Typography Manual - Rietveld students

TypographyManual

TableofContents TypographyManual

1.1–1.11TypeClassification

2.1–2.3Terminology&AnatomyoftheType

3.1–3.11Alignment&Composition

4.1–4.9PageFormats&Grids

5.1–5.8Punctuation&Microtypography

6.1–6.9TextReferences

7Emphasis&Structure

8.1–8.9Numerals&Symbols

9TypeTechnology

AnnotatedContents TypographyManual

OldStyle 1.1

Transitional 1.2

Modern 1.3

Neo-Grotesque 1.4

HumanistSansSerif 1.5

GeometricSansSerif 1.6

SlabSerif 1.7

Monospace 1.8

Blackletter 1.9

Script 1.10

DecorativeDisplay 1.11

TypeCharacteristics 2.1

OpticalIllusion 2.2

TypeClassifications 2.3

Readability 3.1

TypeArea 3.2

CenteredText 3.3

Tracking 3.4

Indent 3.5

WidowandOrphan 3.6

RaggedText 3.7

JustifiedText 3.8

Hyphenation 3.9

WordSpace 3.10

Leading 3.11

GridandDesignPhilosophy 4.1

TheTypographicGrid 4.2

SizesofPaper 4.3

TheTypeArea 4.4

MarginProportions 4.5

WidthofColumn 4.6

Leading 4.7

ConstructionoftheTypeArea 4.8

ConstructionoftheType 4.9

Elipsis 5.1

Hyphen,EnDash,EmDash 5.2

QuotationMarks 5.3

Apostrophe 5.4

Kernings 5.5

Ligatures 5.6

Colon,Semicolon 5.7

Brackets 5.8

ContentPage 6.1

PageNumbers 6.2

RunningHeads 6.3

MarginalNotes 6.4

FootNotes 6.5

Cross-References 6.6

DirectionalLanguage 6.7

CountingSystems 6.8

LineCount 6.9

Emphasis&Structure 7

Numerals 8.1

Lining&Non-LiningNumerals 8.2

RulesForNumbers&Numerals 8.3

Superscript 8.4

Symbols 8.5

TypeTechnology 9

Contributors TypographyManual

MargotHoltman,Camilla

Martinsen,ZaraZerny

MarikoKuwahara,Mathias

Ringgenberg,LotteSchröder

EvaBrøndsted,ChristianIsberg,

YaelWicki

MarineDelgado,DorotkaPotyka,

MichelKeppel

VictorBrangolo,JasminPeco,

MartinoMorandi

ChristoferGoertz,Anthony

Salvador,TanguyWermelinger

JuliaBendeler,ElkiBoerdam,

DanielRother

ByrtheLemmens,KillianLoddo,

EstherWillering

AmbervandenEeden,Marteen

Kanters,KarolineSwiezynski,

RutgerdeVries

1 TYPE

L A SS

Camilla MartinsenMargot HoltmanZara Zerny

Palatino

1.1 OLD STYLE

Ca’DarioGiovanni Dario, 1480, Venice

1.2 TRANSITIONAL

Ditchley ParkJames Gibbs, 1720, Oxfordshire

1.3 MODERN

Arc de Triomphe Jean Chalgrin, 1806, Paris

1.4 NEO-GROTESQUE

Helvetica

Unité D’HabitationLe Corbusier, 1957, Berlin

1.5 HUMANIST SANS SERIF

Gill Sans

London Underground HQCharles Holden, 1928, London

1.6 GEOMETRIC SANS SERIF

Futura

Café de UnieJacobus Johannes Pieter Oud, 1925, Rotterdam

1.7 SLAB SERIF

Rockwell

Midland Grand HotelGeorge Gilbert Scott, 1861, London

1.8 MONOSPACE

Prestige

The Seagran BuildingMies van der Rohe and

Philip Johnson, 1958, New York

Lucinda Blackletter

1.9 BLACKLETTER

Notre DameMaurice de Sully, 1210-15, Paris

1.10 SCRIPT

Mistral

The Sullivan Building Louis Sullivan, 1904, Chicago

1.11 DECORATIVE/DISPLAY

Broadway

Casa BatlloAntoni Gaudi, 1904-06, Barcelona

Terminology &

Anatomy of the Type

2.1 Type Characteristics

2.2 Optical Illusion

2.3 Type Classifications

turn 90o

er “

if: th

2.2 Optical Illusion

Regular

Italic

Light Condensed Condensed Medium Condensed

Bold Condensed Extra Bold Condense

Medium Condensed Italic

Extra Bold Condensed Italic Italic

Medium ItalicBold Italic

Mariko KuwaharaLotte Schröder

Mathias Ringgenberg

3.5 Indent

3.4 Tracking

3.2 Type area

3.6 Widow and Orphan

3.8 Justified Text

3.10 Word Space

3.AlignmentandComposition

A twenty-four-year-old man, fat, who in order to prevent the hor-ror he saw behind the scenes from coming too close (that was his ability, perhaps his only ability) liked to stop up the holes in his flesh, since it was through them that the monstrousness could stream in, and did so by smoking cigars, Ormond Brasil 10, and by wearing a pair of sunglasses over his regular glasses, and wads of cotton in his ears; this young man, still dependent on his par-ents, and enrolled in some nebulous course of study at a university that could be reached by railroad in two hours, boarded his usual train one Sunday afternoon, time of departure 5:50 p.m., time of arrival 7:27 p.m., in order on the following day to attend a semi-nar that he had already decided to cut.

The TunnelA short story by Friedrich Dürrenmatt

3.1 Readability

Type size, leading and line length have the most effect on the readability of a text.

The sun was shining in a cloudless sky when he left his place of residence. It was summer. The train ran between the Alps and the Jura mountains, past rich villages and small towns, then alongside a river, and after a little less than twenty minutes, shortly after Burgdorf, it dipped into a small tunnel. The train was overcrowded. Having entered in the front of the train the twenty-four-year-old man laboriously worked his way through the crowds to the back, sweating and mak-ing a somewhat befuddled impression. The travelers were crowded together; many of them sat on suitcases. The second-class compartments were filled up as well; only the first-class cars were sparsely booked. When the young man had finally struggled through the tangle of families, recruits, students, and lovers, constantly tossed back and forth by the train, thrown against one body and then another, lurch-ing against stomachs and breasts, he found some room in the last car, indeed so much room that in this third-class section–where cars with compartments arerarely found–he had a whole bench to himself. Directly opposite him in the dosed chamber sat a man who was even fatter than he, playing chess by himself, and in the corner of the same bench, near the aisle, sat a red-haired girl who was reading a novel. Thus he was already sitting by the window and had just lit an Ormond Brasil 10 when the tunnel came, which seemed to last longer than usual. He had traveled this line many times before, almost every Saturday and Sunday for the past year, and had sensed the tunnel’s presence but never really taken note of it. A few times he had in-tended to give it his full attention, but each time it came, he would be think-ing of something else and not catch the brief dip into darkness, and when he would remember to look, deter-mined to notice this time, the tunnel had already passed; that’s how short the tunnel was and how quickly the train passed through it. It was no d i f f e r e n t now: once again he had not taken off his s u n g l a s s e s when they e n t e r e d , since he w a s n ’ t thinking of the tunnel.

Is defined by column width. Around 66 characters per line is considered ideal.

3.2 Type area

s of t

. It w

t, sin

el’s

t glim

ith li

n’t g

ish fl

ith th

3.3 Centered Text

Is often used for classic text and to create different shapes in the text.

d at a

t, any

d; his

ated a

ty; he

yed at

self fo

ever h

notice

el, wh

een go

ing on

for fi

tes al

as evi

y a ve

ry sig

nifica

l, con

sideri

g–pro

longes

t tunn

els in

d. It se

r likely

, there

fore, t

g trai

n, eve

or the

ldn’t r

length

e just t

tes aw

ay fro

il. So h

e fat ch

ess pl

ayer w

r this w

as the

rich, w

hich h

firmed

. 3.4 Tracking

Is also called letter spacing and is the equal space betweeneach character.

The chess player’s reply was polite but unequivocal; the young man realized he could not expect an an-swer from him. He was convinced that his ticket would not be accepted; and when the conductor, a pale, gaunt man, remarked, rather ner-vously it seemed, to the girl, that she had to change trains in Olten, the twenty-four-year-old man still did not abandon hope, so firmly convinced was he that he had boarded the wrong train.

3.4 Tracking

The correct value of tracking is depending on size and design of the typeface itself.

‘I’m sure I owe something. I’m supposed to be going to Zurich,’ he said without taking the Ormond Brasil 10 out of his mouth, and hand-ed the conductor his ticket.

‘You’re in the right train, sir,’ the conductor replied after examining the ticket.

‘But we’re driving through a tunnel!’ the young man exclaimed with annoyance and quite forcefully, for now he was determined to clear up this bewildering situation. The conductor said that they had just passed Herzogenbuchsee and were approaching Langenthal. ‘It’s true, sir, it ’s twenty past six now,’

‘But we have been driving through a tunnel for the past twen-ty minutes,’ the young man insisted. The conductor seemed not to understand.

‘This is the train to Zurich,’ he said, glancing at the window himself now.

‘Twenty after six,’ he said again, somewhat uneasily this time, it seemed; ‘Olten’s coming up soon, time of arrival six thirty-sev-en p.m. There must have been bad weather all of a sudden, that would account for the night, maybe a storm, yes, that must be it.’

‘Nonsense.’ The remark came from the man occupied with the problem of the Nimzovich defense, who was annoyed because he was still holding out his ticket without the conductor’s taking any notice.

‘Nonsense, we are driving through a tunnel. You can see the rock wall clearly. Looks like granite. There are more tunnels in Switzerland than anywhere in the world. I read it in a statistical yearbook.’

The space one uses to separate one paragraph from another is called indent. It can be used positive or negative relative to the text.

3.5 Indent

r, fin

’s tic

hey’d

. He h

em. Th

s of a

‘Sim

,’ he

t of t

They don’t look nice, harm reading, don’t make sense and should always be avoided.

3.6 Widow and Orphan

‘May

ou’ a

lly te

es,’

10.’ h

id, ‘I

’ Bu

t of c

. ‘Th

,’ sai

. ‘I’ll

’re d

e? ’

‘Afte

,’ the

. ‘W

e’re

3.7 Ragged Text

The ragged text creates uneven line length. Avoid distracting shapes in the rag.

‘May

ou?’

‘We’v

f,’ re

n. ‘Th

’ The

g. ‘S

ir,’ h

e fina

lly sa

‘sir,

e is n

on’t

ks. Th

re. Th

n’t e

nd.’

3.8 Justified Text

All the lines have the same length from left to right.

‘In th

’ sa

‘I do

n’t u

u’re

can’t

it’s

’ ‘S

?’th

‘Sho

e?’ t

r with

‘We’r

ll’ t

e a le

om,’

’s fa

,’ th

an’s

dn’t

3.9 Hyphenation

Allow your program to hyphenate. Don’t hyphenate more than two times in a row. Hyphenation will have a grammar impact on the text.

l of a

. ‘W

ell,’

. ‘It

n’t s

don’t

t of t

th.’

ls, th

rth’

s of t

s if h

g with

sk a l

eet. A

ith hi

e of t

lly ex

, brig

lit by

‘I th

, ‘b

’t lik

d).3.10 Word Space

When justifying text, the white space between words is essential for good readability.

‘Six forty p.m.’ said the young man after looking at the luminous dial of his watch. ‘We’re supposed to be in Olten by now.’ And he thought of the hills and forests that had still been there recently, showered with gold by the setting sun. Thus they stood, smoking, leaning against the wall of the engine room. ‘Keller’s my name,’ the chief conductor said, drawing on his Brasil. The young man did not relent. ‘All that climbing around the engine was pretty dangerous,’ he remarked, ‘at least for someone like me who isn’t used to it. So I’d like to know why you brought me here.’ The chief conductor replied that he didn’t know, that he had only wanted to give himself time to think. ‘Time to think,’ repeated the twenty-four-year-old. ‘Yes,’ said the chief conductor, ‘that ’s it,’ and continued smoking. The engine seemed to tilt forward again. ‘We could go into the engineer’s cabin, ’Keller suggested; how ever, he remained standing irresolutely by the engine wall. Thereupon the young man walked down the aisle. When he opened the door to the engineer’s cabin, he stood still. ‘Empty,’ he said to the chief conductor, who joined him at the door, ‘the engineer’s cabin is empty.’ They entered the room, lurching due to the enormous speed with which train along with it. ‘See for your-self,’ said the chief conductor, the engine did not obey. They had done everything to stop it as soon as they had noticed the change in the train’s route, Keller assured him, but the machine had just raced on and on, ‘It’ll keep on racing,’ said the twenty-four-year-old, pointing to the speedometer. ‘Ninety. Has this engine ever done ninety?’ ‘No more than sixty-five,’ replied the chief conduc-tor. ‘Precisely,’ said the young man ‘Precisely. The speed is increas-ing. It’s pointing to a hundred and twelve now. We’re falling.’

The white space between the lines is essential for good readability.

3.11 Leading

He stepped up to the window, but was unable to hold himself upright. His

face was pressed against the glass, due to the fantastic speed of their de-

scent. ‘The engineer?’ he shouted, staring at the masses of rock that soared

upward in the glaring arc lights, zooming toward him and vanishing above

and beneath him and on both sides of the engineer’s cabin.

‘Jumped off,’ Keller shouted hack. He was sitting on the floor now, leaning

against the switchboard, ‘When?’ asked the twenty-four-year-old stub-

bornly. The chief conductor hesitated a little and had to light another

Ormond, his legs level with his head, since the train was tilting more and

more steeply. ‘Five minutes after it started,’ he said then, ‘A rescue was out

of the question by then. The man in the baggage room jumped off too,’

‘And you?’ asked the twenty-four-year-old, ‘I’m the chief conductor. Be-

sides, I have always lived without hope.’

‘Without hope,’ repeated the young man, who now lay snug against the glass pane of the engineer’s cabin, his face pressed over the abyss. ‘We were still sitting in our compartments and had no idea it was all over,’ he thought. ‘It seemed as if nothing had changed yet, but actually the shaft leading down had already swallowed us up.’ ‘I have to go back,’ the chief conductor shouted now, ‘they’re probably panicking in the cars, trying to climb back as far as possible.’ ‘I’m sure,’ replied the twenty-four-year-old man, thinking of the fat chess player and the girl with the novel and the red hair. He offered the chief conductor his remaining cartons of Ormond Brasil 10. ‘Take them,’ he said, ‘you’ll just lose your Brasil again while climbing back.’ ‘Aren’t you coming along?’ the chief conductor asked. He had raised himself up and with a great effort began to crawl up the funnel of the aisle. The young man looked at the meaningless instruments, at the ridiculous levers and switches surrounding him in the glaring light of the cabin. ‘A hundred and thirty,’ he said. ‘I don’t think you’ll be able to reach the cars above us at this speed.’ ‘It is my duty,’ the chief conductor shouted. “Cer-tainly,” the twenty-four-year-old man replied, without looking back to witness the chief conductor’s senseless undertaking. ‘I must at least try,’ shouted the chief conductor, who had climbed to the far end of the car by now, pressing his thighs and elbows against the metal walls for sup-port, but as the loco-motive tilted down further, plunging straight toward the earth’s core with terrifying speed, so that the chief conductor found himself dangling directly over the twenty-four-year-old, who was lying face down at the bottom of the engine on the silver window of the engi-neer’s cabin, his strength gave way. The chief conductor dropped and fell onto the switchboard. There he lay, bleeding profusely, next to the young man, gripping his shoulders. ‘What shall we do?’ the chief conductor shouted once more into the young man’s ea through the echoing roar of the walls hurtling toward them, while the young man, his fat body useless and no longer protection, lay glued to the window of the engineer’s cabin, sucking in the abyss with his eyes, which he had opened wide for the first time. ‘What shall we do?’ screamed the chief conductor again: to which, without turning his face from the spectacle as the two wads of cotton were blown upward with arrow like swiftness by the monstrous draught that burst in of a sudden, the twenty-four-year-old replied with spectral serenity:

‘Nothing.’

3.11 Leading

3.4 Tracking

3.1 Readability

3.3 Centered Text

3.7 Ragged Text

3.9 Hyphenation

5.55.6

Ellipsis

Hyphen, en dash,em dash

Quotation marks

Apostrophe

Kernings

Ligatures

Colon, Semicolon

Brackets

Punctuation & Micro-

typography

–I’ll take a coffee with

sugar…

–It’s coffee break... finally.

Reminder The ellipsis in a text are used to make a pause. At the end of a sentence, it’s to leave something unfinished.

The ellipsis uses periods but it’s a glyph that is only one character. It cannot be made with three periods.

×periods

ellipsis

Shortcutalt+;

ELLIpSIS…

‘One sugar cube or three spoons?One cube please.’

Punctuation & Microtypography − 5.1

‘I just want-ed to create

a link, but –obviously–

it wentwrong at5.1– 5.2.’

ReminderHyphens and endashes are important tools. You have to know their meaning and their function. The hyphen is a connector and the en dash a separator.

The hyphen is the smallest stroke and it is used for compound names and line breaks.

While the en dash (this stroke is the lentgh of the letter N) is used as a parenthesis, or to insert a comment in a text. It is also used to make ranges between numbers.

In Europe the em dash (lentgh of the letter M) is used as a symbol for text refe-rences and titles (as seen in the top right corner of this page).

hyphen for line break

en dash to insert

en dash insert a half space before and after

Shortcuten dash alt+-em dash alt+shift+-

HYpHEN, EN dASH & EM dASH- – −

When you use a hyphen rather than an en dash, or the opposite, it’s like using the wrong tool – there is a conflict between the structure of the text and its meaning.

‘There’s a “thin space” between typography and

orthography’

« Un “espace fine” sépare la typographie et l’orthographie ».

When quoting, the punctuation is out of the quotes if it’s not part of the sentence,

as the period in the example above.

English

singleanddoublequota-tionmarks

French

guillemets

In case of a nested quote use double quotation marks or repeat the guillemets.

ReminderQuotation marks are punctuation marks used in pairs to set off speech, a quota-tion, a phrase, or a word. They come as a pair of opening and clos-ing marks.Every language has its own differ-ent marks.There is usu-ally two types of marks that you can nest one into each other when necessary.

In most cases, insert a thin space inside the quotation marks.

In French it’s a rule, in other languages it’s an aesthetical choice.

Shortcut « alt+\» shift+alt+\thinspace shift+alt+cmd+m

Shortcut ‘alt+]’shift+alt+]“alt+[”shift+alt+[

QuOTATION MARKS‘ ’

»C’è uno ›spazio sottile‹ fra la tipografia e l’ortografia?«

„Ein ‚kleiner Raum‘ trennt

Typografie und Orthografie!“

The punctuation goes inside the quotation marks, instead, when it’s part of the quote

itself, as in the two examples in this page.

German

gänsefüßchen

It’s also common to use inward-pointed guil-lemets, double and single, like in swiss.

virgolette,guillemets,anfürungs-zeichen

Shortcut » shift+alt+\« alt+\‹ shift+alt+3› shift+alt+4

Shortcut „ shift+alt+,“ alt+[‚ ,‘ alt+]

‘I likerock’n’rollbut not

drum'n'roll’

ReminderThe apastrophe is a small character that symbolizes the disappea-rance of a letter and it’s used to connect a word with a contract form of another.

By default, with a lot of fonts and programs, when you press the button apos-trophe key the program inserts the symbol for minutes('), which is wrong.

apostrophe

×minutesinches

Shortcutsometimes the word proces-sors correct it automatically, If this is not the case use shortcut alt+shift+]

ApOSTROpHE’

Similar in appearance, and situated on the same key, these two symbols have complete different uses and meanings.

‘Will you please sit.’‘Look, this

chair is quite faraway from the

table. But I’ll fix this

problem.’

×the letters are too close to each other. It’s create stains in the word.

−134

−73−75−42

+29+54

+25 +134 +119

+72 +64

−70−70

ııı

ı ı ı

ı ×this kerning is too wide, it’s create holes, the reading is affected.

Shortcutto quickly fix the kernings, put the curser between two letters, press alt and switch with the left and right arrows.

ReminderKerning is the adjustment of the space between a couple of letters.The goal of it is to give the blank space between this pair of letters a consistent white space. Finding the right kerning depends on the typeface, the x-height and the size.

Tracking differs from kerning in that tracking is the adjustment of space for large groups of letters and entire blocks of text. use tracking to change the ove-rall appearance and readability of the text, making it more open or dense.

In Indesign, the symbol of kerning is A\V and trac-king is A V.

When the kerning is correct, there is an equilibrium between the black and white,in order to make the reading easiest.

KERNINGS

A word will looks wrong wherever the kerning is not equal. In many cases an uneven kerning is the cause of misunderstanding and disturbance of reading.

An efficientuse of space.

When using a ligature it’s like looking for the finest

detail.

ReminderA Ligature is an aesthetical and graphical link between letters. It occurs when two or more characters are connected into a new glyph. The most common is ‘fi’. In serif fonts the dot of the ‘i’ would come in contact with the terminal of the ‘f’.The ligature was invented to avoid this problem.

The most com-mon ligatures have been drawn for lower-case:fl, ff, ffi, ffl, fi, fj, ct, st.

Some ligatures exist only in certain languages such as æ in Norwegian, ß in German and œ in French.

ShortcutLigatures don’t have shortcuts. Sometimes the wordprocessor corrects them au-tomatically, othe-rwise you should always refer to the glyph window and change them manually.

LigaturestypefaceTimes

LIGATuRES

A ligature merges two letters together for better readability and use.

To Do List:cover, still

to prepare; kerning and

ligatures, on the way; new photo

shoot; and it’s done!

Reminder Colon informs the reader that what follows proves and explains, or simply provides elements of, what is referred to before.Semicolon is used to make a pause that is longer than a comma and shorter than a period; or in lists.

At personal taste you can add a thin space before colons.In the same way you can add a double space after colons or semicolons.

use semicolon between items in a list con -taining punctuation, especially commas,

so the semicolons function as serial commas.

5.7COLON & SEMICOLON: ;

There’s paren-theses (round brackets) and parenthesis (all the text inside two

round brack-ets [or square

brackets]).

Reminderparentheses are used to add supplementary information in a text, in a way you can remove it without altering the meaning of a sentence.usually round brackets are in-formation that is part of the origi-nal text, while the square brackets are used to show that the comment is added by someone other than the original author.Another use for square brackets is to refer to a strucure like page numbers, captions etc.

You can nest parentheses in your text by using different types of brackets (round,

square, braces) or just all round brackets.

Punctuation & Microtypography − 5.8BRACKETS( [

Victor BrangoleauMartino MorandiJasmin peco

Text References

A simple representation of a content page from the book ‘Le partage du sensible’. The content page first lists the number of the section, followed by the title and finally followed by the page number in reference to where the chapter is located in the book.

Content Page

Le partage du sensible Design

Jérôme Saint-Loubert Biê Publsher

La Fabrique-éditions ISBN

978–2913372054

Chapter and section titles in order of appearance in the text along with the respective page number.

Page Numbers

Post-Propaganda Design

Jonas Staal Publsher

Fonds BKVB ISBN

978-9076936215

In ‘Post-Propaganda’, the page number is contained in the bottom left of the right hand printed page. As an observation, right hand pages are seen first, left hand pages second.

(1) Page numbering starts from the book cover, however it is not commonly printed on the cover. Printing of the page numbers typically starts after the content page.

A system used to number the pages of a book. This includes blank pages and sometimes the front(1) and back covers.

Running Heads

Sheila Hicks, Weaving as Metaphor Design

Irma Boom Publsher

Yale University Press ISBN

978–0300116854

The title of a section or chapter of a book that runs continuously throughout the printed pages and is separated from the main body of text.

Running heads on a printed page should be discernible and easily found when scanning through the pages. Running heads are also referenced in the content page alongside the beginning page number of the section.

A note used for references, citations or commentary written by the author and set within the margins of the printed page.

Marginal Notes

It is best to distinguish notes from the text by way of position, scale, typeface or color. In ‘Open Cities’, notes are set in the margin of the page in a type size that is two points smaller than the body text. The line length is also shorter than that of the body text. Where a note is a general observation by the author, a cross-reference is not needed.

Open Cities Design

Mevis & Van Deursen Werkplaats Typografie Publsher

Martien de Vletter, SUN ISBN

978–9085067832

Similar to marginal notes, however foot notes are set at the foot(1) of the printed page instead of the margin. Useful when there is not enough space for notes to be set within the margin

In ‘Letter to Robin Kinross’, the foot note is contained within the bottom area of the printed page and is set in a smaller type size than the body text to create a separation between the two. The cross-reference is set as a superscript number within the text and referenced in the foot note the same size as the foot note text.

(1) Take care not to confuse foot-notes with end-notes which are placed at the end of the text instead of within the foot of the page.

Foot Notes

Letter to Robin Kinross Design

Sam de Groot Publsher

True True True ISBN

978–9490006013

A tool for referencing related material elsewhere in the same document. Used to flag text(1) in reference to images, citations, or comments to support the text.

Cross-References

The World of Madelon Vriesendorp Design

Kasia Korczak Publsher

Architectural Association ISBN

978–1902902630

Notes that reference text should include a cross-reference within both the text and within the note so that the reader can link the two together. It is common to see the referenced image on the same spread as the reference, however this could also link to an Index of images somewhere else in the book.

(1) Cross-references deal with phrases or words in a text that relate to other relevant material located within the book.

Used in conjunction with images, or related figures, to connect the material to images elsewhere(1) in the text by describing it’s location without the need for cross-references.

Directional Language

Ways of Seeing Design

Richard Hollis Publsher

Penguin Books ISBN

978-0140135152

Common terms used as directional language: Top, Bottom, Left, Right, Top Right, Top Left, Bottom Left, Bottom Right, Middle, Middle Top, Middle Bottom, Opposing Page, This Page etc… These are used in conjunction with the location of where the image is placed on the page.

(1) In ‘Ways of Seeing’, the images situated within the text have no captions. Rather, the captions are all contained within an index of images with this directional language to help the viewer understand which image refers to which caption.

A writing system developed to express order using a consistent format. These systems(1) can be applied throughout a text where a sequential system is needed.

Counting Systems

Numbering systems are helpful when dealing with lots of various material such as pages, images, tables, graphs or any material that will benefit from the use of a sequence. In ‘Dot Dot Dot 16’, there are various graphs that the authors reference using both numbers and letters.

(1) Common numbering systems: Hindu-Arabic numeral system.

[ 0, 1, 2, 3, 4, 5, 6, 7, 8, 9 ]

[ 01, 02, 03...10 ]

[ 001, 002, 003...100 ]

[ 1-1, 1-2, 1-3, 2-1...3-1...4-1... ]

[ 1.1, 1.2, 1.3, 2.1...3.1...4.1... ]

Roman numerals

I II III IV V VI VII VIII IX X ]

Alphabetical systems

[ A B C D E F...Z ]

Alpha + Numerical systems

[A1 A2 A3 B1 B2 B3... ]

Dot Dot Dot 16 Design

Stuart BaileyDavid ReinfurtRaimundas Malasauskas Publsher

Dexter Sinister ISBN

978–0979465413

Numbers typically found in the margin of a text, usually in increments of five or ten, to assist the reader with their position within a paragraph.

Line-Count

Dictionary and Encyclopedia of paper and paper-making Design

E.J. Labarre Publsher

Swets & Zeitlinger, Amsterdam ISBN

None Available

Line-counting is typically found in poetry, dictionaries, encyclopedias, lexicons or other reference material. This can be applied to any text, however it is most beneficial when a text has lots of heavy information and it will benefit the reader to be able to scan the lines. In the “Dictionary and Encyclopedia of paper and paper-making”, the line-count system is found to the right of the text within the margin.

The image used for the title page of this chapter, 6: Text References, is a scan from the chapter six title page of John Berger’s ‘Ways of Seeing’.

Design

Christofer GoertzAnthony SalvadorTanguy Wermelinger

A visual investigation

about text hierarchy and

emphasis

Emphasisand Structure

introduction

Some things are important. Some things are not. In this world there is a oversupply of information. Information is everywhere and accessible to anyone. People are getting lost. But that’s why we, graphic designers,

are here! We stand in between the pile of information and the consumer of that information. We work as translators, translating this information into accesible codes and formats. In order to distinguish the most important from the least important, we must structure the information intelligently. Using these structures we attract interest and help the viewer to capture the most important information at once. Hierarchy in a text helps the viewer find connections, reasons and explanations.

introduction

To make things as clear as possible you should identify the different levels a text has and apply only exactly that amount of typographical levels. Not more and not less. The information should communicate effectively to the audience it wants to reach. Next to typographical information,

certain codes (symbols, images) are used to help the viewer find the information he is identyfing with. These differ vastly according to the audience that is being adressed.One important tool to create hierarchy

is using emphasis. There are no written rules to express what it is to emphasize. We should just try it, compare it and show it.

Original Invitation

Original Hierachy

Restructured Hierachy

Restructured Invitation

Original Informative sign

• Consider installing an automatic fire sprinkler system in your residence.

• Ask your local fire department to inspect your residence for fire safety and prevention.

Last Modified: Thursday, 06-Apr-2006 09:48:55 EDT

What to do During a Fire If your clothes catch on fire, you should:

• Stop, drop, and roll - until the fire is extinguished. Running only makes the fire burn faster.

To escape a fire, you should:

• Check closed doors for heat before you open them. If you are escaping through a closed door, use the back of your hand to feel the top of the door, the doorknob, and the crack between the door and door frame before you open it. Never use the palm of your hand or fingers to test for heat - burning those areas could impair your ability to escape a fire (i.e., ladders and crawling).

Hot Door Cool Door

Do not open. Escape through a window. If you cannot escape, hang a white or light-colored sheet outside the window, alerting fire fighters to your presence.

Open slowly and ensure fire and/or smoke is not blocking your escape route. If your escape route is blocked, shut the door immediately and use an alternate escape route, such as a window. If clear, leave immediately through the door and close it behind you. Be prepared to crawl. Smoke and heat rise. The air is clearer and cooler near the floor.

• Crawl low under any smoke to your exit - heavy smoke and poisonous gases collect first along the ceiling.

• Close doors behind you as you escape to delay the spread of the fire.

• Stay out once you are safely out. Do not reenter. Call 9-1-1.

Original Hierachy

Restructured Informative Sign

Original School Announcement

Original Hierachy

Restructured School Announcement

byElki BoerdamJulia BendelerDaniel Rother

Numerals & Symbols 8

Roman numerals might have derived from handsigns.

Numerals are signs that represent a number, like 8 or VIII. Numbers stand for a quantity, like eight.

The most commonly used systems of num erals are the Roman and Arabic systems.

Roman numerals are represented by letters of the latin alphabet:

I II III IV V VI VII VIII IX X

It’s a system that’s based on cumulative quantities and doesn’t include a zero.

Roman numerals are commonly used in numbered lists, clock faces, page numbering, months of the year and the numbering of annual events.

8.1Numerals

Arabic numerals are the graphic symbols from 0 to 9. Today they are the most common representation of numerals in the world.They descended from Indian numerals.

Via Arabic trade they reached Europe in the middle ages. Colonialism spread the system over other large parts of the world. The system was revolutionary because it includes a zero and positional notation.

Numerals & Symbols

8.1Numerals

First the zero wasn’t part of the numeral system. It evolved from a little cross to the ellipse shape as we know it now.

Numerals & Symbols

Arabic numerals are represented in lining and non-lining numerals.

Lining numerals have the same height as capitals and they all have the same character width, therefore they allign in tables, fomulas and alongside capitals.

Non-lining numerals, also known as hanging-, old style-, lowercase- or text figures, have individual heights and character width, this enables them to blend in with text and small caps.They are included in some serif fonts and can be found in the glyphs.

Lining & Non-Lining Numerals 8.2

Lining figures are big and solid unlike letters. They appear like grey bars in a text. Therefore some fonts have slightly smaller designed numerals. If not, you could scale the numerals down to a 98%.

Because numerals are set in a certain monospace this can give an incoherent look, especially the small shape of the 1 and combinations like 74. This can be solved by kerning.

For dimension settings use a multiplication sign × and not a lowercase x.

Numerals & Symbols

8.2Lining & Non-Lining Numerals

Numerals & Symbols

Rules for Numbers & Numerals 8.3

It’s common to see 14:00 in Europe and 2 p.m. in the USA. The expression o’clock is only used when numbers are spelled out.

In Europe it is normal to order day-month-year. In America it’s common to order year-month-day.

Large numbers are separated with a period, the Brits use a comma.

Spell out numerals under 10.

Don’t start a sentence with a numeral.

Superscript numerals are commonly used for footnotes. They are set in superscript as an expression of their relative importance. It keeps them out of the flow of the main text and makes them easier to find when looking quickly through a page. They are put at the end of phrases or sentences.

The superscript is meant to have a little distance from the letter and for readability it might be necessary to increase the weight.

Many fonts include a set of superscript numbers, however not all of them are well designed. In that case, numerals set at a reduced size and an elevated baseline are the only choice.

For the actual footnoot you use normal sized numerals, not superscript.

Numerals & Symbols

8.4Superscript

The smaller the type, the more space you need between the letter and the superscript.

First Zapf dingbats, then Windings and in the bottom Webdings.

Numerals & Symbols

A symbol is pictorial representation of an idea.

Symbols are supposed to be universal and don’t need translation on the contrary of words.

Every font includes some everyday symbols:

But there are several type families which only consist out of symbols; called dingbats. Weare most familiar with Zapf dingbats, Wingdings and Webdings.

Symbols 8.5

Byrthe Lemmens Killian Loddo

Esther Willering

Numerals & Symbols

On the frontcover of this chapter is an image of the Cosmic Egg.All Arabic numerals are contained within the ellipse of the zero.

Chapter 9

type teChnology

Idea & desIgn

amber van den eedenMaarten KantersKaroline swiezynskirutger de Vries

ContrIbutIons

david bennewithlinn eriksenna KimKalle Mattssongerard unger

InspIratIon

doris boermanKarel Martensheidrun ostererstefan seigmeisterWolfgang WeingartJob Wouters

p. 1 Chapter page. Image by Kalle Mattsson, 2009.p. 2 Image by linn eriksen, 2009.p. 3 Image by na Kim young, 2009.p. 4 photo by amber van den eeden, 2009. Museum stichting lettergieten 1983 te Zaandam.p. 5 Image by david bennewith, 2009.p. 6 brunner, l. & Wälchli, t. (2009). the schönsten livres svizzeri 2008. the present Issue.p. 7 http://elbanet.ethz.ch/wikifarm/schulenamnetz/ uploads/Main/otlet_univers_livre.jpgp. 8 newspaper article contributed by gerard unger, 2009.p. 9 text by david bennewith, 2009.p. 10 brunner, l. & Wälchli, t. (2008). die plus beaux libri swiss 2007. the past Issue. p. 11 brunner, l. & Wälchli, t. (2009). the schönsten livres svizzeri 2008. the present Issue.p. 12 unknown.p. 13 Image contributed by gerard unger, 2009.p. 14 Image by na Kim young, 2009.p. 15 Image by david bennewith, 2009.p. 16 text contributed by na Kim young, 2009.p. 17 gantois, J.M., de loore & Camiel W.h. (1979). uFo’s en andere vreemde natuurverschijnselen. Zutphen, thieme.p. 18 Index.

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