rae poor BBE on pat | 3 DINNER, SHRVIOES. ELLEN LUPTON Lag entering yaa A CRITICAL GUIDE FOR DESIGNERS, WRITERS, EDITORS, & STUDENTS r Wann, SUITH DRAWING - ROOM PATS MIAMI Gam ts sate errs oes<< UU BASKERVILLE Designed by John Baskerkuile, 1757 BODONI {| Designed hy Giambattita Bodoni, 1790s svn CASLON Designed by Caro! Twombly, 1990, based on pages printed by Wilfiam-Caslon, 1734-70 CENTAUR Designed by Brice Reyes, eot2—14 Theil by Fei Wark is based on the fiftcenth-century Ihandl of Endo deh reg. CENTURY EXPANDED Designed by Morris Fuller Benton, 1900 CLARENDON Named for the Clarendon Press, Oxford, who cornmissioned it in 1845 mn DIDOT Designed by Jonathan Hogfler, 1992 the types of Francois Ambros | FEDRA SANS Designed by Pater Blak, 2001, who was asked {a create ade Prostestantized Univers FILOSOFIA Designed by Zuzana Licko, 1996, a revival ofthe types of Bodoni FRUTIGER Designed by Adrian Frutiger, 1976 FRANKLIN GOTHIC Designed by Mons Fuller Benton, 1904 FUTURA Designed by Paul Renner, 1927, who sought on “honest expression of technical processes.” ” GEORGIA Designed by Matthew Carter, 196, for spay onseren GILL SANS Designed by Eric Gill, 1928. Ithas been described as Bricain's Helvetica, won GARAMOND Designed by Robert Slimbach, 1989, based on pages printed by Clande Gannand in the sixicenth cencury GOTHAM Designed by Tobias Frere-Jones, 2000, inspired by lettering found at Port Authority Bus Terminal, Nevi York Citya a HELVETICA NEWS GOTHIC Designed by Max Miedinger, 1957 Designed by Morris Fuller Benton, 1908, | HOEFLER TEXT QUADRAAT Designed by Jonathan Hoefler . 1995 Designed by Fred Smeijers, 1992 INTERSTATE SABON Designed by Tobias Frere-Jones, 1993, | Designed by Jan Tschichold, 1966, inspired by U.S. highway signs inspired by the sixteenth-century types of | Claude Garamond a a. Designed by Martin Major, 1991 | META ies Designed by Erik Spiekermann, 1991 | THESIS SERIF se Designed by Lucas de Groot, 1994 MRS EAVES Design Zee 198, TRADE GOTHIC inspived by pages printed by John Basteraile Designed by Jackson Burke, 1948-60, inspired by nineteenth-century gratesques NEUTRAFACE UNIVERS | Designed by Christian Schwarts, House lnd.sti 2002, bated on lettering created byl Richard Neutra in the 1940s and) L Designed by Adrian Frutiger, 1957 iat VERDANA | NOBEL SaGAIARRTE cea as for display on screen Designed by Tobias Frere-Jones,1993, seed 929 ypsby he Dutch ypograrer ws fanaa eee NH WALBAUM “Futuracockedina dirty pan” Designed by Justus Erick Walbaum, 1800aay BUFO _thinking with A CRITICAL GUIDE FOR'DESIGNERS, WRITERS, EDITORS, & STUDENTS GAP PRENcerow ancurtecrunat.pKess. ew yorkPublished by Princeton Architectural Press 57 East Seventh Street New York, New York 10003, Fora five catalog of books, call1.800.7 Visit our web site at ww.papress.com ©2004 Princeton Architectural Press All ights reserved Printed in China 7.06.05 5432. Firstadition No partof this book may be used or reproduced in any manner without witten peemission from the publisher, except in the context of reviews tvedy reasonable attempt has beén made to ideatify it, Errors or omissions will be owners of cons corrected in subsequent editions, Libcary of Congress Cataloging-in-Publication Data Lupton, Ellen “Thinking with type 2 erica guide for designees, waiter, editors, & students Fillen Lupton. — ste cin, — (Design briefs) Includes bibliographical references. ISDN r56898-448-> (alk: paper) 1. Graphie desipn (Typography) ‘ype and type-founding [Tile I. Series Ellen Lapton Mark Lamste, Princeton Architectural Press Elizabeth Jobson Jennifer Tobias and Ellen Lupton Eric Karnes and Elke Gasselseder Dan Meyers Scala, designed by Martin Majaor Thesis, designed by Lucas de Groot ete Alin, Nicola Bednarek, Janet Dehning, Megan Carey, Penny (Yuen Pik) Chu, Russel Fecnandez, Jan Haus, Clae Jacobson, Naney Eklund Liter, Linda Lee, Katharine Myers, Jane Sheinman, Scott Tennent, Jennifer Thompson, Joe Weston, and Deb Wood of Princeton Architectural Press — kevin C, Lippert pdlser, ae ODEMANILA JBRARIES (686.a'—deaaCONTENTS INTRODUCTION ACKNOWLEDGMENTS LETTER Anatomy Size Classification Famities Big Families Designing Typefaces Logotypes Screen Fonts Blemap Fonts Letter Exercise TEXT Kerning, Tracking Line Spacing Alignment Vertical Alignment Hierarchy Web Hierarchy Web Accessibility Paragraph Exercise Word Exercise Text Exercise GRID Golden Section Single-Column Grid Multi-Columa Grid Modular Grid Grid Exercise Data Tables Data Table Exercise APPENDIX Dashes, Spaces, and Punctuation Editing Editing Hard Copy Easing Soft Copy Proofreading Free Advice Bibliopraphey indexEMBO RCO, 1 peice Tis vo0 pomen wis hn HEAINES HE TE, Seren ent eeenra go moans mie goan Ont twenty ie emNrs M88 | ER anil cite ‘A woman's healthy face buss thro sheet otext her right Complexion prouing the preduct’s efficacy better than ary writen claim, Both ext and image ave been dram by hand, reproduced via color Bthography. Printed here at actual size hoon’s saxsanantita, Advertisement Fihograph, 1885 |INTRODUCTION THE ORGANIZATION OF LETTERS ona blanls page—or screen—is the designer's most basic challenge. What kind of font to use? How big? How should those letters, words, and paragraphs be aligned, spaced, ordered, shaped, and otherwise manipulated? ‘Anyone who regularly and enthusiastically commits acts of visual communication will find something to use and enjoy in this book, which offers practical information within a context of design history and theory. Sore readers will be chiefly interested in the sections that present basic typographic principles in concise, non-dogmatic layouts. Others will spend more time with the critical essays, which look at the cultural frameworks of typography. I decided to create this book because there was no adequate text to accompany my own courses in typography, which I have been teaching at Maryland Institute College of Art in Baltimore since 1997. Some books on typography focus on the classical page; others are vast and encyclopedic, overflowing with facts and details. Some rely too heavily on illustrations of their authors’ own work, providing narrow views ofa diverse practice, while others are chatty and dumbed-down, presented in a condescending tone. 1 sought a book that is serene and intelligible, a volume where design and text gently collaborate to enbance understanding. I sought a work that is small and compact, economieal yet well constructed—a handbook designed for the hands. { sought a book that reflects the diversity of typographic life, past and present, exposing my students to history, theory, and ideas. Finally, I sought a book that would be relevant across the media of visual communication, from the printed page to the glowing screen. Thad no alternative but to write the book myself. Thinking with Type is assembled in three sections: LetreR, T2xr, and GRID, building from the basic atom of the letterform to the’ organization of words into coherent bodies and flexible systems. Each section opens with a narrative essay about the cultural and theoretical issues that fuel typographic design across a range of media. The demonstration pages that follow each essay show not just kow typography is structured, but why, asserting the functional and cultural basis for design babits and conventions.‘The first section, zerreR, reveals how early typefaces referred to the body, emulating the work of the hand. The abstractions of neoclassicism bred the strange progeny of nineteenth-century commercial typography. In the twentieth century, avant-garde artists and designers explored the alphabet as a theoretical system, After digital font design became a cottage industry and a mode of underground publishing in the r980s, typography became a natrative form that revived its connections with the body. ‘The second section, TEXT, considers the massing of letter larger bodies. Designers approach text as a continuous field whose grain color, density, and silhouette can be endlessly adjusted. Technology has shaped the design of typographic space, from the concrete physicality of metal type to the flexibility—and constraints—offered by digital media, ‘Text has evolved from a closed, stable body to a fluid and open ecology. “The third section, Gx1b, looks at spatial organization. Grids underlie every typographic system. In the early twentieth century, Dada and Futurist artists attacked the rectilinear constraints of metal type and exposed the mechanical grid of letterpress. Swiss designers in the 19408 and 19508 cxcated design's first total methodology by rationalizing the grid. Their work, which introduced programmatic thinking to a field governed by taste and convention, remains profoundly relevant to the systematic thinking required when designing for multimedi Throughout the book, examples of design practice demonstrate the elasticity of the typographié system, whose rules can all be broken Finally, the aepen pix contains handy lists, helpful hints, dire warnings, and resources for further study, ‘This book is about thinking with typography—in the end, the emphasis falls on with. Typography is tool for doing things with: shaping content, giving language a physical body, enabling the social flow of messages. Typography is an ongoing tradition that connects you with other designers, past and futuze. Type is with you everywhere you go—the street, the mall, the Web, your apartment, This book aims to spesk to, and with, all the readers and writers, designers and producers, teachers and students, whose work engages the ordered yet unpredictable life of the visible word. 8