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Class 11
Text & Typography
Schedule
Historical development
Basic terminology
Understanding type families
Simple design guidelines
Typography
Type is on the page to serve the text.
Type can be an image.
Type is communication.
Type expresses personality.
Type is power.
Type conveys emotion.
Aprllinaire
Aprllinaire
Lissitzky
Lissitzky
Pannard
Chinese
Chinese
Seal
Seal
Money
Money
Terminology
Serif
Serif
Sans Serif
Sans Serif
Apex
A A A A A
Vertex
V V V V V
Terminal
C C C C C
Swash
A A A
Stroke Contrast
U U U
Angle of Stress
O O O
Capital
CAPITAL
Capital
CAPITAL
SMALL CAPITAL
Capital
My name is WINNIE THE POOH
My name is WINNIE THE POOH
My name is Winnie the Pooh
Type Families
Blackletter
Humanist/Old Style
Transitional
Modern
Egyptian
Sans Serif
Script
Display
Type Families
Blackletter
Humanist/Old Style
Transitional
Modern
Egyptian
Sans Serif
Script
Display
Type Families
Blackletter – Lucida Blackletter
Humanist/Old Style – Goudy Old Style
Transitional - Baskerville
Modern - Didot
Egyptian - Rockwell
Sans Serif - Helvetica
Script – Brush Script MT Italic
Display – eccentric std
Good Fonts
Baskerville
Caslon
Century
Didot
Franklin Gothic Medium
Futura
Gill Sans
Garamond
Helvetica
Hoefler Text
News Gothic MT
Screen Fonts
Calibri
Geneva
Monaco
Cambria
Georgia
Tahoma
Verdana
Number
About number
0123456789
0123456789
Font Family
The roman font is the core or spine from which a family of typefaces derives.
Italic fonts, which are based on cursive writing, have forms distinct from roman.
SMALL CAPS HAVE A HEIGHT THAT IS SIMILAR TO the lowercase X-
HEIGHT.
Bold typefaces are used for emphasis within a hierarchy.
Bold typefaces each need to include an italic version, too.
Kerning
I love AVA.
Takes two.
Kerning
Kerning
Ligature
Tracking
Try to type the following sentence.
rubmy back
Tracking
Adjust the tracking for the following.
BRYAN CHUNG
Bryan Chung
bryan chung
BRYAN CHUNG
BRYAN CHUNG
Tracking
Punctuation
Leading
The distance from the baseline of one line of type to another
is called line space. It is also called leading, in reference to
the strips of lead used to separate lines of metal type. The
default setting in most layout and imaging software is
slightly greater than the cap height of the letters. Expanding
this distance creates a text block with lighter, more open
colour. As line spacing increases further, the lines of type
become independent linear elements rather than parts of an
overall texture.
Leading – 120%
The distance from the baseline of one line of type to another
is called line space. It is also called leading, in reference to
the strips of lead used to separate lines of metal type. The
default setting in most layout and imaging software is
slightly greater than the cap height of the letters. Expanding
this distance creates a text block with lighter, more open
colour. As line spacing increases further, the lines of type
become independent linear elements rather than parts of an
overall texture.
Leading – 140%
The distance from the baseline of one line of type to another
is called line space. It is also called leading, in reference to
the strips of lead used to separate lines of metal type. The
default setting in most layout and imaging software is
slightly greater than the cap height of the letters. Expanding
this distance creates a text block with lighter, more open
colour. As line spacing increases further, the lines of type
become independent linear elements rather than parts of an
overall texture.
Leading – 160%
The distance from the baseline of one line of type to another
is called line space. It is also called leading, in reference to
the strips of lead used to separate lines of metal type. The
default setting in most layout and imaging software is
slightly greater than the cap height of the letters. Expanding
this distance creates a text block with lighter, more open
colour. As line spacing increases further, the lines of type
become independent linear elements rather than parts of an
overall texture.
Alignment
The arrangement of text into columns with hard of soft edges is
called alignment. Each basic style of alignment brings aesthetic
qualities and potential hazards to the design of page or screen.
Justified text, which has even edges on both left and right, has been
the norm since the invention of printing with movable type, which
enabled the creation of page after page of straight-edged columns.
Justified type makes efficient use of space, and it also creates a
clean shape on the page. Ugly gaps can occur, however, when the
line length is too short in relation to the size of type used.
Hyphenation breaks up long words and helps keep the lines of text
tightly packed. Letterspacing can also be used to adjust a line.
Alignment
Ugly gaps appear
when the designer has
made the line length
too short, or the
author has selected
words that are too
long.
Alignment
In flush left/ragged right text, the left edge is hard and right edge
is soft. Word spaces do not fluctuate, so there are never big holes
inside the lines of text. This format, which was rarely used before
the twentieth century, respects the flow of language rather than
submitting to the law of box. Despite its advantages, however, the
flush left format is frought with danger. The designer must work
hard to control the appearance of the rag along the right edge. A
good rag looks pleasantly uneven, with no lines that are
excessively long or short, and with hyphenation kept to an
absolute minimum.
Alignment
A bad rag will fall
into weird shapes
along the right
edge, instead
looking like
random.
Alignment
Flush right/ragged left is a variant of the more familiar flush left
setting. It is common wisdom among typographers that flush right
text is hard to read, because it forces the reader’s eye to find a
new position at the start of each line. This could be true, or it
could be an urban legend. At any rate, the flush right setting is
rarely employed for long bodies of text. Used in smaller blocks,
however, flush right text forms effective marginal notes, sidebars,
pull quotes, or other passages that comment on a main body or
image. A flush or ragged edge can suggest attraction (or
repetition) between chunks of information.
Alignment
Lots of punctuation
(at the ends of lines)
will attach, threaten,
and generally weaken
the flush right edge.
Watch out for this.
Alignment
Rest in peace
May God be with you
Emphasis
Emphasizing a word or phrase within a body of text usually
requires only one signal. Italic is the standard form of
emphasis. There are many alternatives, however, including
boldface, SMALL CAPS, or a change in colour. You can also
create emphasis with a different font; a full-range type family
has many font variations designed to work together. You may
need to adjust the font size so that the x-heights align.
Emphasis
If you want to look like professional, do not use underline for
the emphasis.
Simple Guidelines
Match serif and sans serif together instead of both serif or both
sans serif.
First Heading
This is the main text. Does it look similar to the heading, even
though its size can be different? You can suggest ways to
improve it.
Simple Guidelines
Think before you use default fonts. They can be a bit boring.
Helvetica
Arial
Times New Roman
Simple Guidelines
Printed body text can be of the size 10 to 12 points. 11 is best
for printing while 12 is a bit too big.
Body text on screen can be a bit larger.
Simple Guidelines
Do not use too long or too short lines. 30-60 characters or
around 7 words each line can be optimal for reading.
Simple Guidelines
Paragraph should begin clearly. Use either indent or line space
but not both. The first paragraph should not be indented.
Simple Guidelines
Use one space character after full stop (period), not two.
Simple Guidelines
Think before you use ALL CAPITAL as heading or emphasis
or even main body text.
Saul Bass
Josef Muller Brockmann
Josef Muller Brockmann
Moscoso
Neville Brody
David Carson
Edward Fella

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VA1160 - Class 11

  • 1. Class 11 Text & Typography
  • 3. Typography Type is on the page to serve the text. Type can be an image. Type is communication. Type expresses personality. Type is power. Type conveys emotion.
  • 11. Seal
  • 12. Seal
  • 13. Money
  • 14. Money
  • 18. Apex A A A A A
  • 26. Capital My name is WINNIE THE POOH My name is WINNIE THE POOH My name is Winnie the Pooh
  • 29. Type Families Blackletter – Lucida Blackletter Humanist/Old Style – Goudy Old Style Transitional - Baskerville Modern - Didot Egyptian - Rockwell Sans Serif - Helvetica Script – Brush Script MT Italic Display – eccentric std
  • 30. Good Fonts Baskerville Caslon Century Didot Franklin Gothic Medium Futura Gill Sans Garamond Helvetica Hoefler Text News Gothic MT
  • 33. Font Family The roman font is the core or spine from which a family of typefaces derives. Italic fonts, which are based on cursive writing, have forms distinct from roman. SMALL CAPS HAVE A HEIGHT THAT IS SIMILAR TO the lowercase X- HEIGHT. Bold typefaces are used for emphasis within a hierarchy. Bold typefaces each need to include an italic version, too.
  • 38. Tracking Try to type the following sentence. rubmy back
  • 39. Tracking Adjust the tracking for the following. BRYAN CHUNG Bryan Chung bryan chung BRYAN CHUNG BRYAN CHUNG
  • 42. Leading The distance from the baseline of one line of type to another is called line space. It is also called leading, in reference to the strips of lead used to separate lines of metal type. The default setting in most layout and imaging software is slightly greater than the cap height of the letters. Expanding this distance creates a text block with lighter, more open colour. As line spacing increases further, the lines of type become independent linear elements rather than parts of an overall texture.
  • 43. Leading – 120% The distance from the baseline of one line of type to another is called line space. It is also called leading, in reference to the strips of lead used to separate lines of metal type. The default setting in most layout and imaging software is slightly greater than the cap height of the letters. Expanding this distance creates a text block with lighter, more open colour. As line spacing increases further, the lines of type become independent linear elements rather than parts of an overall texture.
  • 44. Leading – 140% The distance from the baseline of one line of type to another is called line space. It is also called leading, in reference to the strips of lead used to separate lines of metal type. The default setting in most layout and imaging software is slightly greater than the cap height of the letters. Expanding this distance creates a text block with lighter, more open colour. As line spacing increases further, the lines of type become independent linear elements rather than parts of an overall texture.
  • 45. Leading – 160% The distance from the baseline of one line of type to another is called line space. It is also called leading, in reference to the strips of lead used to separate lines of metal type. The default setting in most layout and imaging software is slightly greater than the cap height of the letters. Expanding this distance creates a text block with lighter, more open colour. As line spacing increases further, the lines of type become independent linear elements rather than parts of an overall texture.
  • 46. Alignment The arrangement of text into columns with hard of soft edges is called alignment. Each basic style of alignment brings aesthetic qualities and potential hazards to the design of page or screen. Justified text, which has even edges on both left and right, has been the norm since the invention of printing with movable type, which enabled the creation of page after page of straight-edged columns. Justified type makes efficient use of space, and it also creates a clean shape on the page. Ugly gaps can occur, however, when the line length is too short in relation to the size of type used. Hyphenation breaks up long words and helps keep the lines of text tightly packed. Letterspacing can also be used to adjust a line.
  • 47. Alignment Ugly gaps appear when the designer has made the line length too short, or the author has selected words that are too long.
  • 48. Alignment In flush left/ragged right text, the left edge is hard and right edge is soft. Word spaces do not fluctuate, so there are never big holes inside the lines of text. This format, which was rarely used before the twentieth century, respects the flow of language rather than submitting to the law of box. Despite its advantages, however, the flush left format is frought with danger. The designer must work hard to control the appearance of the rag along the right edge. A good rag looks pleasantly uneven, with no lines that are excessively long or short, and with hyphenation kept to an absolute minimum.
  • 49. Alignment A bad rag will fall into weird shapes along the right edge, instead looking like random.
  • 50. Alignment Flush right/ragged left is a variant of the more familiar flush left setting. It is common wisdom among typographers that flush right text is hard to read, because it forces the reader’s eye to find a new position at the start of each line. This could be true, or it could be an urban legend. At any rate, the flush right setting is rarely employed for long bodies of text. Used in smaller blocks, however, flush right text forms effective marginal notes, sidebars, pull quotes, or other passages that comment on a main body or image. A flush or ragged edge can suggest attraction (or repetition) between chunks of information.
  • 51. Alignment Lots of punctuation (at the ends of lines) will attach, threaten, and generally weaken the flush right edge. Watch out for this.
  • 52. Alignment Rest in peace May God be with you
  • 53. Emphasis Emphasizing a word or phrase within a body of text usually requires only one signal. Italic is the standard form of emphasis. There are many alternatives, however, including boldface, SMALL CAPS, or a change in colour. You can also create emphasis with a different font; a full-range type family has many font variations designed to work together. You may need to adjust the font size so that the x-heights align.
  • 54. Emphasis If you want to look like professional, do not use underline for the emphasis.
  • 55. Simple Guidelines Match serif and sans serif together instead of both serif or both sans serif. First Heading This is the main text. Does it look similar to the heading, even though its size can be different? You can suggest ways to improve it.
  • 56. Simple Guidelines Think before you use default fonts. They can be a bit boring. Helvetica Arial Times New Roman
  • 57. Simple Guidelines Printed body text can be of the size 10 to 12 points. 11 is best for printing while 12 is a bit too big. Body text on screen can be a bit larger.
  • 58. Simple Guidelines Do not use too long or too short lines. 30-60 characters or around 7 words each line can be optimal for reading.
  • 59. Simple Guidelines Paragraph should begin clearly. Use either indent or line space but not both. The first paragraph should not be indented.
  • 60. Simple Guidelines Use one space character after full stop (period), not two.
  • 61. Simple Guidelines Think before you use ALL CAPITAL as heading or emphasis or even main body text.