Professional Documents
Culture Documents
type basics
x-heights
32-Pt bodoni
When two typefaces are set in the same point size, one often
looks bigger than the other. Differences in x-height, line weight,
and set width affect the letters apparent scale.
32-Pt helvetica
The perceived size of a typeface is a function of its x-height as well as its cap height.
x-heights
32-Pt helvetica
scale
THE
WORLD
IS FLAT
type crime
Minimal differences in
type size make this
design look tentative
and arbitrary.
THE
WORLD
IS FLAT
scale contrast
The strong contrast between
type sizes gives this design
dynamism, decisiveness,
and depth.
scale
revolver: zeitschrift fr
film (magazine for film)
Scale is the relationship between elements and their context. Here, big type sits on a small page.
scale
type basics
Mixing Typefaces
mixing typefaces
mixing typefaces
What
Trilogy
areisthe
a superfamily
characteristicswith
of each
Sans,
mode
Egyptian,
of alignment?
and Fatface styles, inspired by 19th-century advertising.
was r
mixing typefaces
Glaser
ccountable for this?
ultra-b
nt of univers
the primary47
fontlight
has beencondensed and univers 67 bold conden
small
ine t better (as if we wouldnt
in the
ht appears on the bottom line.
multiple-family mixes
type crime
These typefaces are from the
same family, but they are too
close in weight to mix well.
verla
Hoee
comm
Miller
mixing typefaces
mixing typefaces
big + light:
Glypha Thin, designed by
Adrian Frutiger, 1979. The
large scale of the letters is
counterbalanced by the ne line
of the stroke.
small + heavy:
Egyptian Bold Condensed,
a Linotype font based on a
typeface from 1820. This quirky,
chunky face has been used
intermittently at New York
Magazine since the publication
was rst designed by Milton
Glaser in the 1970s.
type basics
Leading/Line Spacing
line spacing
6/6 scala
(7 pt type with 7 pts line
spacing, or set solid)
6/7.2 scala
( Auto spacing; 6 pt type
with 7.2 pts line spacing)
6/8 scala
( 6 pt type with
8 pts line spacing)
6/12 scala
( 6 pt type with
12 pts line spacing)
Staggered lines with extreme spacing allow lines of type to show through from the other side.
The designer has created an extreme texture with ultra-tight line spacing.
cranbrook design:
the new discourse
Book, 1990. Designers:
Katherine McCoy, P. Scott
Makela, and Mary Lou
Kroh.
type basics
Alignment
alignment
Text is an ongoing sequence of words,
distinct from shorter headlines or captions.
The main block is often called
the body,
comprising the principal mass of content.
Also known as running text,
it can ow from one page, column, or box to another.
Text can be viewed as a thing
a sound and sturdy object
or a uid poured into the containers of page or screen.
Each basic mode of alignment has distinct characteristics and typical uses.
alignment
alignment
alignment
alignment
On this web page, rules create clean columns on the page without requiring justified text.
alignment: experimental
flush left and flush right: vas: an opera in flatland Book spread, 2002. Designer: Stephen Farrell. Author: Steve Tomasula.
alignment
the telephone book: technology, schizophrenia, electric speech Book, 1989. Designer: Richard Eckersley.
Author: Avital Ronell. Compositor: Michael Jensen. Publisher: University of Nebraska Press. Photograph: Dan Meyers.
The designer has deliberately created typographic rivers in order to create cracks or fissures in the text.
alignment: experimental
flush left and flush right: informal Book, 2002.Designer: Januzzi Smith.Author: Cecil Balmond.Photograph: Dan Meyers.
alignment: experimental
justified: hella jongerius Book, 2003. Designers: COMA. Photograph: Dan Meyers.
vertical alignment
v
e
r
t
i
g
o
v
e
r
t
i
g
o
t y p e c rime
stacked lowercase
Capitals stack more comfortably than lowercase letters.
v
e
r
t
i
g
o
v
e
r
t
i
g
o
mexican street signs Photographs by Andrea Marks. Sign painters in Mexico create letters that stack well, such as squared-off Os and Gs.
Instead of stacking letters, designers often change the orientation of the baseline to make vertical lines.
parallelen im schnittpunkt
(crossing parallels) Poster, 1997. Designer:
Gerwin Schmidt. Publisher: Art-Club Karlsruhe.
The axes of type and landscape intersect to create
posters that are simple, powerful, and direct. The text
is mirrored in German and French.
Instead of stacking letters, designers often change the orientation of the baseline to make vertical lines.
type basics
Enlarged Capitals
enlarged capitals
new york times book review. Newspaper page, 2009. Art director:
Nicholas Blechman. Illustrator: Ellen Lupton.
Dropped capitals are a traditional page device, especially for opening chapters in a book.
enlarged capitals
n enlarged letter cut into the text block is called a
drop capital or drop cap. This example was produced using the Drop Caps feature in a page layout program. The
software automatically creates a space around one or more characters and drops them the requested number of lines. Adjusting the
size and tracking of the capital allows it to match the surrounding
text. Similar solutions can be implemented on the web in CSS. The
space around the capital is rectangular, which can be visually awkward, as seen here with the sloping silhouette of the letter A.
enlarged capitals
type basics
Paragraphs
paragraphs
This early typographic book uses a symbol to divide paragraphs, creating a dense column.
paragraphs
Pheasants,
Partridges,
and Grouse;
Buttonquail
Americas ph e as an t s, part r i d g e s, g r o u s e , and p tar m ig an
are not generally considered real beauties, being known more as drab brown
game birds. But the main family of these chickenlike birds, Phasianidae, with
a natural Old World distribution, contains some of the globes most visually
striking larger birds, chiefly among the pheasants, like the Silver Pheasant,
Crested Fireback, and Common Peafowl illustrated here.The most historically
(and gastronomically) significant, if usually unheralded, member of the group
is Asias Red Junglefowl, the wild ancestor of domestic chickens.
All chickenlike birds (except buttonquail) are contained in order
Galliformes. In the past, most (excluding the megapodes and curassows)
were included in family Phasianidae, but more recently, the grouse (treated
here), which occur over North America and northern Eurasia, have been
separated into their own family of 18 species, Tetraonidae, and the New
World quail into their own family (treated on p. 87). Phasianidae itself now
contains 155 species, including partridges, francolins, junglefowl, Old World
quail, and pheasants. Several Old World species, such as Chukar, Gray
Partridge, and Ring-necked Pheasant, were introduced to North America
as game birds and are now common here.
Birds in these groups are stocky, with short, broad, rounded wings;
long, heavy toes with claws adapted for ground-scratching; short, thick,
chickenlike bills; and short or long tails, some of the pheasants having tails
to 5 feet (1.5 m) long. Some small quails, such as the Harlequin Quail, are
only about 6 inches (15 cm) long. Many species, particularly among the
pheasants, are exquisitely marked with bright colors and intricate patterns,
Classic indented
text block
Design: Charles Nix
83
pheasants and
pa r t r i d g e s
Distribution:
Old World
No. of Living
Species: 155
No. of Species
Vulnerable,
Endangered: 32, 9
No. of Species Extinct
Since 1600: 3
paragraphs
paragraphs: experimental
museums of tomorrow: a virtual discussion Book spread, 2004. Designed by Franc Nunoo-Quarcoo and Karen Howard.
paragraphs: experimental
design beyond design Book spread, 2004. Designed and edited by Jan van Toorn.
Lines and blocks of text slide into the margin to mark changes of voice in an ongoing conversation.
paragraphs
On the web, paragraphs are usually marked with a skipped line, wasting lots of vertical space.
type basics
Hierarchy
hierarchy
Division of angels
A. Angel
B. Archangel
C. Cherubim
D. Seraphim
Division of angels
Angel
Archangel
Cherubim
Seraphim
division of angels
Angel
Archangel
Cherubim
Seraphim
division
of angels
angel
archangel
cherubim
seraphim
II
ruling body
of clergy
pope
cardinal
archbishop
bishop
III
Parts of a text
A. Work
B. Chapter
C. Section
D. Subsection
Parts of a text
Work
Chapter
Section
Subsection
parts of a text
Work
Chapter
Section
Subsection
parts of
a text
work
chapter
section
subsection
indents and
line breaks only
symbols, indents,
and line breaks
Scale, leading, alignment, type choice, indentation, and other elements combine to express hierarchies.
Crime Blotter
6:00AM | EAST VILLAGE
7:00PM | WILLIAMSBURG
One text, different expressions, with emphasis placed on different elements of the text.
<h1>
<h2>
<h3>
<class=time>
<p>
hierarchy
yale school of architecture Posters, 20032006. Designers: Michael Bierut and team/Pentagram.
what
we do
SPACE
branch in history,
AND TIME.
of time and
the
of
a nd
at
will
through
a nd
the
of
the
of
a nd
at
will
through
a nd
the
of
AN
IMMENSITY
OF
numberless
moments,
it is well within
o u r p ow e r to
d est roy o u r
c i v i l i z at i o n
what
we do
SPA
SPA
here w e fac e a c ritic al b ranc h
in history,
WORLDS ,
NUMBERLESS
MOMENTS ,
the
of
a nd
at
will
through
a nd
the
of
the
of
a nd
at
will
through
a nd
the
of
the
destiny
of our
decendants,
- carl sagan
the
of
and
at
w ill
thro ugh
and
the
of
the
of
and
at
w ill
thro ugh
and
the
of
the
of
and
at
w ill
thro ugh
and
the
of
the
of
and
at
w ill
thro ugh
and
the
of
o ur
o ur
this
pro po gate
small
pow er fully
o ur
o ur
o ur
this
pro po gate
small
pow er fully
o ur
o ur
o ur
this
pro po gate
small
pow er fully
o ur
o ur
d estiny
d ecenda nts,
pla net
mo m ent,
d own
centuries
aff ect
d estiny
d ecenda nts,
d estiny
d ecenda nts,
pla net
mo m ent,
d own
centuries
aff ect
d estiny
d ecenda nts,
d estiny
d ecenda nts,
pla net
mo m ent,
d own
centuries
aff ect
d estiny
d ecenda nts,
o ur
d estiny
d ecenda nts,
pla net
mo m ent,
d own
centuries
aff ect
d estiny
d ecenda nts,
o ur
d estiny
d ecenda nts,
o ur
this
pro po gate
small
an immensity of space
countless worlds,
it is well within our power to destroy our civilizati o n
the
of
pow er fully
the
of
a nd
at
will
through
a nd
the
of
the
of
a nd
at
will
through
- c a r l s ag a n
our
our
this
propogate
sm a ll
powerfully
our
our
our
this
propogate
sm a ll
powerfully
our
our
our
this
propogate
sm a ll
powerfully
our
our
our
this
propogate
sm a ll
- carl sagan
destiny
decenda nts,
pla net
m om ent,
down
centuries
a ffect
destiny
decenda nts,
destiny
decenda nts,
pla net
m om ent,
down
centuries
a ffect
destiny
decenda nts,
destiny
decenda nts,
pla net
m om ent,
down
centuries
a ffect
destiny
decenda nts,
destiny
decenda nts,
pla net
m om ent,
down
centuries
a ffect
destiny
decenda nts,
an immensity of space
countless worlds,
it is wel l wit hin o ur po wer t o dest ro y o ur civ il izat io n
what we do wit h o ur wo rl d,
here we f ace a crit ical bran ch in hist o ry ,
an d perhaprs o ur species as wel l .
numberless moments,
and time.
- carl sagan
the
of
a nd
at
will
through
a nd
the
of
the
of
a nd
at
will
through
a nd
the
of
COUNTLESS
AND TIME.
OF
bra nc h i n h i story,
AND TIME.
IMMENSITY
h e r e w e fac e a c r i t i c a l b r a n c h
i n h i sto ry,
and our small planet and
p e r h a p r s o u r s p ec i es a s w e l l .
at t h i s m o m e n t,
w h at w e d o w i t h o u r wo r l d ,
w i l l p ro p o g at e d ow n
t h ro u g h c e n t u r i es
a n d p ow e r f u l ly a f f ect
t h e d est i n y
o f o u r d ec e n da n ts ,
SPACE
AN
the
of
a nd
at
will
through
a nd
the
of
IMMENSITY OF
the
of
a nd
at
will
through
a nd
the
of
- carl sagan
S
P
A
C
E
countless,
worlds,
AN
a n d o u r s ma l l p l a n e t
at th is mo me n t,
w il l p ro p o g ate d ow n
th ro u g h c e n tu ries
a n d p ow e rf u l ly a f f ect
th e d estin y
o f o u r d ec e n da n ts ,
a n d o u r s ma l l p l a n e t
at th is mo me n t,
w il l p ro p o g ate d ow n
th ro u g h c e n tu ries
a n d p ow e rf u l ly a f f ect
th e d estin y
o f o u r d ec e n da n ts ,
a n d o u r s ma l l p l a n e t
at th is mo me n t,
w il l p ro p o g ate d ow n
th ro u g h c e n tu ries
a n d p ow e rf u l ly a f f ect
th e d estin y
o f o u r d ec e n da n ts ,
a n d o u r s ma l l p l a n e t
at th is mo me n t,
w il l p ro p o g ate d ow n
th ro u g h c e n tu ries
a n d p ow e rf u l ly a f f ect
th e d estin y
the
destiny
of our
decendants,
at this moment
C
E
an immensity
NUMBERLESS MOMENTS,
SPACE
SPACE
COUNTLESS WORLDS,
powerfully
our
our
our
this
propogate
sm a ll
powerfully
our
our
our
this
propogate
sm a ll
powerfully
our
our
our
this
propogate
sm a ll
powerfully
our
our
our
this
propogate
sm a ll
powerfully
our
our
our
this
propogate
sm a ll
powerfully
our
our
our
this
propogate
sm a ll
destiny
decenda nts,
pla net
m om ent,
down
centuries
a ffect
destiny
decenda nts,
destiny
decenda nts,
pla net
m om ent,
down
centuries
a ffect
destiny
decenda nts,
destiny
decenda nts,
pla net
m om ent,
down
centuries
a ffect
destiny
decenda nts,
destiny
decenda nts,
pla net
m om ent,
down
centuries
a ffect
destiny
decenda nts,
destiny
decenda nts,
pla net
m om ent,
down
centuries
a ffect
destiny
decenda nts,
destiny
decenda nts,
pla net
m om ent,
down
centuries
CHAPTER