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The Lexicon of Letters 19 Rules of Typography Killam, Fall 2014 The Lexicon of Letters Killam, Fall 2014 19 Rules of Typography “Some things never change, and in the typo- graphic realm, principles upon which sound prac- tice relies have remained essentially the same for centuries.” – Rob Carter 1 For optimum legibility, choose classical, time-tested typefaces. These typefaces should be drawn and crafted with consistency among characters, and exhibit highly legible proportions. Examples include: Baskerville, Bembo, Bodoni, Caslon, Cen- taur, Franklin Gothic, Frutiger, Futura, Garamond, Gill Sans, Goudy Old Style, Helvetica, News Gothic, Palatino, Perpetua, Sabon, Times New Roman, and Univers. 4 Q 2 Be mindful not to use too many different typefaces at any one time. The main reason for using more than one typeface is to cre- ate emphasis or to separate one part of the text from another. When too many different typefaces are used, the reader is unable to determine what is and what is not impotant. http://writemarketdesign.blogspot.com/2011/08/marketing-mishaps-using-too-many-fonts.html Q 5 3 Avoid combining typefaces that are too similar in appearance. If the reason for combining typefaces is to create empha- sis, it is important to avoid the ambiguity caused by combin- ing types that are too similar in appearance. Similar 6 4 5 6 Text set in all capital letters For text type, use sizes that, Avoid using too many different severely retards reading. Use according to legibility studies, type sizes and weights at the upper and lower case letter for prove most readable. These sizes same time. Some experts recom- optimum readability. Ascender generally range from 8 to 12 mend using no more than two and descenders provide the points for text that is read from sizes, one for display titles and necessary visual cues to make an average distance of 12 to 14 one for text type. text more readable. Text set inches. Be sure to remember that entirely in upper-case letters sizes (based on the x-height of form monotonous, rectangular letters) appear different from one shapes. Upper-case letters can typeface successfully be used in display to another. type (headlines; type above 16 points). AS MUSICIANS WHO OTHER IS A GRITTIER BLEND POP-ANTHEM WORLD, MARKED PRODUCTION WITH BY AN UPRISING MINDFUL LYRICAL INTERNET-BASED CONTENT, THE DUO MAINSTREAM WHERE STAND BETWEEN TWO HARDCORE YOUNG DISTINCT WORLDS. RAPPERS LIKE CHIEF ONE IS A LAND OF KEEF SHOOT HOME- BOASTS, WOMEN, MADE VIDEOS ABOUT AND RICHES, EX- GANG VIOLENCE, PERTLY DETAILED BY AND BLOW UP WITH NEW POP LEGENDS SUCH WHITE-HOT LIKE DRAKE AND SPEED THAT MAJOR RICK ROSS; AND THE LABELS AND JOUR- 7 7 Use text types of book weight. Avoid typefaces appearing too heavy or too light. Text typefaces that are too light cannot easily be distinguished from their back- grounds. In typefaces that are too heavy, counter forms diminish in size, making them less legible. 8 UNIVERSThin Use typefaces of medium width. Avoid typefaces that appear extremely wide or narrow in CLARENDON width. Rather than distorting text by stretching or squeezing Normal the text width, use type fami- lies that include condensed and extended faces that fall within accepted proportional norms. 9 POSTER For text type, use consistent let- ter and word spacing to produce an even, uninterrupted texture. BODONI Letters should flow gracefully and naturally into words, and Wide words into lines. This means that word spacing should increase proportionally as letter spacing increases. 8 10 11 12 Use appropriate line lengths. For text type, use line spacing For optimum readability, use Lines that are too short or too that easily carries the eye from a flush left, ragged right type long disrupt the reading pro- one line to the next. Lines alignment. Although in special cess. As the eye travels along of type with too little space situations, other type align- overly long lines, negotiating between them slow the reading ments (flush right, ragged left; the next line becomes difficult. process; the eye is forced to centered, and justified) are Reading overly short lines cre- take in several lines at one. By acceptable, the tradeoff is always ates choppy eye movements adding one to four points of a loss, however slight, that tire and annoy the reader. space between lines of type in readability. When working with text type, a (depending on the specific maximum of about 70 charac- typeface), readability can ters (10 to 12 words) per line is be improved. thought to be most acceptable. ALWAYS SOMETIMES SOMETIMES Despite being Despite being Despite being the odd ones the odd ones the odd ones out, Mackl- out, Mackl- out, Mackl- emore and emore and emore and Lewis have Lewis have Lewis have made a case made a case made a case for their recent for their re- for their recent success with cent success success with a string of with a string of a string of honest, chal- honest, chal- honest, chal- lenging songs lenging songs lenging songs like “Wings,” like “Wings,” like “Wings,” an ode to an ode to the an ode to 9 13 14 Strive for consistent, rhythmic Clearly indicate paragraphs, but rags. The purpose of effec- be careful not to upset the integ- tive rags is not only to achieve rity and visual consistency of aesthetic beauty, but to enable the text. The two most common readers to move gently and ways of indicating paragraphs effortlessly down a text column. are by indenting and insert- Effective rags consist of lines ing additional space between establishing an informal but paragraphs. consistent pattern of line endings. DON’TS As a lyricist, Macklemore presents himself as a flawed individual, a scarred artist who has seen the other side and has come back to in- spire his fans and listeners with not only cau- tionary tales but also confessions of his own missteps. In a time when most of his contempo- raries aren’t saying much of anything, he’s say- ing a lot. A day before the release of The Heist, Mackl- emore’s debut LP with producer Ryan Lewis, we spoke with him about his faith, gay marriage, and rapping for 10,000 hours. 10 15 16 17 Avoid widows and orphans Emphasize elements within the Always maintain the integrity of whenever possible. A widow text with discretion and without type. Avoid arbitrarily stretching is a word or very short line at disturbing the flow of reading. letters. Well designed typefaces either the beginning or end of a You can use italics, underlined exhibit visual qualities that make paragraph. An orphan is a single type, color type, different type- them readable. Arbitrarily dis- syllable at the end of face, small capitals, capitals, bold torting them compromises their a paragraph. type within light type, light type integrity. within bold type, larger type, and outline type to emphasize elements but never overdo it. Use minimum means for maxi- mum results. DO’S I put myself in the place of the lis- tener when editing my writing. The last thing that I want to do is be preached at and told who to be or what to think when listening to an artist. 11 18 19 Always align letters When working with type and and words on the baseline. color, ensure that sufficient Letters are designed to coex- contrast exists between type and ist side-by-side on an invisible its background. Too little contrast baseline. in hue, value or saturation, or a combination of these factors, can result in type that is difficult, if not impossible, to read. Be careful when using photos or texture behind text. I definitely use “smil- I grew up in the ing while rapping” spoken-word com- as a tool in the booth. munity. The Saul Wil- I want to have fun liams “Slam” days. while recording. At Before everybody times it can get te- had a home studio, or dious and stressful before we could get when it’s not sounding booked for shows, the way you heard open mics were the it in your head, but only way to be heard you’ve got to remem- by other people. There ber to just smile and was barely a hip-hop appreciate the fact scene in Seattle, so the 12 Remember, rules must first be understood before they can be broken. Once you have a good foundation of these rules, you can freely journey into unconventional About the Digital Type and Color explains how to work effec- fully illustrated academic and professional case studies tively on screen by mastering the fundamental reveal the rationale behind the work profiled. This is a principles of traditional typography: type and color. The useful reference book that provides graphic designers book opens with a through examination of the basics with a fresh set of possibilities for screen work. of type, color and traditional typographic rules. It then explores how those rules can be broken to achieve new and innovative design. A wide variety of About the Au- Rob Carter teaches typography and visual communica- author of Typographic Specimens: The Great Typefaces, tion at Virginia Commonwealth University. His design and the classic Typographic Design: Form and Com- work has been exhibited at the American Institute of munication. Graphic Arts, New York Directors’ Club, the Society of Typographic Arts and elsewhere. He is the author of American Typography Today, and co- Example text take from... http://www.interviewmagazine.com/music/macklemore-ryan-lewis-the-heist/#_ 13.
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