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