DO

NN

A KIN

G

A DESIGNERS

TO Typography

Designing with typography is like composing music.

There are a set of rules to be followed in order to create

the perfect, harmonious composition. This book contains

elements and rules applied to typography. When applied

in a thoughtful, recalculated manner the solutions to

design are endless.

The typography study illustrated in this book uses the

formal attributes, elements, and rule found in these

chapters. The chapters have been arranged in a way

to emulate the design qualities and structure of the 3-D

piece illustrated throughout the book. The type face

chosen for the design was squared display.

A DEIGNERS

INSIGHT

TO Typography

ONE

TWO

THREE

FOUR

FIVE

SIX

SEVEN

CH

FORMAL ATRIBUTES

CH

TYPEFACE ANATOMY

CH

ALIGNMENT

CH

LEADING

CH

KERNING & LETTER SPACING

CH

WORD SPACING

CH

INDENTS

Formal

attributes

ONE

Specific terms are used to refer to the different elenents of a typeface design.

Before looking at typeface sources it is worth briefly examining these

‘formal attributes’. They fall into eight categories.

ConstructionShape

PoportionsModeling

WeightTerminations

Key charactersDecoration

ConstructionEach character in a typeface comprises a

number of component parts. These are often referred to as ‘strokes’–when the character

shapers are derived from hand written forms– or ‘elements’. These component

parts can be assembled or ‘constructed’ on a number of ways.

Continuous construction

oHere there are no emphatic points of transition between strokes, or breaks between elements.

Broken or interrupted construction

oi sHere there are emphatic points of transition between strokes or clear breaks between elements. Broken script is pen-derived while stencil letters are often adaptations of pre-existing designs.

b e de

Letterforms can also be modular: made up from individual, separate elements or from a limited set of related elements.

Other approaches to construction

eg scissors, round pen, imitating industrial sources, eg typewriter.

Refrence to tools

e af mReference to character setseg captials only, lower case only.T

ShapeThe basic shapes embodied in the

Latin alphabet, as it has evolved from the monumental inscriptions of the

ancient Roman civilization, are curves and straight lines. The treatment of

each of these components and possible variations in their shapes can be used

as a starting point describing the component shapes of all type designs.

Variants to traditional forms eg curving of normally straight

lines, rounded corners, irregular character elements.

Treatment of curves eg angular (curves replaced

by straight lines), broken or fractured

curves, continuousAspect of curves eg oval, round (circular), round/slightly square, square.

Details of curveseg exaggerated bowl treatments, bowls and stems not touching, jaws close-set

Upright stemseg edges parallel, convex, made with concave elements, irregular, flared.

Other details

TerminalsThis describes the varieties of stroke terminals found within letterforms, where and hoe they have been applied.

Baseline Terminals

Terminals derived from handwriting may take several forms: beak stroke, hooked stroke, oblique rectangular serif, slab serif.

Tapered serifs evolved from Roman inscriptional capitals and are known as ‘roman’ serifs. They may appear blunt and/or unrefined, sharp and refined, very sharp and refined, line serifs.

Other terminal variations include slab serifs, bracketed slab serifs, vestigial serifs, wedge serifs, flared terminals, Tuscan (bifurcating) serifs or sans (meaning ‘without’) serif.

Ascender terminals

These may be handwriting-derived with a blunt top, handwriting-derived tapered

serif, ‘roman’ with blunt serif, ‘roman’ with a sharp and refined serif. Other varieties match those of baseline serifs above. The

style of these ascender terminals is generally repeated for the x-height terminals.

Terminals: Specific Characters Characters such as c, e, the ear of

r and curve of a have distinctive terminals which are useful aids to describing and

identifying typefaces.

Some basic varieties show here are plain, tapered, blunt/sheared, softened teardrop

lobe, fully rounded.

The upper terminals of E, F, and T and lover terminals of E, F, and L are often distinctive. The main serrifed varieties

are oblique, symmetrical and splayed, symmetrical and vertical.

DecorationDecoration can be considered as a source as well as an attribute for type design. Detailing as an attribute describes some of the common motifs and treatments used when detailing already existing letterforms.

Inline

Outline

Shadow

Cameo (reversed-out)

Shaded

Stenciled

Decorated or pictorial elements on

surface of letter.

Key CharactersThere are several characters whose treatment is significant in distinguishing one typeface from another. A basic selection is shown here.

Single or double-storey

Oblique or horizontal cross-bar

Siting on, or descending below the baseline

Single or double-storey with open or closed tail

Pointed, flat or concave apex

Without spur, horizontal spur, vertical spur

Sitting on, or descending below the baseline

Short tail, tail dissecting bowl, long tail

Straight leg, curved leg, curved leg with tail

ProportionsProportion is used to describe basic letter-

form dimensions and use of space. Width

While many typefaces are available in only one width, others have a family of wider and

narrower variations. The most common vari-ants are shown below.

HHHCondensed, medium (normal), expanded

Relative proportions: capitals

RDIFollowing the Roman square capital propor-

tions

RDICapital widths generally regular

RDICapital widths regular ie monospaced

RDIRelative internal proportions

I1 I1Ascenders higher or equal to cap-height

PxbLarge x-height

Pxb Small x-height

ModelingThe visual character of typeface is in part determined by the weight and variety of line used within the form.ContrastThis described the relative difference between the thickest and thinnest parts of a letterform

OOONone, medium, high exaggerated

Axis of contrastThis identifies where the thickest and thinnest parts of letterform are posi-tioned.

OOONone, vertical angled horizontal

TransitionThis describes the way the thick and thin parts of the letterform are related.

ONone, gradual, abrupt, instant

TWO

TY

PE

FA

CW

AN

AT

OM

Y

Typographical characters have an

array of attributes and forms that

are described through a variety

of different terms, in much the

same way as the different names

for every part of the human body.

Apex The point formed at the top of a character such as ‘A’, where the left and right

strokes meet.

Arm A horizontal stroke that is open at

one or both ends, as seen on the ‘T’, and ‘F’ as well as the upstroke on the ‘K’ and ‘Y’,

Also called bar.

Ascenders and descendersAn ascender is the part of a letter that ex-

tends above the x-height; a descender falls below the baseline.

BarbA sharp pointed se

Beak

The serif form at the end of an arm.

BowlThe part of a character that encloses a space

in circular letterforms such as ‘O’ and ‘c’. The bowl may be closed or open.

BracketThe transitional shape, connecting the stem

and the serif.

Chin The angled terminal of a ‘G’

Counter The space inside a bowl as found on ‘e’, ‘a’

and other letters.

Cross stroke A horizontal stroke that intersects the cen-

tral stem. Also called a crossbar.

Crossbar The horizontal stroke on the characters ‘A’,

‘H;, ‘T’, ‘e’, ‘f’, and ‘t’ that intersects the cen-tral stem. Also called a cross stroke.

CrotchThe inner point at which two angled

stroked meet.

EarA small stroke extending from the right side

of the bowl of a ‘g’ or protruding from the stem of letters such as ‘r’ and ‘f’.

Finial An ornamental terminal stroke at the top of

characters such as the ‘a’ and ‘f’.

StemThe main vertical or diagonal stroke of a letter.

StressThe orientation, or slant of a curve charac-ter.

Swash An elongated curved entry or exit stroke.

Tail The descending stroke on a ‘Q’, ‘K’ and ‘R’. The descenders on ‘g’, ‘j’, ‘p’, ‘q’ and ‘y’ may also be called tails, as can the loop of the ‘g’.

Terminal The end of a stroke, which may take several forms such as acute, flared, convex, concave and rounded.

VertexThe angle formed the bottom of a letter where the left and right strokes meet. Such as the ‘M’.

LegThe lower, possibly downward sloping stroke of a letter. Sometimes also used for the tail of the ‘Q’.

LigatureTypically a crossbar arm that extends at a pair of letters to tem.

LinkA stroke that joins two other letter parts such as the bowls of a double-story ‘g’.

LoopThe bowl formed by the tail of a double story ‘g’.

SerifA small stroke at the end of a main verti-cal or horizontal stroke.

Shoulder The curved stroke leading into the leg an ‘h’ or ‘n’ for example.

SpineA left-to-right curving stroke in the ‘S’ and ‘s’.

SpurThe terminal to a stem of a rounded let-ter.

oo

ALIGNMENTTHREE

Alignment refers to the position of type within a text block, in both the vertical and horizontal planes.

Horizontal alignmentHorizontal alignment in a text field can be range left, range right, centered or justified.

Flush left, ragged rightThis alignment follows the principle of handwriting, with text tight and aligned to the left margin and ending ragged on the right.

Lorem ipsum dolor sit amet, consectetur adipiscing elit. Vestibulum posuere massa non lectus porttitor gravida. Phasellus lectus ipsum, sodales in tempus non, consequat id mi. Etiam vel libero non est tincidunt malesuada eu id dui.

CenteredCentered aligns each line horizontally in the centre to form a symmetrical shape on the page, with line beginnings and endings ragged. Raggedness can be controlled to a certain extent by adjusting line endings.

Lorem ipsum dolor sit amet, consectetur adipiscing elit. Vestibulum posuere massa non lectus porttitor gravida. Phasellus lectus ipsum, sodales in tempus non, consequat id mi. Etiam

vel libero non est tincidunt malesuada eu id dui.

Flush right, ragged leftRight aligning text is less common as it is more difficult to read. It is sometimes used for picture captions and other accompanying texts as it is clearly distinct from body copy.

Lorem ipsum dolor sit amet, consectetur adipiscing elit. Vestibulum posuere massa non lectus porttitor gravida. Phasellus lectus ipsum,

sodales in tempus non, consequat id mi. Etiam vel libero non est tincidunt malesuada eu id dui.

Justified horizontally Justified text allows the appearance of rivers of white space to appear. It can cause plagues of hyphenation if words are allowed to split.

Lorem ipsum dolor sit amet, consectetur adipiscing elit. Vestibulum posuere massa non lectus porttitor gravida. Phasellus lectus ipsum, sodales in tempus non, consequat id mi. Etiam vel libero non est tincidunt malesuada eu id dui.

Vertical Alignment Text can align vertically to the centre, top, or bottom.

Top alignedThis text is aligned to the top of the text block.

Vertically centeredThis text is aligned to the centre of the text block

Bottom alignedThis text is aligned to the bottom of the text block

Justified verticallyThis text has been vertically justified to force the lines to distribute throughout the text block.

FOUR

LE

AD

ING

Leading is a hot-metal printing term that refers to the strips of lead that were inserted between text measures in order to space them accurately. Leading is specified in points and refers nowadays to the space between the lines of text in a text block. Leading introduces space between the lines of text in a text block. Leading introduces space into a text block and allows the characters to ‘breathe’ so that the information is easy to read.

Leading in relation to type size and fontsTo achieve a balanced and well-spaced text block, leading usually has a larger point size than the text it is associated with, for example a 12pt typeface might be set with 14pt leading. Different fonts, however, occupy differing amounts of the em square. This can make equally set fonts (same size same leading) appear different. Shown right are two fonts Bodoni (left) and Blackmoor STD (right). It is clear that Blackmoor occupies more of the vertical space of the em square, while Bodoni, with its much smaller x-height, appears much lighter.

These are Myriad (upper) and Arial (lower), both set at 9pt on 10.8pt leading. There is more space between the bottom of a descender and the top of an ascender in Foundry than there is in Futura, which gives the illusion of more space and looser leading.

These are Myriad (upper) and Arial (lower), both set at 9pt on 10.8pt leading. There is more space between the bottom of a descender and the top of an ascender in Myriad than there is in Arial, which gives the illusion of more space and looser leading.

try try

Kerning and

letter Spacing

FIVE

Kerning and

letter SpacingKerning is the removal of space and

letterspacing is the addition of space between letters to improve the visual look of type. Both can be performed manually

or automatically.

With traditional print processes that set in blocks, kerning or tracking was not possible. However,

digitization means that letters can be set close or even over each other. In practice, combinations of values may be used for these techniques with

an overall tracking value for body copy that either opens or closes up the text. Headlines and larger

copy may require additional tweaking.

Type Size Without kerning or letterspacing Without the inclusion or removal of space between characters by kerning or letterspacing they are set to the values held by the font in its PostScript information. This will give a reasonable result, but the addition or subtraction of space may be necessary to achieve an optimum result. The tracking value of a text block applies equal spacing over a piece of body copy.

Ty p e S i z e Letterspacing Letterspacing adds space between letterforms to open up text. The addition of too much space can make text look disjointed as words start to dissemble.

Type Size Kerning Kerning is the removal of space between characters. Kern originally referred to part of a character that extended outside its bounding block or printing block.

Type size affects white space

Type size affects white space

AboveAs type increases, so does the quantity of white space between characters. Text set small may appear very tight while text set large may appear quite loose, as in the two lines above. As text gets larger, more kerning may be required.

WO

RDSPAC

ING

SIX

The use of word spacing, hyphenation and justification functions allows for greater

control of word spacing in a text block by controlling the space between words.

Word spacing,the space between wordsWord spacing, the space between words

Word spacing, the space between words Word spacing, the space between words

Word spacing, the space between words

Word Spacing Tracking adjusts the space between characters while word spacing adjusts the space between

words. In the example to the left, the word spacing increases with each line of text. The first two lines have pared back spacing; the middle line is set to

the default settings; and the last two lines have extended spacing. Note that the spaces between the

characters within the words remain unchanged.

Justification Justification uses three values for type setting; minimum, maximum and optimum values. The first block (below left) is set standard, which introduces a hypho (see page 123). The block next to that (second left) is set tighter, allowing the type to contract more. This removes the hypho in the last line. In justified type, word spacing on separate lines is irregular, unlike range left type where all lines have same spacing.

Hyphenation Hyphenation controls the number of hyphens that can appear in a text block. Hyphens in justified text allow spacing issues to be resolved, but can result in many broken words. However, the number of consecutive lines that are allowed to have broken words can be specified as more than two looks ugly. The point at which words break (usually on a syllable) can also be controlled, for example, trans-formation.

The text box below left has spacing problems on nearly every line, and the only way to solve this without rewriting is through the use of hyphenation.

INDENTSSEVEN

Hanging IndentA hanging indent is similar to a running indent except the first line of the text is not indented.

One Point IndentPoint: The indentation of an on a point indent is located at a specific place according to the requirements of the design, such as the first word in a list.

Unt quam, ist as exerro con peris sitatur?Cerrovid minullacerae officaborem exeruptat a quaest vellab ius, sandit minietus.Acep-

tatur autessi bearum et destiatisto et doluptur ac-cus aut ea pa nulparum hil mi, corestibus.

Text blocks can be indented so that some or all of the text lines are moved in from the margin by a specific amount. Traditionally, the first paragraph is not indented, with indentation commencing with the second paragraph. Indentation provides the reader with an easily accessible entry point to a paragraph. The length of the indent can be related to the point size of the type such as a one em indent. Alternatively, indent points can be determined by the grid, such as in the basic grid produced from the golden section. Four basic indent types exist, as explained below. Technically speaking an indent is an attribute of a text line rather than a paragraph, but most design programs handle indents through the paragraph characteristics function.

First-line indentIn the first line indent, the text is indented from the left margin in the first line of the second paragraphs. The first paragraph in a document following a heading, subhead or crosshead is not normally indented as this introduces an awkward space, although this can be done.

Unt quam, ist as exerro con peris sitatur?Cerrovid minullac-erae officaborem exeruptat a quaest vellab ius, sandit mini-etus.Aceptatur autessi bearum et destiatisto et doluptur accus aut ea pa nulparum hil mi, cor-estibus re eum.

Running IndentA running indent is an indentation from the left or right margin, which affects several text lines. This may be done to a frame a long quotation.A running indent is an indentation from the left or right margin, which affects several texts lines. This may be done to frame a long quotation.

Unt quam, ist as exerro con peris sitatur?Cerrovid minullacerae officaborem exeruptat a quaest vellab ius, sandit minietus.Aceptatur autessi bearum et destiatisto et doluptur accus aut ea pa nulparum hil mi, corestibus re eum fuga.

Unt quam, ist as exerro con peris sitatur?Cerrovid minullacerae offic-aborem exeruptat a quaest vellab ius, san-dit minietus.Aceptatur autessi bearum et desti-atisto et doluptur accus aut ea pa nulparum hil mi, corestibus.

All images were provided by Donna King who

was also the author to this insightful guide to

typography. The title of the book was designed

using the square display. Body copy was created

with Vani. The chapter headers and pull quotes

were done using GoodMorningAfternoon and

RNS Camelia.The dividers seperating each

chapter were created with the same straws

when creating the design. The book cover was

printed with matt paper and the inside content

was printed using ink jet paper. All vector art

as well as layout was created using programs

in the adobe suite. Special thanks to the St.

Augustine Art Gallery and Kristian Champage

with the binding of this book as well as location

and set up of installation at the June art walk 2012.