SPACE PROBE: Investigations Into Monospace

Introducing Base Monospace

Typeface BASE MONOSPACE Typeface design 1997ZUZANA LICKO Specimen design RUDY VANDERLANS Rr SPACE PROBE: Investigations into Monospace

SPACE PROBE: Occasionally, we receive inquiries from type users asking Monospaced Versus Proportional Spacing Investigations Into Monospace us how many kerning pairs our fonts contain. It would seem 1. that the customer wants to be dazzled with numbers. Like cylinders in a car engine or the price earnings ratio of a /o/p/q/p/r/s/t/u/v/w/ Occasionally, we receive inquiries fromstock, type theusers higher asking the number of kerning pairs, the more us how many kerning pairs our fonts contain.impressed It thewould customer seem will be. What they fail to understand /x/y/s/v/z/t/u/v/ that the customer wants to be dazzled iswith that numbers. the art Like of kerning a typeface is as subjective a discipline as is the drawing of the letters themselves. The In a monospaced typeface, such as Base Monospace, cylinders in a car engine or the price earnings ratio of each character fits into the same character width. a stock, the higher the number of kerningfact pairs,that a theparticular more typeface has thousands of kerning impressed the customer will be. What theypairs fail is relative,to understand since some typefaces require more kerning is that the art of kerning a typeface pairsis as thansubjective others aby virtue of their design characteristics. /O/P/Q/O/Q/P/R/S/Q/T/U/V/ discipline as is the drawing of the lettersIn addition, themselves. a poorly The spaced typeface will indeed require fact that a particular typeface has thousandsmore kerning of kerning pairs to correct its spacing errors than a /R/W/O/X/Y/U/Z/X/ typeface that was optimally spaced to begin with. Therefore, pairs is relative, since some typefaces require more kerning In a proportional typeface, such as Filosofia, pairs than others by virtue of their designthe need characteristics. for a large number of kerning pairs could actually each character width is different to accommodate the particular width of each character. In addition, a poorly spaced typeface bewill indicative indeed require of a poorly produced font. High kerning pair more kerning pairs to correct its spacingcounts errors are alsothan misleadinga because the font can be poorly Filling the Mono-Space typeface that was optimally spaced to kernedbegin with.or kerned Therefore, in a way preferred by the font designer, 2. the need for a large number of kerningnot pairs the couldend user. actually Finally, the user should keep in mind that The first step in designing Base Monospace was the kerning pairs provided in a font are most suitable when choosing the model character width. To facilitate be indicative of a poorly produced font. High kerning pair a harmonious relationship with the screen fonts, counts are also misleading because thethe font font can is be set poorly with regular tracking; when tracking is the goal was to select a character width that changed, particularly when it is tightened, this usually would have a simple ratio to its em-square. The kerned or kerned in a way preferred by the font designer, obvious first choice was 100%, or 1:1 the simplest not the end user. Finally, the user shouldrequires keep modifications in mind to the kerning pairs. ratio of all, but this idea was discarded since this would have yielded a typeface too wide for that the kerning pairs provided in a font are most suitable practical purposes. Eventually, the 1:2 ratio when the font is set with regular tracking;At the whenopposite tracking extreme of kerned typefaces lie monospaced (50%) was selected as the character width for Base fonts, many of which manage to be highly legible despite the Monospace Narrow, and the 3:5 ratio (60%) was is changed, particularly when it is tightened, this usually chosen for Base Monospace Wide. requires modifications to the kerningfact pairs. that they contain not a single kerning pair. Monospaced fonts assign each character an identical width, whereas Since every character in a monospaced typeface must fit into the same space, character shapes At the opposite extreme of kerned typefacesproportional lie monospaced typefaces use varying character widths, which become stretched and squeezed. fonts, many of which manage to be highlyposition legible individual despite theletters on set widths that vary fact that they contain not a single kerningdepending pair. on Monospacedthe width of each character.1 When combined to 3 5 6 7 make words and sentences, the individual letters appear to Some characters, such as the “c,” “f,” “i,” fonts assign each character an identical width, whereas and “l,” were made wider than usual to fit into proportional typefaces use varying characterbe evenly widths, spaced which and kerning is used to further optimize the model character width. position individual letters on set widthsspacing that between vary difficult combinations. Monospaced typefaces depending on the width of each character.were1 originallyWhen combined designed to to deal with the mechanical 4 8 0 restrictions of composing systems such as the typewriter, Other characters, such as the “d,” “m,” and “w,” make words and sentences, the individual letters appear to were made narrower than usual to fit into the be evenly spaced and kerning is used towhich further forced optimize each character to have the same single set model character width. spacing between difficult combinations.width. Monospaced Thus, the typefaces narrow “i” is set on the same base as the were originally designed to deal with widethe mechanical“w,” resulting in a somewhat irregular looking letter JK LM spacing. Base Monospace, as its name implies, belongs to This stretching and squeezing of characters restrictions of composing systems such as the typewriter, becomes particularly problematic in the heavier this category of typefaces characterized by letter designsBase Monospace Wide Bold weights; there is usually not enough room to that each occupy a single set width, like the infamous accommodate both the thickness of the stem weight, as well as the complexity of some characters such typewriter font Courier (designed in 1956 by Howard as the “m” and “w.” The stem weights must Kettler), and the many other monospaced fonts that inspired therefore be adjusted, and although the stem weights of the “i” and “l” (left) are heavier than its design.2 the “m” and “w” (right), the overall color density is the same when set in text (below).

The difficulty with monospaced fonts is that they do not easily conform to traditional notions of good typography. GNM< KJK

Traditionally, when setting a text, theABCDEFGHIJKLMNOPQRSTUVWXYZ object isabcdefghijklmnopqrstuvwxyz to maximize spacing and kerning to a point where a text appears MJKKNM LJHHNH an even “color” when viewed at reading distance. However, while this might be desirable visually and esthetically LNL LNHHNM>

EMIGRE #70: THE LOOK BACK ISSUE | 228 | 1997 SPACE PROBE: Investigations into Monospace

Occasionally, we receive inquiries from type users asking Monospaced Versus us how many kerning pairs our fonts contain. It would seem 1. Proportional Spacing that the customer wants to be dazzled with numbers. Like cylinders in a car engine or the price earnings ratio of a stock, the higher the number of kerning pairs, the more /o/p/q/p/r/s/t/u/v/w/ impressed the customer will be. What they fail to understand is that the art of kerning a typeface is as subjective a /x/y/s/v/z/t/u/v/ discipline as is the drawing of the letters themselves. The In a monospaced typeface, such as Base Monospace, each character fits into the same character width. fact that a particular typeface has thousands of kerning pairs is relative, since some typefaces require more kerning pairs than others by virtue of their design characteristics. /O/P/Q/O/Q/P/R/S/Q/T/U/V/ In addition, a poorly spaced typeface will indeed require more kerning pairs to correct its spacing errors than a /R/W/O/X/Y/U/Z/X/ typeface that was optimally spaced to begin with. Therefore, In a proportional typeface, such as Filosofia, the need for a large number of kerning pairs could actually each character width is different to accommodate be indicative of a poorly produced font. High kerning pair the particular width of each character. which forced each character to have the same single set counts are also misleading because the font can be poorly width. Thus, the narrow “i” is set on the same base as the kerned or kerned in a way preferred by the font designer, 2. Filling the Mono-Space wide “w,” resulting in a somewhat irregular looking letter not the end user. Finally, the user should keep in mind that The first step in designing Base Monospace was spacing. Base Monospace, as its name implies, belongs to choosing the model character width. To facilitate the kerning pairs provided in a font are most suitable when this category of typefaces characterized by letter designs a harmonious relationship with the screen fonts, the font is set with regular tracking; when tracking is the goal was to select a character width that that each occupy a single set width, like the infamous would have a simple ratio to its em-square. The changed, particularly when it is tightened, this usually typewriter font Courier (designed in 1956 by Howard obvious first choice was 100%, or 1:1 the simplest requires modifications to the kerning pairs. ratio of all, but this idea was discarded since Kettler), and the many other monospaced fonts that inspired this would have yielded a typeface too wide for its design.2 practical purposes. Eventually, the 1:2 ratio At the opposite extreme of kerned typefaces lie monospaced (50%) was selected as the character width for Base fonts, many of which manage to be highly legible despite the Monospace Narrow, and the 3:5 ratio (60%) was The difficulty with monospaced fonts is that they do not chosen for Base Monospace Wide. fact that they contain not a single kerning pair. Monospaced easily conform to traditional notions of good typography. Since every character in a monospaced typeface fonts assign each character an identical width, whereas Traditionally, when setting a text, the object is to must fit into the same space, character shapes proportional typefaces use varying character widths, which become stretched and squeezed. maximize spacing and kerning to a point where a text appears position individual letters on set widths that vary an even “color” when viewed at reading distance. However, depending on the width of each character.1 When combined to 3 5 6 7 while this might be desirable visually and esthetically Some characters, such as the “c,” “f,” “i,” make words and sentences, the individual letters appear to speaking, it does not automatically render the text more and “l,” were made wider than usual to fit into be evenly spaced and kerning is used to further optimize the model character width. legible. In fact, perhaps, even the opposite is true. When spacing between difficult combinations. Monospaced typefaces you have perfectly rendered type printed on the smoothest of were originally designed to deal with the mechanical 4 8 0 papers and impeccably kerned, a text can easily appear too Other characters, such as the “d,” “m,” and “w,” restrictions of composing systems such as the typewriter, stark and machine-made looking and might, in effect, were made narrower than usual to fit into the which forced each character to have the same single set model character width. overshoot the mark of legibility. width. Thus, the narrow “i” is set on the same base as the wide “w,” resulting in a somewhat irregular looking letter JK LM Monospaced typefaces, on the other hand, live safely on the This stretching and squeezing of characters spacing. Base Monospace, as its name implies, belongs to “vernacular” side of legibility. When set in text, they do becomes particularly problematic in the heavier this category of typefaces characterized by letter designs weights; there is usually not enough room to not generate a silky smooth image on the page. The “i” “l” accommodate both the thickness of the stem weight, that each occupy a single set width, like the infamous and “j” usually float in their spaces, while the “m” and “w” as well as the complexity of some characters such typewriter font Courier (designed in 1956 by Howard as the “m” and “w.” The stem weights must are squeezed in, creating a somewhat jarring text image. therefore be adjusted, and although the stem Kettler), and the many other monospaced fonts that inspired Still, monospaced typefaces might have a leg up in the weights of the “i” and “l” (left) are heavier than its design.2 the “m” and “w” (right), the overall color density legibility department. Since the typewriter was an is the same when set in text (below). affordable and easy to use typesetting tool, it rapidly The difficulty with monospaced fonts is that they do not became the standard for academic, business and legal easily conform to traditional notions of good typography. GNM< KJK writing, and for formal and informal correspondence. Despite Traditionally, when setting a text, the object is to its esthetic handicaps, it was able to establish a look and MJKKNM LJHHNH speaking,maximize spacingit does andnot kerningautomatically to a point render where the atext text more appears feel that became accepted as a highly functional means of legible.an even “color”In fact, when perhaps, viewed even at readingthe opposite distance. is true. However, When communication all over the world. If it is true that people LNL LNHHNM> youwhile have this perfectly might be rendered desirable type visually printed and on estheticallythe smoothest of read best what they read most, then monospaced type must papers and impeccably kerned, a text can easily appear too contain plenty of features worth considering when exploring stark and machine-made looking and might, in effect, legibility.3 ABC DEF overshootEMIGRE #70: THE the LOOK mark BACK ISSUE of legibility.| 228 | 1997 One solution to accommodating a bold character is shifting the weight from one part of the letter Base Monospace Wide Regular form to another. These “A” and “W” variations show Monospaced typefaces, on the other hand, live safely on the some of the options. Ultimately, the choice is “vernacular” side of legibility. When set in text, they do determined by which is most harmonious within the overall typeface design. not generate a silky smooth image on the page. The “i” “l” and “j” usually float in their spaces, while the “m” and “w” Alternate Character Forms are squeezed in, creating a somewhat jarring text image. 3. Still, monospaced typefaces might have a leg up in the legibility department. Since the typewriter was an a b affordable and easy to use typesetting tool, it rapidly In a monospaced typeface, the spacing can be

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz improved if the characters fill out their spaces became the standard for academic, business and legal evenly. For example, the “A” with vertical sides writing, and for formal and informal correspondence. Despite (left) forms more evenly distributed white space in its character cell and will therefore have its esthetic handicaps, it was able to establish a look and fewer spacing problems than the “A” with diagonal feel that became accepted as a highly functional means of sides (right): communication all over the world. If it is true that people read best what they read most, then monospaced type must lllll lalal contain plenty of features worth considering when exploring legibility.3 lllll lblbl

When effective communication is the ultimate goal, it makes hH iI Similarly, the wider “r” (left) is preferable to sense to consider the tried and true and to sometimes forego the narrower “r” (right), although the aesthetic imposing preferences that favor esthetics. Base Monospace is form of the narrower may be more pleasing outside of the monospaced context. designed with this is in mind. Its slightly irregular 88888 8h8h8 LLLLL LHLHL spacing generates an “informal” look reminiscent of 88888 8i8i8 LLLLL LILIL typewriter text, but also of the more intentionally informal The wider “r” (top line) creates fewer spacing look of text often seen in today’s more progressive and problems than the narrower “r” (bottom line) when set in text. experimental publications. No doubt many designers will argue against this idea, dismissing Base Monospace simply as a typeface with inferior spacing and therefore difficult to e 0 g 2 read. After all, we read words, not letters, they’ll argue, The spacing characteristics of the various forms have to be balanced with the recognition or and “proper” spacing increases the cognition of word shapes. legibility of the forms themselves. Therefore, Many words, though, have the same shape, so we cannot ignore although the “W” and “w” have similar spacing problems to those of the “A,” the diagonal-sided the issue of creating individual letter shapes that are “W” (left) was chosen over the straight-sided “W” easily distinguishable from each other and spacing that (right) to improve letter shape recognition, since the straight-sided “w” could easily be confused emphasizes this. Perhaps the squeezed look of the “w” in with an m in text settings: Base Monospace makes it look more like a “w,” while the open 090 292 898 090 292 898 space around the “i” amplifies its “i”-ness.

It is always the challenge of the type designer to create c d characters that together form a coherently designed Sometimes the selection of one character variation over another is a choice between the importance of alphabet, yet are different enough from each other to its aesthetic form versus its function within the distinguish themselves. These are extremely challenging rest of the typeface. Although the open “S” (right) may have been more appropriate from a parameters that allow for limitless experimentation. Stanley formal standpoint, the enclosed “S” (left) was Morison in his First Principles of Typography wrote: “It is chosen; its vertically curved end strokes enclose the space more effectively and therefore more always desirable that experiments be made, and it is a pity clearly define the interior versus exterior white that such ‘laboratory’ pieces are so limited in number and space. This reduces spacing problems, as well as gives the appearance of a narrower form that fits in courage. Typography today does not so much need more comfortably within the fixed character space: Inspiration or Revival as Investigation.”(1) Base Monospace cmajkc clamkc aclkc is one such investigation. To complete the experiment, we count on your reaction. dmajkd dlamkd adlkd

1. Stanley Morison, First Principles of Typography, New York: The MacMillan Company, 1936. EMIGRE #70: THE LOOK BACK ISSUE | 229 | 1997 speaking, it does not automatically render the text more legible. In fact, perhaps, even the opposite is true. When you have perfectly rendered type printed on the smoothest of papers and impeccably kerned, a text can easily appear too stark and machine-made looking and might, in effect, overshoot the mark of legibility. ABC DEF overshoot the mark of legibility. One solution to accommodating a bold character is shifting the weight from one part of the letter form to another. These “A” and “W” variations show Monospaced typefaces, on the other hand, live safely on the form to another. These “A” and “W” variations show Monospaced typefaces, on the other hand, live safely on the some of the options. Ultimately, the choice is “vernacular” side of legibility. When set in text, they do determined by which is most harmonious within the overall typeface design. not generate a silky smooth image on the page. The “i” “l” When effective communication is the ultimate goal, it makes and “j” usually float in their spaces, while the “m” and “w” sense to consider the tried and true and to sometimes forego Alternate Character Forms are squeezed in, creating a somewhat jarring text image. 3. imposing preferences that favor esthetics. Base Monospace Still, monospaced typefaces might have a leg up in the is designed with this is in mind. Its slightly irregular legibility department. Since the typewriter was an spacing generates an “informal” look reminiscent of a b affordable and easy to use typesetting tool, it rapidly In a monospaced typeface, the spacing can be typewriter text, but also of the more intentionally informal improved if the characters fill out their spaces became the standard for academic, business and legal look of text often seen in today’s more progressive and evenly. For example, the “A” with vertical sides writing, and for formal and informal correspondence. Despite (left) forms more evenly distributed white space experimental publications. No doubt many designers will in its character cell and will therefore have its esthetic handicaps, it was able to establish a look and argue against this idea, dismissing Base Monospace simply as fewer spacing problems than the “A” with diagonal feel that became accepted as a highly functional means of sides (right): a typeface with inferior spacing and therefore difficult to communication all over the world. If it is true that people read. After all, we read words, not letters, they’ll argue, read best what they read most, then monospaced type must and “proper” spacing increases the cognition of word shapes. lllll lalal contain plenty of features worth considering when exploring Many words, though, have the same shape, so we cannot ignore legibility.3 the issue of creating individual letter shapes that are lllll lblbl easily distinguishable from each other and spacing that When effective communication is the ultimate goal, it makes hH iI emphasizes this. Perhaps the squeezed look of the “w” in Similarly, the wider “r” (left) is preferable to sense to consider the tried and true and to sometimes forego Base Monospace makes it look more like a “w,” while the open the narrower “r” (right), although the aesthetic imposing preferences that favor esthetics. Base Monospace is form of the narrower may be more pleasing outside space around the “i” amplifies its “i”-ness. of the monospaced context. designed with this is in mind. Its slightly irregular spacing generates an “informal” look reminiscent of 88888 8h8h8 LLLLL LHLHL It is always the challenge of the type designer to create 88888 8i8i8 LLLLL LILIL typewriter text, but also of the more intentionally informal characters that together form a coherently designed The wider “r” (top line) creates fewer spacing look of text often seen in today’s more progressive and problems than the narrower “r” (bottom line) when alphabet, yet are different enough from each other to set in text. experimental publications. No doubt many designers will distinguish themselves. These are extremely challenging argue against this idea, dismissing Base Monospace simply as parameters that allow for limitless experimentation. Stanley a typeface with inferior spacing and therefore difficult to Morison in his First Principles of Typography wrote: “It e 0 g 2 read. After all, we read words, not letters, they’ll argue, The spacing characteristics of the various forms is always desirable that experiments be made, and it is a have to be balanced with the recognition or and “proper” spacing increases the cognition of word shapes. pity that such ‘laboratory’ pieces are so limited in number legibility of the forms themselves. Therefore, Many words, though, have the same shape, so we cannot ignore although the “W” and “w” have similar spacing and in courage. Typography today does not so much need problems to those of the “A,” the diagonal-sided the issue of creating individual letter shapes that are Inspiration or Revival as Investigation.”* Base Monospace is “W” (left) was chosen over the straight-sided “W” easily distinguishable from each other and spacing that (right) to improve letter shape recognition, since one such investigation. To complete the experiment, we count the straight-sided “w” could easily be confused emphasizes this. Perhaps the squeezed look of the “w” in on your reaction. with an m in text settings: Base Monospace makes it look more like a “w,” while the open 090 292 898 090 292 898 space around the “i” amplifies its “i”-ness.

* Stanley Morison, First Principles of Typography, It is always the challenge of the type designer to create c d New York, The MacMillan Company, 1936. characters that together form a coherently designed Sometimes the selection of one character variation over another is a choice between the importance of alphabet, yet are different enough from each other to over another is a choice between the importance of alphabet, yet are different enough from each other to its aesthetic form versus its function within the distinguish themselves. These are extremely challenging rest of the typeface. Although the open “S” (right) may have been more appropriate from a parameters that allow for limitless experimentation. Stanley (right) may have been more appropriate from a parameters that allow for limitless experimentation. Stanley formal standpoint, the enclosed “S” (left) was Morison in his First Principles of Typography wrote: “It is chosen; its vertically curved end strokes enclose the space more effectively and therefore more always desirable that experiments be made, and it is a pity clearly define the interior versus exterior white

Base Monospace Wide Thin clearly define the interior versus exterior white that such ‘laboratory’ pieces are so limited in number and space. This reduces spacing problems, as well as gives the appearance of a narrower form that fits in courage. Typography today does not so much need gives the appearance of a narrower form that fits in courage. Typography today does not so much need more comfortably within the fixed character space: Inspiration or Revival as Investigation.”(1) Base Monospace cmajkc clamkc aclkc is one such investigation. To complete the experiment, we count on your reaction. dmajkd dlamkd adlkd

1. Stanley Morison, First Principles of TypographyABCDEFGHIJKLMNOPQRSTUVWXYZ , abcdefghijklmnopqrstuvwxyz New York: The MacMillan Company, 1936. EMIGRE #70: THE LOOK BACK ISSUE | 229 | 1997 ABCDEFGHIJKLMNOPQRSTUVWXYZ ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz abcdefghijklmnopqrstuvwxyz 0123456789!?#$&()[]{}/\%*= 0123456789!?#$&()[]{}/\%*=

Base Monospace Wide Light Base Monospace Narrow Light

ABCDEFGHIJKLMNOPQRSTUVWXYZ ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz abcdefghijklmnopqrstuvwxyz 0123456789!?#$&()[]{}/\%*= 0123456789!?#$&()[]{}/\%*=

Base Monospace Wide Regular Base Monospace Narrow Regular

ABCDEFGHIJKLMNOPQRSTUVWXYZ ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz abcdefghijklmnopqrstuvwxyz 0123456789!?#$&()[]{}/\%*= 0123456789!?#$&()[]{}/\%*=

Base Monospace Wide Bold Base Monospace Narrow Bold BASE MONOSPACE DESIGNED BY ZUZANA LICKO

SPACE PROBE: Investigations Into Monospace Aa Aa

Base Monospaced Base Monospaced Narrow Wide

The body, or vertical measurement, of a font is known as the “em-square.” In a digital font, the em-square has a resolution Em-square Units 1,000 1,000 commonly divided into 1,000 equal units.

Each character in a monospaced font is of the same width. The character width can be expressed as a number of em units. Character Width 500 600 In Em-square Units

The relationship between the character width and the em-square can be expressed as a ratio. (char width) Ratio 1/2 3/5 ——————————— = ratio Decimal Equivalent 0.5 0.6 (em-square)

Each character is 50% of Each character is 60% of its point size; its point size; at 10 point, each character at 10 point, each character is exactly 5 points wide. is exactly 6 points wide.

The standard point sizes for computer screen display are: 9, 10, 12, 14 & 18 Standard Point Sizes 9 10 12 14 18 9 10 12 14 18

Applying each of these ratios to each point size results in the character widths per size. The “magic numbers” are highlighted; these sizes yield Character Width an even number of points, resulting in an exact match (In Points) 4.5 5 6 7 9 5.4 6 7.2 8.4 10.8 (pt size) x (ratio) between the screen display spacing and that of the printed page.

A common purpose of a monospaced font is to accommodate a particular number of characters per inch; this is called the “pitch.” (For example, a 10 pitch font 72 will set 10 characters into an inch; a 12 pitch font will Pitch 16 14.4 12 10.9 8 13.3 12 10 8.6 6.7 —————————————— set 12.) There are 72 points to the inch, so the Number of Characters Per Inch (pt size) x (ratio) characters per inch count is calculated by dividing 72 by the character point width.

Alternatively, characters per pica can be calculated. Pica Character Count 12 There are 12 points to the pica, so the characters per (Number of Characters Per Pica) 2.67 2.40 2.00 1.71 1.33 2.22 2.00 1.67 1.43 1.11 —————————————— pica count is calculated by dividing 12 by the character (pt size) x (ratio) point width.

EMIGRE #70: THE LOOK BACK ISSUE | 227 | 1997