A Bertsch, Fred, 16 Caslon Italic, 86 accents, 224 Best, Mark, 87 Caslon Openface, 68 Adobe Bickham Script Pro, 30, 208 Betz, Jennifer, 292 Cassandre, A. M., 87 Adobe Caslon Pro, 40 Bézier curve, 281 Cassidy, Brian, 268, 279 Adobe InDesign soft ware, 116, 128, 130, 163, Bible, 6–7 casual scripts typeface design, 44 168, 173, 175, 182, 188, 190, 195, 218 Bickham Script Pro, 43 cave drawing, type development, 3–4 Adobe Minion Pro, 195 Bilardello, Robin, 122 Caxton, 110 Adobe Systems, 20, 29 Binner Gothic, 92 centered type alignment Adobe Text Composer, 173 Birch, 95 formatting, 114–15, 116 Adobe Wood Type Ornaments, 229 bitmapped (screen) fonts, 28–29 horizontal alignment, 168–69 AIDS awareness, 79 Black, Kathleen, 233 Century, 189 Akuin, Vincent, 157 black letter typeface design, 45 Chan, Derek, 132 Alexander Isley, Inc., 138 Black Sabbath, 96 Chantry, Art, 84, 121, 140, 148 Alfon, 71 Blake, Marty, 90, 92, 95, 140, 204 character, glyph compared, 49 alignment block type project, 62–63 character parts, typeface design, 38–39 fi ne-tuning, 167–71 Blok Design, 141 character relationships, kerning, spacing formatting, 114–23 Bodoni, 95, 99 considerations, 187–89 alternate characters, refi nement, 208 Bodoni, Giambattista, 14, 15 Charlemagne, 206 American Type Founders (ATF), 16 boldface, hierarchy and emphasis technique, China, type development, 5 Amnesty International, 246 143 Cholla typeface family, 122 A N D, 150, 225 boustrophedon, Greek alphabet, 5 circle P (sound recording copyright And Atelier, 139 bowl symbol), 223 angled brackets, 225–26 one- and two storey as and gs, 47 Clarendon, 60, 95 apostrophe typeface character, 38–39 Clarendon Light, 149 fi ne-tuning, 162 boxed initial letters, refi nement, 203–6 Clarendon serif typeface, 41 kinetic typography, 268 braces, 225–26 ClearviewHwy signage system, 20 Apple computer, 12–13, 21 brackets, 225–26 Cole, Amanda, 157 Aram, 84 Brewer, Amber, 289 Colines, Simon de, 9 Araújo, João, 139 Bronkhorst, Mark van, 93, 119, 200 color Arial, 238, 239 Brothers, 95 fi gures, 217 arm, typeface character, 38–39 brush scripts typeface design, 44 hierarchy and emphasis techniques, 146, Armstrong, Michael, 275 bullets, 220 147 Art Chantry Design Co., 84, 121, 140, 148 kinetic typography, 266 ascender, typeface character, 38–39 C refi nement, 209 audience, typeface selection, 67 Caldwell, Christopher, 105–6 typeface selection, 68, 72–73 Aufuldish, Bob, 86, 94, 123, 206 calligraphy type on the web, 238 Aufuldish & Warinner, 123, 206 custom treatments, typeface selection, column depth, type on the web, 238 auto leading, soft ware design, 113 78–84 column width, type on the web, 237 Avant Garde magazine, 12 fonts, typeface selection, 77 Commercial Script, 43 axis, typeface character, 38–39 typeface design, 44 Compatil type system, 74 Campbell, Nancy, 209, 228 computer-generated styling, 151 B cap height consistency, typeface design selection, 71 Banham, Stephen, 93, 190 COPYRIGHTEDtypeface character, 38–39 MATERIALConsul, 169 bar, typeface character, 38–39 type size formatting, 109, 110 contextual alternates, OpenType fonts, 32 baseline, typeface character, 38–39 caps and lowercase, hierarchy and emphasis contoured type, formatting, 116, 118–24, 125 baseline shift , glyph positioning, 175 technique, 144, 145 contrast, mixing typefaces, 91, 92, 149 Baskerville, 17 Caracappa-Qubeck, Amy, 272, 273 Cooke, Nick, 282 Baskerville, John, 15 Carpio, Th omas Jason, 230 Cooper, Oswald Bruce (Oz Cooper), 16 Batty, Mark, 200 Carrosserie, 93 Cooper Black, 16 Bauhaus, 10, 14 Carter, Matthew, 18–19, 21 Cooper-Hewitt museum, 20, 21 Bayer, Herbert, 10 Cascading Style Sheets copperplate Gothic, 42 Bell, Jill, 19, 78, 284 line length, 237 copyright, music, kinetic typography, 267 Bembo, 17, 45 type on the web, 244, 256–57 copyright symbol, 220, 222–23 Bembo Titling, 45 case, hierarchy and emphasis technique, Coquette, 49 Benguiat, Edward, 18, 208, 284 144, 145 Cordoba, Ricardo, 96 Benton, Linn Boyd, 8 Casey, Mary Anne, 112 CornerStore, 93 Benton, Morris Fuller, 16 Caslon, William, 14, 15 counter, typeface character, 38–39
INDEX 303
220_9781118454053-bindex.indd0_9781118454053-bindex.indd 303303 55/12/14/12/14 33:55:55 PMPM Courier, 191 E fonts. See also typeface cuneiform writing, 4 Eagle Bold, 92 defi ned, 27 Curlz, 48 ear, typeface character, 38–39 formats, 27–31 Currency Redesign assignment, 157 Ed Interlock, 31, 208 information resources, 98 curved type, spacing considerations, 192 Ed Roman, 174 typeface compared, 34 custom kerning, spacing considerations, education, typography, 13 type size formatting, 109 184–89, 195. See also kerning ellipses, 227 web-safe, type on the web, 238–40 custom treatments, typeface selection, em dash, fi ne-tuning, 164–65 font selection. See also selection process 78–84 Emigre Triplex type family, 74 kinetic typography, 265 Emigre type library, 21 type on the web, 235–36 D emphasis. See hierarchy and emphasis footnotes, formatting, 129 Dali, Salvador, 243 en dash, fi ne-tuning, 164–65 formal scripts typeface design, 43 D’Amico, Dee Densmore, 283 end marks, 228–29 format(s), fonts, 27–31 Davidson, Mike, 236 endnotes, formatting, 129 formatting, 109–35 Deaver, George, 206 Engravers Gothic, 90 alignment, 114–23 decorative initial letters, refi nement, 203 Engravers Old English, 45 footnotes and endnotes, 129 decorative typeface design, 48–49 EPUB, 249 indents and paragraph separators, 125–27 de Haas, Bart, 153 e-readers, type on the web, 248–49 line length, 110, 111 Denman, Jessica, 60 euro symbol, 227 line spacing (leading), 110–13 Desai, Mansi, 87 expanded character sets, fonts, 30 page-layout, 109 descender, typeface character, 38–39 Expo Sans, 112 style sheets, 128 design. See typeface design Expo Sans Pro, 216 type size, 109–10 design goals, typeface selection, 65–67 Expo Serif Pro, 221 Foundry Gridnik, 149 desktop typography, 13 expressive typography, 11–12 fractions, 219–20 Diaz, Bernard Ryan L., 133 extreme indent, formatting, 125, 127 OpenType fonts, 32, 219 Didot, 186, 189 Extreme Sans, 71 Frank Holme School of Illustration, 16 Didot, Firmin, 9, 14 Franklin Gothic, 16, 42 digital typesetting, 12–13 F Frere-Jones, Tobias, 21 dingbats Fahey, Richard, 66 Frutiger, Adrian, 18 described, 227–28 Fajardo, Christine, 88 Futura Bold, 86 formatting of, 126, 127 Ferreira, Ana Rita, 272, 273 Futura Th in press type, 121 discretionary hyphens, fi ne-tuning, 168 Fette Fraktur, 45 display type fi gures, 215–18 G design of, 48–49 ligning (aligning), 215, 216 Garage Gothic, 149 line breaks, fi ne-tuning, 174 OpenType fonts, 32, 218 Garamond, 101 text and spacing, 215–16 Garamond, Claude, 9, 14 mixing typefaces, 90 tabular to proportional shortcut, 218 Gee, May, 231 selection process, 73 fi ne-tuning, 161–77. See also refi nement geometric sans serif typeface design, 43 type size formatting, 109, 113 alignment, 167–71 Georgia, 239 distressed type, kinetic typography, 268, punctuation marks, 161–66 Germany, type development, 6–7 279 rags, 172 Gerrit Noordzij Prize, 21 DIY typeface design, 281–94. See also widows and orphans, 173–74 Gideon, Kyle, 105–6 typeface design fi nial (terminal) typeface character, 38–39 Gigi, 19 approaches to, 284–85 Firefox, 236 Gill, Eric, 17 guidelines, 286–87 fi rst line indent, formatting, 125, 127 Gill Sans, 17, 61 handwriting, 281–83 Fleuron Society, 17 Ginnel, Ben, 83 test document for, 287 f-ligatures, formatting, 126 Giza, 96 Dougless, Hunter, 56 fl oating accents, 224 Gloucester MT Extra Condensed, 189 Doyle Partners, 153, 201, 203 fl opping, hierarchy and emphasis glyph Drake, Patrick, 260 techniques, 148 character compared, 49 Dreher, Nicole, 252–53 fl ush left alignment positioning of, baseline shift , 175 dropped initial letters, refi nement, 202 formatting, 114, 115 substitutions, fonts, 31 dumb quotes. See also smart quotes hanging punctuation, 167–68 glyphic serif typeface design, 42 fi ne-tuning, 161–62, 163 rags, 172 glyph panel type on the web, 243 fl ush right alignment, formatting, 114, 115 accents, 224 Duong, Grace, 117 font management utilities, 33 circle P (sound recording copyright Dwiggins, William Addison, 16 font production editor, selection of, 287 symbol), 223
304 INDEX
220_9781118454053-bindex.indd0_9781118454053-bindex.indd 304304 55/12/14/12/14 3:553:55 PMPM OpenType fonts, 32 House Industries, 31, 208 Johann Sparkling, 282 Golden Cockerel Press, 17 Hsaio, Christina, 81 Kabel Ultra, 180 Golden Type, 10 HTF Knockout, 122 Kendo, 205 Goldstein, Abby, 40 Huerta, Gerard, 80, 199 Legacy Pro type family, 75 Gotham, 21, 96 Huet, Rita, 139 Legacy Serif, 28 Goudy, Frederic W., 15, 16 humanistic sans serif typeface design, 43 Lubalin Graph, 41 Goudy Old Style, 15, 191 hyphenation, fi ne-tuning, 166 New Baskerville, 41 Granier-Gwinner, Églantine, 231 hyphens, fi ne-tuning, 164–65, 168 Pious Henry, 48 Granjon, Robert, 14 Rennie Mackintosh, 48 graphic, type as, type on the web, 244 I Slimbach, 20 graphic design production methods, 13 IBM, 12–13 Stone Serif, 143 Greek alphabet, development of, 4, 5 indents Stone type family, 75 Greenhood + Company, 69 bulleted lists, 221 Woodland, 118 Gretzinger, Katja, 186 formatting, 125–27 Zapf Dingbats, 220, 227 Grimshaw, Phil, 282 InDesign soft ware. See Adobe InDesign Zemke Hand, 283 Gutenberg, Johannes, 6–7 soft ware Industrial Revolution, type development, 8 J H information resources, fonts, 98 Jacobs, Bas, 285 Hagmann, Sibylle, 122, 285 initial letters, refi nement, 200–206 Jaisonkowski, Christy, 266, 277 hairline, typeface character, 38–39 inks, printing method, typeface selection, Jenson, Nicolas, 6 hand-lettering custom treatments, typeface 70 Joanna, 17 selection, 78–84 International Typeface Corporation, 11–12, Jobs, Steve, 12–13 handwriting, DIY typeface design, 281–83 13, 16, 17, 18, 171, 282 Johnston, Edward, 17 handwriting fonts, typeface selection, 77 Internet Explorer, 236 Joye, Ferris Ivester, 159 handwriting typeface design, 44 Intertype, 8 justifi ed alignment hanging indent (outdent), formatting, 125, 127 iPad books, 249, 260–61 fi ne tuning procedures, 116 hanging punctuation, fi ne-tuning, 167–68 Isley, Alexander, 138, 151 formatting, 114–15 Harris, Elizabeth, 105–6 italics, hierarchy and emphasis technique, hanging punctuation, 167–68 Harvard University Press, 16 142–43, 144 type on the web, 237 headline type, type size formatting, 109. See ITC fonts also display type Abaton, 48 K Helmling, Akiem, 285 American Typewriter, 172 Kafk a, Franz, 124 Helvetica Condensed, 148 Avant Garde Gothic, 43, 151 Keenan, Jamie, 146 Helvetica Neue Ultra Light, 181 Avant Garde Gothic Medium Oblique, 142 Kelmscott Press, 10 Henderson, Hayes, 79 Ballerino, 44 kerning Henderson Bromstead Art, 79 Beesknees, 48 spacing considerations, 183–89, 195 hierarchy and emphasis, 137–59 Benguiat, 18 typeface design selection, 72 guidelines for, 138–41 Bodoni Brush, 71 kinetic typography, 263–79 importance of, 138 Bodoni Seventy-Two, 90, 207 guidelines, 265–67 speech, 137 Bodoni Six, Twelve, and Seventy-Two, 47 color, 266 techniques for, 142–51 Bolt Bold, 149 font selection, 265 boldface, 143 Conduit, 72 movement, 266 case, 144, 145 Dartangnon, 44, 282 sound, 267 color change, 146, 147 Deelirious, 44, 283 overview, 263 fl opping, 148 Edwardian Script, 205 project initiation, 267 italics and obliques, 142–43, 144 Farmhaus, 48 recommendations, 268–69 typeface change, 146, 149 Flora, 69 techniques, 264–65 type size, 145–46 Franklin Pro, 189 Kirby, Shawna, 213, 292 underscores, 143–44 Freddo, 49 Kleeberg, Patricia, 141 width, 146 Galliard, 19 Knockout type family, 91 type on the web, 244–47 Galliard Roman and italic, 142 Kontour Design, 122 hinting, fonts, 33 Golden Cockerel, 17 Kortemäki, Sami, 285 Hoefl er, Jonathan, 21 Golden Cockerel Titling, 45 Hoefl er & Frere-Jones, 21 Golden Type, 110 L horizontal alignment, fi ne-tuning, 168–69 Grimshaw Hand, 282 Lambert, Steve, 93 Hornall Anderson Design Works, Inc., 120, Highlander Pro, 208 Lardent, Victor, 17 153, 206 Humana type family, 74 Latienne Pro, 182
INDEX 305
220_9781118454053-bindex.indd0_9781118454053-bindex.indd 305305 55/12/14/12/14 3:553:55 PMPM Latin 512 Expanded, 20 Meeker, Don, 20 Oliver, Ian, 252–53 layered initial letters, refi nement, 206 Mekanik, 112 one-storey as and gs, 47 Lee, Heamin, 135 Memphis, 189 OpenType fonts leg, typeface character, 38–39 Mende, Jeremy, 121 accents, 224 legibility MendeDesign, 199 fi gures, 215, 217, 218 typeface design selection, 71 Mergenthaler, 8 fractions, 32, 219 typeface selection, 68–70 Mergenthaler, Ottmar, 8 origin of, 29–31 Th e Letterbox, 93, 190 Michael Vanderbyl Design, 226 small caps, 197, 198 letterspacing, tracking, 182 Microsoft , 29 terminology, 33 Leturia, Elio, 88 Microsoft Webdings, 223 versatility of, 32, 208 Leviathan, 149 Middledorp, Jan, 153 optical margin alignment, fi ne-tuning, Licko, Zuzana, 21 Mistral, 44 167–68 ligatures mixing typefaces, 89–97. See also typeface opticals, size-sensitive fonts and, 46–47 OpenType fonts, 32 design Optima, 17, 43 standard, formatting, 126 hierarchy and emphasis techniques, 149 ornaments, 227–28 ligning (aligning), fi gures, 215, 216 script and decorative designs, 92 orphans, fi ne-tuning, 173–74 line breaks serif and sans serif, 90, 93 outdent. See hanging indent (outdent) fi ne-tuning, 174 text with display, 90 Overjero, Gonzalo, 124 type on the web, 237 type super families and systems, 96–97 overlapped/oversized initial letters, line length weight contrast, 91 refi nement, 203–6 formatting type, 110, 111 width contrast, 92 type on the web, 237 Modern Dog Design Company, 83 P line space (paragraph separation), modern serif typeface design, 41 page-layout formatting, 126 Mohawk Paper, 77, 83 digital typesetting, 13 line spacing (leading), formatting type, 110– Mok, Clement, 239 formatting type, 109 13 Montalbano, James, 20 Pallozzi, Michael, 177 link, typeface character, 38–39 Morison, Stanley, 17 paper, typeface selection, 70 Linotype, 17 Morris, William, 10 paragraph separators, formatting, 125–27 Linotype machine, 8, 16 Morse, Sean, 105–6 parenthesis, 225–26 Lobster, 89 motion typography. See kinetic typography Parkinson, Jim, 285 logos, scaling, kerning, 185 movable type, development of, 6–7 Parkinson Electra, 16 London Underground signage, 17 movement, kinetic typography, 266. See also PCs (personal computers), 12–13 long s, 34 kinetic typography Pelavin, Daniel, 82, 87 loop movie title sequence, kinetic typography, 264 Perez, Krystal, 105–6 one- and two-storey as and gs, 47 Mullet, Kevin, 237 Perpetua, 17 typeface character, 38–39 multiplatform support, fonts, 30 personal computers (PCs), 12–13 lowercase and caps, hierarchy and emphasis multiple devices, type on the web, 248–49 Phoenicia, 4–5 technique, 144, 145. See also cap height Murphy, Mary Beth, 252–53 photocomposition, type development, 8–12 low-resolution environments, typeface Photo-Lettering Inc., 18 selection, 70 N Plantin, 47 Lubalin, Herb, 11–12 Nacional, Ed, 67 Plantin Schoolbook, 47 Lucinda Grande, 223 Nesnadny + Schwartz, 123, 145 Polite Design, 152 Lucinda Sans Unicode, 223 newspapers, type development, 8 Pope, Kevin, 82 Nikolic, Jana, 84 Portfolio Center, 87 M Nilson, Tyler, 135 posters, typographic illustration, 85–88 Mac Cormack, Dermot, 81, 88 19th-century grotesque sans serif typeface Prateepasen, Chiranit, 96 Machado, Daniel, 159 design, 42 primes, fi ne-tuning, 163 Macintosh (Mac) computer, 12–13, 21 Nix, Charles, 249 printer (outline) fonts, 29 MacPherson, Matt, 292 Nobel, 89 printing method, typeface selection, 70 Mak, Samantha, 261, 275 numerals. See fi gures print size. See size Manutius, Aldus, 6 Prix Charles Peignot, 20, 21 Massachusetts College of Art, 149 O proportion, 231 McCandliss, Trevett, 209, 228 obliques, hierarchy and emphasis technique, proportionately spaced fi gures, 216 McGarr, Holly, 213, 292 142–43 proximity, typographic theory of, 230 McSherry, John, 93, 192 oldstyle serif typeface design punctuation marks measurements, primes, fi ne-tuning, 163 fi gures, 215, 216 fi ne-tuning, 161–66 mechanization, type development, 8 origins of, 40 type on the web, 243
306 INDEX
220_9781118454053-bindex.indd0_9781118454053-bindex.indd 306306 55/12/14/12/14 3:553:55 PMPM Q scripts typeface design, 43–44 Society of Calligraphers, 16 quotation marks selection process, 65–107 soft ware, page-layout, formatting type, 109 fi ne-tuning, 161–62 custom treatments, 78–84 soft ware design, auto leading, 113 kerning, 185 design style, 71–73 Solt, Viktor, 282 factors in, 65–70 sound (s) R audience identifi cation, 67 kinetic typography, 267 rags, fi ne-tuning, 172 design goals, 65–67 symbols and, type development, 3–5 raised initial letters, refi nement, 201 legibility and readability, 68–70 spacing considerations, 179–95 Raye, Robynne, 83 low-resolution environments, 70 curved type, 192 readability paper, 70 fi gures, 215–16 alignment, formatting, 114, 115 printing method, 70 kerning, 183–89 color, 209 type color, 68 between sentences, 191, 193 kinetic typography, 265 type size, 68 tracking, 179–82 tracking, spacing considerations, 180, 182 hierarchy and emphasis technique, 146, typeface design selection, 71–72 typeface selection, 68–70 149 word spacing, 190–93 type size formatting, 109–10 kinetic typography, 265 speech. See verbal language Red Canoe, 85 mixing typefaces, 89–97 Spiece, Jim, 66 refi nement, 197–213 script and decorative designs, 92 spine, typeface character, 38–39 alternate characters, 208 serif and sans serif, 90, 93 Spivey, Julie, 114 color, 209 text with display, 90 spur, typeface character, 38–39 initial letters, 200–206 type super families and systems, 96–97 square (slab) serif typeface design, 41 small caps, 197–99 weight contrast, 91 stacked caps, 112 swash characters, 207 width contrast, 92 stem, typeface character, 38–39 registered symbol, 220, 222–23 recommendations, 97 Stoltze Design, 149 resolution, low-resolution environments, script, calligraphic, and handwriting fonts, stress, typeface character, 38–39 typeface selection, 70 77 Studio Blue, 149 reversed initial letters, refi nement, 203–6 text vs. display, 73 style sheets, formatting, 128 Rigsby Design, 83, 226 type super families and systems, 74–76 stylistic sets, OpenType fonts, 32 rivers of white space. See also white space typographic illustration, 85–88 Suburban, 90 formatting, 115 serif, typeface character, 38–39 Sumeria, 4–5 type on the web, 237 serif fonts, web-safe, type on the web, 240 super families and systems Roberts, Eva, 120 serif typeface mixing typefaces, 96–97 Rockwell, 60 design, 40–42 selection process, 74–76 Roman letterform, 5 sans serif typeface with, mixing typefaces, SVP Partners, 73, 81, 82, 90, 112, 147 Rosenkranz, Brian, 87 90 swash Rougfh ouse, 73 Shaw, Heather, 256 OpenType fonts, 32 runaround type. See wrap-around type (run Shaw, Paul, 40 refi nement, 207 around or text wrap) shoulder, typeface character, 38–39 typeface character, 38–39 Rusevski, Antonio, 231 Silber, Kayla, 86 symbol fonts, web-safe, 240 Silva, Jake, 272, 273 symbols, sounds and, type development, 3–5 S Simonson, Mark, 245 Sabon, 149 Singer, Tali, 105–6 T Safari, 236 size tablets, type on the web, 248–49 Sagmeister, Stefan, 89 formatting, 109–10 tabular fi gures, 215–16 Sano, Darrell, 237 hierarchy and emphasis techniques, 145– tabular to proportional shortcut, fi gures, 218 sans serif fonts, web-safe, type on the web, 46 tail, typeface character, 38–39 238 readability, 70 Tangent, 229 sans serif typeface typeface selection, 68 Taylor, Kari, 159 design, 42–43 size-sensitive fonts, opticals and, 46–47 technology serif typeface with, mixing typefaces, 90 slab (square) serif typeface design, 41 fonts, 27–35 sans serif unicase typeface, 10 Slimbach, Robert, 20 mechanization, 8 Scala Sans, 73 small caps, 197–99 photocomposition, 8–12 scaling, logos, kerning, 185 smartphones, type on the web, 248–49 type development, 6–7 Scorsone/Drueding, 86 smart quotes, fi ne-tuning, 161–62, 163. See Teknik, 49 Scott & Nix, 249 also dumb quotes Terminal Design, 20 screen (bitmapped) fonts, 28–29 Snead, Bud, 82 terminal (fi nial), typeface character, 38–39 script fonts, typeface selection, 77 Soares, Jen, 257 Terry Shop, 67
INDEX 307
220_9781118454053-bindex.indd0_9781118454053-bindex.indd 307307 55/12/14/12/14 3:553:55 PMPM test document, DIY typeface design, 287 selection process, 71–73 (See also selection verbal language text, display typeface and process) hierarchy and emphasis, 137 mixing typefaces, 90 type size, formatting, 110 visual language transition, 3–5 selection process, 73 typeface selection. See selection process Verdana, 238, 239 texture, typeface design selection, 72–73 type grouping (typographic theory of Verheul, Peter, 153 text wrap. See wrap-around type (run proximity), 230 vertical alignment, fi ne-tuning, 170–71 around or text wrap) type in motion. See kinetic typography Vesta, 19 Th ompson, Kristen, 61 Type 1 (PostScript) fonts, 28–29 visual language, verbal language transition, Th ompson, Mark, 87 type on the web, 235–61 3–5 Th orn, Kelly, 264 cascading style sheets, 244 Vrontikis Design Offi ce, 69, 81 Th ursby, Stuart, 91 color, 238 VSA Partners, Inc., 77, 125, 185, 217, 226 Times (London newspaper), 17 column depth, 238 Times New Roman, 17, 239 column width/line length, 237 W tinted initial letters, refi nement, 205 font style, 235–36 Wagoner, Michaela, 265, 277 tints, hierarchy and emphasis techniques, hierarchy, 244–47 Warnock Pro Opticals: Caption, Regular, 146, 147 line breaks, 237 Subhead, and Display, 46 titling fonts typeface design, 45 multiple devices, 248–49 Webdings, 227 tracking, spacing considerations, 179–82 punctuation, 243 web fonts Trade Gothic, 121, 145 recommendations, 246 availability of, 242 Trade Gothic Bold, 96 type as graphic, 244 services for, 242 Trade Gothic Condensed, 95 type size, 236 type on the web, 240–43 trademark symbol, 220, 222–23 web fonts, 240–43 web-safe fonts, type on the web, 238–40 Trajan’s Column, 5 web-safe fonts, 238–40 weight contrast, mixing typefaces, 91 transitional serif typeface design, 41 type size white space, rags, 172 Trebuchet, 239 formatting, 109–10 white space rivers Trilon type family, 32, 76 hierarchy and emphasis techniques, 145–46 formatting, 115 Triplex, 21 readability, 70 type on the web, 237 Trollbäck, Jakob, 269 spacing considerations, 179–82 widows, fi ne-tuning, 173–74 TrueType fonts, 29 typeface selection, 68 width tweaking, logos, scaling, kerning, 185 type on the web, 236 contrasting, mixing typefaces, 92 20th-century grotesque sans serif typeface type specimen books, 56–61, 98 hierarchy and emphasis techniques, 146 design, 42 type super families and systems Wilma, 149 two-storey “a”s and “g”s, 47 mixing typefaces, 96–97 Wingdings, 227 type, historical perspective, 3–25 selection process, 74–76 word spacing, 190–93 type color, typeface selection, 68 typewriter, 191, 193 wrap-around type (run around or text typeface typographic checklist, utility of, 229 wrap) font compared, 34 typographic hierarchy. See hierarchy and alignment, formatting, 116, 117 identifi cation of, 99, 101–3 emphasis initial letters, 206 typeface change, hierarchy and emphasis typographic illustration, typeface selection, technique, 146, 149 85–88 X typeface design, 37–63. See also DIY typographic theory of proximity, 230 x-height typeface design; mixing typefaces typos, 229 typeface character, 38–39 categorization, 40–49 type size formatting, 109, 110 blackletter, 45 U decorative and display, 48–49 U&Ic (journal), 11, 18, 93, 119, 171, 200 Y handwriting, 44 underscores, hierarchy and emphasis Yonis, Milgo, 135 opticals and size-sensitive fonts, 46–47 technique, 143–44 sans serif typeface design, 42–43 Unger, Gerard, 19 Z scripts, 43–44 Univers, 18, 42, 61 Zapf, Hermann, 17 serif typeface design, 40–42 Zemke, Deborah, 283 titling fonts, 45 V change in, hierarchy and emphasis van Bronkhorst, Mark, 93, 119, 200 technique, 146, 149 Vanderbyl, Michael, 226 character parts, 38–39 VanderLans, Rudy, 21 overview, 37
308 INDEX
220_9781118454053-bindex.indd0_9781118454053-bindex.indd 308308 55/12/14/12/14 3:553:55 PMPM