1. LESSON 13
Type Size and Spacing
TOPICS COVERED
Point size of type phase. Spacing. Display phases.
OBJECTIVES
By the end of this chapter you should know:
. What is a point size.
. How to give linespacing.
Size
Various rules govern the selection of the proper type size. The size of a type, you know, refers
to its body not its face, so be careful about the term “„size”. A face with a bigger x-height
appears to be larger than other face with a smaller x-height. Compare Garamond and Times
Roman. Bigger size faces are more legible than smaller faces, because they show clarity of type
design. But the consideration of clarity alone should not dictate the use of bigger size faces.
Larger size type occupies more space. Fewer words come within the eye span, requiring more
time to read the copy. Very small faces too are difficult to read. They lack an invitation, much
less a warm one, to the copy. Coordinate your decision about size, therefore, with other legibility
factors such as line width, space between the lines, and readers‟ educational level and age.
In general, newspapers use 7 to 8 point size; other long copy publications, 9 to 12 point
(newspapers in Devanagari, 8 to 10 point; other publications in Devanagari 12 to 14 point).
Larger line length demands a bigger face. Designers often exploit readers: where the reading
matter is very interesting, small size type is used for economy of space. Tender notices and
income-tax forms are examples of this.
Size will also depend on the surface, on which the impression is to be made. Coarse grain
and coloured paper demand bigger sizes. Reverse-letters, fancy and handwritten faces should be
set in bigger sizes. A condensed face in small size is difficult to read. Normal width types are at
all times acceptable faces for text-matter.
Points
The size of a typeface is measured in points: One point = 1/72 of an inch. Hence 72- point type is
one inch in hight—as measured from the top of the ascender (e.g., the rising stroke in “l”) to the
bottom of the descender (e.g., the plunging stroke in “p”).

2. Thus, for instance, the word lip in 36-point size will print out to exactly 1/2 inch from the top of
the “l” to the bottom of the “p.”
This is 18-point Times New Roman.
This is 14-point Arial.
This is 12-point Gil Sans.
This is 10-point Courier New.
This is 8-point News Gothic.
Generally speaking, readers prefer to read documents in 12-point type. As a rule, anything larger
than 14 points seems loud and aggressive (like reading page after page of headlines). On the
other hand, anything smaller than 10 points looks tiny and forbidding—like the small print on a
legal contract or insurance form. (By the way, the fact that very few people ever really read fine
print is precisely the reason for its existence: its whole purpose is to effectively conceal
information while ostensibly publishing it; indeed it is print specifically designed not to be read).
Spacing
There are four types of spacing in type composition, namely letter spacing, word spacing, line
spacing and paragraph spacing. The type designer takes care of natural letter spacing while
creating a letterform. This letter spacing is quite adequate for most of the running text. There are
several options to achieve various moods of the type composition. Spacing of type composition
can be obtained mechanically and optically. Optical spacing is, of course, more pleasing than the
mechanical one. The type body itself determines the letter spacing. This was especially true in
the days of hot metal composition, which was basically mechanical. Efforts were made to avoid
this rigidity by cutting the metal body to bring the wide shoulder letters closer and manufacturing
some of the letters jointly such as ae, fl, fi and fie. They look apart, if set individually. These
joint faces are known as ligatures. But now the digital typesetters can control the letter spacing as
normal, loose or tight by making the spacing X unit more or less. The kerning facility (placing
two adjacent characters so. that one is positioned within the space of the other) offers a more
pleasing composition. Based on their dominant strokes, Roman letters can be categorized into
vertical, curved, a combination of vertical and curved and oblique. Letters within each group
have similar characteristics and are more likely to be confused with one another. So, give more
space between two vertical strokes; less space between two curved and oblique letters. As for
Devanagari script, designers should better be more careful in spacing the letters. Loose spacing
sets apart the letters because of the distinct white space between mean lines.

3. Word Spacing: Word spacing is always influenced by letter spacing. Tight-spaced letters
need tight word spacing: loose and normally spaced, loose and normal word spacing. A
traditional practice for word spacing is the width of a lower case face, e.g. e in Roman and if in
Devanagari. Sometimes, word spacing looks too much to bear. Expert designers will specify
word space according to the purpose of the composition and type design. For example, Fournier
is a narrow set type, whereas Baskerville is a wide set type. They need narrow and wide word
spacing respectively. Since the mean line of Devanagari holds letters together in a word, narrow
word spacing is often sufficient for a text copy. Bold faces and medium sans serifs are easier to
read if set with slightly looser word spacing.
We should be a little flexible in word spacing for justified composition. The word space is
reduced or increased to accommodate the last word (without breaking) in the line or to take this
word to the next line. Sometimes this may lead to an undesirable white gap in the page. This
occurs when word spaces come one above the other for a number of lines. To eliminate this
white river it is necessary to adjust the space between the words. In general, spaces should be
optically even within the words. Too much uneven space reduces legibility.
Line Spacing: Like letter spacing, type designers also take care of natural line spacing. But most
of the time this natural line spacing is not adequate for type composition. If set naturally, the
composition looks very tight and most people may skip a line or read the same line again,
reducing the reading speed. Therefore, we need to decide how much space to use between the
lines of text-matter.
The space between lines is termed as leading in the printing trade. This term was born in the
hot metal era, when a thin strip of lead was used by compositors to space out type lines.

4. Surviving, it has entered the computer era and continues as an essential element determining the
appearance of a type composition.
Line spacing decisions come from the size of the type being used, style of the face, line
length and setting of the composition. Smaller size type in long line length needs more leading.
A type style with small x-height needs less leading, as its ascenders and descenders naturally
take care of then white space between the lines. Word spacing also has an influence on line
spacing. Wide set word spacing needs more line spacing. In general, white space between the x-
height of the two lines should be more than the word spacing, so that the texture formed by the
words in a line is easily identifiable; this helps the eye traverse the line smoothly. Longer line
length needs more leading. Typographers recommend 8 to 10 point size type with up to 22 pica
line length and 1 to 3 point leading; and 11 and 12 point size type with up to 30 pica line length
and 2 to 4 point leading. Justified setting needs more leading than single side aligned or centered
copy. These line spacing rules apply to Devanagari type as well.
Paragraph Spacing: A paragraph is the writer‟s concept. The designer cannot tamper with it.
Paragraph spacing is, however, the designer‟s area, by which he can „increase the legibility of
type composition. There are several ways to separate a group of lines from the other group,
maintaining the harmony of each group. According to the traditional separation practice, the
initial line is indented and no additional space is provided between the paragraphs. This looks
sometimes uncomfortable, especially when the last line of a paragraph fills almost the complete
measure.
When line spacing is 2 to 5 point, 6 point paragraph spacing is acceptable. A paragraph with
a sub-head needs at least a one-line space at the top. A separate section in the running text may
also be offset by a one-line space. In an advertising or a magazine copy, using oversize initial
letters known as drop letters also sometimes does this job.
Line Length
While discussing line spacing,. we have already touched upon line length. The latter needs,
however, a bit of elaboration, as the length of a line influences legibility quite a bit. Luckily

5. enough, several formulae are at hand for determining the line size. The most common is that line
size should be (in picas) twice the type size (in points) being used, i.e. 8 point size and 10 point
size type should have 16 and 20 pica line length respectively. Small size type requires short line
length; bigger type, a longer line.
The argument for this formula is that, while reading, at least four inches (24 picas) are within
the eye span of the reader. One can read a line of this length without changing the focus of the
eye. These rules may vary from type style to type style. A large x-height face needs more line
spacing and longer line length also. A line may contain 12 to 14 words on an average; in
Devanagari, 14 to 16 words, as Devanagari uses long words sparingly.
Italic, light and bold faces have low legibility. The line measure should be shorter to
compensate for this. Justified setting may have longer line size than unjustified. Line size should
not be shorter than 11 picas, as the flow of reading would be constantly interrupted by breaks and
hyphenized words. A line set in condensed letters can be of short measure, as it may contain an
adequate number of words.
Setting Format
The manipulation of space by type is the format of a typesetting. The most common setting
format is justified, where the type composition is aligned both on the left and the right. It is
considered the most legible format because of uniform line length. The reader‟s eye moves from
left to right and between uniformly.
This format has some drawbacks as well. Often, word spacing is squeezed or stretched to
accommodate the last word or to take it to the next line. Of course, the reader hardly notices this
and it has little, if any, impact on the total gray tone of the composition. Therefore, for a serious-
looking, conventional page, prefer a justified setting.
The next most legible format is left flush and right ragged. The reader‟s eye movement is
here almost as uniform as in the justified format. An additional advantage of this format is that
there are few hyphenized words at the end of a line. Even so, use this format with caution, for
white space between columns looks quite wide and irregular. !fit is used for a long copy, the
reader may even skip the message; for a short copy, this format looks, however, dynamic and
more contemporary in style.

6. Two other setting formats are ragged left and centered. Better avoid them for a long copy,
because they impede the reading speed. The reader takes time to find the beginning of the next
line because of the uneven starting point. There is, however, no bar on their use for special
purposes. For example, a right aligned short copy creates unity with a rectangular illustration. A
centered format for an invitation card and a poetry book will be more appropriate than any other
format.
Selection of a setting format depends greatly on the type of layout and other elements being
used in the layout. Books, magazines and newspapers follow the traditional justified setting.
Glossy magazines and Sunday Supplements of newspapers occasionally use a right ragged
format, which goes well with other visual elements. Art directors of advertising layout and
promotional literature play with the setting format to achieve their communication goals by
creating unity between the content and the format.
Weight
Types come in various weights - bold, medium, light, etc. The weight of a type creates tone and
texture of the type composition. There is no set „standard for the weight of a typeface and weight
varies from manufacturer to manufacturer. We identify type weight by the relative lightness and
darkness of the face. This is very subjective, there being no instrument or formula to measure
this weight. A long copy set in light and bold is tiring for the reader‟s eye. Both these faces are
common for a short copy, especially where emphasis and variations are needed. Medium weight
faces are most legible, so they are in use in almost all publications. Selection of the face weight
depends greatly on the layout of the visual element. Designers develop a layout by laying a tint
(parallel lines or specimen copy block) and then decide, which weight or face is the best.
Like light and bold faces, italic (slanted) faces are also used for variations or emphasis. These
are normally not used for a long copy, as they are not quite as easy to read as normal (upright)
faces. Italic faces are also available in various weights. While using these faces in a running
copy, harmonize their style and weight with their counterpart upright faces; else the harmony of
the composition will be disturbed, impairing legibility.
Mix Type Style
It is not used in a typographic design, especially for text. Modern typographers call this the
rule of typographic harmony. This harmony is achieved by using one family of type throughout a
design. Contrast and variations can be obtained by using type from different series of the same
family. In extremely unavoidable cases, a slight mixing might be OK, but be very cautious.
Mixing different families from the same race (group) may cause confusion, unless they are of a
strongly contrasting design.

7. Reverse Type
It means white (or light) letters against a dark background. This arrangement of type has
less legibility, because white letters on a dark background shrink optically. So if you use reverse
letters in a design, they should be slightly bigger in size. Reverse type on tints or colours is even
less legible because of lack of contrast. In any case, do not set a long copy in reverse or on tint or
colour.
Type in Colour
It too appears to sink into the page, losing much legibility. Since contrast and clarity are the
main factors of legibility, take care to print the type composition. Never use a long copy in
colour. Should you decide to use colour for a heading, subheading or a blurb, use a bigger and
bolder type. Black type on white reads 40 per cent more rapidly than type reversed out from
black and grey. The poorest legibility: black on red or red on black; the best legibility: black on
white or yellow.
Display Faces
“When we see the text-matter, we see words; when we see the headings, we see letters”.
Therefore, the type style is the main consideration in selecting display faces. The purpose of a
heading is to invite the reader into the design and to tell him the. message in a very short and
subtle form. Here also the designer‟s role is as important as the copywriter‟s.‟
There is no set type style rule for headings. The harmony rule may not always work, as the
design may look very passive and monotonous. Lineal and traditional faces are widely accepted
heading type styles. A slightly fancy style is not bad at appropriate places. Some decorative
styles may, however, even sabotage the message. For example. Old English or Script faces set in
capitals are too difficult to read.
Every display word must be thought of as an individual shape in its particular context, as it
offers a slightly different problem according to the relationship of the curves and straight lines,
of which it is composed. Be sensitive in creating shapes from every word in display by
increasing letter spacing or selecting capitals and lower case. Setting of types spaced out of a
capital word sometimes appears to be leaving too much space between two letters, which have
wide shoulders (RA). Set solid curved lines, coming one after another space out, however, two
vertical strokes together. When set solid, lower case faces look more pleasing than the loosely
spaced ones. Again, spaced out headlines are not uncommon in special circumstances. Prefer
spaced out capital letters to lower case faces, as two imaginary parallel lines hold the letters
together to make the word legible. Do not set long headlines in capitals, for lower case letters can
be accommodated more than the capital ones and are hence less likely to be confused.
In display, prefer irregular line length to the justified one. It may be centred, flush left or
flush right or free set according to the nature of

8. a job and the designer‟s task. Centred settings are very formal and go well with formal design
and justified body copy. Flush left is an all -purpose display setting. It looks less formal and
creates contrast even when set in the same family of text copy. Ragged left settings are
comparatively dull. They are often used to balance with other elements. Free setting is the most
dynamic composition used mainly in advertising or type format which serves the purpose of
advertising. Do the heading alignment optically, not leaving it to the typesetter to do the job
mechanically. Of course, it will depend on how you handle your job. Physical appearance of the
headline composition is quite often a function of the arrangement of lines and the division of
phrases. With a view to accentuating and enhancing the meaning of your composition, group
your words logically.
White space around a headline is another creative task for you. Headlines with wide white
space are more legible than those surrounded by other visual elements. Short lines need more
white space to read sentences downwards. Comparatively less surrounding space is needed for
horizontal lines, as the eye moves horizontally. In any case, do relate the length of a line visually
to the space around it and other elements that may be there in the design.
In display, space between lines can also be handled freely. Optical spacing is often used for a
pleasing composition. The general rule for type is that a capital needs more spacing than type set
in lower case faces. Sometimes, to create a compact and more pleasing composition, the designer
reduces the line spacing so much that the descender of one line comes within the area of the
ascender of the next line. The white spaces between ascenders and descenders are reduced in this
way. See that line spacing is more than word spacing when you use capitals with other letter
spacing.
The weight of display faces is an important factor. The eye moves from dark to light, big to
small and unusual to usual. So attract the reader to the headline by using a bigger size type. The
size and thickness of type will also depend on the seriousness of the message and your wishes.
Sharp contrasts result, if the typeface is large in size and heavy in weight. It looks less formal
and opens up the design. Avoid this by using tint or colour for the oversize head. Otherwise, the
heads are likely to overpower the text.
Slanted or vertical displays are unusual. In case you are to use them, orient the character
normally. Upright letters in vertically or diagonally set type are never legible, so, for unusual
settings, prefer bold faces to light ones.
Modern typesetting equipment and graphic software of computers have opened opportunities
for designers to type in various artistic ways. Getting a heading in a spiral form, curve or in some
other form has become now a matter of just computer commands.
Earlier many designers used instant lettering to create headlines according to their own
styles. Instant letters are still available in various type styles in different sizes. Since the display
types offer little, if any, option in Devanagari script, designers try to meet their individual needs
by using instant lettering or hand-drawn lettering. For illustration, we give here some display
faces from Letraset‟s Graphic Materials Handbook.