decorative image before you make global font changes to your text, in order to simplify reinsertion.

Keyboard Regimen


ailment:

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34

refill:

SECTION

“ OPTION [ ”OPTION SHIFT [ ‘ OPTION ]

’OPTION

SHIFT ] — OPTION

SHIFT HYPHEN

– OPTION HYPHEN

OPENING DOUBLE QUOTE CLOSING DOUBLE QUOTE OPENING SINGLE QUOTE

CLOSING SINGLE QUOTE EN DASH EM DASH

… OPTION ; • OPTION 8

fi OPTION

SHIFT ] ⁄ OPTION

SHIFT 1OPTION HYPHEN

ELLIPSIS BULLET

LIGATURE OF f AND i LIGATURE OF f AND l FRACTION BAR

® OPTION r

¢ £€ OPTION SHIFT 2

TRADEMARK REGISTRATION MARK

CENTS EURO POUNDS

¡ OPTION 1 ¿ OPTION SHIFT ?

ç Ç OPTION SHIFT C

INVERTED EXCLAMATION POINT INVERTED QUESTION MARK

fl

© OPTION g

COPYRIGHT

° OPTION SHIFT 8

DEGREE SYMBOL

™ OPTION 2

OPTION 4 OPTION 3

OPTION C

Instant Special Character ReliefKeyboard Regimen


ailment:

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34

refill:

SECTION

41

www.agnthos.s

e

Splinte

r Forc

eps FORCEPS

cm:8

910,511

,51314

,5 Straig

ht

08-452-080

08-452-090

08-452-105

08-452-115

08-452-130

08-452-145

Curved

08-453-080

08-453-090

08-453-105

08-453-115

08-453-130

08-453-145

Straig

ht with

Pin

08-462-080

08-462-090

08-462-105

08-462-115

08-462-130

08-462-145

Curved w

ith Pin

08-463-080

08-463-090

08-463-105

08-463-115

08-463-130

08-463-145

cm:10

Straig

ht

08-438-100

Angled

08-439-100

Self-Clo

sing

08-440-100

1:1

1:1

1:1

SmoothTip

s

Chronic Kerning

Kerning The process of adjusting the spacing between characters in a proportional font, usually to achieve a visually pleasing result. In a well kerned font, the two-dimensional blank spaces between each pair of characters all have similar area. The related term kern denotes a part of a type letter that overhangs the edge of the type block.

Kerning can be tight or loose, depending on the visual effect desired.

Skeletal Type Structure

41www.agnthos.se

Splinter Forceps FORCEPS

cm:

8910,511,51314,5

Straight

08-452-08008-452-09008-452-10508-452-11508-452-13008-452-145

Curved

08-453-08008-453-09008-453-10508-453-11508-453-13008-453-145

Straight with Pin

08-462-08008-462-09008-462-10508-462-11508-462-13008-462-145

Curved with Pin

08-463-08008-463-09008-463-10508-463-11508-463-13008-463-145

cm:

10

Straight

08-438-100

Angled

08-439-100

Self-Closing

08-440-100

1:11:1 1:1

SmoothTips

One way to help analyze if the negative space is proportionate to the positive space for letters and the space between is to turn the word upside down

Chronic

Chronic Chronic

41www.agnthos.se

Splinter Forceps FORCEPS

cm:

8910,511,51314,5

Straight

08-452-08008-452-09008-452-10508-452-11508-452-13008-452-145

Curved

08-453-08008-453-09008-453-10508-453-11508-453-13008-453-145

Straight with Pin

08-462-08008-462-09008-462-10508-462-11508-462-13008-462-145

Curved with Pin

08-463-08008-463-09008-463-10508-463-11508-463-13008-463-145

cm:

10

Straight

08-438-100

Angled

08-439-100

Self-Closing

08-440-100

1:11:1 1:1

SmoothTips

Week 3

28



ailment:

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34

refill:

SECTIONTracking


Will someone please call a surgeonWho can crack my ribs and repair this broken heartThat your’re deserting for better company?

Wil l someone please cal l a surgeonWho can crack my r ibs and repair this broken hear tThat your’re deser t ing for better company?

W i l l s o m e o n e p l e a s e c a l l a s u r g e o nW h o c a n c r a c k m y r i b s a n d r e p a i r t h i s b r o k e n h e a r tT h a t y o u r ’ r e d e s e r t i n g f o r b e t t e r c o m p a n y ?

TrackingIn typography, letter-spacing, also called tracking, refers to the amount of space between a group of letters to affect density in a line or block of text.

Letter-spacing can be confused with kerning. Letter-spacing refers to the overall spacing of a word or block of text affecting its overall density and texture. Kerning is a term applied specifically to the adjustment of spacing of two particular characters to correct visually uneven spacing.

Letter-spacing adjustments are frequently used in news design. The speed with which pages must be built on deadline does not usually leave time to rewrite paragraphs that end in split words or that create orphans or widows. Letter-spacing is increased or decreased by modest (usually unnoticeable) amounts to fix these unattractive situations.


ailment:

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34

refill:

SECTIONLeading

LeadingIn typography, leading (rhymes with heading) refers to the distance between the baselines of successive lines of type. The term originated in the days of hand-typesetting, when thin strips of lead were inserted into the formes to increase the vertical distance between lines of type. The term is still used in modern page layout software such as QuarkXPress and Adobe InDesign


On the day I was bornThe nurses all gathered ‘roundAnd they gazed in wide wonderAt the joy they had foundThe head nurse spoke upSaid “leave this one alone”She could tell right awayThat I was bad to the bone

On the day I was born

The nurses all gathered ‘round

And they gazed in wide wonder

At the joy they had found

The head nurse spoke up

Said “leave this one alone”

She could tell right away

That I was bad to the bone








That I was bad to the bone8pt/9.6pt

8pt/14pt

8pt/18pt


ailment:

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34

refill:

SECTIONProper Alignment

In typesetting and page layout, alignment or range, is the setting of text flow or image placement relative to a page, column (measure), table cell or tab. The type alignment set-ting is sometimes referred to as text alignment, text justification or type justification.

There are four basic typographic alignments:

* flush left—the text is aligned along the left margin or gutter, also known as left-aligned or ragged right; * flush right—the text is aligned along the right margin or gutter, also known as right-aligned or ragged left; * justified—text is aligned along the left margin, and letter- and word-spacing is adjusted so that the text falls flush with both margins, also known as fully justified or full justifica-tion; * centered—text is aligned to neither the left nor right margin; there is an even gap on each side of each line.

Note that alignment does not change the direction in which text is read; however text direc-tion may determine the most commonly used alignment for that script.[edit] Flush leftAn example of flush left, ragged right alignment.

In English and most European languages where words are read left-to-right, text is often aligned ‘flush left’, meaning that the text of a paragraph is aligned on the left-hand side with the right-hand side ragged. This is the default style of text alignment on the World Wide Web for left-to-right text [1]

Quotations are often indented.

[edit] Flush right

In other languages that read text right-to-left, such as Arabic and Hebrew, text is commonly aligned ‘flush right’. Additionally, flush-right alignment is used to set off special text in English, such as attributions to authors of quotes printed in books and magazines, and is often used when formatting tables of data.[edit] Justified

A common type of text alignment in print media is ‘justification’, where the spaces between words, and, to a lesser extent, between glyphs or letters, are stretched or compressed to align both the left and right ends of each line of text. When using justification, it is custom-ary to treat the last line of a paragraph separately by simply left or right aligning it, depend-ing on the language direction. Lines in which the spaces have been stretched beyond their normal width are called loose lines, while those whose spaces have been compressed are called tight lines.

Some modern typesetting programs offer four justification options: left justify, right justify, center justify and full justify. These variants specify whether the last line is flushed left, flushed right, centered or fully justified (spread over the whole column width). In programs that do not offer this extra functionality, justify is equal to left justify.[edit] CenteredCentered text



ailment:

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34

refill:

SECTIONRagging

RagsIn typography, “rag” refers to the irregular or uneven vertical margin of a block of type. Usually it’s the right margin that’s ragged (as in the commonly seen flush left/rag right setting), but either or both margins can be ragged.

When setting type with a ragged margin, pay attention to the shape that the ragged line endings make. A good rag goes in and out from line to line in small increments. A poor rag creates distracting shapes of white space in the margin. Don’t rely on the line breaks generated by your software application; get in the habit of spotting and correcting poor rags by making manual line breaks or by editing your copy. Slight adjustments in point size or column width might work as well.


Week 3

30


136 page book design

TITLE OPTIONS

1. Remedies to Healthy Typography

2. Diagnose your Type

3. Type Addict

4. Type Checkup

5. Type Emergency Kit

6. Dr. Type

7. Open up and Say “Tyyyyyyyyyyyyyype”

8. For Healthy Type

9. Type Surgery

10. Stitch Good Type Up

Title Options

• Explore Cover Designs

• Table of Contents

• Collect More Content

• Start Defining Spreads


32


Dr. TypeType Check Ups and Remedies for Healthy Typography

Kristen Youngman

Publishing House

Dr. TypeRemedies and Regimens for Healthy Typography

Kristen Youngman Publishing House Here

Covers

Dr. TypeRemedies and Regimens for Healthy Typography


Remedies and Regimens for Healthy Typography


Dr. Type

Week 4

34


cc

1

2

3

4

5

6

7

8

9

10

-–

—-–

—-–

—-–

—

TABLE OF CONTENTS

TYPE ANATOMY

Internal Typesetting Logic

Counters/Ascenders/Descenders

X-height/Cap Height

How type is measured

Sans and Serifs

KEYBOARD CHARACTER REGIMEN

Hyphens and Dashes

Accent Marks

Special Characters

SKELETAL TYPE STRUCTURE

Uppercase vs Lowercase

Kerning

Tracking

Leading

Alignments

Ragging

Widows & Orphans

Hanging the Punctuation

CHECKUP - Quiz

TABLE OF CONTENTS

TYPE ANATOMY



X-height/Cap Height


Sans and Serifs


Hyphens and Dashes

Accent Marks

Special Characters



Kerning

Tracking

Leading

Alignments

Ragging

Widows & Orphans


CHECKUP - Quiz

1

2

3

4

5

6

7

8

9

10

11

12

13

14

15

16

17

18

19

20

21

22

23

24

25

26

27

28

29

30

31

32

33

34

Table of Contents

TABLE OF CONTENTS

TYPE ANATOMY



X-height/Cap Height


Sans and Serifs


Hyphens and Dashes

Accent Marks

Special Characters



Kerning

Tracking

Leading

Alignments

Ragging

Widows & Orphans


CHECKUP - Quiz

TABLE OF CONTENTS

TYPE ANATOMY



X-height/Cap Height


Sans and Serifs


Hyphens and Dashes

Accent Marks

Special Characters



Kerning

Tracking

Leading

Alignments

Ragging

Widows & Orphans


CHECKUP - Quiz

Week 4

36


Internal LogicSkeletal Type Structure

Where do you start when connecting healthy typography to any piece of communication?

1. Read the text before designing it.

2. Discover the outer logic of the typography in the inner logic of the text.

3. Make the visible relationship between the text and the other elements (photographs, captions, tables, diagrams, notes) a reflection of their real relationship.

Typesetting Vitals:

1. Legibility

2. Logical Order

3. Evenness of Color

Like an IV drip rate, typography’s rhythm and proportion are vital to the overall life of the text.

1. Define the word space to suit the size and natural letterfit of the font.

2. Choose a comfortable measure.


ailment:

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34

refill:

SECTION

f ed gp



Descender The part of a character (g, j, p, q, y, and J) that descends

below the baseline.

Type Anatomy Indentification



ailment:

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34

refill:

SECTION

Gathering More Contentdedication

for for Option

For all the Designers who bleed a bit more every day

for for Option

For all the Designers who bleed a bit more every day

Week 4

38


Chronic Kerning




HeartBreak


HeartBreak


ailment:

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34

refill:

SECTION

TrackingSkeletal Type Structure








ailment:

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34

refill:

SECTION


’OPTION

SHIFT ] — OPTION

SHIFT HYPHEN

– OPTION HYPHEN




fi OPTION

SHIFT ] ⁄ OPTION


ELLIPSIS BULLET


® OPTION r



CENTS EURO POUNDS




fl

© OPTION g

COPYRIGHT

° OPTION SHIFT 8

DEGREE SYMBOL

™ OPTION 2

OPTION 4 OPTION 3

OPTION C

Instant Special Character ReliefKeyboard Regimen

An essential part of healthy typography is using the appropriate punctuation marks and characters where necessary. That can be difficult to do if you do not know how to type them. Here they are in pill form for instant relief.


ailment:

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34

refill:

SECTION

OPTION e

OPT

ION ~

OPTION u

OPTION n

OPTIO

N i

Accent Mark AversionsKeyboard Regimen

The accent marks are all hidden on the Option keyboard. First find out which letter is hiding the accent mark; typically it’s the character with which the accent mark is most likely to be used.

To type an accent over a letter in your document, first hold down the Option key and hit the accent character; it looks like nothing happened but the accent mark is now loaded, ready for use. Now, type the character you want under that accent mark; they will then appear together.


ailment:

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34

refill:

SECTION

Week 4

40


Proper AlignmentSkeletal Type Structure

In typesetting and page layout, alignment or range, is the setting of text flow or image placement relative to a page, column (measure), table cell or tab.

There are four basic typographic alignments:

• flush left—text is aligned along the left margin or gutter, also known as left-aligned or ragged right

• flush right—text is aligned along the right margin or gutter, also known as right-aligned or ragged left

• justified—text is aligned along the left margin, and letter- and word-spacing is adjusted so that the text falls flush with both margins, also known as fully justified or full justification

• centered—text is aligned to neither left nor right margin; there is an even gap on each side of each line

Note that alignment does not change the direction the text is read; however text direction may determine the most commonly used alignment for that script.

Flush right alignment

In languages that read text right-to-left, such as Arabic and

Hebrew, text is commonly aligned ‘flush right’. Additionally, it is used

to set off special text in English such as attributions to authors of

quotes in printed books and magazines, and common when

formatting tables of data.

Justified

A common type of text alignment in print media is ‘justification’, where the spaces between words, and, to a lesser extent, between glyphs or letters, are stretched or compressed to align both the left and right ends of each line of text. When using justification, it is customary to treat the last line of a paragraph separately by left or right aligning it, depending on the language direction. Lines in which the spaces have been stretched beyond their normal width are called loose lines, while those whose spaces have been compressed are called tight lines.

Flush left alignment

In English and most European languages where words are read left-to-right, text is often aligned ‘flush left’ —the text of a paragraph is aligned on the left-hand side with the right-hand side ragged. This is the default style of text alignment on the World Wide Web for left-to-right text.

Centered

Text can be ‘centered’, or symmetrically aligned

along an axis in the middle of a column. Common

uses are for the title of a work, poems, songs and to present data in tables. It is considered less readable

for a body of text made up of multiple lines because the ragged starting edges

make it difficult for the reader to track from one

line to the next.


ailment:

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34

refill:

SECTION

Proper AlignmentSkeletal Type Structure

In typesetting and page layout, alignment or range, is the setting of text flow or image placement relative to a page, column (measure), table cell or tab.

There are four basic typographic alignments. Note that alignment does not change the direction the text is read; however text direction may determine the most commonly used alignment for that script.


In languages that read text right-to-left, such as Arabic and Hebrew, text is commonly aligned ‘flush right’. Additionally, it is used to set off special text in English such as attributions to authors of quotes in printed books and magazines, and common when formatting tables of data.

Justified

Common in print media, ‘justification’ is where the spaces between words, and sometimes glyphs or letters, are stretched or compressed to align both the left and right ends of each line of text. It is customary to treat the last line of a paragraph separately by left or right aligning it, depending on the language direction. Lines in which the spaces have been stretched beyond their normal width are called loose lines, while those whose spaces have been compressed are called tight lines.



Centered

Text can be ‘centered’, or symmetrically aligned along an axis in the middle of a column. Common uses are for the title of a work, poems, songs and to present data in tables. It is considered less readable for a body of text made up of multiple lines because the ragged starting edges make it difficult for the reader to track from one line to the next.

Flush LeftText is aligned along the left margin or gutter, also known as left-aligned or ragged right.

Flush RightText is aligned along the right

margin or gutter, also known as right-aligned or ragged left.

JustifiedText is aligned along the left margin, and letter- and word-spacing is adjusted so that the text falls flush with both margins, also known as fully justified or full justification.

Centeredtext is aligned to neither

left nor right margin; there is an even gap on each side of each line


ailment:

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34

refill:

SECTION

Leading




8pt/9.6pt

















8pt/14pt

8pt/18pt


ailment:

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34

refill:

SECTION


ailment:

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34

refill:

SECTIONLeading



















That I was bad to the bone8pt/9.6pt

8pt/14pt

8pt/18pt

Week 4

42


Typography CheckupSkeletal Type Structure

Ems Picas PointsIn typography, letter-spacing, also called tracking, refers to the amount of space between a group of letters to affect density in a line or block of text.



hanging the punctuation


ailment:

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34

refill:

SECTION


ailment:

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34

refill:

SECTION

The case of Uppers and LowersSkeletal Type Structure

Uppercase VS. LowercaseIn typography, letter-spacing, also called tracking, refers to the amount of space between a group of letters to affect density in a line or block of text.



UPPERCASE VS LOWERCASE


ailment:

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34

refill:

SECTION

Test Lab DiagnosisSkeletal Type Structure

Diagnose the Type SymptomsIn typography, letter-spacing, also called tracking, refers to the amount of space between a group of letters to affect density in a line or block of text.



Test Lab Diagnosis


ailment:

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34

refill:

SECTION

Week 4

44


• Refine Design

• Refine Copy/Content

• Color Study


Transfusing Type into Design

How do you transfuse healthy typography in any piece of communication?




Typesetting Vitals:

1. Legibility

2. Logical Order




2. Choose a comfortable measure—that means each line should give enough info but not be so long the user loses their place in the text.

Internal Logic Exam 2prescribed by:

ailment:

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34

refill:

SECTION

WARNING: Failure to use good typography may result in dizziness, nausea or even death.

Dr. Type

f ed gp



Descender The part of a character (g, j, p, q, y, and J) that descends

below the baseline.


1Indentifying Type Anatomyprescribed by:

ailment:

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34

refill:

SECTION


Dr. Type

Refining Content

Week 5

How Type is measuredEms Picas PointsA pica (pronounced /ˈpaˈkˈ/) is a typographic unit of measure corresponding to 1/72nd of its respective foot, and therefore to 1/6th of an inch. The pica contains 12 point units of measure.

The pica originated around 1785, when François-Ambrose “L’éclat” Didot (1730–1804) refined the typographic measures system created by Pierre Simon Fournier le Jeune (1712–1768). He replaced the traditional measures of cicéro, Petit-Roman, and Gros-Text with “ten-point”, “twelve-point”, et cetera.

To date, in printing these three pica measures are used:

* The French pica of 12 Didot points (also called cicéro) generally is: 12 ˈ 0.376 = 4.512mm (0.177in.)

* The American pica measure of 0.013837 ft. (1/72.27 ft.). Thus, a pica is 0.166044in. (4.2175mm)

1Indentifying Type Anatomyprescribed by:

ailment:

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34

refill:

SECTION


Dr. Type

RSans Serif A typeface is one that does not have the small features called “serifs” at the end of strokes. The term comes from the Latin word “sine”, via the French word sans, meaning “without”.

San Serif

R

Serif The projections extending off the main strokes of the characters of serif typefaces. Serifs come in two styles: bracketed and unbracketed. Brackets are the supportive curves which connect the serif to the stroke. Unbracketed serifs (also known as slab serifs) are attached sharply, and usually at 90 degree angles.R

Bracketed Serif

Unbracketed Serif

Indentifying Type Anatomy 1

Unbandaging Sans and SerifsSerif typefaces evolved from handwritten fonts and they are known for setting copy better because the serifs act as a horizontal guide for the reader’s eye.

Sans Serif typefaces are more geometrically based and are commonly used for display text because they can be set tighter which makes the negative space look better.

There’s no rule, but pairing a Sans with a Serif typeface usually adds a nice contrast, versus using just Sans or just Serif for text and display on one piece of communication.

prescribed by:

ailment:

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34

refill:

SECTION


Dr. Type

picture perfectCounter The partially or fully enclosed space within a character.


Descender The part of a

character (g, j, p, q, y, and J) that descends below the baseline.

Indentifying Type AnatomyIn typography, a counter or aperture is an area entirely or partially enclosed by a letter form or a symbol (the counter-space/ the hole of ). Letters containing closed counters include A, B, D, O, P, Q, R, a, b, d, e, g, o, p, and q. Letters containing open counters include c, f, h, i, s etc. The digits 0, 4, 6, 8, and 9 also possess a counter.

ge1Indentifying Type Anatomy

prescribed by:

ailment:

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34

refill:

SECTION


Dr. Type

X-height The height of lowercase letters, specifically the lowercase x, not

including ascenders and descenders.


1

Rising HeightsWhen choosing and identifying typefaces, one should always look at the symptoms of Cap Height and X-height. Cap height will give an idea of how tall a typeface reaches. A more generous x-height helps with legibility.

Indentifying Type Anatomyprescribed by:

ailment:

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34

refill:

SECTION


Dr. Type

Week 5

48



’OPTION

SHIFT ] — OPTION

SHIFT HYPHEN

– OPTION HYPHEN




fi OPTION

SHIFT ] ⁄ OPTION


ELLIPSIS BULLET


® OPTION r



CENTS EURO POUNDS




fl

© OPTION g

COPYRIGHT

° OPTION SHIFT 8

DEGREE SYMBOL

™ OPTION 2

OPTION 4 OPTION 3

OPTION C

2

Instant Special Character ReliefAn essential part of healthy typography is using the appropriate punctuation marks and characters where necessary. That can be difficult to do if you do not know how to type them. Here they are in pill form for instant relief.

Daily Keyboard Regimenprescribed by:

ailment:

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34

refill:

SECTION


Dr. Type

Chronic Kerning The process of adjusting the spacing between characters in a proportional font, usually to achieve a visually pleasing result. In a well kerned font, the two-dimensional blank spaces between each pair of characters all have similar area. The related term kern denotes a part of a type letter that overhangs the edge of the type block.

Kerning can be tight or loose, depending on the visual effect desired. HeartBreak


HeartBreak

Space Resuscitation 3prescribed by:

ailment:

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34

refill:

SECTION


Dr. Type

Section 2

KEYBOARD REGIMEN

Hyphens and Dashes

Accent Marks

Special Characters

cc

1 2 3 4 5 6 7 8 910

cc

1 2 3 4 5 6 7 8 910

cc

1 2 3 4 5 6 7 8 910

To type an en dash

Option Hyphen

To type an em dash Shift Option Hyphen

To type a hyphen

Between the 0 and + at the top-right of the keyboard

Em dash —

Twice as long as the en dash—it’s about the size of a capital letter M. Often used in place of parentheses, to indicate an abrupt change in thought, or administered when a period is too strong and a comma too weak.

Hyphen -

Strictly for hyphenating words or to break a word at the end of a line. It’s commonly administered in words like mother-in-law and phone numbers.

En dash –

Approximately the width of a capital letter N in that particular font and size. It is used between words that indicate a duration, such as time or months or years. Administer it where you might otherwise use the word “to.”

Administering DashesWhen people learn to type they learn where all the keys are, but not the punctuation nor how it should be used properly. Here are some tips for how and the correct use of dashes.

2Daily Keyboard Regimenprescribed by:

ailment:

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34

refill:

SECTION


Dr. Type

Week 5

50


Diagnose the Type SymptomsIn typography, letter-spacing, also called tracking, refers to the amount of space between a group of letters to affect density in a line or block of text.



Type Check-Up 4prescribed by:

ailment:

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34

refill:

SECTION


Dr. Type

prescribed by:

ailment:

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34

refill:

SECTION


Dr. Type




Monitor the TrackingIn typography, letter-spacing, also called tracking, refers to the amount of space between a group of letters to affect density in a line or block of text.




ailment:

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34

refill:

SECTION


Dr. Type

Lean on the LeadingIn typography, leading (rhymes with heading) refers to the distance between the baselines of successive lines of type. The term originated in the days of hand-typesetting, when thin strips of lead were inserted into the formes to increase the vertical distance between lines of type. The term is still used in modern page layout software such as QuarkXPress and Adobe InDesign


8pt/9.6pt

















8pt/14pt

8pt/18pt

The greater the leading the lighter the body of text appears visually.


ailment:

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34

refill:

SECTION


Dr. Type

Week 5

52








Tracking:

0

Tracking:

100

Tracking:

200

prescribed by:

ailment:

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34

refill:

SECTION 1


Dr. TypeSpace Resuscitation

OPTION e

OPT

ION ~

OPTION u

OPTION n

OPTIO

N i

How to type in an Accent


To type an accent over a letter in your document, first hold down the Option key and hit the accent character; it looks like nothing happened but the accent mark is now loaded, ready for use. Next, type the character you want under that accent mark; they will then appear together.

prescribed by:

ailment:

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34

refill:

SECTION 1



prescribed by:

ailment:

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34

refill:

SECTION 1



HeartBreak


HeartBreak



prescribed by:

ailment:

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34

refill:

SECTION 1



Color Study 1

Week 5

54








Tracking:

0

Tracking:

100

Tracking:

200

prescribed by:

ailment:

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34

refill:

SECTION 1



OPTION e

OPT

ION ~

OPTION u

OPTION n

OPTIO

N i




prescribed by:

ailment:

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34

refill:

SECTION 1



prescribed by:

ailment:

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34

refill:

SECTION 1



HeartBreak


HeartBreak



prescribed by:

ailment:

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34

refill:

SECTION 1



Color Study 2

Week 5

56








Tracking:

0

Tracking:

100

Tracking:

200

SECTION 2Space Resuscitationprescribed by:

ailment:

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34

refill:


Dr. Type

OPTION e

OPT

ION ~

OPTION u

OPTION n

OPTIO

N i




SECTION 3Daily Keyboard Regimenprescribed by:

ailment:

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34

refill:


Dr. Type

prescribed by:

ailment:

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34

refill:


Dr. Type

HeartBreak


HeartBreak

Chronic Kerning The process of adjusting the spacing between characters in a proportional font, usually to achieve a visually pleasing result. In a well kerned font, the two-dimensional blank spaces between each pair of characters all have similar area. The related term kern denotes a part of a type letter that overhangs the edge of the type block.


SECTION 2Space Resuscitationprescribed by:

ailment:

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34

refill:


Dr. Type

Color Study 3

Week 5

58


• Rework Cover

• Design In-Paper

• Finalize Copy/Content

• Refine Design


Remedies and Regimens for

Healthy Typography

Kristen Youngman

Publishing House Here

Dr. Type

Cover

In-Paper

Week 6

TABLE OF CONTENTS

ANATOMY of TYPE



X-height/Cap Height


Sans and Serifs

KEYBOARD REGIMEN

Administering Hyphens and Dashes

Accent Mark Aversion

Instant Special Character Relief

RESUSCITATE THE SPACE


Kerning

Tracking

Leading

Alignments

Ragging

Widows & Orphans


WARNING:

Failure to use good typography may result

in dizziness, nausea or even death.

SECTION 1 ANATOMY of TYPE

• Internal Typesetting Logic

• Counters/Ascenders/Descenders

• X-height/Cap Height

• How type is measured

• Sans and Serifs

Transfusing Type into Design

How do you transfuse healthy typography in any piece of communication?




Typesetting Vitals:

1. Legibility

2. Logical Order




2. Choose a comfortable measure—that means each line should give enough info but not be so long the user loses their place in the text.

Anatomy of Type prescribed by: ailment:

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34

refill:

SECTION Dr. Type

Counter

The partially or fully enclosed space within a character.

Ascender

The part of a lowercase character (b, d, f, h, k, l, t) that extends above the x-height.

Descender

The part of a character (g, j, p, q, y, and J) that descends

below the baseline.

Indentifying Type AnatomyIn typography, a counter or aperture is an area entirely or partially enclosed by a letter form or a symbol (the counter-space/ the hole of ). Letters containing closed counters include A, B, D, O, P, Q, R, a, b, d, e, g, o, p, and q. Letters containing open counters include c, f, h, i, s etc. The digits 0, 4, 6, 8, and 9 also possess a counter.


1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34

refill:

SECTION Dr. Type

Week 6

62


X-height

The height of lowercase letters, specifically the lowercase x, not including

ascenders and descenders.

Cap Height

The height of capital letters from the baseline to the top of caps, most accurately measured on a character with a flat bottom (E, H, I, etc.).

Rising HeightsWhen choosing and identifying typefaces, one should always look at the symptoms of Cap Height and X-height. Cap height will give an idea of how tall a typeface reaches. A more generous x-height helps with legibility.


1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34

refill:

SECTION Dr. Type

1 2

3 4

5 6

7

8

9

10

11

12

13

14

15

16

17

1 8

1 9

2 0

2 1

2 2

2 3

2 4

2 5

2 6

2 7

2 8

2 9

3 0

3 1

3 2

3 3

3 4

How Type is measured

Ems Picas Points

A pica (pronounced /ˈpaˈkˈ/) is a typographic unit of measure corresponding to 1/72nd of its respective foot, and therefore to 1/6th of an inch. The pica contains 12 point units of measure.

Cascading Style Sheets defined by the World Wide Web use “pc’ for the abbreviation for pica.

pt: points -- the points used by Adobe CS are equal to 1/72nd of an inch.

pc: picas -- 1 pica is equal to 12 points.

Sans Serif

A typeface is one that does not have the small features called “serifs” at the end of strokes. The term comes from the Latin word “sine”, via the French word sans, meaning “without”.

San Serif

Unbandaging Sans and SerifsSerif typefaces evolved from handwritten fonts and they are known for setting copy better because the serifs act as a horizontal guide for the reader’s eye.

Sans Serif typefaces are more geometrically based and are commonly used for display text because they can be set tighter which makes the negative space look better.

There’s no rule, but pairing a Sans with a Serif typeface usually adds a nice contrast, versus using just Sans or just Serif for text and display on one piece of communication.


1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34

refill:

SECTION Dr. Type

Serif

The projections extending off the main strokes of the characters of serif typefaces. Serifs come in two styles: bracketed and unbracketed. Brackets are the supportive curves which connect the serif to the stroke. Unbracketed serifs (also known as slab serifs) are attached sharply, and usually at 90 degree angles.

Bracketed Serif

Unbracketed Serif


1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34

refill:

SECTION Dr. Type

Week 6

64


EDGEedge

Uppercase VS. LowercaseUsing all Uppercase or Capitals orginated as a way to make words stand out on the typewriter. Since we have other options like making the text larger, bolder, etc using all caps isn’t needed to make something noticeable.

When making the choice stylistically you should know that many studies have shown that all caps are harder to read. We recognize words not only by their letter groups but also by their shape, aka. their edge or “coastline.” When a word is all caps we have to read it letter by letter which takes longer.

To see how powerful the edges can be see if you can read the following phrase made strictly of shapes.

What’s up doc?

prescribed by: ailment:

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34

refill:

SECTION Dr. TypeAnatomy of Type


’OPTION

SHIFT ] — OPTION

SHIFT HYPHEN

– OPTION HYPHEN




fi OPTION

SHIFT ] ⁄ OPTION


ELLIPSIS BULLET


® OPTION r



CENTS EURO POUNDS




fl

© OPTION g

COPYRIGHT

° OPTION SHIFT 8

DEGREE SYMBOL

™ OPTION 2

OPTION 4 OPTION 3

OPTION C

Instant Special Character ReliefAn essential part of healthy typography is using the appropriate punctuation marks and characters where necessary. That can be difficult to do if you do not know how to type them. Here they are in pill form for instant relief.

Keyboard Regimenprescribed by: ailment:

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34

refill:

SECTION Dr. Type

To ty

pe a

hyp

hen

Bet

wee

n th

e 0

and

+ at

the

top-

righ

t of t

he k

eybo

ard

Hyphen -


Administering Hyphens and DashesWhen people learn to type they learn where all the keys are, but not the punctuation nor how it should be used properly. Here are some tips for how and the correct use of dashes.

Keyboard Regimenprescribed by: ailment:

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34

refill:

SECTION Dr. Type

To type an en dash

Option Hyphen

Em dash —


En dash –


Keyboard Regimen

To type an em dash

Shift Option Hyphen

prescribed by: ailment:

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34

refill:

SECTION Dr. Type

Week 6

66


OPTION e

OPT

ION ~

OPTION u

OPTION n

OPTION i

Accent AversionsThe accent marks are all hidden on the Option keyboard. First find out which letter is hiding the accent mark; typically it’s the character with which the accent mark is most likely to be used.


Chronic Kerning The process of adjusting the spacing between characters to achieve a visually pleasing result is kerning. In a well-kerned font, the two-dimensional blank spaces between each pair of characters all visually have the same area. Use your eye to see what’s right instead of the computer.

Turn the word upside down to help analyze if the negative space between letters is proportionate.

WASH

Some guidelines for kerning:

HL Characters with verticals next to each other need the most amount of space, this can be a useful guideline for how the rest of the letter spacing should be.

HO A vertical next to a curve needs less space.

OC A curve next to a curve needs very little space.

OT A curve can actually overlap into white space under or above the bar or steam of a character.

AT The closet kerning is done where both letters have a lot of white space around them.

Space Resuscitationprescribed by: ailment:

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34

refill:

SECTION Dr. Type

Tracking:

100

Tracking:

200

Tracking:

0

Will someone please call a surgeon

Who can crack my ribs and repair this broken heart

That you’re deserting for better company?

Wil l someone please cal l a surgeon

Who can crack my r ibs and repair this broken hear t

That you’re deser t ing for better company?

W i l l s o m e o n e p l e a s e c a l l a s u r g e o n

W h o c a n c r a c k m y r i b s a n d r e p a i r t h i s b r o k e n h e a r t

T h a t y o u ’ r e d e s e r t i n g f o r b e t t e r c o m p a n y ?





1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34

refill:

SECTION Dr. Type

Lean on the LeadingIn typography, leading (rhymes with heading) refers to the distance between the baselines of successive lines of type. The term originated in the days of hand-typesetting, when thin strips of lead were inserted into the formes to increase the vertical distance between lines of type. The term is still used in modern page layout software such as QuarkXPress and Adobe InDesign.


8pt/9.6pt

















8pt/14pt

8pt/18pt

The greater the leading the lighter the body of text appears visually.


1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34

refill:

SECTION Dr. Type

Week 6

68


Flush Left

Text is aligned along the left margin or gutter, also known as left-aligned or ragged right.

Flush Right

Text is aligned along the right margin or gutter, also known as

right-aligned or ragged left.

Justified

Text is aligned along the left margin, and letter- and word-spacing is adjusted so that the text falls flush with both margins

Centered

text is aligned to neither left nor right margin; there is an even gap on each

side of each line

Proper AlignmentIn typesetting and page layout, alignment or range, is the setting of text flow or image placement relative to a page, column (measure), table cell or tab.

There are four basic typographic alignments. Note that alignment does not change the direction the text is read; however text direction may determine the most commonly used alignment for that script.


1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34

refill:

SECTION Dr. Type


In languages that read text right-to-left, such as Arabic and Hebrew, text is commonly aligned ‘flush right’. Additionally, it is used to set off special text in English such as attributions to authors of quotes in printed books and magazines, and common when formatting tables of data.

Justified

Common in print media, ‘justification’ is where the spaces between words, and sometimes glyphs or letters, are stretched or compressed to align both the left and right ends of each line of text. It is customary to treat the last line of a paragraph separately by left or right aligning it, depending on the language direction. Lines in which the spaces have been stretched beyond their normal width are called loose lines, while those whose spaces have been compressed are called tight lines.



Centered

Text can be ‘centered’, or symmetrically aligned along an axis in the middle of a column. Common uses are for the title of a work, poems, songs and to present data in tables. It is considered less readable for a body of text made up of multiple lines because the ragged starting edges make it difficult for the reader to track from one line to the next.


1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34

refill:

SECTION Dr. Type

Softer Rag

Harder Rag

RagsIn typography, “rag” refers to the irregular or uneven vertical margin of a block of type. Usually it’s the right margin that’s ragged (as in the commonly seen flush left/rag right setting), but either or both margins can be ragged.

When setting type with a ragged margin, pay attention to the shape that the ragged line endings make. A good rag goes in and out from line to line in small increments. A poor rag creates distracting shapes of white space in the margin. Don’t rely on the line breaks generated by your software application; get in the habit of spotting and correcting poor rags by making manual line breaks or by editing your copy. Slight adjustments in point size or column width might work as well.


1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34

refill:

SECTION Dr. Type

Hanging the punctuation

In typography, letter-spacing, also called tracking, refers to the amount of space between a group of letters to affect density in a line or block of text.



1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34

refill:

SECTION Dr. Type

Week 6

70


• Rework Copy/Content

• Refine Design

Week 7 : december 02, 2010

Kristen Youngman

Type has no beauty on the inside so the outside better be damn perfect.

The doctor will see you now.

Show stitched up Type here

Week 7

THE GUTS

TYPE ANATOMY



X-height/Cap Height


Sans and Serifs

KEYBOARD REGIMEN

Administering Hyphens and Dashes

Accent Mark Aversion

Instant Special Character Relief

RESUSCITATING SPACE


Kerning

Tracking

Leading

Alignments

Ragging

Widows & Orphans


WARNING:



SECTION 1 Type Anatomy

• Identifying Type

• Rising Heights

• How type is measured

• Sheering Sans

• Shaving Serifs

Counter

The partially or fully enclosed space within a character.

Ascender

The part of a lowercase character (b, d, f, h, k, l, t) that extends above the x-height.

Descender

The part of a character (g, j, p, q, y, and J) that descends below the baseline.

Indentifying TypeKnowing how to identify the parts of letters is essential because it is these parts that change and identify each typeface. Counters may be large or small, while ascenders and descenders can be tall or short.

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34

10

Dr. Type: TYPE ANATOMY

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34

X-height

The height of lowercase letters, specifically the lowercase x, not including ascenders and descenders.

Cap Height

The height of capital letters from the baseline to the top of caps, most accurately measured on a character with a flat bottom (E, H, I, etc.).

Rising HeightsWhen choosing and identifying typefaces,diagnose the Cap Height and X-height. Cap height will give an idea of how tall a typeface reaches. A more generous x-height helps with legibility, but may take up more room per line.

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34

12


1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34

Week 7

74


1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34

How Type is measuredType is measured in points but what you really need to learn is how different weights and sizes give different emphasis to what you are trying to say. A fat typeface will appear solid but heavy while a light typeface seems slender and nimble.

CATWALK WIDELOAD

Sans Serif

A typeface is one that does not have the small features called “serifs” at the end of strokes. The term comes from the Latin word “sine”, via the French word sans, meaning “without”.

Sheering SansSans Serif typefaces are more geometrically based and are commonly used for display text because they can be set tighter which makes the negative space look better. They tend to be sleeker and more modern-looking than serifs.

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34

16


1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34

Bracketed Serif

Unbracketed Serif

Serif

The projections extending off the main strokes of the characters of serif typefaces. Serifs come in two styles: bracketed and unbracketed. Brackets are the supportive curves which connect the serif to the stroke. Unbracketed serifs (aka. slab serifs) are attached sharply, and usually at 90 degree angles.

Shaving SerifsSerif typefaces can be very elegant or more formal. They are known for setting copy better because the serifs act as a horizontal guide for the reader. Pairing a Sans with a Serif typeface adds a nice contrast, versus using just one.

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34

18


1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34


What’s up doc?

Uppercase VS. LowercaseUsing all caps can look great but it is slightly harder to read because your eye reads groups of letters faster than each letter alone. Like trying to figure out if a flat-chested person is male or female, a busty woman is obvious.

We recognize words not only by their letter groups but also by their shape, aka. their edge or “coastline.”

When a word is all caps we have to read it letter by letter which takes longer.

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34

20


1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34

Week 7

76


WARNING:



WARNING:



SECTION 2 Keyboard Regimen

• Dash Injections

• Instant Character Poppers

• Accent Addiction

To ty

pe a

hyp

hen

Bet

wee

n th

e 0

and

+ at

the

top-

righ

t of t

he k

eybo

ard

Hyphen -


Dash InjectionsLike a face without Botox, misplaced dashes are unsightly and will give the wrong impression. Here are some tips for how to type and correctly use dashes. Injecting the right line makes your text mean the right thing and is easy on the eye.

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34

24

Dr. Type: KEYBOARD REGIMEN

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34

To type an en dash Option Hyphen

Em dash —


En dash –



1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34

26


1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34


’OPTION

SHIFT ] — OPTION

SHIFT HYPHEN

– OPTION HYPHEN




fi OPTION

SHIFT 5 ⁄ OPTION

SHIFT 1OPTION SHIFT 6

ELLIPSIS BULLET


® OPTION r



CENTS EURO POUNDS




© OPTION g

COPYRIGHT

° OPTION SHIFT 8

DEGREE SYMBOL

™ OPTION 2

OPTION 4 OPTION 3

OPTION C

Instant Character PoppersAn essential part of healthy typography is using the appropriate punctuation marks and characters where necessary. That can be difficult to do if you do not know how to type them. Here they are in pill form for instant relief.

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34

28


1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34

Week 7

78


OPTION e

OPT

ION ~

OPTION u

OPTION n

OPTIO

N i

Accent AddictionThe accent marks are hidden on the Option keyboard. But once you start using them you’ll never go back. They make your text sexier, more cultured and well-spoken. Don’t be bum, everyone is doing it. Hit Option E - the first one is free.

To type an accent over a letter, first hold down the Option key and hit the accent character; it looks like nothing happened but the accent mark is now loaded, ready for use. Next, type the character you want under that accent mark; they will then appear together.

WARNING:



SECTION 3 Space Resuscitation

• Kern out the Fat

• Loose Leading

• Proper Alignment

• Hanging the Punctuation

Kern out the Fat The process of adjusting the spacing between characters to achieve a visually pleasing result is kerning. Like Lipo, removing extra space between letters that are open makes the shape the of word fit better and appear tighter.


Some guidelines for kerning: HL Characters with verticals next to each other need the

most amount of space, this can be a useful guideline for how the rest of the letter spacing should be.





Space Resuscitation1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34

34

Dr. Type: RESUSCITATING SPACE

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34

Week 7

80


• Finalize Copy/Content

• Refine Design


“Type has no beauty on the inside so the outside better be damn perfect.

The doctor will see you now.”

Week 8

A surgically-enhanced guide to typography.

Dr. Type


San Francisco, CA

Copyright © 2010 by Kristen Youngman All rights reserved.

Content and research gathered from the following sources: The Mac is not a Typewriter, Robin Williams The Elements of Typographic Style, Robert Bringhurst The Complete Manual of Typography, Frank Romano

For my parentswho always taught me to love beyond the surface

level and feel what’s inherently right in your heart.

THE GUTS

TYPE ANATOMYIdentifying Type

Rising Heights


Shaving Serifs

Sheering Sans

KEYBOARD REGIMENDash Injections

Accent Addiction

Instant Character Poppers

RESUSCITATING SPACEUppercase vs Lowercase

Kern Out the Fat

Stitching Up Leading

WARNING:





• Rising Heights

• How Type is Measured

• Shaving Serifs

• Sheering Sans

Week 8

84





Indentifying TypeLike features on a face, each part of a letter contributes to its overall appearance. Small counters may be considered undesirable as beedy eyes because it may be difficult to read on smaller type. But when line space is tight, smaller counters help.

Ascenders and descenders are as distinguishing as someone’s nose. Small, short lengths are like tight noses —popular because they allow other features to be noticed and don’t stick out. Yet others consider big noses and tall letters a sign of success.

1 2

3 4

5 6

7 8

9 10

11 12

13 14

15 16

17 18

19 20

21 22

23 24

25 26

27 28

29 30

31 32

33 34

8




Rising HeightsWhen choosing and identifying typefaces, diagnose the Cap Height and X-height. Cap height shows how tall a typeface reaches from the baseline (the invisible line letters sit on). It also acts as a ceiling for top-aligned characters such as footnotes.

X-height is the distance from the baseline to the mean line and is used as a gauge because it has both a flat top and bottom. A more generous x-height helps with legibility so type with larger x-heights are preferred for text set for the computer screen.

1 2

3 4

5 6

7 8

9 10

11 12

13 14

15 16

17 18

19 20

21 22

23 24

25 26

27 28

29 30

31 32

33 34

10


1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34

How Type is MeasuredType is measured in points but what you really need to learn is how different weights and sizes give different emphasis to what you are trying to say. A fat typeface will appear solid but heavy while a light typeface seems slender and nimble.

Typefaces range from Very Light to Regular to Black: Very Light being the sleek model who under the wrong light appears anorexic and practically disappears; Black being the large loud person that can’t be ignored because they’ve blocked the door.

How Type is measuredEms Picas Points

A pica (pronounced /ˈpaˈkˈ/) is a typographic unit of measure corresponding to 1/72nd of its respective foot, and therefore to 1/6th of an inch. The pica contains 12 point units of measure.

Cascading Style Sheets defined by the World Wide Web use “pc’ for the abbreviation for pica.

CATWALK WIDELOAD

Bracketed Serif

Unbracketed Serif

Serif The projections extending off the main strokes of the characters of serif typefaces. Serifs come in two styles: bracketed and unbracketed. Brackets are the supportive curves which connect the serif to the stroke. Unbracketed serifs (aka. slab serifs) are attached sharply, and usually at 90 degree angles.

Shaving SerifsSerifs are the marks at the end of strokes. When figuring out which typeface is best cut out for the job at hand consider the function of the text. Many studies have shown serif type is more readable in extended text than sans serif.

A suggestion for this readability conclusion is that serifs act as a horizontal guide that leads the reader’s eye along the line of text. Serif can also handle more words per line (about ten to twelve) so it is the preferred choice for setting main body copy.

1 2

3 4

5 6

7 8

9 10

11 12

13 14

15 16

17 18

19 20

21 22

23 24

25 26

27 28

29 30

31 32

33 34

14


Week 8

86


Sans Serif A typeface is one that does not have the small features called “serifs” at the end of strokes. The term comes from the Latin word “sine”, via the French word sans, meaning “without”.

Sheering SansSans serif typefaces have no marks at the end of each stroke and are commonly used for display or headline text because they have been shown to be more legible. Legibility has to do with character recognition instead of reading large blocks of text.

When using sans serif in text, slice the line to a shorter length with no more than seven to eight words per line. Avoid manipulating the type style in ways that would make it less readable (few uses of bold, italic, outlined or shadowed).

1 2

3 4

5 6

7 8

9 10

11 12

13 14

15 16

17 18

19 20

21 22

23 24

25 26

27 28

29 30

31 32

33 34

16


WARNING:



HIGHLY ADDICTIVE SUBSTANCESOnce exposed to the proper use of characters discontinued use proves difficult.


• Dash Injections



To ty

pe a

hyp

hen

B

etw

een

the

0 an

d +

at th

e to

p-ri

ght o

f the

key

boar

d

Hyphen -Strictly for hyphenating words or to break a word at the end of a line. It’s commonly administered in words like mother-in-law and phone numbers.

Dash InjectionsLike a face without Botox, misplaced dashes are unsightly and will give the wrong impression. Here are some tips for how to type and correctly use dashes. Injecting the right line makes your text mean the right thing and is easy on the eye.

If you have the bad habit of using a double hyphen to indicate a dash these injections will cure you of having to do so. That habit must be eradicated. It is a typewriter convention where there were no em and en dashes available. There’s no excuse on a mac.


1 2

3 4

5 6

7 8

9 10

11 12

13 14

15 16

17 18

19 20

21 22

23 24

25 26

27 28

29 30

31 32

33 34

20

To type an en dash Option Hyphen

Em dash — Twice as long as the en dash—it’s about the size of a capital letter M. Often used in place of parentheses, to indicate an abrupt change in thought, or administered when a period is too strong and a comma too weak.

En dash – Approximately the width of a capital letter N in that particular font and size. It is used between words that indicate a duration, such as time or months or years. Administer it where you might otherwise use the word “to.”



1 2

3 4

5 6

7 8

9 10

11 12

13 14

15 16

17 18

19 20

21 22

23 24

25 26

27 28

29 30

31 32

33 34

22

Week 8

88


“ OPTION [ ” OPTION SHIFT [ ‘ OPTION ]

’ OPTION

SHIFT ] — OPTION

SHIFT HYPHEN

– OPTION HYPHEN




fi OPTION

SHIFT 5 ⁄ OPTION


ELLIPSIS BULLET


® OPTION r



CENTS EURO POUNDS




© OPTION g

COPYRIGHT

° OPTION SHIFT 8

DEGREE SYMBOL

™ OPTION 2

OPTION 4 OPTION 3

OPTION C

Instant Character PoppersAn essential part of healthy typography is using the appropriate punctuation marks and characters where necessary. That can be difficult to do if you do not know how to type them. Here they are in pill form for instant relief.

Keyboard Viewer and Character DosesMacs help the professional typesetter by making it easy to access a visual representation of the keyboard (Keyboard viewer)to show the characters loaded with each typeface and through the Characters Palette. Find them in Preferences > International.


1 2

3 4

5 6

7 8

9 10

11 12

13 14

15 16

17 18

19 20

21 22

23 24

25 26

27 28

29 30

31 32

33 34

24

OPTION e

OPT

ION ~

OPTION u

OPTION n

OPTIO

N i

Accent AddictionThe accent marks seem elusive at first because they are hidden on the Option keyboard. But once you start using them you’ll never go back. They make your text sexier, more cultured, well-spoken and most importantly spelled correctly.

The trick is to first find out which key supplies the accent mark. Typically it’s the character with which the accent mark is most likely to be used. Don’t be a bum, everyone is doing it. Hit Option E and then E again for a taste, the first one is free.

To type an accent over a letterFirst hold down the Option key and hit the accent character; it looks like nothing happened but the accent mark is now loaded, ready for use. Next, type the character you want under that accent mark; they will then appear together.

WARNING:



HIGHLY ADDICTIVE SUBSTANCE:Once exposed to the proper use of characters discontinued use proves difficult.

CONSULT A DESIGNER if you experience discomfort or pain from bad typography. To alleviate, discontinue reading until corrections can be made.

SECTION 3 Space Resuscitation

• Uppercase vs Lowercase

• Kern Out the Fat

• Stitching Up Leading


What’s up doc?

Uppercase VS. LowercaseUsing all caps can look great but many studies have shown that they are harder to read because your eye reads groups of letters faster than each letter alone. Like trying to figure out if a flat-chested person is male or female, a busty woman is obvious.

Other things to consider when choosing all caps for the sake of the design: They take up more space compared to achieving the same emphasis by bolding or increasing the size of lowercase. Some typefaces look terrible set in all caps like cursive italics.

We recognize words not only by their letter groups but also by their shape, aka. their edge or “coastline.”

When a word is written in all caps we have to read it letter by letter instead of by groups which takes longer.

1 2

3 4

5 6

7 8

9 10

11 12

13 14

15 16

17 18

19 20

21 22

23 24

25 26

27 28

29 30

31 32

33 34

30


Week 8

90


COLOPHON:

This book is set in Meta Plus and designed

in Adobe InDesign. All illustrations are

originals by Kristen Youngman, executed in

Adobe Illustrator. Published on Julia Press. Bound by Herring & Robinson Bookbinders.

Academy of Art University San Francisco, CA 94105

Kern Out the Fat The process of adjusting the spacing between characters to achieve a visually consisent, pleasing result is kerning. Like Lipo, removing extra space between letters makes the shape the of word appear balanced and fit together better overall.

Some spaces appear larger as the computer distributes the same space between round or angled letters. These are target areas for undergoing the kerning procedure. The secret to kerning is that it must be performed to be visually pleasing to the eye.


Some guidelines for kerning: HL Characters with verticals next to each other need the

most amount of space, this can be a useful guideline for how the rest of the letter spacing should be.





1 2

3 4

5 6

7 8

9 10

11 12

13 14

15 16

17 18

19 20

21 22

23 24

25 26

27 28

29 30

31 32

33 34

32


Stitching Up LeadingThe space between baselines of type is what holds a paragraph together like stitches sealing a wound. Called leading (rhymes with heading), it’s based on hand-set type days when thin strips of lead were inserted to create space between each line of text.

No one wants visual scaring when looking at a block of text so consider this: Proper leading is barely noticeable, holding the text together nicely. Leading that is too loose can feel like each line of type will break away. Too tight leading just looks messy.

I’m a Barbie girl in the Barbie worldLife in plastic, it’s fantasticYou can brush my hair, undress me everywhereImagination, life is your creation

I’m a blonde single girl in the fantasy worldDress me up, take your time, I’m your dollieYou’re my doll, rock and roll, feel the glamour and painKiss me here, touch me there, hanky-panky



The greater the leading the lighter the body of text appears visually, but be careful your text doesn’t come apart.

6pt/7.2 (20% is auto-leading)

(negative leading can lead to ascenders and descenders crashing into each other)

I’m a Barbie girl in the Barbie world

Life in plastic, it’s fantastic

You can brush my hair, undress me everywhere

Imagination, life is your creation

I’m a blonde single girl in the fantasy world

Dress me up, take your time, I’m your dollie

You’re my doll, rock and roll, feel the glamour and pain

Kiss me here, touch me there, hanky-panky

8pt/18pt

6pt/5pt

1 2

3 4

5 6

7 8

9 10

11 12

13 14

15 16

17 18

19 20

21 22

23 24

25 26

27 28

29 30

31 32

33 34

34


Week 8

92


• Last Sami Tweaks

• Take to Bindery!


“Type has no beauty on the inside so the outside better be damn perfect.

The doctor will see you now.”

Dr. Type

Week 9

A Surgically-Enhanced Guide to Typography

Dr. Type


San Francisco, CA

Copyright © 2010 by Kristen Youngman All rights reserved.

Content and research gathered from the following sources: The Mac is Not a Typewriter, Robin Williams The Elements of Typographic Style, Robert Bringhurst The Complete Manual of Typography, Frank Romano

For My Parents

who always taught me to love beyond the surface and feel what’s right in your heart

THE GUTS

Type AnatomyIdentifying Type

Rising Heights

How Type is Measured

Shaving Serifs

Sheering Sans

Keyboard RegimenDash Injections

Accent Addiction


Resuscitating SpaceUppercase vs. Lowercase

Kern Out the Fat


WARNING:





• Rising Heights

• How Type is Measured

• Shaving Serifs

• Sheering Sans

Week 9

96


1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34

How Type is Measured

Type is measured in points but what you really need to learn is how different weights and sizes give different emphasis to what you are trying to say. A fat typeface will appear solid but heavy while a light typeface seems slender and nimble.

Typefaces range from Very Light to Regular to Black: Very Light being the sleek model who under the wrong light appears anorexic and practically disappears; Black being the large loud person that can’t be ignored because they’ve blocked the door.

CATWALK WIDELOAD

Bracketed Serif

Unbracketed Serif

Serif The projections extending off the main strokes of the characters of serif typefaces. Serifs come in two styles: bracketed and unbracketed. Brackets are the supportive curves which connect the serif to the stroke. Unbracketed serifs (aka. slab serifs) are attached sharply, and usually at 90 degree angles.

Shaving Serifs

Serifs are the marks at the end of strokes. When figuring out which typeface is best cut out for the job at hand consider the function of the text. Many studies have shown serif type is more readable in extended text than sans serif.

A suggestion for this readability conclusion is that serifs act as a horizontal guide that leads the reader’s eye along the line of text. Serif can also handle more words per line (about ten to twelve) so it is the preferred choice for setting main body copy.

1 2

3 4

5 6

7 8

9 10

11 12

13 14

15 16

17 18

19 20

21 22

23 24

25 26

27 28

29 30

31 32

33 34

14





Indentifying Type

Like features on a face, each part of a letter contributes to its overall appearance. Small counters may be considered undesirable as beedy eyes because it may be difficult to read on smaller type. But when line space is tight, smaller counters help.

Ascenders and descenders are as distinguishing as someone’s nose. Small, short lengths are like tight noses—popular because they allow other features to be noticed and don’t stick out. Yet others consider big noses and tall letters a sign of success.

1 2

3 4

5 6

7 8

9 10

11 12

13 14

15 16

17 18

19 20

21 22

23 24

25 26

27 28

29 30

31 32

33 34

8




Rising Heights

When choosing and identifying typefaces, diagnose the Cap Height and X-height. Cap height shows how tall a typeface reaches from the baseline (the invisible line letters sit on). It also acts as a ceiling for top-aligned characters such as footnotes.

X-height is the distance from the baseline to the mean line and is used as a gauge because it has both a flat top and bottom. A more generous x-height helps with legibility so type with larger x-heights are preferred for text set for the computer screen.

1 2

3 4

5 6

7 8

9 10

11 12

13 14

15 16

17 18

19 20

21 22

23 24

25 26

27 28

29 30

31 32

33 34

10


Week 9

98


To T

ype

a H

yphe

n

Bet

wee

n th

e 0

and

+ at

the

top

-rig

ht o

f the

key

boar

d

Hyphen -Strictly for hyphenating words or to break a word at the end of a line. It’s commonly administered in words like mother-in-law and phone numbers.

Dash Injections

Like a face without Botox, misplaced dashes are unsightly and will give the wrong impression. Here are some tips for how to type and correctly use dashes. Injecting the right line makes your text mean the right thing and is easy on the eye.

If you have the bad habit of using a double hyphen to indicate a dash these injections will cure you of having to do so. That habit must be eradicated. It is a typewriter convention from when there were no em and en dashes available. There’s no excuse on a mac.


1 2

3 4

5 6

7 8

9 10

11 12

13 14

15 16

17 18

19 20

21 22

23 24

25 26

27 28

29 30

31 32

33 34

20

To Type an En Dash Option Hyphen

Em Dash — Twice as long as the en dash—it’s about the size of a capital letter M. Often used in place of parentheses, to indicate an abrupt change in thought, or administered when a period is too strong and a comma too weak.

En Dash – Approximately the width of a capital letter N in that particular font and size. It is used between words that indicate a duration, such as time or months or years. Administer it where you might otherwise use the word “to.”

To Type an Em Dash Shift Option Hyphen


1 2

3 4

5 6

7 8

9 10

11 12

13 14

15 16

17 18

19 20

21 22

23 24

25 26

27 28

29 30

31 32

33 34

22

Sans Serif A typeface that does not have the small features called “serifs” at the end of strokes. The term comes from the Latin word “sine”, via the French word sans, meaning “without.”

Sheering Sans

Sans serif typefaces have no marks at the end of each stroke and are commonly used for display or headline text because they have been shown to be more legible. Legibility has to do with character recognition instead of reading large blocks of text.

When using sans serif in text, slice the line to a shorter length with no more than seven to eight words per line. Avoid manipulating the type style in ways that would make it less readable (few uses of bold, italic, outlined or shadowed).

1 2

3 4

5 6

7 8

9 10

11 12

13 14

15 16

17 18

19 20

21 22

23 24

25 26

27 28

29 30

31 32

33 34

16


WARNING:



HIGHLY ADDICTIVE SUBSTANCESOnce exposed to the proper use of characters discontinued use proves difficult.


• Dash Injections



Week 9

100


WARNING:



HIGHLY ADDICTIVE SUBSTANCE:Once exposed to the proper use of characters discontinued use proves difficult.

CONSULT A DESIGNER if you experience discomfort or pain from bad typography. To alleviate, discontinue reading until corrections can be made.

SECTION 3 Resuscitating Space

• Uppercase vs Lowercase

• Kern Out the Fat

• Stitching Up Leading


What’s up doc?

Uppercase vs. Lowercase

Using all caps can look great but many studies have shown that they are harder to read because your eye reads groups of letters faster than each letter alone. Like trying to figure out if a flat-chested person is male or female, a busty woman is obvious.

Other things to consider when choosing all caps for the sake of the design: They take up more space compared to achieving the same emphasis by bolding or increasing the size of lowercase. Some typefaces look terrible set in all caps, like cursive italics.

We recognize words not only by their letter groups but also by their shape, (aka. their edge or “coastline”).

When a word is written in all caps we have to read it letter by letter instead of by groups which takes longer.

1 2

3 4

5 6

7 8

9 10

11 12

13 14

15 16

17 18

19 20

21 22

23 24

25 26

27 28

29 30

31 32

33 34

30



’ OPTION

SHIFT ] — OPTION

SHIFT HYPHEN

– OPTION HYPHEN




fi OPTION

SHIFT 5 ⁄ OPTION


ELLIPSIS BULLET


® OPTION r



CENTS EURO POUNDS




© OPTION g

COPYRIGHT

° OPTION SHIFT 8

DEGREE SYMBOL

™ OPTION 2

OPTION 4 OPTION 3

OPTION C


’ OPTION

SHIFT ] — OPTION

SHIFT HYPHEN

– OPTION HYPHEN




fi OPTION

SHIFT 5 ⁄ OPTION


ELLIPSIS BULLET


® OPTION r



CENTS EURO POUNDS




© OPTION g

COPYRIGHT

° OPTION SHIFT 8

DEGREE SYMBOL

™ OPTION 2

OPTION 4 OPTION 3

OPTION C


An essential part of healthy typography is using the appropriate punctuation marks and characters where necessary. That can be difficult to do if you do not know how to type them. Here they are in pill form for instant relief. Repeat as often as needed.

Keyboard Viewer and Character Doses

Macs help the professional typesetter by making it easy to access a visual representation of the keyboard (Keyboard Viewer)to show the characters loaded with each typeface and through the Characters Palette. Find them in Preferences > International.


1 2

3 4

5 6

7 8

9 10

11 12

13 14

15 16

17 18

19 20

21 22

23 24

25 26

27 28

29 30

31 32

33 34

24

OPTION e

OPT

ION ~

OPTION u

OPTION n

OPTIO

N i

Accent Addiction

The accent marks seem elusive at first because they are hidden on the Option keyboard. But once you start using them you’ll never go back. They make your text sexier, more cultured, well-spoken and most importantly spelled correctly.

The trick is to first find out which key supplies the accent mark. Typically it’s the character with which the accent mark is most likely to be used. Don’t be a bum, everyone is doing it. Hit Option E and then E again for a taste, the first one is free.

To Type an AccentFirst hold down the Option key and hit the accent character; it looks like nothing happened but the accent mark is now loaded, ready for use. Next, type the character you want under that accent mark; they will then appear together.

Week 9

102


Kern Out the Fat

The process of adjusting the spacing between characters to achieve a visually consisent, pleasing result is kerning. Like Lipo, removing extra space between letters makes the shape the of word appear balanced and fit together better overall.

Some spaces appear larger as the computer distributes the same space between round or angled letters. These are target areas for undergoing the kerning procedure. The secret to kerning is that it must be performed to be visually pleasing to the eye.


Some Guidelines for Kerning:

HL Characters with verticals next to each other need the most amount of space, this can be a useful guideline for how the rest of the letter spacing should be.





1 2

3 4

5 6

7 8

9 10

11 12

13 14

15 16

17 18

19 20

21 22

23 24

25 26

27 28

29 30

31 32

33 34

32



The space between baselines of type is what holds a paragraph together like stitches sealing a wound. Called leading (rhymes with heading), it’s from hand-set type days when thin strips of lead were inserted to create space between each line of text.

No one wants visual scaring when looking at a block of text so consider this: Proper leading is barely noticeable, holding the text together nicely. Leading that is too loose can feel like each line of type will break away. Too tight leading just looks messy.





The greater the leading the lighter the body of text appears visually, but be careful your text doesn’t come apart.

6pt/7.2 (20% is auto-leading)

(negative leading can lead to ascenders and descenders crashing into each other)

I’m a Barbie girl in the Barbie world

Life in plastic, it’s fantastic

You can brush my hair, undress me everywhere

Imagination, life is your creation

I’m a blonde single girl in the fantasy world

Dress me up, take your time, I’m your dollie

You’re my doll, rock and roll, feel the glamour and pain

Kiss me here, touch me there, hanky-panky

8pt/18pt

6pt/5pt

1 2

3 4

5 6

7 8

9 10

11 12

13 14

15 16

17 18

19 20

21 22

23 24

25 26

27 28

29 30

31 32

33 34

34


Colophon:

This book is set in Meta Plus and designed

in Adobe InDesign. All illustrations are

originals by Kristen Youngman, executed in

Adobe Illustrator. Published on Julia Press. Bound by Herring & Robinson Bookbinders.

Academy of Art University San Francisco, CA 94105

Week 9

104


Documents

Process Book: Dr. Type