Typography + Form Type Classification

Home , Goudy Old Style, Hanging punctuation, Hoefler Text, ITC Benguiat, Nicolas Jenson, Plantin (typeface)

Typography + Form type classification

Blackletter With the multitude of typefaces readily available it becomes Humanist/Old Style Italic essential to help to classify them to provide organization and Script continuity in type selection processes. A type family consists of Transitional Modern/Didot any number of typefaces that resemble one another in appear- Clarendon ance, proportion, weight, angle, texture, and sometimes design. Egyptian or Slab Serif Sans Serif Humanist Sans Serif Transitional Sans Serif Geometric Digital/Postmodern Handlettering University of Houston  Type Classification ART 4395 / 6395 / 3330

Blackletter Blackletter is the earliest printed type, and is based on hand-copied texts. It is traditionally associated with medieval German and English (Old English). Blacklet- ter was revived as a ‘pure German’ form in Nazi Germany, and is extensively used by (particularly) Latino gangs as implying officialness or deep seriousness. Blackletter dates from around 1450.

Humanist or Oldstyle Humanist, humanistic, or humanes include the first Roman typefaces created during the 15th century by Venetian printers, such as Nicolas Jenson. Oldstyle has uppercase letter forms based on Roman inscriptions, and lowercase based on Italian humanist book copying. It is typified by a gradual thick-to-thin stroke, gracefully bracketed serifs, and slanted stress, as indicted by the line through the uppercase ‘O’, and as measured through the thinnest parts of a letter form. It remains one of the most readable classes for text, due to the moderate stroke variations and good distinction between letter forms. Oldstyle dates from around 1475. > Garamond, Jenson, Caslon, Sabon, Palatino, Bembo, Hoefler Text.

Italic Usually considered a component of the roman family of a font, italic really deserves its own class. Based on Renaissance Italian Humanist handwriting, italics are casual as opposed to the more formal roman forms of a font. Italics are generally used for emphasis, captions, and the like, and not for body text. It is important to remember to use true italics as opposed to digitally generated versions. Italics for sans-serif (and occasionally other) fonts are often called obliques. Date from around 1500.

Script As mentioned above, oftentimes anything seemingly based on handwriting is lumped under script. To be more precise, script is a formal replication of calligraphy. Script may also be based on engraved forms. As type, script is unsuitable for text, but is widely used to lend a formal element to a layout. Dates from 1550.

Transitional As the name implies, transitional bridges the gap between oldstyle and modern. Largely due to technological advances in casting type and printing, transitional embodies greater thick-to-thin strokes, and smaller brackets on serifs. Stress moves to be more vertical. Dates around 1750. > Baskerville, Times Roman, Perpetua, Caledonia, Bookman, Century, Georgia, Plantin.

Didone or Modern Didone or Modern serif typefaces, which first emerged in the late 18th century, are characterized by extreme contrast between thick and thin lines. These typefaces have a vertical stress, long and fine serifs, with minimal brackets. Serifs tend to be very thin and vertical lines are very heavy. Most modern fonts are less readable than transitional or old style serif typefaces. Furthering the trends started with transitional, modern pushes to extreme thick-to-thin strokes, and unbracketed (square) serifs. Many modern typefaces lose readability if set too tight, or at too small a size, particularly with strong vertical stress. Dates from 1775. > Bodoni, Didot, and Walbaum. University of Houston  Type Classification ART 4395 / 6395 / 3330

Humanist or Oldstyle Humanist, humanistic, or humanes include the first Roman typefaces created during the 15th century by Venetian printers, such as Nicolas Jenson. Oldstyle has uppercase letter forms based on Roman inscriptions, and lowercase based on Italian humanist book copying. It is typified by a gradual thick-to-thin stroke, gracefully bracketed serifs, and slanted stress, as indicted by the line through the uppercase ‘O’, and as measured through the thinnest parts of a letter form. It remains one of the most readable classes for text, due to the moderate stroke variations and good distinction between letter forms. Oldstyle dates from around 1475. axis curves to the left serifs are bracketed/curve into stroke calligraphic > Garamond, Jenson, Caslon, Sabon, Palatino, Bembo, Hoefler Text.

Bembo —Axis of curved strokes normally to left Belwe Italic —Weight stress of angle at two or eight o’ clock. ITC Benguiat Usually considered a component of the roman family of a font, italic really deserves Berkeley Old Style —No dramatic stroke weight changes. Caslon its own —Serifs class. are Based bracketed on Renaissance (curve into Italian stroke). Humanist handwriting, italics are casual Centaur as opposed —Serifs at to topthe ofmore letters formal are roman often angled.forms of a font. Italics are generally used for Cloister emphasis,Old Style can captions, be broken and downthe like, into and Venetian not for Old body Style, text. Aldine It is important Old Style, to Dutch remember Old Cooper Black toStyle, use trueand Olditalics Style/Revivals as opposed tofor digitally further generateddetail classification. versions. Italics for sans-serif Esprit (and occasionally other) fonts are often called obliques. Date from around 1500. Galliard Garamond Goudy Old Style Script Janson As mentioned above, oftentimes anything seemingly based on handwriting is lumped Palatino under script. To be more precise, script is a formal replication of calligraphy. Script Plantin Sabon may also be based on engraved forms. As type, script is unsuitable for text, but is Souvenir widely used to lend a formal element to a layout. Dates from 1550. Times Roman Trump Mediaeval Weiss Roman

Edwardian Script, ITC Script As mentioned above, oftentimes anything seemingly based on handwriting is lumped under script. To be more precise, script is a formal replication of calligraphy. Script may also be based on engraved forms. As type, script is unsuitable for text, but is widely used to lend a formal element to a layout. Dates from 1550.

axis generally vertical stroke weight more pronounced Didone or Modern Americana Didone or Modern serif typefaces, which first emerged in the late 18th century, are Baskerville characterized by extreme contrast between thick and thin lines. These typefaces have Caledonia a vertical stress, long and fine serifs, with minimal brackets. Serifs tend to be very thin and vertical lines are very heavy. Most modern fonts are less readable than transition- Fairfield al or old style serif typefaces. Furthering the trends started with transitional, modern Baskerville pushes to extreme thick-to-thin strokes, and unbracketed (square) serifs. Many Perpetua modern typefaces lose readability if set too tight, or at too small a size, particularly Usherwood with strong vertical stress. Dates from 1775. > Bodoni, Didot, and Walbaum. Zaph International University of Houston  Type Classification ART 4395 / 6395 / 3330

—little or no bracketing —serifs are horizontal —join stroke at right angles Didone or Modern Didone or Modern serif typefaces, which first emerged in the late 18th century, are characterized by extreme contrast between thick and thin lines. These typefaces have a vertical stress, long and fine serifs, with minimal brackets. Serifs tend to be very thin and vertical lines are very heavy. Most modern fonts are less readable than transitional or old style serif typefaces. Furthering the trends started with transitional, modern pushes to extreme thick-to-thin strokes, and unbracketed (square) serifs. Many modern typefaces lose readability if set too tight, or at too small a size, particularly dramatic stroke weight changes with strong vertical stress. Dates from 1775. > Bodoni, Didot, and Walbaum. axis generally vertical strong vertical/horizontal weight stress:vibrates Also called Classical designs when first released. Modern can be further broken down into Didone Modern and Twentieth-Century Modern. Bauer Bodoni Bodoni Didot New Century Schoolbook Clarendon The style became popular in the 1850s. Like the Moderns before they have strong vertical stress but no other similarities. Mix between Modern and Oldstyle. —Strong Vertical weight stress. —Weight contrast not as obvious as Modern. —Serifs are heavy, bracketed and square cut. —Typographic “workhorses”, tend not to be attractive or sophisticated. OxFa Clarendon family can be seen grouped with other families such as Modern, Slab or vertical weight stress serifs are heavy, bracketed and square cut axis generally vertical Old Style. Bookman Cheltenham Century New Century Schoolbook Clarion Clearface Corona Cushing Excelsior Korinna Melior Slab (Square) Serif Slab or square serif was developed for heavy type in advertising. Also known as Egyptian (it appeared during the Egyptology craze in Europe), slab serif generally has little variation in stroke weight: it’s generally uniformly heavy. Also with slab serif, letter forms are becoming more geometric, and less calligraphic. Dates from 1825.

stress of curve is minimal heavy square/rectangular serifs; strokes generally the same weight usually unbracketed Sans Serif Humanist Aachen Although appearing earlier, sans (sans = without in French)serif gained much popu- Clavert larity in the twentieth century, mainly as a move towards an international aesthetic Cairo in typography. Sans serif can be strictly geometric, as in Futura, or more humanist, City Egyptienne as with Gill Sans. Designed by Eric Gill in 1928 it has humanist characteristics. Note Lubalin Graph the small, lilting counter in the letter a, and the calligraphic variations in line weight. Memphis Rockwell Serifa Sans Serif Transitional Helvetica Helvetica was developed in 1957 by Max Miedinger with Eduard Hoffmann. It is one the world’s most widely used typefaces. Its uniform, upright character makes it similar to transitional serif letters. The aim of the new design was to create a neutral typeface that had great clarity, no intrinsic meaning in its form, and could be used on a wide variety including for signage. These fonts are also referred to as “anony- OxFa mous sans serif”. Futura Sans Serif Geometric Some sans-serif forms are built around geometric forms. In Futura, designed by Paul Renner in 1927, the Os are seemingly perfect circles, and the peaks of the A and M are sharp triangles. It is based on geometric shapes that became representative of visual OxFa elements of the Bauhaus design style of 1919–33.

Grunge, Postmodernism, Digital Grunge typography was a development spring from postmodernism and deconstruc- tionism. It was developed as primarily image, and less for its readability. Grunge typography was a big enough movement to rate its own category, and encompasses a wide variety of ‘decomposed’ typefaces. Postmodern is another catch-all category, encompassing a wide variety of styles. Many, fall into display faces, as they are unsuitable for text. Around 1995 to present.

Handwritten, Brush, Lettering Seemingly a contradiction in terms, these fonts actually harken back to the original idea: mimicry of handwriting, brush, or lettering. These can be considered scripts, but their generally informal nature tends to separate them out.

With the advent of digital typography, we have been inundated with typefaces. Face it (pun intended), most are of poor quality or design, and often both. But even discounting the losers, there remains an overwhelming amount of very good contem- porary typefaces to be added to traditional standards. It is even more important for a designer to be discerning, and really consider what faces are being used, and how. Slab (Square) Serif Slab or square serif was developed for heavy type in advertising. Also known as Egyptian (it appeared during the Egyptology craze in Europe), slab serif generally has little variation in stroke weight: it’s generally uniformly heavy. Also with slab serif, letter forms are becoming more geometric, and less calligraphic. Dates from 1825.

Sans Serif Humanist Although appearing earlier, sans (sans = without in French)serif gained much popu- larity in the twentieth century, mainly as a move towards an international aesthetic in typography. Sans serif can be strictly geometric, as in Futura, or more humanist, as with Gill Sans. Designed by Eric Gill in 1928 it has humanist characteristics. Note the small, lilting counter in the letter a, and the calligraphic variations in line weight.

No serifs

Sans Serif Transitional Helvetica Helvetica was developed in 1957 by Max Miedinger with Eduard Hoffmann. It is one the world’s most widely used typefaces. Its uniform, upright character makes it similar to transitional serif letters. The aim of the new design was to create a neutral typeface that had great clarity, no intrinsic meaning in its form, and could be used on a wide variety including for signage. These fonts are also referred to as “anony- mous sans serif”. OxFa —No serifs Futura Sans —Stroke Serif Geometric is often all same weight with little or no contrast. Some —Optically sans-serif monotone forms are strokebuilt around weight. geometric forms. In Futura, designed by Paul Renner —Stress in 1927, is always the Os verticalare seemingly perfect circles, and the peaks of the A and M are sharp —Generally triangles. geometric It is based inon construction geometric shapes with thatsome became rounded representative contrasts. of visual OxFa elements of the Bauhaus design style of 1919–33.

Sans Serif Transitional Helvetica Helvetica was developed in 1957 by Max Miedinger with Eduard Hoffmann. It is one the world’s most widely used typefaces. Its uniform, upright character makes it similar to transitional serif letters. The aim of the new design was to create a neutral typeface that had great clarity, no intrinsic meaning in its form, and could be used on a wide variety including for signage. These fonts are also referred to as “anony- OxFa mous sans serif”. Futura Sans Serif Geometric Some sans-serif forms are built around geometric forms. In Futura, designed by Paul Renner in 1927, the Os are seemingly perfect circles, and the peaks of the A and M are sharp triangles. It is based on geometric shapes that became representative of visual OxFa elements of the Bauhaus design style of 1919–33. Grunge, Postmodernism, DigitalA M Grunge typography was a development spring from postmodernism and deconstruc- tionism. It was developed as primarily image, and less for its readability. Grunge typography was a big enough movement to rate its own category, and encompasses a wide variety of ‘decomposed’ typefaces. Postmodern is another catch-all category, encompassing a wide variety of styles. Many, fall into display faces, as they are unsuitable for text. Around 1995 to present.

Metal Type Block The measurement system of points was adopted in the US during the 1870’s in an attempt to stan- dardize type measurement. Type is measured by the “body” size of the type, traditionally the block size of metal type. An approximate point size can be determined by measuring the distance from the Body size ascent line (top of the capitals) to the descent line (bottom-most descender) plus a little extra. It is only approximate in digital type setting.

the x-height of type is measured from baseline to midline of an alphabet and usually the approximate height of lowercase letters (x, a, c, e etc) and conveys the visual impression of the letter. Type of the same point size may appear larger or smaller depending on the x-height of any given letterform.

1 point = .138" or 1/72" 72 points = 1" 12 points = 1 pica 6 picas = 1" uppercase serif ascender

counter stroke

x height

baselineTypography descender loop

Lowercase letters proportions of a letterform

There are 4 major considerations in the visual presentation of letterforms 1. Stroke to height ratio: where the weight is a variable and the height remains the same. Text set in heavier weight creates too much contrast with the paper and becomes harder to read.

RR 2. Contrast in Stroke weight: Change in contrast between thick and thin strokes. More contrast can effect the readability at smaller sizes. RR 3. Expanded and Condensed styles: Where the letterforms are expanded or condensed 4. X-Height and Proportion: Where the relationship between the x-height and capital and ascender OOOO and descender effects the visual appearance of came size letterforms

bxpbxpbxp bxp Garamond 40pt Baskerville 40 pt Univers 55 40pt Mrs. Eaves 40pt baseline and kerning TYPOGRAPHY sits on baseline

Poor baseline alignment of rounded letters and poor letterspacing TYPOGRAPHY overhangs baseline

Letterspacing corrected kerning

The term kerning refers to adjusting the space between two letters. If KERNING LARGER SIZES letters in a typeface are spaced too uniformly, they make a pattern that Because the space between characters expands as the type size increas- doesn’t look uniform enough. Gaps occur, for example, around letters es, designers often fine-tune letterspacing when working with large whose forms angle outward or frame an open space (W, Y, V, T, L). In letters. As the word “rub” gets bigger, the gap between u and b grows metal type, a kerned letter extends past the lead slug that supports it, al- more obvious. lowing two letters to sit more closely together. In the digital typefaces used today, the space between letters is controlled by a table of kerning pairs, which specify spaces between different letter combinations. spacing and tracking

letterspacing is the space added between letters which affects the overall 30 units of interletterspacing value of the text. More space slows down the readability of the text. In tradi- “Typography is the art, or tional metal typography spaces were added by using metal spacers whose skill, of designing com- measurements were called an em, an en half the square of the horizontal width of the typeface. munication by means of 10 pt em = 10 pt wide x 10 pt high the printed word.” 10 pt en = 5 pt wide x 10 pt high In digital typesetting spacing is controlled by units—equal vertical divisions -10 units of interletterspacing of the em. “Typography is the art, or skill, of designing communication by means of the printed word.” tracking is a method of equal letterspacing using a unit measurement. Some awkward spacing problems arise with letters such as TA, AW, VO etc. this is adjusted through selective optical letterspacing called kerning. Overall visual balance is achieved through optical letterspacing. poor word spacing “Typography is the art, or skill, of word spacing is important from a justification and legibility standpoint. Word designing communication by spacing effects the overall value and space that the text occupies. ROT: Rule of thumb means of the printed word.” – Too much space inhibits readability of texts. Paul Rand – Sans serif and small x-height type require tighter word spacing. good word spacing – type set center, flushed left or right, uses optimum word spacing. “Typography is the art, or skill, of designing communication by means of the printed word.” Paul Rand type alignments

Flush left/Rag right The text aligns evenly against the left margin. Care should be taken to create an even rag on the right hand side to TYP T maintain good reading and visual flow. Y

P O Flush Right/Rag left O G The text aligns evenly against the right

G R margin. Care should be taken to create an

R AP A even rag on the left hand side to maintain

P HY good reading and visual flow. H Y Poor Vertical Alignment Good Vertical Alignment Justified The text aligns evenly against the left Vertical Alignment and right margin and have all the Letter are generally designed to sit beside one same line length. another on a baseline and not on top of one another. Uppercase can work better if stacked (but the letter I will always cause visual problems). Generally, avoid stacking type (espe- Centered cially lowercase) vertically, instead rotate the The text aligns symmetrically within the orientation of the word/text. right and left margin line length

Appropriate (70 characters) Line length is generally measured in picas and points. The relationship between point size of type and length of line is important in issues of legibility. Anything from 45 to 75 characters per line is considered a good line length for a single column.

Too long Line length is generally measured in picas and points. The relationship between point size of type and length of line is important in issues of legibility. Anything from 45 to 75 characters per line is considered a good line length for a single column.

Too short Line length is generally measured in picas and points. The relationship between point size of type and length of line is important in issues of legibility. Anything from 45 to 75 characters per line is considered a good line length for a single column.

ROI—An ideal line length = twice the length of lower case alphabet being set. line spacing or leading

Line spacing or leading is measured in points or fractions of Line spacing or leading is measured in points or fractions of points and is points. Digital leading is measured from baseline to baseline. measured from baseline to baseline. Line spacing or leading is measured in ROT: Rule of thumb points or fractions of points and is measured from baseline to baseline. – Too much leading can be worse than not enough – Longer line lengths can require more leading (8 point type on 14 point spacing between baselines, – Avoid using “auto” line spacing in digital typesetting. or 6 point leading—8 on 14, or 8/14).

Line spacing or leading is measured in points or fractions of points and is measured from baseline to baseline. Line spacing or leading is measured in points or fractions of points and is measured from baseline to baseline. (8 point type on 10 point spacing between baselines, or 2 point leading—8 on 10, or 8/10).

Line spacing or leading is measured in points or fractions of points and is measured from baseline to baseline. eading is measured in points or fractions of points and is measured from baseline to baseline. (8 point type on 9 point spacing between baselines, or 1 point leading—8 on 9, or 8/9).

Line spacing or leading is measured in points or fractions of points and is measured from baseline to baseline. easured in points or fractions of points and is measured from baseline to baseline. (8 point type on 8 point spacing between baselines, referred to as solid.—8 on 8, or 8/8). on hanging punctuation

“Typography is the art, or skill, of designing communication by means of the printed word.” Paul Rand

Hang punctuation to avoid visual interruption especially on larger text and call-outs. on quotation marks

inch marks "The typographic…

smart quotes “The typographic…

mac key commands : ( “ ) option + [ ( ” ) option + shift + [ ( ‘ ) option + ] ( ’ ) option + shift + ]

Never use the "inch" mark for quotation makes, always select “smart punctuation” on hyphens, em dashes, and en dashes

hyphens are used for hyphenating words or line breaks. Next to zero on mac keyboard. back-to-back

en dashes are used between words indicating a duration, such as hourly times, months or years. use it to replace “to.” It can have a little extra space between it and the letters June – December prior and after but avoid a whole space. ( – ) Option + hyphen on mac keyboard. June – December 3 – 5 years Houston – Salt Lake flight

em dashes are the size of the capital letter M in the typeface and twice as long as the en dash. Used similarly to the colon or parentheses, an abrupt change in thought or when the “Monastic scribes—who were period is too strong and the comma too weak. Equivalent to the double hyphen on the typewriter. It should not have a designers, copyists, and archi- space before or after it, but there are exceptions for design reasons. vists as well—kept many of the (—) Option + shift + hyphen on mac keyboard. older letterforms alive.” on widows and orphans

orphan alters it. Never leave widows and orphans on a page. There are a thousand manner-

A widow is when a paragraph ends and leaves isms in typography that are as seven characters on the last line. impudent and arbitrary as put- An orphan is when the last line of a para- ting port in tumblers of red or graph ends at the top of the next column. green glass! When a goblet has a base that looks too small for security, it does not matter how cleverly it is weighted; you feel nervous lest it should tip over. widow on ellipsis and periods

ellipsis space before and after ellipsis Digital typefaces come with a designed character for the ellipsis According to Quirk and Greenbaum, the (…) option + ; Space after and before this character is optional and based on distinctions are unimportant … for count optical sensibility. Some designers insist on using the three peri- nouns with specific reference to definite ods and with this explore wide and tight spacing between the periods and the text. and indefinite pronouns.

space before and after and use of 3 periods with space with letterspacing According to Quirk and Greenbaum, the distinctions are unimportant . . . for count nouns with specific reference to definite

on space after a period and indefinite pronouns. Always one em space. Not two!

2 spaces Always one em space. Not two!

correct Always one em space. Not two! typographic syntax

In grammar, syntax is the methods in which words are combined to create phrases and sentences. Typographic syntax is the method in which letters, words, lines and columns are arranged to create a unified, exciting and meaningful visual arrangement. Through the use of space (white/ negative) and contrast (size/scale), letters, words, and text can be dynamically arranged to create visual meanings and typographic messages.

space In typographic design the letterform (text) and the space that it occupies are mutually important. Placement and orientation of the letterforms within this space can effect overall visual expression and meaning. Letterforms or text centered or symmetrical within the space is generally considered neutral or static, while placement on a diagonal or asymmetrically can give a sense of movement or expression.

contrast Typographic design depends on contrast to create meaning and expression. Contrast is created in form (letterform variation), weight, size, texture and direction. Contrast in text or typography attracts and encourages reading, and creates visual hierarchy to help clarify meaning and communication. Visual hierarchy is the arrangement of elements from most to least important in relation to the message.

the typographic message | signs The typographic message is read and interpreted verbally, but can also be interpreted audibly and visually. Language is a system of interactive signs (alphabetic symbols) that when grouped, com- municate ideas. Typographic signs/symbols and the space on which they exist can be altered or manipulated to enhance the meaning (semantics) or to achieve more expressive communication. Grids

The grid in typographic design is used to organize text and images into a cohesive and harmonious whole which improves clarity of communication and legibility. Decisions as to the grid selection is based on the content and mood desired.

The Traditional Grid The Margins define the perimeter of the page and thus determines the organization of the text and imagery. A well proportioned margin can enhance reading enormously. The traditional layout has been carefully calculated using the Golden Section or other mathematical proportions for centuries. One formula for a well proportioned tradi- A Traditional grid based on the tional page is 1:2 (sides) and 1.5 : 3 (top and bottom). proportions of the page Columns for the traditional layout generally fall within a one or two column grid. One column is used for flowing text but leaves little flexibility for variation in size and placement; two columns allows for greater flexibility in image and text placement and contrast. The text and images can remain in one column or encompass both. Column width is important in that too short or long line lengths can cause reader fatigue. (see good line length)

The Modern Grid The Modern grid differs from that of the traditional in that the structure of the page layout is based on a modular scales. These modules, constructed of vertical and horizontal lines, can vary in size and shape allowing for even greater flexibility in organiza- A standard 3 column modular grid tion while maintaining harmony and eye movement. Typography Rules of Thumb

The rules given here are time tested but not absolute. As with every rule, to know it, is to understand why and how to break it. from Experimental Typography, Rob Carter

Rule1 Rule 7 Rule 13 For optimum legibility, choose classi- Use text types of book weight. Avoid type- Strive for consistent rhythmic rags. cal, time tested typefaces with a prov- faces appearing too heavy or too light. en track record. Rule 14 Rule 8 Clearly indicate paragraphs, but be careful not Rule 2 Use typefaces of medium width. to upset the integrity and visual consistency of Be mindful not to use too many differ- Avoid typefaces that appear extremely the text. ent typefaces at any one time. wide or narrow in width. Rule 15 Rule 3 Rule 9 Avoid widows and orphans whenever possible. Avoid combining typefaces that are too For text type, use consistent letter and similar in appearance. word spacing to produce an even, Rule 16 uninterrupted texture. Emphasize elements within text with discretion Rule 4 and without disturbing the flow of reading. Text set in all capital letters severely Rule 10 retards reading. Use upper- and lower- Use appropriate line lengths. Lines that Rule 17 case letters for optimum legibility. are too long or too short disrupt the Always maintain the integrity of type. avoid reading process. arbitrarily stretching letters. Rule 5 For text type, use sizes that according Rule 11 Rule 18 to legibility studies prove most read- For text type, use line spacing that easily Always align letters and words on the baseline. able carries the eye from one line to the next. Rule 19 Rule 6 Rule 12 When working with type and color, ensure that Avoid using too many different type For optimum readability, use flush left, sufficient contrast exists between the type and sizes and weights at the same time. ragged right type alignment. the background.