Scribd Logo
Upload

Welcome to Scribd!

  • Rotovision.digital.color.and.Type.apr.2002.From.gfxworld.org

    Uploaded by

    Ruxandra Gradinaru
    15 views209 pages
    Rotovision.digital.color.and.Type

    Copyright

    © © All Rights Reserved

    Available Formats

    PDF or read online from Scribd

    Did you find this document useful?

    Is this content inappropriate?

    Report this Document
    Rotovision.digital.color.and.Type

    Copyright:

    © All Rights Reserved
    Download as PDF or read online from Scribd
    Flag for inappropriate content
    15 views209 pages

    Rotovision.digital.color.and.Type.apr.2002.From.gfxworld.org

    Uploaded by

    Ruxandra Gradinaru
    Rotovision.digital.color.and.Type

    Copyright:

    © All Rights Reserved
    Download as PDF or read online from Scribd
    Flag for inappropriate content
    of 209
    Digital Co or and Type Rob Carter Ce of type Ty) 5 BBEBBBI Old Style Transitional High sake conost tear Modern es Thnsecls ss Slab serif Same stoke const, Square caved takes w Sans serif The anatomy of type ‘The colorful terms used to describe type are ot unlike the termes used to describe the parts of our own bodies. Letters have arms, legs, eyes, spines, and a few other parts, such as talls and stems, that we fortunately do not possess. These are the pars that have historically been used to construct letterforms. Learning this vocabulary can hélg'e designer gain appreciation for the complexity of our alphabet, which at frst glance appears very simple (fig. 1). The structure of letters within the alphabet remaine constant regardless of typeface. An upper-case B, for example, consists of one vertical and two curved strokes, Tho arts, however, may be expressed very diferentl fram typeface to typeface (Fig. 2). ‘Type classification {An inexhaustible variety of type styles is avail able for use today, and many attempts to classify these into logical groupings have fallen short due to the overlapping visual tats of typefaces. A awless classification system does ot exist; however, a goneral system based on the historical development of typefaces is used Widely, This delineation breaks down type into the following groups: Ol Transitional, Modern, Slab Serf also called Egyptian), Sans Serif, and Display (fg. 3) The typographic font in desktop publishing, the terms typeface and font are often used synonymously; however, @ typeface isthe design of characters unified by consistent visual properties, while a font isthe complete sat of characters in any one design sie, or syle of type. These characters include but are not limited to upper- and lower-case The Ay toge Men anot ditfe lies as Si Type Thet raph) appr there inc inten Type iter xhei xhei xhei dista isthe igner rokes. fallen does lets, numer capitals, fractions, liga tures (two or more characters linked togeth into single unit), punctuation, mathematical signs, aoconts, monetary symbols, and miscel laneous dingbats (assorted ornaments or flevrons designed for use in a font). Supple menting some desktop fonts are export sets, which include characters such as small caps, a {ood selection ofigatures, fractions, and nonalgning figures. Minion Regular provides an excellant example of a font and is attendant expert sot fig. ‘The type family Atype familys @ group of typefaces bound together by similar visual characteristics. Members ofa family (typefaces! resemble one snather, but also have their own unique visual traits. Typefaces within families consis of different weights and widths. Some type fami lies consist of many members; others are composed of just afew. Extended families such tone include both serif and sans serif variations (i. 8) ‘Typographic measurement The two primary units of measure in typog raphy are the pica and the point. There ara approximately six pices oF 72 points to an inch: ther are twelve points to a pica fig. 6). Points are used to specify the sizeof type, which the eight of leters, plus small interval of space above and below the letters, Te different in size, depending on the size of the aces of the same size may in fact appear scheight. Atthe same sie, letters with large arger than letters with smaller xcheights re also used to measure the lstance between lines; picas are used to measure the lengths of lines. The unit, a relative measure determined by dividing the em (which isthe square ofthe type size), is used to reduce cr increase the amount of space between abedefghijklmnoparstuywxyz ABCDEFGHIJKLMNOPQRSTUVWXYZ& ABCDEFGHIJ KLMNOPQRSTUVWXYZ& (sa vas Mee 567890 1234567890 (' WwI%%0 [+VT=#tS> fPAfffflEBeece S£9¢ AAACINOOOOU aciouaaaiouae § AO™@ Regular Regular Regular Italic Semibold Semibold Semibold Italic Semibold Italic Bold Bold Bold Italic Bold Italic Regular Italic ° ' 2 inchs Spine «nck pr 22486788 wR pew letters, a process called tracking. Adjusting the ‘awkward space between two letters to create consistency within words s called kerning, ‘The typographic grid A typographic grid is used to ad the d in organizing typographic and pict lishing unity among ments on a page and e all ofthe parts of a design. Grids vary in com: eon Bembo Baskerville Bodoni Century Expanded Garamond “ plexity and configuration depending upon the nature of the information needing accommoda tion, and the physical properties ofthe typo- araphic elements. Standard typographic grids assess flow lines, grid modules, text columns, column intervals, and margins (ig. 7. Franklin Gothic Frutiger Futura Gill Sans Helvetica Legibility ithe goal when werking with types to make more eadablo, then hooting established loi bility guidetins i of most importance Departure rom those “ules” should be sttorpted only ata designe is ttl fai ‘arzed with thom, and when content lends 1 exprssve interpretation. Logility repr sents those visual attributes in typography tat make type readable. Choosing typefaces The first step in making type legible is to choose text typefaces that are open and well proportioned, typefaces that exhibit the regular: ity of classical serif faces, such as Baskerville, Bembo, Bodoni, Garamond; and the sans serif faces Franklin Gothic, Frutiger, and Gill Sans fig. 8). Typefaces with visual quirks, stylistic affecttions, and irregularities among characters are less legible. Typefaces such as these may be fine, however, when used as display type. Type si length, and line spacing Text that flows naturally when read is achieved on a harmonious relationship exists between type size line length, and the spaces between lines of type (line spacing or leading). Even well-designed typefaces suffer from legi bility impairment when just one of these ‘aspects is out of balance. An adjustment to one of these factors usually requires an adjustment 10.0n@ oF more ofthe others Contin. small text typ typefac improv Overy! reader Long tin whereas ments characte appropri that line sity or: (fig. 9) Line sp distract together Fines, the from the spaced, line. For points), help the improvin ako it ogi smi itself /that ell gular le, seit wed ogi ~ Line spacing ensures that the reader isnot distracted by lines of type thet Visually run together. With nad: equate space between lines, the eye ‘Svuggles to ctinguish ane line from the next. Where lines ae too widely spaced, the reeder has trouble locating the next ine. For optimum sizes of text type (8-17 Continuous texttype that is too large or 100 pints), one to four poits of ine ssl easily ties the reader. Optimum sizes for am texttype are between and 11 points. Also, LIne spacing ensures thatthe reader typefaces with a relatively large x-height improve readability Cvetly long or short nes of type also tre the is not distracted by lines of type that visually run together, With ina equate space between lines, the eve saruggles to istinguish one tine from the next. Whore ines are to0 widely spaced, the reader has reader and destroy a pleasant reading rhythm. trouble lacating the next line. Fo Long lines are burdensome and tedious, wherees short lines cause choppy eye move: 45 ments, Paying attention to the number of characters per line is a key in determining appropriate line lengths. iis generally agreed thatlines of ype consisting ofa maximum of Overly ong or sixty of seventy characters promote readability short lines oftype also tre the fa. 9) reader and destroy a pleasant reading Line spacing ensures that the reader is not rythm, Long distracted by lines of type that visually run lines are burdensome and together. Without adequate space between tedious, whereas lines, the eye struggles to distinguish one line shor lines cause choppy eye from the next. Where lines are 100 widely ‘movements. spaced, the reader has trouble locating the next Paying attention tothe number of line. For optimum sizes of text type (8-11 characters per points), one to four points of fine spacing can Tine is a key in determining help the reader easily discern each line, hus appropriate line improving readabily (fig. 10 tengths. tis generally agroed that lines of type consisting of a maximum of sixty ‘or seventy char acters promote readability Line spacing ensures thatthe reader is nat distracted by lines of type that visually run together. With nad quate space between ines, the eye struggles to distinguish one ine from the next. Where ines are too widely spaced, the reader has trouble locating the next ine. For ‘optimum sizes of text typo @-11 ine spacing ensures thatthe reader isnot distracted by lines of type that visually run together. With nad ‘equate space between lines the eye struggles to distinguish one tine {rom the next. Whore lines are 00 ‘widely spaced, the reader has trouble locating the next line. For Overly long or short lines of type also tice the reader and destroy @ pleasant reading rhythm. Long burdensome and tedious, whereas shor lines cause c ° ‘oppy eye movements, Paying tention to the number of characters per ine is key in determining appropriate line lengths. kis Fundamentals 6 Lotter spacing A number of factors det mines correct leter spacing, including the typeface used, and the size and weight of the type. Consistent letter spacing provides an even typographic “color, ‘term referring tothe texture and overall lightness or darkness of text. Consistent and even color isan attribute that enhances readability Tighter leter spacing darkens tho txt as inthis sentence. Looser letter spacing lightens the text, Pushed to either extreme, text becomes less readable. The chosen effect can enliven a page and enhance Word spacing Word spacing should be proportionally ‘adjusted to lettor spacing so that lottors flow gracefully and rhythmically into words, and ‘words into lines. Too much word spacing destroys the even texture desired in toxt ‘and causes words to become disjointed as in this sentence. Toolittlewordspacing causes wordstobumpintooneanother. Either ‘condition is hard on the reader. Weight The overall heaviness or lightness of the strokes composing type can affect read- ability. For typefaces that are too heavy, counters fill in and disappear. Typefaces ‘that are too light are not guished from their background. Typefaces of contrasting weight are effectively used ly distin- to create emphasis within text. width Noosa hel aes ste rar atc at tere ree sre te ee ee ne ie, Italics Italic and oblique type should be used with prudence, for large amounts ofstanted charactors set into text impede reading. alics ‘are best suited to create emphasis within text rather than to function as text Capi ‘TEXT SET IN ALL CAPITAL LETTERS NOT ONLY CONSUMES MORE SPACE THAN TEXT ‘SET IN LOWER CASE, IT SEVERELY RETARDS ‘THE READING PROCESS. LOWER. CASE LETTERS IMBUE TEXT WITH VISUAL CUES CREATED BY AN ABUNDANCE OF LETTER ‘SHAPES, ASCENDERS, DESCENDERS, AND IRREGULAR WORD SHAPES. TEXT SETIN ALL CAPITALS 1S VOID OF THESE CUES, FOR IT LACKS THIS VISUAL VARIETY. Sorif Becats betwe Justif Testa let, rag justifies Flush | type te able to haps t Flush the Justitie can be that the Deskto designe Centere appear But se refaces rypetaces yoly used tit 4 with “d alos in toxt Not AN TEXT RETARDS ASE CUES ETTER AND SETIN ALL FOR IT Serif versus sans seri Because of the horizontal flow created by srt it ws thought atone time thae serif rypefices sore reaclable than sans serif typefaces. Li research, however, reveals litle diflecence between them. Sensitive lettor spacing is a Justified versus unjustified Tet canbe aligned in five lifferent ways: flush loft ragged right lush right, ragged let; justified; contered; asymmetrically Fush loft, ragged right text produces very ever leter and word spacing, and because lines of type terminate at clferent points, the reader is able to easily locate each newline. This is per haps the most legible means of aligning tex. Flush right, ragged left alignment the reader by making it dificult to find each work against new line, This methods suitable for small amounts of text, but is not recommended for large amounts, stifiod text ot aligned both left and ight) can be very readable ifthe designer ensures thatthe spacing between letters and words is consistent, and that awkward gaps called rivers” do not interrupt the flow of the text Desktop publishing software enables the designer to fine tune the spacing CContored alignments give the text a very formal ‘appearance and are fine when used minimally But setting large amounts of text in this way should be avoided Asymmetrical alignments ‘are used when the designer wishes to break the text down into logical “thought units, to give the page ‘8 more expressive appearance. Obviously setting large amounts of text inthis manner ‘willie the reader. Color is visual magic, a language of illu- sion. Color is also reflected light, and as lighting conditions change, so does color. Bice) e) MIN aL) MTC CRN emilee PMI MURNe eee a landscape vary Rei LUAU iusto MeL UCTtL soem ee NA Understanding color Color is visual magic, a language of illusion. Coloris also reflected ight, and 2s lighting conditions change, so doos olor. This explains why as night falls colors fade, and why the colors of a landscape vary significantly when viewed at Aifleron times of the day. When we sae a color, what we actually se isan object that absorbs certain wavelengths of light and reflects others back to our eyes, For example, ared object absorbs all of the light rays except the red rays which are ftered back tothe eyes. Black objocts absorb all ofthe light rays, reflecting none back to our eyes: white objects absorb no rays, reflecting all of them back to our eyes. This ‘henomenon was first revealed in 1686 by Isaac Newton who found that by passing @ beam of white light through a pgm, he could break it up into the familia spectrum of rainbow colors: violet, indigo, blve, green, yellow, orange, ‘and red, We are most familiar with this spectrum, and the human eye easily perceives it. In reality, the spectra colors consist ofa vast array of hues, each corresponding toa specific wavelength of light. ‘This chapter reviews basic color theory, and defines impor: tant color terms. For the beginner, itlaysa solid foundation {or building a deeper knowledge of color. For the profes sonal designer and desktop publisher, it provides a wel: come review. Learning to see color and obtaining an Understanding ofits inherent propertis are the frst steps to working ffectvely with color and type The color wheel Prop The color whol is @ helpful tool that shows the an infinite number of variations, too subtle for F color should be completely familiar with. Meny consists of only 12 colors, itis the root of all g (fig. 1). Itis conceivable for a wheel to consist of — emotion. Hy = Hue Be ove ‘ale ~ Winter W Atican i Bice, como realty, ew opposite p aio: er on & subtle fr {within the rich nee ctf all Properties of color Hue Hue ie simply another name for color. The pure hues are identified by familiar names such as red, violet, green, purple, yellows. Inthe warld of commercial products and pigments, hues have been given thousands of names. Desert Rose, Winter, Woodland Green, Apache Red, and Aican Violet may evoke romantic and exotic thoughts, but these names, aside from their marketing value, have ile to do with the composition of the colors they represent. In realy, few legitimate names exist for hues. The basic welve-color whee! pictured on the ‘opposite page features the primary hues red, yellow, and blue; the secondary hues orange, ‘green, and violet and the six tertiary hues: cxange, orange-yellow, yellow-green, blue Secandcy aos ‘Twos itarant stop fry hee tcaped or te indir dsp Yolo adne ade ared ome of tare olor can ‘lore fop The second set nb: Cale he ae Dimas igh and ae hue hue hue green, blueviolet, and red-violet (ig, 2). The secondary hues are obtained by mixing equal ‘amounts of two primaries: the tertiary hues are 2cciired by mixing equal amounts ofa primary ‘and an adjacent secondary hue. Complemen: tary colors a opposite hu ‘an the color ‘wheel, such as red and green, violet and yellow. Due tothe vast range of reds, yellows, and blues, not all color wheels introduce the same primary hues (ig 3), Primaries are considered absolute colors and cannot be created by ‘mixing other colors together. However, mixing ne primaries into various combinations creates {an infinite number of colors dd he ston Spent " log trst sbct iht From the ative pina, Procen pring clos ~ | Understanding color Value Value refers tothe lightness or darkness of a color. itis a variable that can substantially alter ‘a colors appearance, and as we will see inthe next chapter, itis also an important factor in achioving legibility with type and color. A hue ‘changes in value whon either white or black are ‘added to it. A color with added white i callod a tint (ig. aa color wth added black is called @ shade (fig. 8). Generally speaking, pure hues that are normally ight in value (yellow, orange, 6 a co a Hn green) make the best tints, while pure hues that are normally dark in value (red, blue, violet) ‘make the most desirable shades. The palette of colors below shows a spectrum of tints and shades based on the hues from the color whee {fig 61, Looking at these colors clearly shows that changes in value greatly expand color possibilities. The bortor row (fig. 7), consisting ‘of the achromatic colors whit, black, and gray, is presented in increments of 10% o wm @ © ie A note The pr each p and th colors. tothet and the palette subtle the mo & : ‘Aetramatic re hues that violet) palette of ints and lor whee! vy shows dcolor consisting k, and gray, [Anote about the color used in this book. The process colors below include five tints of each pure hue on the color wheel, five shades, andthe achromatic hues fora total of 143 ‘olor. The colors are numbered for reference tothe type and color combinations in chapter 4, ‘and the case studies in chapter 5. Tis color palette could be expanded to Include the most subtle variations, but quantity of colors is not the most important consideration, While in fact a oe o i ‘El mai 2 at 2 a a 2 ——< «2 Aetna this palette offers hundreds of calor possibil ties, itis far more eftical to learn to contro! color as itis used for typographic applications, ‘and to develop a sensitive eye, When it comes to working with color and type les is more. A CMYK conversion char for the colors is located on page 156 i 7 | 8 z ane iH kal iH H EEE : | ja H fa iH , | sity. However, adding white, gray, black, ora fn The ese | complementary color most radically compro- fast" Teste eter b ‘has added black and is. rated color 7” hue dulled in intensity by different amounts of — Nmeytaiede tans H tones. When complementary colors are placed b increased. This vibrant condition is referred to ‘wo a saturated an cS “complementary colors warm ___ cool E warmer cooler jt hot cold " alr appear acer ot Sai Gren hin Qrorcossesigataae be “read treet ties sensitivt 2 ———— of color (1 imply ngtwo The color triangle or rangle is a diagram that shows the relationships of hue, black, and white, and he intermediate tints, shack 8, and gray (fig, 14), Selectng colors along any axis ofthe tri ng will generally result in harmonious com. binaions. itis important to realize that black vite, end hue are absolute, and that tints, shades, and grays possess innumerable var es Se oe. ations. The axes shown with bold lines represent ‘combinations that are very effective for use with type and background, Below, a fow examples of the color triangle ilus ‘combinations (fig. 18) eee Dmris and secondaries ‘ndiit aa ahd, The basic color schemes The color schemes below provide models fo the exploration of harmonious, inventive, and communicative color combinations (fg. 16) All cof these schemes are based upon the physical laws, relationships, and inherent structure of the color wheel. itis significant that these color ‘formulations are atthe hear ofthe chromatic cisplays found in nature: red desert sandstone lowing against a deep indigo sky; the varie ‘gated green perennial garden, accentad with crimson blooms. The basic color schemes are atthe root of most effective color combinations ‘and may be used alone or combined into more claborate combinations. An understanding of these schemes is essential when working with color anditype, for they provide 8 departure point for further color investigation. When used ‘ite and gry hs 2 with with: ventu tional soft, ¢ trend ‘psi Ah con percent ‘onpler with nations 0 more jing of 9 with with type, color should always be chosen for its communicator, coloris capable of expressing Ta provides mental pcre visual appeal as well as foritsabiliy tocom- the richness of culture, or portraying something fularsanthe cela whe) rmunicate and promote typographic legibility. as exciting as acalypso dance or as musty asa ueharhs oa pleted nthe aid ofthese basic schemes, you can smoky restaurant. The case studies found in SEhemes en spend nd venture daringly into uncharted terrain to chapter 8 demonstrate how the basic color hopartampor testo i teeate color combinations that are both fune- schemes ean be expanded and adapted incre- pagel ‘ional and emotionally charged. Color is bold, _ ative typographic designs. . soft energetic, somber, feminine, masculine, trendy, and traditional. A limitless —o teocsan andthe ne Sines nore ety peste one eat othe Aisapontion of ny ue Cons of combination ot Sanranter onthe cele Complement 3 e A matter of contrast The impact of hue, value The most ‘and saturation on legibility achieve o . Leable yogrpy possesses tines at = | relsonsip tt oes are seit te le reodebiltyis priority, as moat often it should trast botw eee be, s ruber of important factors must be colors os |ugglad. These include the choice of typaace intensity {ype sie; type weight an letter, word, and line color and spacing (see chaptor 1), When colo is appiod is critical tote, te interplay of hue, value, andl ature tion must be considered. Lotus too saturated, Most typtaces are designed tobe read as orange of black eto ona wite ground, and they applied t ceva optimum logit printed inthis Iatororm - rrannec fig. 1. There is nothing ambiguous disturbing about black al white, Thay are copay eyes and ae valanced opposites offering exquisite contrat possess a Black tye ons utia haere Whon reading larg amourts of type, he attention. | tSruamdtinnsis” | backgrounds become darker intone, contrast of black on white is what rears aro pushed b Sperteee el logit ciminihes. “avant the contrast relation- x most accustomed to (fig. 2). value (sele Tage Atou erg aes pe becor sobceos tees aire coe eaees = trot Because trite ty Better Seu iors are Barren utes that nitshould ust be typeface; 3, an ine isapplied rad a6 they this pletely contrast. the The most important thing you can do to hieve optimum legibility when working with {alot ad type is to carefully weigh the three tclor propertios to establish appropriate con. tras between letters and their background. All talors possess a definable hue, value, and intonsity by theie very nature, When combining lor and type, balancing these characteristics, ‘seitca Lotus look ata couple of examples. The fully saturated, complomentary colors blue and orange offer plenty of hue contrast, but when applied to type and background the edges of leterforms tend to vibrate, creating a sturbing kinetic effect that quickly numbs the yes nd tras the reader. Both of these colors possess a competing brightness, fighting for attention. fone ofthese hues is “softened” or “pushed back by making it lighter or darker in value selecting a tnt or shade of the hue}, the type becomes much more legible (fig 9). In @ diferent example, two saturated, analogous dors such as blue and groen provide sufficient contrast without a disturbing, dizzying effect. Because the green appears both lighter and brighterthan the blue, there may be no need forfurther ajustment (fig. 4). I analogous eoors are too close to each other on the color whee! and if they do not provide enough hue or value contrast adjustments should be made to sharpen the contrast fg. 8. ‘Type presented in the highly saturated blue and orange combination is very dificult to read. Adjusting the value of cither the type or the background greatly improves legibility Blue and yellow-green hues seem to ‘work well here. Even so, ifthe value of the yellow groen is tweaked slightly, legibitty improves —— ‘he bed wth opti portans haya wie, ‘sual calegig Shapes Colorcombinton tat pre. ‘iporeee Compare te (een examlot on he ihn nerorte proper fol adosants Of all the contrasts of color, value can be used in value and intensity. I you must use @ com toenhance legibility most significantly. Value bination of hues that for some reason do nat contrasts effectively preserve the shapes and meet legibility standards, ry improving them Iegrity of letters, making ther more easily by turning value or intensity up or down. recognizable. ‘Typeface and color {A good rule of thumb i to choose colors ni Every typeface possesses unique qualities that directly across from one anather, nor too close should be taken into consideration when toone anather on the color wheel. There will, choosing color. These qualities include of course, always be exceptions, Look fo proportion, weight, width, presence or absence compatible colors but colors which also differ Sone yes aes ge tn ter. een wh pata back hin ith men gan spc Ti mean des. Soma typeacs ae Len Lite than ek, em whan printed in Wack om white and wi Spin vping and pacing Tis is de fo Hlfvnce So ben Same ypetaes are ess eile than oes, ven when wate in lack on wie and wth optima sing and ‘ating Tis is du to terences indesign Seen eee ee, _slegancre raster yeaa eee of Av val fo. Wp Bla isp Nott thes actu rach oven ere zac me ing them lites that hen fe neti ry en when zing and Hn af serfs, and eccentricities in typeface design Avery thin or narrow typeface, a peculiar or amemental face, ora sript may appear very weak and illegible if hues are too similar ort values are too close. Enough contrast must erforms txist to preserve the fidelity of the fo) Typographic “color Black and white are neutral colors. When type isprinted in black or any other color, each 2 the differences in the “color” of these ten text blocks. Though only two scwual colors aro used (black and red), tach Block of text appears different from very other block Notice the differences in the “color” of these ten text blocks. Though only two actual colors are used (black and red), each block of text appears different from every other block. oferta hgh aaah dl kl je terion mite separate type design possesses a different tone figs. 7,8). This effect is sometimes referred to as typographic “color.” Creating different tones for different parts ofa text is important, for itis in this way that hierarchical order and empha sis are achieved. This principle is demonstrated inthe ct that you are now reading: the main text appears lighter, and the subheads appear darker though both are printed in black \ see color color color Notice the differences in the “color” of these ton toxt blocks. Though only two factual colors are used (black and red), each block of toxt appears different from every other block, Notice the differences in the “color” of theze ten text blocks. Though only two actual colors are ured (black and red), each block of text appears different from every other block. 8 eh eden cit Ha a cl ltt pa ieee oar Notice th sitarences ia the fam every te ick aer-etesstenten”— Tseflcte ais looks. hevgh oly tweeted ye Co Aston spacing incense, ‘weds open ihe oe, Even you alin trea penance color color color color color color You can achieve the ilusion of darker or lighter text blocks as you decrease or increase interline spacing. Even if limited tothe use of ‘one color you can create the appearance of several colo. You can achieve te illusion of darker or lighter blocks as you decrease or increase interne spacing. Even if limited tothe use of ‘one color, you can create the appearance of You can achieve the illusion of darker or lighter text blocks as you decrease or increase ine spacing. Even if limited to the use ‘one calor, you can create the appearance of Type spacing and color Letter, word, and line spacing also affect type color, Words appear lighter in tone ators are positioned further apart (fig. 8). Likewise, as ‘word and line spacing increase, type appears lighter in value (fig. 10. Paying attention tothe spacing needs of type as discussed in chapter 1 can greatly improve legibility when color contrasts are marginal or nen large amounts of text must be set in color (fig 1). Type size and color ‘Small type, type that i ight in weight, and delicately proportioned type with sarifs suffer

    You might also like