Typography Review

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    Review of

    TypographyBasics

    P2011 Carlo Mostacci

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    1

    Typeface Categories

    There are many categories o typeaces, but or all

    practical purposes these ve are the most important.

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    Ascenders & Descenders

    GraphicsDescenderLine

    UpperShoulder

    LowerShoulder

    Ascender: extension o a lowercase letterabovethe x-height.

    Descender: extension o a lowercase letterbelowthe x-height.

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    3

    Points, Picas & Inches

    12 24 36 48 60

    One Inch = 6 Picas 1 Pica = 12 Points One Inch = 72 Points

    Remember:1 Picas = 1p6=1.5p

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    4

    Type Size

    HELVETICA TIMES

    Ehxg84

    Ehxg84

    Descender LineBaseline

    Cap Line

    0

    12

    24

    36

    48

    60

    72

    84

    0

    12

    24

    36

    48

    60

    72

    84

    x-heightTypeBody

    TheType Sizeo any ont is thedistance o the

    type body; this encompasses the Shoulders,

    Cap Line, X-height and Descender Line.

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    5

    Leading & Tracking

    0 tracking

    18 pt. leading

    28 pt. leading

    38 pt. leading-5/1000 em tracking

    -15/1000 em tracking

    Tracking & Leading Examples

    Tracking & Leading Examples

    Tracking & Leading Examples

    Tracking & Leading Examples

    Trackingis the technical term or space adjustment betweenmore than two letters.

    Leadingis the distance o type rom baseline to baseline.

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    Kerning

    Technically speaking, the termkerning describes

    the removal o space between two lettersto give

    them visual harmony.

    No Kerning Kerning Applied

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    Kerning UnitsEm Quad

    2500 500 750 1000

    SEGMENTS

    00

    Kerning & Trackingis measured in specied increments o anEm Quad.

    AnEm Quadis asquare measure o the point sizein use.

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    8

    Uppercase & Lowercase

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    How Do We Read?

    THE PEOMNNEHAL PWEOR

    OF THE HMUAN MNID

    Rscheearch dnoe at Cmabrigde Uinervtisy has sowhn

    taht the oredr of ltteers in a wrod desont mttaer the

    olny iprmoatnt tihng is taht the frist and lsat ltteer in the

    wrod be in the rghit pclae. The rset of the wrod can be

    a taotl mses, but you can sitll raed it wtih ltilte ditcfuly.

    Tihs is bcuseae the huamn mnid deos not raed ervey

    lteter in a wrod by istlef, but rtaher itnrerepts the wrod as

    a wlohe igmae.

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    10

    Typography & Impact

    A Knowledge o typography will aord us many

    ways o communicating a thoughteach giving

    its own unique expression!

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    Part Three:

    Add Emphasis

    Where Needed

    Use the tools of graphic emphasis to strengthen the

    communicating power of your publication. Design

    emphasis ensures that important ideas attract more

    attention than supporting arguments, examples and

    facts.

    Type Size

    Use large type to emphasizeimportant ideas.

    parts of your publication. Headlines should be larger

    than subheads. Subheads should be larger than body

    copy. Body copy should be larger than captions and

    footnotes.

    Type Style

    Vary type styles to emphasizeimportant ideas.

    Add emphasis to important ideas by setting headlines,

    subheads and body copy in variations of the typefaces

    you normally use.

    4 0 THE AL DUS GUIDE TO BASI C DESI GN

    ADD THE FIN ISHIN G TOUCHES 55

    Part Four:

    Add the

    Finishing Touches

    Attention to detail is the hallmark of professional

    graphic designit may mean the difference between a

    high-quality publication and a mediocre one.

    A little extra effort can help you avoid embarrassing

    and expensive mistakes. Last-minute revisions can

    reward you with a publication that is a pleasure to read

    instead of a struggle.

    Here are twelve ways to make sure you communi-

    cate as effectively as possible.

    Proofreading

    Check for text and layout mistakes.

    Always check your workmake certain that nothing

    important has been omitted. Ensure that names, dates

    and addresses are correct.

    It is very easy to overlook your own mistakes. It is a

    known fact that the mind unconsciously supplies miss-

    ing words and corrects misspelled words that would be

    immediately obvious to others. It should also be noted

    that standard spell checking utilities do not correctgrammatical errors.

    Check for graphic consistency as well as accuracy.

    Make sure that column rules are drawn in, that the

    bottoms of columns are parallel, and (in the case of

    tinue on to.

    Good Typography is Vital!

    E ST AB LI SH A F OR MA T 1 1

    Part Two:

    Establish a

    Format

    Design for readability and uniqueness. Your goal is to

    make it as easy as possible for readers to understand the

    points youre trying to make.

    Format you publications for easy transitions from

    section to section. Never allow your reader to lose their

    way in the publication. Anything that interrupts smooth

    eye travel discourages readers from continuing.

    The format you establish will help you organize

    your material and add emphasis to important elements.

    Emphasis can only occur when words and ideas are

    contrasted against a continuing structure.

    Grid

    Start by creating a layout grid.

    The layout grid is one of the most important formatting

    tools at your disposal. A grid consists of a series of non-

    placement of text and graphic elements that make up a

    printed page. Although these lines do not appear inn the

    printed version,, their impact can be felt in a publica-

    tions overall organization and consistency.

    Grids provide a consistent way of handling diver-

    sity. Grids make it possible to maintain page-to-page

    consistency, even though the content of each page is

    different.

    In this course we will learn theour steps to good typographic design

    and investigate ecient ormatting techniques along the way!

    2 THE AL DUS GUIDE TO BASI C DESI GN

    Part One:

    Develop Concepts

    Graphic design presents you with tremendous challenges

    and opportunities. This is partly because there are nouniversal rules for graphic design. But there are guide-

    lines that can be adapted to most situations. Together,

    these guidelines provide a framework for our design

    approach, ensuring that your publication receives the

    kind of attention it needs to transmit your message

    effectively.

    Experimentation

    Be willing to experiment.

    Although many feel graphic design is based on intuitive

    result of many alternate attempts at achieving a desired

    result.

    Professional graphic designers rarely solve design

    hours sketching out solutions that might work. Each

    sketch builds on the strengths of the previous sketch;

    eliminating the weak elements.

    Page layout programs permit you to follow thissame procedure. On your computer screen, you can

    experiment with various arrangements of type and

    artwork and arrive at a visual solution that works.

    Without investing great amounts of money or time,

    you can easily try out various design solutions until you

    come up with the best one possible.

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    Font Technologies

    There are currently three basic ont technologies that we need

    to consider when working with page layout programs:

    Type 1(Postscript)

    TrueType

    OpenTypeThe next three pages will give a brie chronological overview

    o each o thesethreeont technologies.

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    TrueType Font Technology

    Due to licensing issues, TrueTypeont technology wasdeveloped by Apple Computers in 1991 and licensed to

    Microsot to compete with Adobes Type 1 technology.

    Each TrueType ont has only one part; both the screen andprinter inormation are included in one ont le.

    TrueType ont les are platorm independent

    they can be used within either the Mac or the

    Windows OS.

    TrueType algorithms are based on quadratic

    curves and typeace quality is considered not as

    good as Type 1.

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    OpenType Font Technology

    OpenTypeont technology was introduced by Microsot and Adobe in

    1994 as TrueType Openthe successor o both Type 1 and TrueType

    ont technology.

    Each OpenType ont has only one part; both the screenand printer inormation is included in one ont le.

    These onts are platorm independentthe same

    ont le can be used within either the Mac or the

    Windows OS.

    OpenType is essentially a combination o Type 1 and

    TrueType ont technologiesthe quality is equal to

    Type 1 and it has greater language support (Unicode).

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    What can be expected?

    As you can well imagine, the overlapping developments o ont

    technologies have let quite a bit o litter in their wake.

    As graphic designers, we must understand these ont technologies

    or all three are currently in use! Heres two simple caveats:

    Always stay away rom TrueType onts when designing or print

    production(this does not apply to TrueType decorative onts which

    will be converted to outline, or to onts used or web design).

    Changing Type 1 or TrueType to OpenType or vice-versa will likelylead to text refow and pagination problemsunless you have good

    reason to do otherwise, dont alter the ont technology o existing

    publications.