type basics Size and Scale x-heights
size big bottoms are an efficient use of resources
height Attempts to standardize the 32-Pt scala Pro 32-Pt interstate regular 32-Pt bodoni 32-Pt mrs eaves 12 points equal 1 pica measurement of type began in the eighteenth century. The point system is the standard used 6 picas today. One point equals 1/72 inch or .35 (72 points) Do I look fat in this paragraph? Big millimeters. Twelve points equal one pica, the equal 1 inch unit commonly used to measure column widths. When two typefaces are set in the same point size, one often Mrs Eaves rejects the twentieth-century appetite 60-Point scala Typography can also be measured in inches, looks bigger than the other. Differences in x-height, line weight, for supersized x-heights. This typeface, inspired A typeface is measured millimeters, or pixels. Most software applications and set width affect the letters’ apparent scale. by the eighteenth-century designs of Baskerville, from the top of the is named after Sarah Eaves, Baskerville’s capital letter to the let the designer choose a preferred unit of mistress, housekeeper, and collaborator. bottom of the lowest measure; picas and points are a standard default. The couple lived together for sixteen years descender, plus a small before marrying in 1764. buffer space. nerd alert: abbreviating Picas and Points In metal type, 8 picas = 8p the point size 8 points = p8, 8 pts is the height of 8 picas, 4 points = 8p4 the type slug. 8-point Helvetica with 9 points of line spacing = 8/9 Helvetica Mrs. & Mr. Little 32-Mr.Pt helvetica Big versus 32-Pt mrs eaves 32-Pt mrs eaves The perceived size of a typeface is a function of its x-height as well as its cap height. width A letter also has a horizontal measure, The x-height of a typeface affects its Typefaces with small x-heights, such as Wide load called its set width. The set width is the body of apparent size, its space efficiency, Mrs Eaves, use space less efficiently than interstate black the letter plus a sliver of space that protects it The set width is the body of the letter and its overall visual impact. Like those with big lower bodies. However, their from other letters. The width of a letter is intrinsic plus the space beside it. hemlines and hair styles, x-heights delicate proportions have lyrical charm. to the proportions and visual impression of the go in and out of fashion. Bigger type 12/14 mrs eaves typeface. Some typefaces have a narrow set width, tight wad bodies became popular in the mid- and some have a wide one. interstate black comPressed twentieth century, making letterforms Like his lovely wife, MR EAVES has a low waist The letters in the condensed version of the typeface You can change the set width of a typeface by and a small body. His loose letterspacing also have a narrower set width. fiddling with its horizontal or vertical scale. look larger by maximizing the area makes him work well with his mate. This distorts the line weight of the letters, within the overall point size. 12/14 mr eaves Wide load however, forcing heavy elements to become thin, 12/14 helvetica and thin elements to become thick. Instead of Because of its huge x-height, Helvetica can remain The size of a typeface is a matter of context. A line of text that tight Wad torturing a letterform, choose a typeface that has legible at small sizes. Set in 8 pts for a magazine looks tiny on a television screen may appear appropriately the proportions you are looking for, such as caption, Helvetica can look quite elegant. The same scaled in a page of printed text. Smaller proportions affect type crime legibility as well as space consumption. A diminutive x-height is a condensed, compressed, wide, or extended. typeface could look bulky and bland, however, standing horizontal & vertical scaling 12 pts tall on a business card. luxury that requires sacrifice. The proportions of the letters have been 8/10 helvetica 8/10 mrs and mr eaves digitally distorted in order to create wider or narrower letters. The default type size in many software applications is 12 pts. Although this generally creates readable type on screen displays, 12-pt text type usually looks big and horsey in print. Sizes between 9 and 11 pts are common for printed text. This caption is 7.5 pts.
38 | thinking with tyPe letter | 39 size big bottoms are an efficient use of resources
height Attempts to standardize the 32-Pt scala Pro 32-Pt interstate regular 32-Pt bodoni 32-Pt mrs eaves 12 points equal 1 pica measurement of type began in the eighteenth century. The point system is the standard used 6 picas today. One point equals 1/72 inch or .35 (72 points) Do I look fat in this paragraph? Big millimeters. Twelve points equal one pica, the equal 1 inch unit commonly used to measure column widths. When two typefaces are set in the same point size, one often Mrs Eaves rejects the twentieth-century appetite 60-Point scala Typography can also be measured in inches, looks bigger than the other. Differences in x-height, line weight, for supersized x-heights. This typeface, inspired A typeface is measured millimeters, or pixels. Most software applications and set width affect the letters’ apparent scale. by the eighteenth-century designs of Baskerville, from the top of the is named after Sarah Eaves, Baskerville’s capital letter to the let the designer choose a preferred unit of x-heights mistress, housekeeper, and collaborator. bottom of the lowest measure; picas and points are a standard default. The couple lived together for sixteen years descender, plus a small before marrying in 1764. buffer space. nerd alert: abbreviating Picas and Points In metal type, 8 picas = 8p the point size 8 points = p8, 8 pts is the height of 8 picas, 4 points = 8p4 the type slug. 8-point Helvetica with 9 points of line spacing = 8/9 Helvetica Mrs. & Mr. Little 32-Mr.Pt helvetica Big versus 32-Pt mrs eaves 32-Pt mrs eaves width A letter also has a horizontal measure, The x-height of a typeface affects its Typefaces with small x-heights, such as Wide load called its set width. The set width is the body of apparent size, its space efficiency, Mrs Eaves, use space less efficiently than interstate black the letter plus a sliver of space that protects it The set width is the body of the letter and its overall visual impact. Like those with big lower bodies. However, their from other letters. The width of a letter is intrinsic plus the space beside it. hemlines and hair styles, x-heights delicate proportions have lyrical charm. to the proportions and visual impression of the go in and out of fashion. Bigger type 12/14 mrs eaves typeface. Some typefaces have a narrow set width, tight wad bodies became popular in the mid- and some have a wide one. interstate black comPressed twentieth century, making letterforms Like his lovely wife, MR EAVES has a low waist The letters in the condensed version of the typeface You can change the set width of a typeface by and a small body. His loose letterspacing also have a narrower set width. fiddling with its horizontal or vertical scale. look larger by maximizing the area makes him work well with his mate. This distorts the line weight of the letters, within the overall point size. 12/14 mr eaves Wide load however, forcing heavy elements to become thin, 12/14 helvetica and thin elements to become thick. Instead of Because of its huge x-height, Helvetica can remain The size of a typeface is a matter of context. A line of text that tight Wad torturing a letterform, choose a typeface that has legible at small sizes. Set in 8 pts for a magazine looks tiny on a television screen may appear appropriately the proportions you are looking for, such as caption, Helvetica can look quite elegant. The same scaled in a page of printed text. Smaller proportions affect type crime legibility as well as space consumption. A diminutive x-height is a condensed, compressed, wide, or extended. typeface could look bulky and bland, however, standing horizontal & vertical scaling These12 ptstexts tall areon a set business in the card. same point size, but their perceivedluxury that requires scale sacrifice.is completely different. The proportions of the letters have been 8/10 helvetica 8/10 mrs and mr eaves digitally distorted in order to create wider or narrower letters. The default type size in many software applications is 12 pts. Although this generally creates readable type on screen displays, 12-pt text type usually looks big and horsey in print. Sizes between 9 and 11 pts are common for printed text. This caption is 7.5 pts.
38 | thinking with tyPe letter | 39 scale
THE THE WORLD WORLD IS FLAT IS FLAT
type crime scale contrast Minimal differences in The strong contrast between type size make this type sizes gives this design design look tentative dynamism, decisiveness, and arbitrary. and depth.
Scale is the relationship among elements within a composition or hierarchy. type basics Mixing Typefaces mixing typefaces
mrs and mr eaves
Mixing styles within one family is a good place to start. mixing typefaces
WhatTrilogy are is the a “superfamily” characteristics with of each Sans, mode Egyptian, of alignment? and Fatface styles, inspired by 19th-century advertising.
mixing typefaces a tyPograPhic smorgasbord assembled to Please the eye
glyPha thin, designed by Adrian Frutiger, 1979. The Combining typefaces is like making a salad. Start large scale of the letters is with a small number of elements representing counterbalanced by the fine line different colors, tastes, and textures. Strive of the stroke. for contrast rather than harmony, looking mixing typefaces for emphatic differences rather than mushy a tyPograPhic smorgasbord assembled to Please the eye transitions. Give each ingredient a role to play: miller small caPs, designed sweet tomatoes, crunchy cucumbers, and the by Matthew Carter with glyPha thin, designed by pungent shock of an occasional anchovy. When egyPtian bold condensed, Jonathan Hoefler and Tobias Adrian Frutiger, 1979. The Combining typefaces is like making a salad. Start Frere-Jones, 1997–2000. Known mixing typefaces on the same line, designers large scale of the letters is a Linotype font based on a typeface from 1820. This quirky, as a Scotch Roman typeface, with a small number of elements representing usually adjust the point size so that the x-heights counterbalanced by the fine line different colors, tastes, and textures. Strive of the stroke. chunky face has been used it has crisp serifs and strong align. When placing typefaces on separate lines, contrast between thick and thin. for contrast rather than harmony, looking intermittently at New York Magazine since the publication for emphatic differences rather than mushy it often makes sense to create contrast in scale was first designed by Milton transitions. Give each ingredient a role to play: as well as style or weight. Try mixing big, light miller small caPs, designed Glaser in the 1970s. Here, the sweet tomatoes, crunchy cucumbers, and the type with small, dark type for a criss-cross of type crime: who’s accountable for this? by Matthew Carter with ultra-black type set at a relatively pungent shock of an occasional anchovy. When contrasting flavors and textures. egyPtian bold Ac ondensed,slightly squeezed variant of the primary font has been Jonathan Hoefler and Tobias small size makes an incisive bite mixing typefaces on the same line, designers a Linotype font basedused on to a make the second line fit better (as if we wouldn’t Frere-Jones, 1997–2000. Known in the page. typeface from 1820.notice). This quirky, Yet another weight appears on the bottom line. as a Scotch Roman typeface, usually adjust the point size so that the x-heights chunky face has been used it has crisp serifs and strong align. When placing typefaces on separate lines, intermittently at New York contrast between thick and thin. single-family mixes it often makes sense to create contrast in scale Magazine since the publication as well as style or weight. Try mixing big, light was first designed by Milton mixingCreamy typefaces and Extra Crunchy | DifferencesGlaser within in the 1970s. a single Here, the family type with small, dark type for a criss-cross of type crime: who’s accountable for this? ultra-black type set at a relatively univers 47 light condensed and univers 67 bold condensed contrasting flavors and textures. A slightly squeezed variant of the primary font has been small size makes an incisive bite used to make the second line fit better (as if we wouldn’t in the page. notice). Yet another weight appearsSweet on the bottomChild line. of mine | Differences within a superfamily quadraat regular and italic; quadraat sans bold single-family mixes type crime Creamy and Extra Crunchy | Differences within a single family Noodles with Potato Sauce | Bland and blander These typefaces are from the verlag, designed by Jonathan same family, but they are too Hoefler, 1996. Originally univers 47 light condensed and univers 67 bold condensed helvetica neue 56 medium and helvetica neue 75 bold close in weight to mix well. commissioned by Abbott Miller for exclusive use by the Sweet Child of mine | Differences within a superfamily Guggenheim Museum, Verlag quadraat regular and italic; quadraat sans bold has become a widely used multiple-family mixes type crime general-purpose typeface. Its verlag, designed by Jonathan Noodles with Potato Sauce | Bland and blander These typefaces are from the approachable geometric forms same family, but they are too Hoefler, 1996. Originally Jack Sprat and his voluptuous wife | Two-way contrast are based on Frank Lloyd helvetica neue 56 medium and helvetica neue 75 bold close in weight to mix well. commissioned by Abbott thesis serif extra light and vag rounded bold Miller for exclusive use by the Wright’s lettering for the facade Guggenheim Museum, Verlag of the Guggenheim. has become a widely used multiple-family mixes Sweet, sour, and hot | Threegeneral-purpose-way typeface. contrast Its bodoni roman, thesis serif extra light small caPs, andapproachable futura geometric bold forms voluptuous wife | contrast are based on Frank Lloyd Jack Sprat and his Two-way type crime the word: new york magazine Design: Chris Dixon, 2010. thesis serif extra light and vag rounded bold Wright’s lettering for the facade These two type styles are too This content-intensive page detail mixes four different type families Mr. Potatohead and Mrs. Pearbutt |of Too the Guggenheim. close for comfort similar to provide a counter- adobe garamond Pro bold and adobe jenson Pro bold from various points in history, ranging from the early advertising Sweet, sour, and hot | Three-way contrast point to each other. face Egyptian Bold Condensed to the functional contemporary sans bodoni roman, thesis serif extra light small caPs, and futura bold Verlag. These diverse ingredients are mixed here at different scales to type crime the word: new york magazine Design: Chris Dixon, 2010. create typographic tension and contrast. Mr. Potatohead and Mrs. Pearbutt | Too close for comfort These two type styles are too This content-intensive page detail mixes four different type families similar to provide a counter- adobe garamond Pro bold and adobe jenson Pro bold 54 | thinking with tyPe from various points in history, ranging from the early advertising letter | 55 point to each other. face Egyptian Bold Condensed to the functional contemporary sans Verlag. These diverse ingredients are mixed here at different scales to create typographic tension and contrast.
54 | thinking with tyPe letter | 55 mixing typefaces
type crime: who’s accountable for this?
type basics Vertical Type vertical alignment v v v v e e e e r r r r t t t t i i i i g g g g o o o o
type crime small caps, stacked stacked lowercase
Capitals stack more comfortably than lowercase letters. mexican street signs Photographs by Andrea Marks. Sign painters in Mexico create letters that stack well, such as squared-off Os and Gs.
simpatico Poster for the Public Theater, 1994. Designer: Paula Scher/Pentagram. Type set on a vertical baseline creates movement across the poster. The theater’s logo, which also employs a vertical baseline, can be easily placed on street banners.
Instead of stacking letters, designers often change the orientation of the baseline to make vertical lines. parallelen im schnittpunkt (crossing parallels) Poster, 1997. Designer: Gerwin Schmidt. Publisher: Art-Club Karlsruhe. The axes of type and landscape intersect to create posters that are simple, powerful, and direct. The text is mirrored in German and French.
Instead of stacking letters, designers often change the orientation of the baseline to make vertical lines.
type basics Alignment
type basics Emphasis
type basics Too much contrast
type basics Wordplay
wolfgang weingart Typography book cover, 2000 Lars Muller, publisher