Download - Typography Review
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Review of
TypographyBasics
P2011 Carlo Mostacci
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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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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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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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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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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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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.