Efnisyfirlit

• Front Matter
  • DEDICATION
  • ACKNOWLEDGMENTS
  • PREFACE
  • INTRODUCTION
• CHAPTER ONE A BRIEF HISTORY OF TYPE
  • SOUNDS TO SYMBOLS
    • Figure 1–1 This Aboriginal rock painting (c. 13,000 BO), located in a cave in Queensland, Australia, is a distinctive example of the earliest form of written communication.
    • Figure 1–2 This chart shows the evolution of the Greek alphabet, which was originally adapted from the twenty-two-character, all-consonant Phoenician alphabet. The Greeks added several new characters as well as vowels.
    • Figure 1–3 The Greek writing system employed boustrophedon (“as the ox plows”), a system in which one reads from left to right on one line and right to left on the next. Notice how the letters are reversed from one line to another.
    • Figure 1–4 (Upper) The lettering at the base of Trajan's Column, dated 114 AD, one of the best-known and most beautiful examples of Roman letterforms. (Lower) Close-up of the inscription.
  • GUTENBERG AND MOVABLE TYPE
    • Figure 1–6 Engraved portrait of Johannes Gutenberg from Andre Thevet's Les vrais portraits et vie des hommes, Paris, 1584.
    • Figure 1–7 A spread from the Gutenberg Bible (opening of 1 Kings), the first book printed from movable type. Mainz, Germany, 1450–55.
    • Figure 1–8 Close-up of the blackletter typeface used to set the Gutenberg Bible.
  • THE INDUSTRIAL REVOLUTION AND THE MECHANIZATION OF TYPE
    • Figure 1–9 Linotype machine invented by Ottmar Mergenthaler.
  • PHOTOCOMPOSITION
    • Figure 1–10 Roman type by Claude Garamond, from the print shop of Simon de Colines, Paris, 1545.
    • Figure 1–11 Sample of Firmin Didot types cut around 1800.
    • Figure 1–12 Actual Bodoni punches. Carved punches were driven into other pieces of metal called matrices. Molten metal was then poured into these matrices, making the actual type.
    • Figure 1–13 The grace and elegance of the type of Giambattista Bodoni is evident in this page from the second edition of Manuale tipografico (1818), which is considered one of the greatest type specimen books ever printed.
    • Figure 1–14 Golden Type and page border by William Morris.
    • Figure 1–15 This cover design by Herbert Bayer illustrates the influence of the Bauhaus, c. 1923.
    • Figure 1–16 Typeface design by Herbert Bayer, 1925. This Bauhaus design is a minimalist, sans serif unicase typeface.
    • Herb Lubalin and Expressive Typography
      • This piece combines a bold typeface set with tight letter and line spacing with a very elegant hand-lettered script to illustrate a point typographically.
      • The overlapping ascenders and descenders of this piece take a back seat to the dramatic effect of the i lying on its side. The message is visual as well as editorial.
      • The message expressed here with the use of very tightly set caps is made even stronger by the placement of black-and-white color breaks, especially the word equal.
      • This award-winning logo designed for a never-published magazine not only states the name but illustrates it as well. Herb Lubalin considered the suggestion of a fetus inside the logo one of his finest typographic designs.
      • An announcement of an antiwar poster contest by Avant Garde magazine. Herb Lubalin's use of color, tight type, and a very deliberate type alignment (including hung punctuation) creates a jigsaw puzzle effect in this powerful piece.
  • INTO THE DIGITAL AGE
    • Notable Type Designers
      • Garamond
      • ITC Founder's Caslon
      • Baskerville
      • ITC Bodoni Twelve
      • Goudy Old Style
      • Franklin Gothic
      • Cooper Black
      • Parkinson Electra
      • Joanna
      • Times New Roman
      • Optima
      • ITC Benguiat
      • Univers
      • ITC Galliard
      • Vesta
      • Gigi
      • Latin 512 Expanded
      • ITC Slimbach
      • Triplex
      • Gotham
  • EXERCISE
    • DESIGN GUIDELINES
  • EXERCISE
    • TYPOGRAPHIC TIMELINE
    • Objective
    • Assignment
  • EXERCISE
    • HISTORICAL DESIGN
    • Objective
    • Assignment
• CHAPTER TWO FROM METAL TO MAC: UNDERSTANDING FONT TECHNOLOGY
  • WHAT IS A FONT?
  • FONT FORMATS
    • Figure 2–1 In the digital world, a font refers to the complete character set of a particular type design or typeface in digital form. This showing of ITC Legacy Serif is a good example of a complete character set, and it displays all the glyphs included in this particular Type 1 font. OpenType fonts often have many more characters than those shown here.
    • Type 1 (PostScript) Fonts
      • Figure 2–2 In a bitmapped font, all the characters are represented as pixels so it can be viewed on your screen. This illustration shows the arrangement of pixels for a character at a particular point size superimposed over the outline.
      • Figure 2–3 The image above is a digital representation of an outline. A printer font is scalable, which means it can be enlarged or reduced to any size, rendering as crisp and sharp an image as your printer or output device is capable of printing.
    • TrueType Fonts
    • OpenType Fonts
      • Figure 2–4 From the simple to the sublime! Adobe Bickham Script Pro (an OpenType font) comes with a huge selection of swash and alternate characters, enabling a plain vanilla setting to be easily transformed into an elegant, highly embellished showing, previously attainable only from the skillful hands of a calligrapher.
      • Figure 2–5 House Industries designed Ed Interlock (an OpenType font) with a built-in intelligence to control the use of its hundreds of ligatures in such a way that it “thinks like a designer” and selects the appropriate ligature to maintain balance, particularly in the horizontal strokes. The top showing is set with contextual alternates turned off. When this feature is turned on (below it), note how characters and ligatures change depending on what is next to them.
      • TYPETIP OpenType Features
        • The discretionary ligatures available in Garamond Premiere Pro can be viewed via the glyph panel.
        • When contextual alternates are turned on in Caflish Script Pro (right), many of the connecting strokes between the letters become more natural, in a handwriting style.
        • An alternate a, g, and y are located in Trilon's fourth stylistic set, as shown above.
  • HINTING
    • Figure 2–6 The markings around this character illustrate the hints, or instructions, that have been incorporated into a font to make type look good on-screen as well as when printed.
  • FONT MANAGEMENT UTILITIES
    • TECHTIP OpenType Font Identifiers
    • TYPETIP Long S
      • The long s and related ligatures as shown set in Adobe Caslon Pro Regular (left) and Italic (right).
    • TYPETIP Font vs. Typeface
  • EXERCISE
    • EXPLORING YOUR OPENTYPE FONTS
    • Background
    • Objectives
    • Assignment
      • Latienne Pro has all of the features listed in Step 2.
• CHAPTER THREE WHAT MAKES A TYPEFACE LOOK THE WAY IT DOES?
  • PARTS OF A CHARACTER
    • Figure 3–1 The parts of a character.
    • Figure 3–2 A very elegant (and slightly humorous) season's greetings card that serves to educate as well as entertain. Design by Paul Shaw and Abby Goldstein.
  • TYPE CATEGORIES
    • Serif
      • Oldstyle
        • Adobe Caslon Pro
      • Transitional
        • ITC New Baskerville
      • Modern
        • ITC Bodoni Twelve
      • Clarendon
        • Clarendon
      • Slab or Square Serif
        • ITC Lubalin Graph
      • Glyphic
        • Copperplate Gothic
    • Sans Serif
      • 19th-Century Grotesque
        • Franklin Gothic
      • 20th-Century Grotesque
        • Univers
      • Geometric
        • ITC Avant Garde Gothic
      • Humanistic
        • Optima
    • Scripts
      • Formal
        • Bickham Script Pro
        • Commercial Script
      • Casual and Brush Scripts
        • Mistral
      • Calligraphic
        • ITC Ballerino
    • Handwriting
      • ITC Deelirious
      • ITC Dartangnon
    • Blackletter
      • Fette Fraktur
      • Engravers Old English
    • Titling Fonts
      • ITC Golden Cockerel Titling
      • Bembo and Bembo Titling
    • Opticals and Size-Sensitive Fonts
      • Warnock Pro Opticals: Caption, Regular, Subhead, and Display
      • ITC Bodoni Six, Twelve, and Seventy-Two
      • TYPETIP One- and Two-Storey Lowercase As and Gs
        • Plantin (upper) and Plantin Schoolbook (lower) illustrate the different designs of the two-storey and one-storey a and g.
    • Decorative and Display
      • ITC Abaton
      • ITC Farmhaus
      • Curlz
      • ITC Rennie Mackintosh
      • ITC Beesknees
      • ITC Pious Henry
      • Teknik
      • ITC Freddo
      • Coquette
      • TYPETIP Character vs. Glyph
        • The lowercase r character is represented by four glyphs in Garamond Premier Pro: the standard r, swash r, small cap r, and superscript r.
  • EXERCISE
    • THINK LIKE A TYPE DESIGNER
    • Objectives
    • Instructor Preparation
    • Assignment
    • Critique
    • Supplies
  • EXERCISE
    • LETTER PARTS ASSIGNMENT
    • Objective
    • Assignment
    • Requirements
    • Process
      • Creative solutions to the Letter Parts assignment by Catherine Begle, as well as her students Patricia Green, Jennifer Mazur, and Sarah Gee.
  • EXERCISE
    • PERSONAL TYPE SPECIMEN CATALOG
    • Objectives
    • Assignment
  • EXERCISE
    • TYPE SPECIMEN BOOK AND TYPEFACE ANALYSIS (Group Project)
    • Objectives
    • Assignment
      • Specifications
      • Front Page
      • Back Page
    • Part 2: Typeface Analysis
    • Part 3: Type Specimen Book
      • Specimen pages designed by Hunter Dougless.
  • EXERCISE
    • TYPEFACE COMPARISON BOOK
    • Objectives
    • Assignment
    • Background
    • Deliverables
    • Specifications
    • Process
    • Example:
    • Some strategies for comparison:
      • Jessica Denman's type specimen booklet compares Clarendon and Rockwell.
      • Kristen Thompson compares Gill Sans and Univers.
  • EXERCISE
    • BLOCK TYPE PROJECT
    • Objectives
    • Assignment
      • Thoughtful solutions to the Block Type Project by Laura Souza, Carissa Niro, Sarah Solano, and Whitney Multari.
• CHAPTER FOUR SELECTING THE RIGHT TYPE FOR THE JOB
  • FACTORS TO CONSIDER
    • Design Goals
      • Figure 4–1 Every typeface has its own personality and conveys different moods and feelings, some more so than others. Display typefaces tend to be stronger in personality, sometimes trading legibility at smaller sizes for a more powerful feeling.
      • Figure 4–2 and 4–3 These pieces by Jim Spiece combine expressive typography with illustration to convey childlike whimsy (above right) and a very inviting French culinary experience (above).
      • Figure 4–4 The typeface used on this book cover designed by Richard Fahey screams out excitement, danger, and intrigue in conjunction with the illustration. Book covers need to capture one's attention quickly amid a sea of other books, and this one makes its point in a strong way.
    • Identify Your Audience
      • Figure 4–5 The retro vibe is undeniable in both the logo and eye-catching posters for the Terry Shop, an online store dedicated to “all things vintage.” Designer Ed Nacional incorporated an artful blend of contrasting yet compatible typefaces to achieve this.
    • Type Size
      • Figure 4–6 Caslon Openface, with its delicate, thin strokes, is a perfect example of a typeface that looks great at 20 point but becomes more difficult to read at 12 point. It also becomes a challenge to print without the thin strokes breaking up.
    • Type Color
    • Legibility and Readability
      • Figure 4–7 These display designs forgo a high degree of legibility for a stronger personality, elaborate and more expressive shapes, and a more distinctive look. When the objective is to be instantly noticeable and to convey a certain mood or feeling, extreme legibility might not be a priority.
      • Figure 4–8 Counters, x-height, character shapes, stroke contrast, and so forth, all contribute to the legibility of a typeface. These text faces are extremely legible because of their clean, consistent, and uncomplicated design features, which make it easy to distinguish one letter from another.
      • Figure 4–9 This logo for Greenhood + Company, created by Vrontikis Design Office, trades slickness and readability for an intentional low-tech look, which is in direct opposition to what you would expect from a company specializing in new media and technology.
      • Figure 4–10 Readability is related to how you arrange the type and is affected by size, leading, line length, alignment, and letter and word spacing. Even a legible typeface, such as ITC Flora, can lose readability when set 14/15. But its readability improves dramatically when set 12/18.
    • Paper and Surface Considerations
    • Printing Method
    • Low-Resolution Environments
  • WHAT MAKES A GOOD TYPEFACE?
    • Consistent Design Characteristic
    • Legibility
      • Figure 4–11 Alfon's consistent design traits (upper) are evident in its character widths, thick and thin strokes, serif treatment, and the stroke endings of the s and c. Extreme Sans (middle) displays consistent character shapes, stroke thickness, rounded stem endings, and rounded geometric shapes. Even a rather inconsistent-looking display design, such as ITC Bodoni Brush (lower), can be consistent in its inconsistencies, as seen in its baseline and x-heights, thick and thin strokes (yes, even the chunky thicks are consistent!), and overall character widths.
    • Spacing
      • Figure 4–12 Poor and inconsistent spacing between characters and words can make a well-designed face, such as ITC Juice, look spotty and uneven (left). When evenly spaced (as is the original, right) it is a rhythmic design with even texture and color.
    • Kerning
      • Figure 4–13 Uneven kerning, as displayed in the upper setting of ITC Conduit, is evident in the tight ve, er, and ng combos, as well as the too open ke, rn, and ni combos. The bottom showing (as it appears in the original font) is much more even and consistent.
    • Even Color and Texture
      • Figure 4–14 A preliminary version of Oldrichium (left), while true to its historical source, has uneven stroke thickness and weight contrasts, inconsistent letterspacing, and too much word spacing. The final version (right) was adjusted to improve the overall color and texture while maintaining the idiosyncrasies of the design, resulting in a more balanced, even-textured, yet still authentic, typeface.
  • TEXT VS. DISPLAY
    • Figure 4–15 Combining Rougfhouse, a “sick” looking display typeface, with Scala Sans makes the message come alive in this promo piece by SVP Partners. It appeared on airline-style air-sickness bags as well as T-shirts.
  • TYPE SUPER FAMILIES AND SYSTEMS
    • Figure 4–16a Compatil is an innovative, modular type system consisting of four stylistically related type families with the same proportions and identical character spacing. All styles have been built on a common skeletal structure and consist of Exquisit, a Venetian serif; Text, a transitional serif; Letter, a slab serif; and Fact, a humanist sans serif.
    • Figure 4–16b Emigre Triplex is a stylish type family consisting of sans and serif roman (upright) designs as well as condensed versions. They should be treated as separate designs and used together very carefully; although they have the same roots, their width differences make them challenging to use together effectively.
    • Figure 4–16c ITC Humana is unusual in that it is a calligraphic-based type family having both text and display applications. The serif and sans versions are warm, lively, and humanistic, as the name suggests, as well as being quite legible at small sizes. The script version is a very strong, dramatic, condensed calligraphic design that can be used at larger sizes in conjunction with the serif and sans.
    • Figure 4–16d ITC Legacy Pro contains serif, sans, and new square versions. All have the same skeletal structure with differing finishing details.
    • Figure 4–16e The ITC Stone type family consists of serif, sans, informal, and humanist versions. It is an extremely legible, practical, and versatile text family with lots of mixing possibilities.
    • Figure 4–16f Trilon's four width variants make it a super family, in every sense of the word.
  • SCRIPT, CALLIGRAPHIC, AND HANDWRITING FONTS
    • Figure 4–17 These script, calligraphic, and handwriting-inspired typefaces can be very elegant, formal, and classy or be humanistic, quirky, and quite individualistic. They are fun to use, but use them with caution as they make a very strong—sometimes too strong—graphic statement.
    • Figure 4–18 An elegant type treatment for a Mohawk Paper promo by VSA Partners, Inc. A clean, tasteful design results from contrasting script with slab-serif typeface, large with small, cap with lowercase, and black with color.
  • WHEN THE BEST FONT FOR THE JOB ISN'T A FONT
    • Figure 4–19 These three pieces by hand-letterer Jill Bell could never have been done on a computer with fonts—their warmth and individuality require the design sensibilities, skill, and talent of a human being.
    • Figure 4–20 This poster designed by Henderson Bromstead Art for an AIDS organization fundraiser brilliantly blends the red-ribbon symbol of AIDS awareness with clinking champagne glasses to create the perfect image in which to embed the hand-rendered type.
    • Figure 4–21 Henderson Bromstead Art integrates typography with image as a way to downplay the dense copy. Says partner Hayes Henderson: “Treating the type as image forces us to consider it as integral to the concept. Rather than something separate and descriptive of the visual, it often IS the visual.”
    • Figure 4–22 These hand-lettered logos by Gerard Huerta are further examples of results that can only be achieved with the handcrafting of a talented letterer. The hand-drawn pencil sketch is a thing of beauty in itself and is an increasingly rare skill in today's digital age.
    • Figure 4–23 This hand-lettered logo for Monsoon Café, drawn by Christina Hsaio for Vrontikis Design Office, captures the essence of the “lands of the monsoon.” Every character was drawn to work with those around it; each of the three o's are a different design, which would have been almost impossible with a typeface.
    • Figure 4–24 These three colorful letters (o, l, é) say it all in the title of this very simple yet eye-catching invitation by SVP Partners.
    • Figure 4–25 Hand-lettered type is the mainstay of this striking poster, made even more dramatic with the splash of red in the title treatment. Dermot Mac Cormack did the design as well as the lettering—in addition to being the playwright!
    • Figure 4–26 Illustrator and hand-letterer Daniel Pelavin combines oversized, dimensional caps flowing around an outlined shadow script to create depth, movement, and flow to this colorful, eye-popping book cover. The large caps double as windows to the illustrations within them.
    • Figure 4–27 No typeface would have worked as well as this hand-lettered type by Kevin Pope, who also did the illustration for this Yupo promo piece by SVP Partners; the hand-lettered type and the illustration work together as one.
    • Figure 4–28 The hand-drawn type on the tractor blends in perfectly with the stylized yet primitive style of the illustration. Illustration and design by Bud Snead.
    • Figure 4–29 Robynne Raye of Modern Dog used hand-drawn typography to create these two posters for local plays. Hand drawing the type in Betty the Yeti allowed the letterforms to be customized to fit the contour of the Yeti, which was drawn by the designer when she was six years old (far left). The poster near left also incorporates hand-lettering; if it was set in an actual font, all seven of the Es and all five of the Ls would look exactly the same, giving it a static feel. Hand drawing the type allowed it to remain more random and organic. Both posters courtesy of Modern Dog Design Co.
    • Figure 4–30 Original handwriting and a simple line drawing was all that was needed to make the point to Find Your Voice and read the newspaper. Handwriting is a natural choice to express one's voice, as both are unique, individual, and personal. Designed by Ben Ginnel.
    • Figure 4–31 A very different example of a situation in which the best typeface for the job might not be a typeface at all. This piece for Mohawk Paper Mills, designed by Rigsby Design, addresses the question of identity by using a rather crude and inconsistent yet surprisingly rhythmic handwriting throughout the piece, sending a very low-tech, personal message. It works great with the illustrations.
    • Figure 4–32 Art Chantry uses very low-tech methods to achieve the look of an old show card from the 1950s for this rockabilly concert. The vintage feel was created from a combination of cut-and-pasted old fax lettering and images that were assembled, printed, crumpled up, photocopied, enlarged, and touched up.
    • Figure 4–33 This raw, tension-filled logo for a performance troupe designed by Art Chantry reflects the troupe's view of themselves as “straining against convention, ready to explode.” The type was created with thrift-store ceramic lettering, which was pressed and squeezed onto a copier to achieve the compressed, crowded feel.
    • Figure 4–34 The primitive yet purposeful headline typography on these Serbian book covers, designed by Jana Nikolic, intentionally forgo modern digital techniques, using instead old transfer type with its inherent cracks and other imperfections. The text is set in Aram, a typeface designed specifically for this project at the Faculty of Applied Arts in Belgrade.
  • TYPOGRAPHIC ILLUSTRATION
    • Figure 4–35 This seemingly simple yet well-thought-out book cover is made even stronger by replacing both Os in the title with oversized degree symbols set in a fiery red to reinforce both the title and the concept of anger. These Os create a visual tie-in with the circular pattern of the red-hot burners. Designed by Red Canoe.
    • Figure 4–36 Once again the letter O has a double meaning as it becomes a continuation of coins shaken out of a taxpayer's pocket in another book cover by Red Canoe. The primitive illustration blends with the book title set in News Gothic, while the rest of the type is set in Trixie, a distressed typewriter font, suggesting grassroots posters and fliers announcing rebellions of an earlier era.
    • Figure 4–37 This poster by Scorsone/Drueding powerfully illustrates the concept of guilt by embedding the plight of humankind (set within the figure in Futura Bold caps) within a dark, stylized illustration of a man pierced with nails. This is an extremely effective use of typographic illustration.
    • Figure 4–38 This book's title (far left) suggests its type treatment in this highly stylized, dramatic book cover by Daniel Pelavin. He created geometrically constructed characters that overlap and are separated by gradated color in the style of A. M. Cassandre.
    • Figure 4–39 The word trapped in this poster advertising National Runaway Day, designed by Brian Rosenkranz (near left), uses a stark, cold type treatment that is literally entrapped by large, massive geometric shapes. The circular motion of the large arrows surrounding the word trapped reinforces the futility of the life of a runaway.
    • Figure 4–40 This logo practically designed itself, according to Bob Aufuldish of Aufuldish & Warinner: “It was primarily a matter of finding the best question mark that could be flipped so it would read as an S. It turned out that the Caslon Italic question mark was perfect—we just rotated it so it was upright.”
    • Figure 4–41 This freeform, quirky, and dynamic lettering was designed to mimic the qualities of the artist's music. The lettering was created with a sponge brush by the designer Kayla Silber.
    • Figure 4–42 This logo for a lightbulb intertwines type with image as the u has been modified to become a lightbulb. Its bright orange color, signifying light, strengthens the image. Designed by Mansi Desai.
    • Figure 4–43 This play on words was too good to resist for designer Mark Thompson in this clever logo. He explains, “The story is that Belfast is a city with a heavy industry heritage, known for engineering and shipbuilding. The greatest soccer player the world has ever known, George Best, was from Belfast. He played for a number of teams including the ‘reds’ of Manchester United in England. George died a few years ago, and the logotype will be used to promote a new sculptural piece in the city in his memory, which will be located in the middle of the city.”
    • Figure 4–44 The flopping of an R transforms a potentially straightforward logo into one that is infinitely more interesting, as well as reflective of its meaning.
    • Figure 4–45 Type as illustration is cleverly employed in this newspaper treatment by Elio Leturia, which turns a Q into a fat cat whose whiskers become the headline.
    • Figure 4–46 A wall of type is the background from which the headline emerges in this poster by Christine Fajardo about the perils of overstimulation by modern technology.
    • Figure 4–47 Stefan Sagmeister created this arresting department store advertising campaign in which models were body painted in typographic sentences. Inspired by Lobster and Nobel typefaces.
  • MIXING IT UP
    • Text with Display
    • Serif with Sans
      • Figure 4–48 This text treatment, as part of a promotional piece designed by SVP Partners, uses two different sans-serif typefaces, but they are different enough to work well together. Suburban, the quirky typeface used for the text, maintains its readability in spite of its small point size and reverse treatment.
      • Figure 4–49 Marty Blake combines ITC Bodoni Seventy-Two, an historic serif typeface, with Engravers Gothic, as well as using size and case contrast (upper- and lowercase vs. capitals) on this book cover to stimulate a renewed interest in a historical document.
    • Weight Contrast (Light with Heavy)
      • Figure 4–50 This thoughtfully crafted poster takes full advantage of the numerous weights and widths of Knockout, a 32-version, highly functional sans-serif family. This typographic patchwork designed by Stuart Thursby has a dense yet visually balanced typographic texture.
    • Width Contrast (Wide with Narrow)
    • Script and Decorative Designs
      • Figure 4–51 An effective use of width contrast in the two sans typefaces is used for this book cover designed by Marty Blake. Setting the wider Eagle Bold in all caps distinguishes it even more from its condensed companion, Binner Gothic.
      • Figure 4–52 Pairing different widths of the same typeface is a safe and effective way to combine two sans serifs, as seen on this book cover designed by Marty Blake, which uses the Champion Gothic family.
      • Figure 4–53 Steve Lambert's work in neon is heavily reliant upon the right pairing of typestyles. This piece began with CornerStore and Carrosserie, which were then tweaked to allow the letterforms to translate well to this medium.
      • Figure 4–54 Combine nine different typefaces on one page and get away with it? Mark van Bronkhorst does it very successfully in this U&lc table of contents. The different typestyles add visual excitement and interest to an otherwise simple page.
      • Figure 4–55 The use of fonts inspired by wood type and the American West coupled with an aged and battered, tentlike background evoke the spirit and flavor of the music that lies within this CD cover.
      • Figure 4–56 Three typefaces, a slab serif, a sans, and a serif, work together beautifully in this small but simple and cleanly designed self-promotion piece by Stephen Banham of The Letterbox.
      • Figure 4–57 This visually lush program guide designed by Bob Aufuldish incorporates a broad selection of typefaces, some of which were set, distressed, and then scanned to achieve the desired effect.
      • Figure 4–58 The “ransom note” technique is artfully applied to the headline of this piece, which uses nine different typefaces.
      • Figure 4–59 Marty Blake masterfully combines no less than four typefaces in this beautifully designed announcement set in Trade Gothic Condensed, Brothers, Clarendon, and Birch. With the addition of imagery as well as a few well-positioned ornaments, she has achieved a pleasing typographic contrast that successfully conveys the hierarchy.
      • Figure 4–60 Bodoni Poster, Trade Gothic Bold, and the very assertive Giza combine beautifully in this New Year's greeting designed by Ricardo Cordoba.
      • Figure 4–61 This web banner designed by Chiranit Prateepasen for AIGA Boston successfully pairs two contrasting typefaces, Gotham and Black Sabbath, and uses scale and color to intensify the contrast.
    • Type Super Families and Systems
  • DOS AND DON'TS
    • TYPETIP Type Specimen Materials
    • TYPETIP What's New on the Font Scene
    • TYPETIP A Bodoni by Any Other Name?
      • Five different Bodonis! From top to bottom: EF Bauer Bodoni, WTC Our Bodoni, URW Bodoni Antigua, ITC Bodoni Six, and ITC Bodoni Seventy-Two. Despite their similar foundations, each is a distinctive interpretation of an original Bodoni design.
  • EXERCISE
    • WHY ARE ALL THE SCARY TYPEFACES POINTY?
    • Objective
    • Assignment
    • Process
  • EXERCISE
    • A GARAMOND Is A GARAMOND Is A GARAMOND... OR Is IT?
    • Objectives
    • Background
    • Assignment
      • Three examples of very different Garamonds. Excerpt from “The Crystal Goblet” by Beatrice Warde.
  • EXERCISE
    • SIX-WORD MEMOIRS POSTER (EXPRESSIVE TYPOGRAPHY)
    • Objectives
    • Assignment
    • Specifications
    • Process
      • Six highly expressive and very personal solutions to this thoughtful assignment, by Christopher Caldwell, Krystal Perez, Kyle Gideon, Elizabeth Harris, Sean Morse, and Tali Singer.
  • EXERCISE
    • REAL SIGNAGE CRITIQUE
    • Objectives
    • Assignment
    • Process
• CHAPTER FIVE FORMATTING YOUR TYPE
  • TYPE SIZE
    • Figure 5–1 Both text blocks, ITC Golden Type and Caxton respectively, are set in 12 point but look very different because of their varying x-heights.
  • LINE LENGTH
  • LINE SPACING (LEADING)
    • Figure 5–2 A very short line length can lead to too many hyphenations, making the text difficult to read. (The Scarlet Letter)
    • Figure 5–3 This line length is comfortable to read and has no hyphenations.
    • Figure 5–4 A long line length also becomes cumbersome to read, as our eyes struggle to find the beginning of the next line.
    • Figure 5–5 The top setting of Expo Sans is set solid (12/12) and can be hard on the eyes for any length of copy. The middle text is set at auto leading, which is about 20 percent more than the point size, or about 14.4 point; it is comfortable to read, even for lengthy amounts of copy. The bottom text is set at 12/18. It has a nice, open look, and is often used in magazines, annual reports, and brochures. (A Tale of Two Cities)
    • Figure 5–6 All caps can be set with little or no leading (also referred to as set solid) and sometimes negative leading, depending on the look you are after. The top example of Mekanik is set with auto leading (about 36/43) and is much too open. The example below it is set with negative leading (36/30) and looks much better.
    • Figure 5–7 Stacked caps can be a very powerful design technique, as in this annual report designed by SVP Partners. The lines have been sized so that the letter spacing isn't compromised.
    • Figure 5–8 This logo designed by Mary Anne Casey for a museum exhibit reflects and reinforces its content, both literally and figuratively. This is accomplished by the irregular angularity of the type treatment as well as the vertical black rectangles that mimic the twin towers.
    • TECHTIP Auto Leading
      • Auto leading can create fractional values, as seen above in InDesign's Character panel.
    • Figure 5–9 The flush-right (red) type treatment is an appropriate and effective partner to the illustration in this poster designed by Julie Spivey. While the image is the focal point, the eye quickly moves around the composition for the typographic details.
  • ALIGNMENT
    • Figure 5–10 A traditional flush-left setting using the typeface Sauna. (Black Beauty)
    • Figure 5–11 Flush right is a little harder to read, but acceptable in short amounts where it is desired for design purposes.
    • Figure 5–12 When justifying type, avoid rivers of white space and lines with too much letterspacing or word spacing. Try to maintain an even color and texture as much as possible, even if it means editing the copy or altering the line length.
    • Figure 5–13 Centered type adds symmetry and elegance but decreases readability when used for large amounts of copy.
    • TYPETIP Fine Tuning Justified Type
      • InDesign's Justification panel offers precise control for the spacing of justified type.
    • Figure 5–14 Type can run around a pull quote inserted in a reverse box. Align the box with the baseline and cap height of neighboring lines. (Alice's Adventures in Wonderland)
    • Figure 5–15 There is not a right angle to be found in this exciting explosion of type and image, which intertwine to create a very eye-popping program announcement. Designed by Grace Duong.
    • Figure 5–16 This excerpt set in ITC Woodland is contoured as a wonderful play on the words “‘Mine is a long and a sad tale!’ said the Mouse.” (Alice's Adventures in Wonderland)
    • Figure 5–17 These spreads from U&lc show how Mark van Bronkhorst contoured the type to mirror shapes from the facing page. It might look easy to do, but the copy and the line breaks were edited and hand-worked to eliminate holes and rivers, keeping the texture and color of the type even.
    • Figure 5–18 The text in this smart piece by Hornall Anderson Design Works, Inc., was contoured into a triangle to complement the concentric circles in the background. Once again, it looks easy but is difficult to do well.
    • Figure 5–19 An interesting text shape, coupled with the geometric text architecture above it, make an exciting page out of text set in conservative typefaces in this catalog designed by Eva Roberts. Notice the use of bullets to separate the paragraphs.
    • Figure 5–20 In developing an identity for Public Architecture, Jeremy Mende eschewed the traditional practice of drawing logos in favor of creating what they call a literary wordmark: the firm is described in words rather than metaphorical pictures. The strong forms of Trade Gothic and the resulting block reinforce the idea of clean, elegant, modernist architectural form.
    • Figure 5–21 The zigzag theme of this dynamic editorial spread mimics the off-kilter lifestyle of the skateboarders it talks about. The diagonal stripes on the top enclose the headline set in Futura Thin press type and represent police tape around construction sites where many skaters like to skate. Designed by Art Chantry for the alternative music magazine the Rocket. “The layout looked like the kids to me,” says Art Chantry. Photo by Pete Kuhns.
    • Figure 5–22 Robin Bilardello uses type and simple geometric elements to create the contour of a blocky numeral six in this deceptively simple yet effective book cover. The use of various weights and widths of HTF Knockout in conjunction with color and rotated type lead the reader around the page in this purely typographic solution.
    • Figure 5–23 This beautifully constructed spread showcases 12 weights of the Cholla typeface family in an unexpected, yet visually exciting way. Elaborately contoured text blocks create a geometric grid that separates yet draws attention to each weight. Typeface and spread designed by Sibylle Hagmann.
    • Figure 5–24 A “wall of type” was created by Bob Aufuldish of Aufuldish & Warinner for this CCA Architecture Lecture Series poster. Meticulous attention was paid to typeface size, style, and alignment selection to achieve this effect without images, tints, or color.
    • Figure 5–25 This minimally designed flyleaf for a SMART Kromekote brochure makes its point simply yet effectively through the use of scale, color, negative space, and justified text blocks. Designed by Nesnadny + Schwartz.
    • Figure 5–26 The contoured text on the right strikingly mirrors the shape of the cornered bug on the left. Shifting baselines and erratic breaks in the title further reflect the bizarre, fantastic turn of events in this famous story by Franz Kafka in which a man wakes up as a giant bug.
  • INDENTS AND OTHER PARAGRAPH SEPARATORS
    • First Line Indent
    • Extreme Indent
      • Figure 5–27 A very whimsical and charming use of contoured type to create a head of hair with copy that talks about a hair care company. Designed by VSA Partners, Inc.
    • Hanging Indent (or Outdent)
    • Dingbats
    • Line Space
      • TYPETIP Standard Ligatures
        • A ligature is a special character made by connecting or combining two or more characters into one. The most common ligatures are the f-ligatures, including fi, fl, and sometimes ff, ffi, and ffl.
        • These two lines show the difference between how words look without (upper) and with (lower) ligatures.
        • Figure 5–28 First line indents are the most common style of indent. Notice that an indent is omitted in the first sentence of the first paragraph, as there really is no need to separate the beginning of the text from anything. (Black Beauty)
        • Figure 5–29 An interesting look is achieved with an extreme indent where the first line or several lines are indented, sometimes to a depth of half the column width. This can be a classy and interesting look when used tastefully and appropriately.
        • Figure 5–30 A hanging indent, or outdent, is actually the opposite of an indent in that the first line hangs out of the left of the paragraph into the margin.
        • Figure 5–31 A dingbat or any decorative or graphic element can be used to separate paragraphs. In this example the paragraphs run into each other with only a color dingbat separating them. Dingbats can also be used in place of a line space between paragraphs.
      • TECHTIP Style Sheets
        • InDesign's Paragraph Style Options offers quite a number of categories, as indicated in the left column.
      • TYPETIP Footnotes and Endnotes
        • Footnotes can be indicated with daggers, asterisks, or superscript numerals.
      • TYPETIP Importing Copy
        • InDesign's Import Options for a Microsoft Word document are shown here.
  • EXERCISE
    • TYPOGRAPHIC LECTURE SERIES BROCHURE
    • Objective
    • Assignment
    • Deliverables
      • Solution to the Typographic Lecture Series Brochure by Derek Chan.
      • Solution to the Typographic Lecture Series Brochure by Bernard Ryan L. Diaz.
  • EXERCISE
    • VISUALIZING POETRY
    • Objective
    • Content
    • Assignment
    • Deliverables
      • Excerpts from solutions to Visualizing Poetry by Heamin Lee, Tyler Nilson, and Milgo Yonis.
• CHAPTER SIX TYPOGRAPHIC HIERARCHY AND EMPHASIS
  • TYPOGRAPHIC HIERARCHY
    • Figure 6–1 This poster by Alexander Isley, Inc., effectively organizes and emphasizes many levels of hierarchical information with the use of weight, scale, color, and alignment. Art director: Tara Benyei.
    • Figure 6–2 This information-packed spread from an annual report successfully organizes and prioritizes all of the content (in two languages, no less!) with the use of visually interesting charts, color, and an effective underlying grid.
    • Figure 6–2 Marty Blake made masterful use of typestyles, case, size, and color to achieve a balanced typographic hierarchy in this creative wedding invitation.
    • Figure 6–4 This powerful editorial spread makes dramatic use of scale and 90-degree angles to capture the reader's attention. The mazelike design leads the eye around the page creating a strong hierarchy without becoming too busy. Designed by Art Chantry for the alternative music magazine The Rocket.
    • Figure 6–5 This innovative approach to an identity system begins with the creation of a dynamic, textural typographic poster, which is then broken down and used for all other elements of the system.
  • TECHNIQUES FOR EMPHASIS
    • Italics and Obliques
      • Figure 6–6 True-drawn italics are usually a unique and separate design from their roman companion, with differing design features and character widths and often appearing somewhat calligraphic in nature. ITC Galliard Roman and Italic are a perfect example of this.
      • Figure 6–7 ITC Avant Garde Gothic Medium Oblique is a slanted version of its roman companion with few or no design changes. Obliques are used in much the same way as italics, although they create less contrast.
      • Figure 6–8 Italic and bold versions of a typeface should not be accessed through the style bar, only through true-drawn versions of the actual typeface. Computer-generated versions are extremely inferior and should be avoided at all costs. This showing of ITC Stone Serif demonstrates how the computer-generated versions on the top are inferior in design, width, and spacing to the true-drawn originals on the bottom.
    • Boldface (Weight Contrast)
    • Underscores
      • Figure 6–9 Try to jump at least two weights to create a strong contrast when using a boldface from a family of several weights. A too-small weight contrast at the same point size is at best ineffective and at worst amateurish typography.
      • Figure 6–10 This example demonstrates the use of italics, boldface, all caps, and small caps as techniques for emphasis. Which do you think works best to draw attention to the word in question in a subtle yet effective way? (Romeo and Juliet)
      • Figure 6–11 Several other techniques for emphasis are illustrated here. The use of italics in the first paragraph is common and is very effective in most instances. The second paragraph uses a condensed version of the typeface and is awkward and barely noticeable when scanned by the reader's eye. The third tries a change of typeface, which creates too strong a change for this context. The last uses a change of color (converted to a tint, in this case); it might be too much emphasis for this purpose, but it can be very effective in other instances. (Alice's Adventures in Wonderland)
      • Figure 6–12 The bold typographic treatment of this spread in a brochure for the Planned Parenthood Federation of America derives its power and effectiveness from the word FREEDOM blasted across the spread. Bold text set in Trade Gothic, limited graphics, and powerful copy send a strong, compelling message in this piece by Nesnadny + Schwartz.
    • Case (Caps vs. Lowercase)
    • Type Size
    • Wide vs. Narrow
    • Changing Typestyle
    • Changing Color or Shade
      • Figure 6–13 The letters of the book title “compete” for position in this cover by creating the illusion of depth and motion, illustrating the definition of the word as well as catching the reader's attention. Hyphens are eliminated in the one-word title that is broken into three lines—a daring approach, which surprisingly doesn't reduce its readability.
      • Figure 6–14 This bulleted list illustrates an appropriate context in which to use a change of typeface, weight, and color for a strong emphasis. When doing this, you might have to adjust point sizes slightly to get the x-heights to match up. In this case, the bold sans words are a half-point smaller than the rest of the text.
      • Figure 6–15 These two pieces by SVP Partners use scale and color to create exciting and effective graphics in a purely typographic environment. The first blows up an important numerical element, balancing the copy to its right. The second makes a headline out of the lead-in to the first sentence, drawing the reader in.
      • Figure 6–16 “Flopping” one character gives this otherwise simple logotype for an alternative band a whole new meaning. The word Breeders, set in Helvetica Condensed, illustrates a slang term for a heterosexual. The mildly distressed edges create a grittiness that is a reflection of the music.
      • Figure 6–17 This ad, also by SVP Partners, uses a multitude of type sizes to help the reader with the headline and, more importantly, to make a very powerful typographic statement.
      • Figure 6–18 This introductory page in Massachusetts College of Art's 2005 viewbook, designed by Stoltze Design, incorporates a blending of four typefaces (ITC Bolt Bold, Clarendon Light, Foundry Gridnik, and Sabon) with asymmetric layering and scale juxtaposition to provide an energy and progressiveness in keeping with the school's spirit.
      • Figure 6–19 Lots of tidbits of information are cleverly organized in this AIGA call for entries by A N D. A campy flowchart utilizing simple geometric shapes and a minimum of typestyles draws the viewer into this fun piece.
      • Figure 6–20 An unusual but successful mix of three contrasting sans-serif typefaces (Garage Gothic, Leviathan, and Wilma), combined with simple graphics, suggests spotlights and high wires, all capturing the spirit of the circus in this book cover by Studio Blue.
      • Figure 6–21 Type within type is how Alexander Isley chose to promote a lecture he was giving. The text is set within hand-drawn letterforms, and certain words and phrases are emphasized through a change in scale. Director, writer, and art director: Alexander Isley.
      • TYPETIP Avoid Computer-Generated Styling
        • The letter O belonging to ITC Avant Garde Gothic and its true-drawn condensed version are perfectly proportioned (upper). When the regular O is squeezed or stretched by computer software, the proportions are distorted and degraded into egg shapes, akin to a fun-house mirror (lower).
      • Figure 6–22 Only two typefaces were used to create this energetic, dynamic poster designed by Polite Design. Created entirely from type, this piece uses oversized type to build a layered, architectural structure that anchors the design; a vertical texture spells out the name of the competition. The blending of these contrasting elements adds depth and complexity to seemingly simple geometric shapes.
      • Figure 6–23 A very innovative promotional piece by Doyle Partners uses scale, color, and a layered design to make the U.S. Constitution visually exciting.
      • Figure 6–24 A change of point size, color, and alignment of select words draws the viewer in and through the copy in this piece by Hornall Anderson Design Works, Inc.
      • Figure 6–25 The title of this book and the publisher's numeric name (010 Publishers) are cleverly placed within the lowercase alphabet with only the use of color setting them apart from the rest—a very appropriate typographic solution for the subject matter! Designed by Jan Middledorp, Bart de Haas, and Peter Verheul.
  • EXERCISE
    • TYPOGRAPHIC HIERARCHY STUDY
    • Assignment
    • Objectives
    • Process
    • Specifications
      • Thomas Schorn's three-part solution to the Typographic Hierarchy Study.
  • EXERCISE
    • CURRENCY REDESIGN
    • Objective
    • Assignment
    • Process
    • Specifications
      • These two sets of solutions to the Currency Redesign assignment were done by Amanda Cole and Vincent Akuin, respectively.
  • EXERCISE
    • EXPRESSIVE TYPOGRAPHY
    • Assignment
    • Objectives
    • Deliverables
    • Process
      • Creative solutions to the Expressive Typography assignment by Kari Taylor, Ferris Ivester Joye, and Daniel Machado.
• CHAPTER SEVEN FINE-TUNING AND TWEAKING YOUR TYPE
  • PUNCTUATION
    • Quotation Marks
    • Apostrophes
      • Figure 7–1 The design of both smart and dumb quotes varies from face to face.
    • Primes
      • Figure 7–2 The difference between typewriter quotes, primes, and smart (or typographer's) quotes, is shown here in Arno Pro, which is one of the few fonts that provides all three.
      • TECHTIP Unwanted Smart Quotes
        • Unwanted and wrong-facing smart quotes appear in the upper examples. They are corrected to primes and an apostrophe below it.
    • Hyphens, En Dashes, and Em Dashes
      • Figure 7–3 As you can see here, the length and style of hyphens, en dashes, and em dashes vary tremendously from typeface to typeface.
      • Figure 7–4 An en dash is wider than a hyphen and narrower than an em dash. It is used to indicate a continuation of time, years, and dates.
      • Figure 7–5 A hyphen, which is shorter in length than the en or em dash, is used to hyphenate words that break at the end of a line or to connect elements of a compound word, such as those shown in this paragraph.
      • Figure 7–6 An em dash, which is longer than both the hyphen and the en dash, is used to indicate a break in thought as illustrated in the first paragraph. It can be replaced with an en dash when the em dash is extremely wide (second paragraph). The last paragraph illustrates what never to do! Using two hyphens to indicate an em dash is a holdover from typewriter days, and it is incorrect in fine typography.
    • Hyphenation
      • Figure 7–7 Here is a paragraph with no less than six horrendous hyphenations in a row! It can easily be improved with some manual breaks, as seen on the right.
  • VISUAL ALIGNMENT
    • Optical Margin Alignment
      • Figure 7–8 Hanging punctuation is a technique that gives your typography a very professional look. By extending the punctuation beyond the margin, the visual alignment of your margins will improve. Check out both the left and right margins of these “before and after” examples to see the improvement.
      • TECHTIP Discretionary Hyphens
      • TECHTIP Hung Punctuation and Optical Margin Alignment
        • Adjust optical alignment from the Story Panel in InDesign.
    • Horizontal Alignment
      • Figure 7–9 Although the upper setting is technically centered, the second line visually appears too far to the left because of the em dash at the end of the line, which doesn't have a lot of vertical mass. The horizontal alignment is improved in the setting below it by shifting the second line a bit to the right. Set in Consul.
      • Figure 7–10 In this poem set in italics, some of the lines appear to be too far to the right. This is an illusion! But adjusting them, even just a little, will often result in the whole text block becoming askew.
    • Vertical Alignment
      • Figure 7–11 Vertical alignment is often overlooked as many assume that consistent leading results in visual balance—not always so! The top example is set 24/28, but due to the lack of descenders in the third line and the few ascenders in the fourth line, these lines appear to be further apart than the rest. When the leading is adjusted for each individual line (the bottom example), the appearance improves, even though the last line is now set with negative leading, 24/23!
      • Figure 7–12 Aligning initials with punctuation can be tricky. The example on the left is aligned by the quotes; but even though they are set smaller than the initial for better balance, it still creates an unwanted visual indentation. The appearance improves when the initial is aligned by the square serifs, letting the quotes hang into the left margin. There are no rules here—just move things around until it looks right.
      • Figure 7–13 The type that hugs this oversized initial in U&lc has been positioned very carefully to create visual alignment. Notice the open quotes that extend the margin slightly to balance the white space underneath it.
  • RAGS
    • Figure 7–14 When setting type flush left, such as this text set in ITC American Typewriter, be aware of the shape that the ragged line endings are making. A good rag goes in and out in small increments. A poor rag, such as this one, creates unnatural shapes with the white space.
    • Figure 7–15 The rag in the example at left can be easily corrected by making manual line breaks.
    • TECHTIP Adobe Text Composer
      • Adobe Text Composer options are easily accessed from the Paragraph panel.
  • WIDOWS AND ORPHANS
    • Figure 7–16 An example of a horrible widow on the bottom line...
    • Figure 7–17 ... and an equally unsightly orphan at the top of this paragraph.
    • TYPETIP Breaking for Sense
    • TECHTIP Glyph Positioning and Baseline Shift
      • Baseline shift can help fine-tune your type in a variety of ways, as illustrated in these before and after settings.
      • Baseline Shift is located on the Character panel in Adobe InDesign.
  • EXERCISE
    • Editorial Design
    • Objective
    • Instructor Preparation
    • Assignment
    • Process
      • Editorial Design solution by Michael Pallozzi.
• CHAPTER EIGHT SPACING CONSIDERATIONS
  • TRACKING
    • Figure 8–1 A character's spacing consists of the width of the character plus the right- and left-side bearings. Think of it as an invisible box around each character. This character has 39 units of space on the left and 8 on the right, as indicated both above and below it.
    • Figure 8–2 Fonts are spaced and kerned to look their best at certain point-size ranges. If your type is much smaller than this range, especially if it is a very bold typeface—such as ITC Kabel Ultra (as shown on top with zero tracking)—you might want to open the tracking to improve the readability, as was done to the bottom example set at +25 tracking. The change might be subtle, but the readability is improved, and the fix can head off printing problems due to ink spread.
    • Figure 8–3 In order for Helvetica Neue Ultra Light to look good from 12 point to 100 point, the tracking has been adjusted accordingly.
    • Figure 8–4 Letterspacing lowercase (upper) reduces readability and is considered poor typographic form. Normal spacing (lower) makes a stronger, more readable statement. Set in Latienne Pro.
    • TECHTIP Adjusting Tracking
      • Tracking can be adjusted from the Character panel in Adobe InDesign.
  • KERNING
    • Figure 8–5 There are certain commonly known pairs that almost always need to be kerned, such as Ta, Ye, AV, as well as characters next to punctuation, symbols, or numerals. Here you can see how some of these combinations look before and after kern adjustments.
    • Custom Kerning
      • Figure 8–6 Beautiful use of properly kerned italics in this colorful piece designed by VSA Partners, Inc. Notice the closed quotes that are kerned to sit above the period and that also hang slightly into the right margin to appear visually aligned.
      • TYPETIP Scaling Logos
      • Figure 8–7 The beauty and elegance of Didot speaks for itself in this dramatic one-word poster. Thoughtful and deliberate spacing of the type, including the overlapping TY combination, as well as lot of white space, contribute to its effectiveness.
      • Kerning Guidelines
        • Figure 8–8 Shown here are the three basic classes of character relationships.
        • TECHTIP Adjusting Kerning
          • Adobe InDesign's kerning field is located in the Character panel. Kerning values are shown in the same field.
        • Figure 8–9a Rounds to rounds shouldn't touch each other; neither should the serifs of straight characters, as shown in the upper example. The lower example illustrates the proper relationships. Set in Century.
        • Figure 8–9b The two EW combinations are spaced differently in this example of inconsistent kerning. Although either version is acceptable, the two pairs should look exactly the same. Set in Gloucester MT Extra Condensed.
        • Figure 8–9c The upper image has inconsistent spatial relationships between like combinations (po and og, ph and ic), as well as very open spacing between the Ty and the yp. The new and improved version is below it. Note the yp combo overlaps, which is acceptable with diagonal strokes such as the y. Set in Memphis.
        • Figure 8–9d All-cap settings can present spacing challenges, as illustrated in the upper image. Don't over-kern diagonals, as you see in the upper image. Keep their negative spaces balanced with the rest of the word, as shown in the lower image. Note the overlapping diagonals with neighboring serifs (HA and AN). Set in Didot.
        • Figure 8–9e You can adjust uneven word spacing, as well as punctuation, with the kerning feature, as shown on the lower image. To kern a word space, place the curser between the character and the word space (or vice versa) and kern as you would two letters. Set in ITC Franklin Pro.
  • WORD SPACING
    • Figure 8–10 Look how an improperly placed word space can totally change the meaning of text, as is cleverly demonstrated in this promotional piece designed by Stephen Banham of the Letterbox.
    • Figure 8–11 Word spacing can be adjusted in the Justification panel of InDesign by adjusting the desired word-space value. This works for any text alignment, not only justified text.
    • TECHTIP Adjusting Word Spacing
      • The use of two spaces to separate sentences was the accepted style for typewriter faces such as Courier, shown in the top example. It is incorrect in fine typography. The example on the lower left, set in Goudy Oldstyle, shows the typographically incorrect practice of adding two word spaces between sentences. It creates lots of holes throughout your text. The example on the lower right has been corrected to one space, and the color and texture of the text is improved as well.
    • TYPETIP Type on a Curve
      • The curved type on this CD cover designed by John McSherry had to be manually adjusted to create balanced spacing.
    • TYPETIP Double Word Spaces NOT!
      • Word spacing should neither be so little that the words start to run into each other, as in the first example, nor so large that your eye has trouble reading groups of words because it is interrupted by large white blocks, as in the second text block. The third example is the most balanced and the most readable.
  • EXERCISE
    • SPACING, KERNING, AND VISUAL ALIGNMENT EXPLORATION
    • Objective
    • Assignment
      • The upper showing is set in Adobe Minion Pro with kerning turned off and with +30 tracking in Adobe InDesign units. The lower showing has kerning turned on, zero tracking, and additional custom kerning.
• CHAPTER NINE FINESSING YOUR TYPE
  • SMALL CAPS
    • TECHTIP How to Access True-Drawn Small Caps
      • InDesign has two different options for converting text to small caps.
    • Figure 9–1 True-drawn small caps (left) are superior to computer-generated small caps (right) in that they are drawn to match the weight, color, and proportion of the caps. Computergenerated small caps are just reduced caps and therefore look too light and often too narrow and too tightly spaced, as you can see in this comparison.
    • Figure 9–2 Small caps can be substituted for caps when a more subtle look is desired, such as for two- or three-letter abbreviations, states, times (a.m. and p.m.), companies, etc. They stand out nicely without disturbing the color of lowercase text as much as all-cap settings do, and they take up less space. They look particularly good when used with oldstyle figures.
    • Figure 9–3 The even color and texture of this logo designed by Gerard Huerta is the result of perfectly balanced caps and small caps as well as precise kerning.
    • Figure 9–4 This logo by MendeDesign was created in Mrs. Eaves roman and small caps. ARCH is rendered in small caps to emphasize the structural components of the letterforms and architecture itself.
  • INITIAL LETTERS
    • Figure 9–5 Mark van Bronkhorst goes to exciting extremes with this colorful drop cap (dropped capital), which creates a strong vertical element in a very horizontal message in U&lc. Notice the small caps leading into the body of the text.
  • Raised Initial
    • Figure 9–6 This raised initial base aligns with the first line of type and rises above the body copy. If the initial is the first letter of a word as opposed to a single-letter word, tuck in the remaining letters close enough so that it reads as a word.
    • Figure 9–7 A dramatic raised initial (raised capital) sits atop the opening paragraph, denoting an important announcement in this piece designed by Doyle Partners.
    • Dropped Initial
      • Figure 9–8 To help a drop initial read as part of the first word, tuck in the remaining characters of the word closer to the initial even if it extends out of the text indent's left margin.
      • Figure 9–9 This drop cap aligns with the cap height of the first line and base aligns with the third line of type. The serifs overhang the left margin so the stem of the character aligns with the text below.
      • Figure 9–10 A lowercase letter can be used as an initial as well as a cap. Using small caps can be a very effective way to lead into the rest of the text
    • Decorative Initial
    • Boxed, Reversed, Oversized, and Overlapped Initials
      • Figure 9–11 This stately initial is layered between the text and other colorful typographic elements to bring a restrained excitement to an amendment to the U.S. Constitution in this piece designed by Doyle Partners.
      • Figure 9–12 The use of an eye-catching, highly decorative initial letter draws the eye down and through the page.
      • Figure 9–13 A graceful and elaborate script initial such as this one set in ITC Edwardian Script makes a very dramatic statement. The opening quotes are set smaller than the initial and are kerned and positioned so they don't float in the margin.
      • Figure 9–14 This decorative initial is part of an initial font that comes with ITC Kendo.
      • Figure 9–15 Initials can be placed in outlined, tinted boxes...
      • Figure 9–16 ... or tinted and positioned behind text. Your imagination is the limit as long as the initials are tasteful and don't impair readability.
      • Figure 9–17 This layered initial adds color, dimension, and graphic interest to this annual report designed by Hornall Anderson Design Works, Inc.
      • Figure 9–18 Body copy can be contoured or wrapped around an initial if the character is large and uncomplicated enough to keep it visually clean.
      • Figure 9–19 Not just an initial letter but an initial word is used to set off chapter title pages in this exquisite cookbook, entitled Antipasti, designed by Aufuldish & Warinner. The rustic caps, which were designed by George Deaver based on Charlemagne, relate to the authentic nature of the recipes. Decorative borders and ornamental paragraph separators break up the dense, justified text.
  • SWASH CHARACTERS
    • Figure 9–20 These graceful swash characters enhance the appearance of this poem set in ITC Bodoni Seventy-Two.
    • Figure 9–21 Avoid using swash characters in all-cap settings. They are very difficult to read when set one next to the other, and they are not intended for this kind of setting.
  • ALTERNATE CHARACTERS
    • Figure 9–22 Adobe Bickham Script Pro looks great without the use of any alternates (upper); but when contextual alternates are turned on in an application supporting this font's OpenType features, the result is a more dramatic and lyrical version of the same word (lower).
    • Figure 9–23 ITC Highlander Pro contains many alternate characters, including tall ascenders and descenders as well as swash and initial letters.
    • Figure 9–24 House Industries went to town creating dozens of contextual alternates for Ed Interlock, a typeface based on an original Ed Benguiat design. These two words look fine without contextual alternates, but turning that feature on (below in both cases) automatically converts the wide crossbar A to one with a better fit, which happens to be a different design in each case.
  • TYPE AND COLOR
    • Figure 9–25 A bit of eye-popping red is the touch that pulls together a multitude of elements in this striking editorial spread. The red color helps direct your eye down and around the page.
  • EXERCISE
    • INFORMATION HIERARCHY BOOK
    • Objective
    • Assignment
    • Specifications
    • Text
  • EXERCISE
    • CONCERT POSTER DESIGN
    • Objectives
    • Assignment
    • Requirements
    • Process
    • Required Text
      • Concert Poster Design solutions by Holly McGarr and Shawna Kirby.
• CHAPTER TEN FIGURES, FRACTIONS, SIGNS, SYMBOLS, AND DINGBATS
  • FIGURES
    • Figure 10–1a Lining (or aligning) figures imitate caps in that they all align on the baseline and the cap height. The oldstyle figures below them approximate lowercase letterforms by having an x-height, as well as varying ascenders and descenders.
    • Figure 10–1b Oldstyle figures work well in text as they blend in beautifully by not disturbing the color of the body copy as much as lining figures do.
    • Figure 10–2a The difference between all four figure styles—proportional lining, tabular lining, proportional oldstyle, and tabular oldstyle—is apparent in this setting of Expo Sans Pro.
    • Figure 10–2b Tabular numerals are used to set columns of figures that align vertically (left). Proportional figures (right) do not align in this manner.
    • Figure 10–3 A small amount of information is made visually interesting and eye-catching with the use of oldstyle figures and a simple yet bold design in this promotion piece designed by VSA Partners, Inc.
    • TECHTIP Accessing Figures in OpenType Fonts
      • InDesign's figure options are at the bottom of the OpenType panel.
    • TECHTIP Tabular to Proportional Shortcut
      • When proportionally spaced figures are desired but not available in a font, the use of optical kerning can help balance out the spacing.
  • FRACTIONS
    • Figure 10–4 A wide variety of prebuilt diagonal fractions are available in many OpenType fonts, such as these set in Expo Sans.
    • TECHTIP Creating Fractions in OpenType Fonts
      • Fractions can be created on the fly in many (but not all) OpenType fonts, as shown above using Expo Sans and InDesign.
  • BULLETS
    • Figure 10–5 Bullets shouldn't be too large or too small.
  • REGISTERED, TRADEMARK, AND COPYRIGHT SYMBOLS
    • Figure 10–6 Bullets should be centered on either the cap height or x-height, depending on the nature of your listing.
    • Figure 10–7 If you want to be a bit more creative, you can replace bullets with other symbols, such as squares, triangles, or check marks—just not all at once as shown here!
    • TECHTIP Indenting Bulleted Lists
      • The default flush left alignment of bulleted copy (upper) can easily be converted into hanging bullets (lower) using the Command or Control + backslash command. Set in Expo Serif Pro.
    • Figure 10–8 These three symbols, shown next to other characters in the font, vary in design in every font. Sometimes they are design sensitive, and other times they are not.
    • Figure 10–9 Placed before a year, the copyright symbol should be somewhere between the x-height and cap height of the other type. When using oldstyle figures, match the size of the numeral 1, not the other, taller numerals.
    • Figure 10–10 A general guideline for text is to make these symbols a little smaller than half the x-height; as your text gets larger, these symbols should become proportionately smaller, especially when used in headlines.
    • TECHTIP Circle P
      • Both Webdings and Lucida Grande contain circle P symbols, as shown above.
  • ACCENTS AND ACCENTED CHARACTERS
    • Figure 10–11 These are standard floating accents and accented characters available in many fonts.
    • TECHTIP Creating Accented Characters
      • Accented characters are easily created from floating accents.
  • PARENTHESES, BRACKETS, BRACES, AND ANGLED BRACKETS
    • Figure 10–12 The design differences between parentheses, brackets, braces, and angled brackets are clearly seen here.
    • Figure 10–13 Following a quasi–high school science book feel, each spread in this technology company brochure by A N D uses a variety of fake equations (including parentheses) to spell out the main topic—in this case, INFO. The layout, type treatment, and color scheme were all chosen to suggest the look of textbooks from the 1950s and 1960s.
    • Figure 10–14 Brackets are sometimes used as design elements, as seen in this promotional piece (left) by Rigsby Design and in this business card (above) by Michael Vanderbyl Design.
    • Figure 10–15 Parentheses are used to accentuate an important typographic element in this piece designed by VSA Partners, Inc.
  • EURO
  • ELLIPSES
  • DINGBATS AND ORNAMENTS
    • Figure 10–16 Three examples of the Euro.
    • Figure 10–17 The size, design, and spacing of ellipses vary from typeface to typeface (left) compared to periods in the same font (right).
    • Figure 10–18 The use of dingbats and highly decorative ornaments serves to set the mood and frame the content of this elegantly composed editorial spread, designed by Nancy Campbell and Trevett McCandliss.
  • END MARKS
    • Figure 10–19 The ending of this text is punctuated by an end mark in the shape of a cloverleaf. Be sure to adjust the size and vertical alignment of the end mark as necessary. Set in Tangent and Adobe Wood Type Ornaments.
    • TECHTIP Typographic Checklist
  • EXERCISE
    • TYPOGRAPHIC PRINCIPLES CARD SET (CLASS PROJECT)
    • Objectives
    • Assignment
      • The typographic theory of proximity, or type grouping, is effectively expressed using the word WEALTH in all caps, stretched to drop out of the entire background, while the lowercase word poverty is set multiple times in a distressed face, crowding the feet of the word WEALTH. Designed by Thomas Jason Carpio.
      • The principle of proportion is creatively expressed by May Gee by using type of different widths and weights to represent the streets and neighborhoods of San Francisco. The denser, blacker type represents the busier areas.
      • Antonio Rusevski and Églantine Granier-Gwinner express typographic texture by cleverly overlapping different text and display type in varying tints and alignments. The result is an illustration created completely with type.
  • EXERCISE
    • SPA BROCHURE
    • Objective
    • Instructor Preparation
    • Assignment
    • Process
    • Deliverable
      • Partial solution to the spa brochure assignment by Kathleen Black.
• CHAPTER ELEVEN TYPE ON THE WEB (AND OTHER DIGITAL FORMATS)
  • CHARACTERISTICS OF TYPE ON THE WEB
    • Font Style
    • Type Size
      • Figure 11–1 This quote, displayed on the web via Safari, Internet Explorer, and Firefox, illustrates how type size as well as line breaks can vary from browser to browser. Quotation by Mike Davidson.
    • Column Width/Line Length
    • Line Breaks
      • Figure 11–2 Justification on the web (upper) should be avoided as varying type size and lack of hyphenation often result in huge word spaces and rivers of white space. While a justified setting might look OK on one person's monitor, it can change drastically for a viewer whose computer and browser displays the type at a different size. Stick to flush left (lower) for best readability and more reliable results. Quote by Kevin Mullet and Darrell Sano.
    • Column Depth
    • Color
  • WEB-SAFE FONTS
    • Sans Serif
    • Serif
    • Symbol Fonts
      • Figure 11–3 The differences in the five web-safe fonts are obvious in this quotation by Clement Mok.
  • WEB FONTS
    • Figure 11–4 These two web pages successfully combine type and image in an attractive, inviting, and engaging way. Their use of web fonts that support the message and their centrally located navigation invite the viewer into the site.
    • Web-Font Availability
      • TECHTIP Web-Font Services
        • The Webtype landing page is vibrant and dynamic.
  • SMART PUNCTUATION ON THE WEB
    • Figure 11–5 The upper example shows the use of “dumb” punctuation as it commonly appears on the Internet, including dumb quotes and apostrophes, as well as a double hyphen instead of en and em dashes. These outdated typewriter conventions can and should be replaced with the proper typographic punctuation, as seen in the bottom example.
  • CASCADING STYLE SHEETS
  • TYPE AS GRAPHIC
  • TYPOGRAPHIC HIERARCHY ON THE WEB
    • Figure 11–6 These headers from Mark Simonson's website were created by overlaying the type on the images and converting all to .jpgs.
    • Figure 11–7 This website grabs and holds the reader's attention with its clean, clear, and readable type, effective use of color, uncrowded layout, and good overall hierarchy.
  • DOS AND DON'TS
    • Figure 11–8 The plentiful white space on this web page serves to direct the eye as well as emphasize the important elements. A great headline, strong images, simple color palette, and appropriate web fonts don't hurt either.
    • Figure 11–9 Oversized caps set in a strong, assertive web font make for a powerful visual statement in this minimally designed web page.
  • SMARTPHONES, TABLETS, E-READERS, AND OTHER DEVICES
    • Figure 11–10a
    • Figure 11–10b
    • Figure 11–10c The use of (legally) embedded fonts coupled with artfully constructed CSS led to the creation of these typographically sophisticated, beautifully designed iPad books, designed and programmed for EPUB by Charles Nix. All of the type is reflowable and reacts well to resizing within a reasonable range (which, given its typographic finickiness, is no small feat).
    • Figure 11–10d This EPUB type specimen book also serves as a type delivery mechanism. Since the EPUB file contains all of the fonts displayed, the reader can extract them—legally in this case—for use on their own computer.
  • EXERCISE
    • THE CRYSTAL GOBLET ONLINE: AN ASSIGNMENT IN Two PARTS (TRANSPARENT AND OPAQUE)
    • Background
    • Objectives
    • Assignment
    • Your Responsibilities
    • Tools
      • Transparent and opaque solutions to the Crystal Goblet Online assignment by Nicole Dreher, Mary Beth Murphy, and Ian Oliver. Fall 2008.
  • EXERCISE
    • WHAT DIE NEUE TYPOGRAPHIE (1928) CAN TEACH US ABOUT WEB DESIGN STANDARDS TODAY
    • Objectives: Design and Technology
      • Design Objectives
      • Technology Objectives
    • Assignment Overview
    • Process Part 1: enCode
      • Defining the Grid
      • Defining the CSS
      • Restrictions
    • Process Part 2: deCode
      • Conceptual Print Piece
      • Constraints
        • These solutions to Part One of this exercise show a highly accurate reinterpretation of the original print version to the encoded web version using Cascading Style Sheets (CSS) and XHTML. Created by Heather Shaw.
        • Jen Soares's solution to Part Two is a minimalist formal reinterpretation of the original piece using asymmetrical typography and transparency, as well as an impeccable craft.
  • EXERCISE
    • IPAD EDITORIAL
    • Objectives
    • Assignment
    • Process
      • Content Research
      • Inspirational Research
      • Read
      • Wireframes
      • Visual Design
      • Test Your Work
      • Interactive Demo
    • Deliverables
      • Additional Deliverables
        • This solution thoughtfully adapts an editorial concept from a print format to the iPad, by Patrick Drake. (The icon here and opposite indicates the online availability of video that further illustrates the example; visit www.wiley.com/go/typerules to view the videos.)
        • An angular grid coupled with exciting images and geometric color accents make for an engaging solution to this iPad exercise, by Samantha Mak.
• CHAPTER TWELVE TYPE IN MOTION
  • COMBINING TYPE AND MOTION
    • Figure 12–1 The hand-drawn lettering in this highly creative movie title sequence cleverly interacts with the images to create a story of its own. Created by Kelly Thorn for a class assignment. (Butcher Boy)
  • BASIC GUIDELINES
    • Font Selection
      • Figure 12–2 A minimal of appropriately styled text framed by gothic imagery sets the mood in this movie title sequence by Michaela Wagoner.
    • Movement
    • Color
      • Figure 12–3 A simple yet powerful type treatment set off by a blood-red background creates a sense of horror and impending doom in this movie title sequence by Christy Jaisonkowski.
    • Sound
  • HOW TO GET STARTED
  • DOS AND DON'TS
    • Figure 12–4 Appropriate use of a true apostrophe adds to the professionalism of this powerful piece by Brian Cassidy. The distressed type matches the imagery as well as the audio.
  • EXERCISE
    • FOUR SQUARES: TEXT, COLOR, MOTION†
    • Assignment Overview
    • Objective
    • Process Part One: The Black Square Problem
    • Process Part Two: Text
    • Process Part Three: Color
    • Process Part Four: Motion
      • Remember
    • Deliverables
      • This solution to Part One by Ana Rita Ferreira illustrates bold, congested, increase, tension, playful, and order.
      • Solution to Part Two and Three show the addition of text and color (shown in grayscale), by Ana Rita Ferreiras.
      • Solutions to Part Four illustrate the concept conveyed with motion, by Ana Rita Ferreira, Jake Silva, and Amy Caracappa-Qubeck.
  • EXERCISE
    • DESIGN Is...
    • Objectives
    • Assignment
    • Process
      • Find Your Quote
      • Explore Type as Image
      • Storyboard
      • Type in Motion
    • Deliverable
      • A floating grid of letters serves as the visual frame for the message in this piece by Michael Armstrong.
      • The message remains clear as it swirls around oversized typographic imagery in this piece by Samantha Mak.
  • EXERCISE
    • FILM TITLE SEQUENCE
    • Objectives
    • Assignment
    • Mandatories
    • Specifications
    • Project Timeline
      • Type and image blend beautifully in this moody movie title sequence by Michaela Wagoner.
      • Creative use of type successfully conveys a sense of horror and intrigue in this movie title sequence by Christy Jaisonkowski.
  • EXERCISE
    • DIGITAL NARRATIVE
    • Objectives
    • Assignment
    • Process
    • Deliverables
      • The distressed type matches the imagery and the audio in this public service solution to this assignment by Brian Cassidy.
• CHAPTER THIRTEEN DESIGNING YOUR OWN TYPEFACE
  • HANDWRITING FONTS: A GOOD PLACE TO BEGIN
    • Figure 13–1 ITC Grimshaw Hand, designed by the late Phil Grimshaw, is based on his own handwriting. This typeface is one of many distinctive typefaces designed during the notable career of this designer of letterforms. He believed that “If you enjoy what you do, and you're lucky enough to be good at it, just do it for that reason.”
    • Figure 13–2 ITC Johann Sparkling, designed by Viktor Solt. “ITC Johann Sparkling is intended to close the gap between highly formal copperplate scripts and the scribbled look of ‘true’ handwriting,” says Vienna designer Viktor Solt.
    • Figure 13–3 ITC Dartangnon, designed by Nick Cooke. “It's a long shot, but it might just work as a font.” That's what this English type designer thought after he'd doodled a few free-flowing letters with a chunky pencil one day in London.
    • Figure 13–4 ITC Deelirious, designed by Dee Densmore D'Amico. The name grew out of the Ds in her name—Dee Densmore D'Amico—and the typeface itself grew out of her distinctive, energetic handwriting (or hand printing).
    • Figure 13–5 ITC Zemke Hand, designed by and based on the handwriting of illustrator Deborah Zemke. Deborah jokes that seeing a font of her handwriting “gives me a bit of an identity crisis.”
  • THREE APPROACHES TO DESIGNING A TYPEFACE
  • PROFESSIONAL GUIDELINES
    • Figure 13–6 This test document shows lowercase combinations and important cap-to-lowercase combos, as well as a text block. The idea is to adjust both the actual characters and the side bearings to create good overall color and spacing.
    • TECHTIP Font Production Editors
  • EXERCISE
    • ON BEYOND ZEBRA: THE 27TH LETTER ASSIGNMENT
    • Objective
    • Assignment
    • Process
    • Specifications
    • Evaluation
      • Amber Brewer's solution to the 27th Letter Assignment is based on Adobe Garamond.
  • EXERCISE
    • INTRODUCTION TO TYPE DESIGN: SYMPHONY
    • Objective
    • Assignment
    • Process
      • By Hand
      • In Adobe Illustrator
      • In FontLab
        • Solutions to the Symphony type design assignment by Holly McGarr, Shawna Kirby, Jennifer Betz, and Matt MacPherson.
  • EXERCISE
    • DIGITIZE YOUR SIGNATURE
    • Objective
    • Instructions
    • Preparation
      • In Adobe Illustrator
      • In FontLab
• Back Matter
  • APPENDICES
    • DIGITAL FONT FOUNDRIES AND DISTRIBUTORS
    • WEB-FONT SERVICES
    • TYPOGRAPHIC RESOURCES
  • GLOSSARY
  • BIBLIOGRAPHY
  • PICTURE CREDITS
  • INDEX

  UM RAFBÆKUR Á HEIMKAUP.IS

  Bókahillan þín er þitt svæði og þar eru bækurnar þínar geymdar. Þú kemst í bókahilluna þína hvar og hvenær sem er í tölvu eða snjalltæki. Einfalt og þægilegt!
  
  Rafbók til eignar
  Rafbók til eignar þarf að hlaða niður á þau tæki sem þú vilt nota innan eins árs frá því bókin er keypt.
  
  Þú kemst í bækurnar hvar sem er
  Þú getur nálgast allar raf(skóla)bækurnar þínar á einu augabragði, hvar og hvenær sem er í bókahillunni þinni. Engin taska, enginn kyndill og ekkert vesen (hvað þá yfirvigt).
  
  Auðvelt að fletta og leita
  Þú getur flakkað milli síðna og kafla eins og þér hentar best og farið beint í ákveðna kafla úr efnisyfirlitinu. Í leitinni finnur þú orð, kafla eða síður í einum smelli.
  
  Glósur og yfirstrikanir
  Þú getur auðkennt textabrot með mismunandi litum og skrifað glósur að vild í rafbókina. Þú getur jafnvel séð glósur og yfirstrikanir hjá bekkjarsystkinum og kennara ef þeir leyfa það. Allt á einum stað.
  
  Hvað viltu sjá? / Þú ræður hvernig síðan lítur út
  Þú lagar síðuna að þínum þörfum. Stækkaðu eða minnkaðu myndir og texta með multi-level zoom til að sjá síðuna eins og þér hentar best í þínu námi.
  
  
  
  Fleiri góðir kostir
  - Þú getur prentað síður úr bókinni (innan þeirra marka sem útgefandinn setur)
  - Möguleiki á tengingu við annað stafrænt og gagnvirkt efni, svo sem myndbönd eða spurningar úr efninu
  - Auðvelt að afrita og líma efni/texta fyrir t.d. heimaverkefni eða ritgerðir
  - Styður tækni sem hjálpar nemendum með sjón- eða heyrnarskerðingu