Fiona McGettigan

TYPOGRAPHY + FORM

University of Houston Graphic Communication Program

Type Classification

2 TYPOGRAPHY + FORM McGettigan

With the multitude of typefaces readily available it becomes essential to help to classify them to provide organization and continuity in type selection processes. A type family consists of any number of typefaces that resemble one another in appearance, proportion, weight, angle, texture, and sometimes design. TYPE NAMES Old Style Bembo, Belwe, ITC Benguiat, Berkeley Old Style, Caslon, Centaur, Cloister, Cooper Black, Esprit, Galliard, Garamond, Goudy Old Style, Janson, Palatino, Plantin, Sabon, Souvenir, Times Roman, Trump Mediaeval, Weiss Roman. Transitional Americana, Baskerville, Caledonia, Fairfield, New Baskerville, Perpetua, Usherwood, Zapf International. Modern Bauer Bodoni, Bodoni, Didot. Clarendon Bookman, Cheltenham, Century, Century Schoolbook, Clarion, Clearface, Corona, Cushing, Excelsior, Korinna, Melior. Slab Serif Aachen, Clavert, Cairo, City Egyptienne, Lubalin Graph, Memphis, Rockwell, Serifa, Stymie.

Sans Serif Akzidenz Grotesk, Antique Olive, Avant Garde Gothic, Bauhaus, Bernhard Gothic, Compacta, Eurostile, Franklin Gothic, Frutiger, Futura, Gill Sans, Helvetica, Kabel, News Gothic, Optima, Trade Gothic, Univers.

Old Style First roman typefaces designed between the late fifteenth century and eighteenth century. Influenced by carved roman capitals. —Axis of curved strokes normally to left —Weight stress of angle at two or eight o’ clock. —No dramatic stroke weight changes. —Serifs are bracketed (curve into stroke). —Serifs at top of letters are often angled. Old Style can be broken down into Venetian Old Style, Aldine Old Style, Dutch Old Style, and Old Style/Revivals for further detail classification. Transitional Established around the mid-eighteenth century primarily by English typographer John Baskerville. Represent the transition from Old Style to Modern. —Axis of curved strokes less inclined than Old Style, generally vertical. —Stroke weight contrast more pronounced. —Serifs are still bracketed and head serifs are less angled. Modern Lead by Giambattista Bodoni in the late eighteenth century. Also called Classical designs when first released. —Contrast between thick and thin is distinctive and abrupt. —Axis of curved strokes is vertical with little or no bracketing. —Serifs are horizontal and join the stroke at right angles. —Strong vertical and geometric stress causes vibration on the page. Modern can be further broken down into Didone Modern and Twentieth-Century Modern.

Clarendon The style became popular in the 1850s. Like the Moderns before they have strong vertical stress but no other similarities. Mix between Modern and Oldstyle. —Strong Vertical weight stress. —Weight contrast not as obvious as Modern. —Serifs are heavy, bracketed and square cut. —Typographic “workhorses”, tend not to be attractive or sophisticated. Clarendon family can be seen grouped with other families such as Modern, Slab or Old Style. Egyptian or Slab Serif In the early nineteenth century, typefounder Vincent Figgins introduced slab-serif. Also called Egyptian by other typefounders because of interest in egyptian artifacts at the time. —Heavy square or rectangular serifs, usually unbracketed. —Stress of curve stroke is minimal. —Stroke is often all same weight. Sans Serif First Typographic use of sans serif was in 1816 by William Caslon IV (descendent of William Caslon who designed the serifed typeface bearing same name. Typefaces are without (sans, meaning without in French) serifs. Early san serif types were called grotesques in England–they were regarded as ugly. —No serifs —Stroke is often all same weight with little or no contrast. —Optically monotone stroke weight. —Stress is always vertical —Generally geometric in construction with some rounded contrasts. Further broken down into Grotesque Sans Serif, Neo Grotesque Sans Serif, Geometric Sans Serif.

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Type Classification

TYPOGRAPHY + FORM McGettigan

serifs at top often angled

axis curves to the left

weight stress at 8

weight stress at 2

serifs are bracketed/curve into stroke

G A R A MOND

serifs at top less angled

serifs are bracketed/curve into stroke

N E W BASKERVILLE

serifs are heavy, bracketed and square cut

N E W CENTURY SCHOOLBOOK

axis generally vertical

stroke weight more pronounced

vertical weight stress | axis generally vertical

good workhorses! not very attractive or sophisticated

Type Classification

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heavy square/rectangular serifs; usually unbracketed stress of curve is minimal strokes generally the same weight

S E R I FA

axis generally vertical strong vertical/horizontal weight stress:vibrates

dramatic stroke weight changes

—little or no bracketing —serifs are horizontal —join stroke at right angles B O D ONI

vertical weight stress stroke all same weight/or little contrast

U N I VERS 55

—no serifs —geometric construction with some rounded contrasts

Letterforms Analyzed

5 TYPOGRAPHY + FORM McGettigan

Typography UPPERCASE

SERIF

ASCENDER

COUNTER

STROKE X HEIGHT

BASELINE

DESCENDER

LOOP

LOWERCASE LETTERS

48Pt

CAP HEIGHT

BODY SIZE

Type Measurement Type is measured by the “body” size of the type, traditionally the block size of metal type including the space above and below. An approximate point size can be determined by measuring the distance from the ascent line (top of the capitals) to the descent line (bottom-most descender). It is only approximate in digital type setting. The measurement system of points and picas was adopted in the US during the 1870’s. Since metal type was 3 dimensional, the height is measured in points (point size or body size). The width is called set width and the length of a line of text which is the total sum of the parts of characters and spaces is measured in picas. 1 point = .138” 72 points = 1” 12 points = 1 pica 6 picas = 1 ” x-height of type is measured from baseline to midline of an alphabet and usually the approximate height of lowercase letters (x, a, c, e etc.) and conveys the visual impression of the letter. Type of the same point size may appear larger or smaller depending on the x-height of any given letterform. Proportions of a letterform There are 4 major considerations in the visual presentation of letterforms 1. S troke to height ratio: where the weight is a variable and the height remains the same. Text set in heavier weight creates too much contrast with the paper and becomes harder to read. 2. Contrast in Stroke weight: Change in contrast between thick and thin strokes. More contrast can effect the readability at smaller sizes. 3. E xpanded and Condensed styles: Where the letterforms are expanded or condensed and where the stroke to height ration is 1:2. 4. X  -Height and Proportion: Where the relationship between the x-height and capital and ascender and descender effects the visual appearance of came size letterforms

Garamond 40pt

Baskerville 40 pt

Univers 55 40pt

Mrs. Eaves 40pt

Typographic Details

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TYPOGRAPHY sits on baseline Poor alignment of rounded letters and poor letterspacing

TYPOGRAPHY overhangs baseline Alignment and letterspacing corrected

30 units of interletterspacing

“ T y p o g r a p h y i s t h e a r t , o r skill, of designing communication by means of the printed word.”

-10 units of interletterspacing

“Typography is the art, or skill, of designing communication by means of the printed word.”

Letterspacing is the space added between letters which affects the overall value of the text. More space slows down the readability of the text. In traditional metal typography spaces were added by using metal spacers whose measurements were called an em (square of any given type size or a distance equal to the type size being set ), an en half the square of the horizontal width of the typeface and fractions of em. 10 pt em = 10 pt wide x 10 pt high 10 pt en = 5 pt wide x 10 pt high In digital typesetting spacing is controlled by units—equal vertical divisions of the em. Tracking is a method of equal letterspacing using a unit measurement. Some awkward spacing problems arise with letters such as TA, AW, VO etc. this is adjusted through selective optical letterspacing called kerning. Overall visual balance is achieved through optical letterspacing.

poor word spacing

“Typography is the art, or skill, of designing communication by means of the printed word.” Paul Rand good word spacing

“Typography is the art, or skill, of designing communication by means of the printed word.” Paul Rand

Word Spacing is important from a justification and legibility standpoint. Word spacing effects the overall value and space that the text occupies. ROT: Rule of thumb – Too much space inhibits readability of texts. – Sans serif and small x-height type require tighter word spacing. – type set center, flushed left or right, uses optimum word spacing. Flush left, Flush Right, Justified and Centered type alignments Flush left/Rag right The text aligns evenly against the left margin. Care should be taken to create an even rag on the right hand side to maintain good reading and visual flow. Flush Right/Rag left The text aligns evenly against the right margin.Care should be taken to create an even rag on the left hand side to maintain good reading and visual flow. Justified The text aligns evenly against the left and right margin and have all the same line length. Centered  The text aligns symmetrically within the right and left margin

Typographic Details

7 TYPOGRAPHY + FORM McGettigan

Line spacing or leading is measured in points or fractions of points and is measured from baseline to baseline. (8 point type on 14 point spacing between baselines, or 6 point leading—8 on 14, or 8/14). Line spacing or leading is measured in points or fractions of points and is measured from baseline to baseline. (8 point type on 10 point spacing between baselines, or 2 point leading—8 on 10, or 8/10). Line spacing or leading is measured in points or fractions of points and is measured from baseline to baseline. (8 point type on 9 point spacing between baselines, or 1 point leading—8 on 9, or 8/9). Line spacing or leading is measured in points or fractions of points and is measured from baseline to baseline. (8 point type on 8 point spacing between baselines, referred to as solid.—8 on 8, or 8/8).

Line length is generally measured in picas and points. The relationship between point size of type and length of line is important in issues of legibility. Anything from 45 to 75 characters per line is considered a good line length for a single column. 66 characters including spaces is regarded as ideal. For multiple columns 40 to 50 characters is a better average. ROT: Rule of thumb – An ideal line length = twice the length of lower case alphabet being set. Line spacing or leading is measured in points or fractions of points. Leading is measured from baseline to baseline. ROT: Rule of thumb – Two much leading can be worse than not enough – Longer line lengths can require more leading – Avoid using “auto” line spacing in digital typesetting.

Other Rules of Good Typography On Quotation Marks. Never use the "inch" mark for quotation makes, always select “smart quotes” inch marks "The typographic… smart quotes “The typographic…

mac key commands : ( ) option + [ (

“

”)

option + shift + [

(

‘)

option + ]

(

’)

option + shift + ]

On hyphens, em dashes, and en dashes Hyphens are used for hyphenating words or line breaks. Next to zero on mac keyboard.



back-to-back



June – December 3 – 5 years Houston – Salt Lake flight

En Dashes are appropriately the size of the capital letter N in the typeface. It is used between words indicating a duration, such as hourly times, months or years. use it to replace “to.” It can have a little extra space between it and the letters prior and after but avoid a whole space. ( – ) Option + hyphen on mac keyboard.

Em Dashes are the size of the capital letter M in the typeface and twice as long as the en dash. Used similarly to the colon or parentheses, an abrupt change in thought or when the period is too strong and the comma too weak. Equivalent to the double hyphen on the typewriter. It should not have a space before or after it, but there are exceptions for design reasons. (—) Option + shift + hyphen on mac keyboard.





“Monastic scribes—who were designers, copyists, and archivists as well—kept many of the older letterforms alive.”



Typographic Details

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On Underlining Avoid underlining. Instead use a change in the typeface (bold or italic) or size. For design reasons underlining may be used, but draw the line as opposed to using the auto underline.



This is an underlined text. This is text with a rule drawn.

On All caps Very rarely use all caps for text. It is hard to read and we read each letter separately. I can work for headings but consider the size and weight. Never use all caps in body text on a dark background.

 ERY RARELY USE ALL CAPS FOR TEXT. IT IS HARD TO READ V AND WE READ EACH LETTER SEPARATELY. I CAN WORK FOR HEADINGS BUT CONSIDER THE SIZE AND WEIGHT. On ellipsis Digital typefaces come with a designed character for the ellipsis (…) option + ; Space after and before this character is optional and based on optical sensibility.  Some designers insist on using the three periods and with this explore wide and tight spacing between the periods and the text.

thing that alters it.

orphan

There are a thousand mannerisms in typography that are as impudent and arbitrary as putting port in tumblers of red or green glass! When a goblet has a base that looks too small for security, it does not matter how cleverly it is weighted; you feel nervous lest it should tip over. widow beatrice ward

“Typography is the art, or skill, of designing communication by means of the printed word.” Paul Rand hung punctuation

“Typography is the art, or skill, of designing communication by means of the printed word.” Paul Rand

On default or city named fonts. Avoid using any fonts with city names: Chicago, Monaco, New York, etc (except when knowingly aware of their problems). These are designed for the screen and have not been kerned for printing purposes. Explore other options for preloaded default fonts such as Times, Times Roman, Arial or Helvetica. While these are well designed typefaces they are very overused. Choose instead Garamond or Univers. On Widows and Orphans Never leave widows and orphans on a page. A widow is when a paragraph ends and leaves seven characters on the last line. An orphan is when the last line of a paragraph ends at the top of the next column. On Hyphenation And Line Breaks Avoid more than two hyphenations in a row Avoid too many hyphenations in a paragraph Break lines sensibly Never hyphenate a heading On Hanging Punctuation Hang punctuation to avoid visual interruption especially on larger text and call-outs. On Space After A Period Always one em space. Not two!

Typographic Syntax

9 TYPOGRAPHY + FORM McGettigan

In grammar, syntax is the methods in which words are combined to create phrases and sentences. Typographic syntax is the method in which letters, words, lines and columns are arranged to create a unified, exciting and meaningful visual arrangement. Through the use of space (white/negative) and contrast (size/scale), letters, words, and text can be dynamically arranged to create visual meanings and typographic messages.

form

Space In typographic design the letterform (text) and the space that it occupies are mutually important. Placement and orientation of the letterforms within this space can effect overall visual expression and meaning. Letterforms or text centered or symmetrical within the space is generally considered neutral or static, while placement on a diagonal or asymmetrically can give a sense of movement or expression.

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the role of typographic experimentation is to extend the boundaries of language by freely probing visual and verbal syntax and the relationships between word and image.

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Contrast Typographic design depends on contrast to create meaning and expression. Contrast is created in form (letterform variation), weight, size, texture and direction. Contrast in text or typography attracts and encourages reading, and creates visual hierarchy to help clarify meaning and communication. Visual hierarchy is the arrangement of elements from most to least important in relation to the message. The Typographic Message | Signs The typographic message is read and interpreted verbally, but can also be interpreted audibly and visually. Language is a system of interactive signs (alphabetic symbols) that when grouped, communicate ideas. Typographic signs/symbols and the space on which they exist can be altered or manipulated to enhance the meaning (semantics) or to achieve more expressive communication.

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Typography Rules of Thumb

10 TYPOGRAPHY + FORM McGettigan

TYPOGRAPHY RULES OF THUMB The rules given here are time tested but not absolute. As with every rule, to know it, is to understand why and how to break it. from Experimental Typography, Rob Carter Rule1 For optimum legibility, choose classical, time tested typefaces with a proven track record.

Use appropriate line lengths. Lines that are too long or too short disrupt the reading process.

Rule 2 Be mindful not to use too many different typefaces at any one time.

Rule 11 For text type, use line spacing that easily carries the eye from one line to the next.

Rule 3 Avoid combining typefaces that are too similar in appearance.

Rule 12 For optimum readability, use flush left, ragged right type alignment.

Rule 4 Text set in all capital letters severely retards reading. Use upper- and lowercase letters for optimum legibility.

Rule 13 Strive for consistent rhythmic rags.

Rule 5 For text type, use sizes that according to legibility studies prove most readable Rule 6 Avoid using too many different type sizes and weights at the same time. Rule 7 Use text types of book weight. Avoid typefaces appearing too heavy or too light. Rule 8 Use typefaces of medium width. Avoid typefaces that appear extremely wide or narrow in width. Rule 9 For text type, use consistent letter and word spacing to produce an even, uninterrupted texture. Rule 10

Rule 14 Clearly indicate paragraphs, but be careful not to upset the integrity and visual consistency of the text. Rule 15 Avoid widows and orphans whenever possible. Rule 16 Emphasize elements within text with discretion and without disturbing the flow of reading. Rule 17 Always maintain the integrity of type. avoid arbitrarily stretching letters. Rule 18 Always align letters and words on the baseline. Rule 19 When working with type and color, ensure that sufficient contrast exists between the type and the background.

Fiona McGettigan

TYPOGRAPHY IN THE ENVIRONMENT

University of Houston Graphic Communication Program

Typography in the Environment

12 TYPOGRAPHY + FORM

TYPOGRAPHY IN THE ENVIRONMENT As with all typographic projects, decisions related to typographic form, function and issues of clarity and legibility play a primary role in designing type for the environment. Additionally, material choices, sustainability and maintenance, safety and in some cases, lighting play important roles when designing type in the environment (interior and exterior). (all text from Working with Type: Exhibitions)

On Legibility in the Environment Anatomy

Scale

Careful analysis of the anatomy of letterforms (subtle

The scale of the typography should be consid-

typographic form differences, and relationships between letters, words, lines and paragraphs of text is important in the ability to choose one typeface appropriately over another in any typographic process including that where type is used in environmental design projects. Proportion As noted earlier, the proportions of a letterforms which may include: Stroke to height ratio, stroke weight contrast, expanded and condensed styles, X-height and proportion, and the length of the ascender and descender all play a role in legibility. ADA (American with Disabilities Act) requires that letters and numbers on signs should have a width-to-height ratio of 3:5 to 1:1 and have a stroke width-to-height ratio of 1:5 to1:10. Form and Counterform

ered in relation to environmental placement (high/low etc), viewing distances, lighting, color, and value contrasts. Color Care with issues of hue, value, and intensity of colored type on a background. In exterior spaces, natural lighting, shade and weather conditions all affect color perception. Always test the color at the site. ADA guidelines recommend 70% contrast. Dark type on light backgrounds is considered most legible. Back-lit and Projected Typography Back-lighting is generally not used for external type since it requires controlled interference from other light sources. In interiors spaces, backlighting can increase intensity and depth.

The balance between the form (the solid color of the let-

Care with use of thin stroke typefaces. For pro-

ter and the counterform (the white space in and around

jected typography, external sites are only fea-

the letter) is crucial to the legibility and differentiation of

sible if viewed at night or in sites with controlled

the letters, words and typefaces.

natural light. The greater the distance from the

Spacing

projection the more difficult to read. There may

Proper spacing of letters (kerning), words (wordspacing)

be exaggeration and distortion of letterforms.

and lines (leading) is essential, particularly in large-scale

Three-Dimensional Typography

text scenarios where awkward spacing becomes more

Words in three dimensions appear architectural

obvious. The ultimate goal, generally, is to achieve consis-

and depending on scale can change the nature

tent texture, tone and flow to allow for ease of reading.

of the space they are presented in. Type in 3-D

Line Length

is now coded as a message carrier (words) and

The optimum number of characters per line for larger text is 45 to 75 (66 being appropriate). This can then be converted into inches or metric. Always print out your text at full scale and view it from an appropriate distance to determine legibility and readability. There are situations when more or less text per line might be appropriate to the content and hierarchy of information.

a mediator of space. Type is conventionally seen in two-dimensions and when removed from this context and given depth, new concerns of legibility arise. In the 3-D translation the integrity of the orginal forms, and proportions must be maintained.