Training Your Eye Typefaces Used on This Page: Eurostile Bold Condensed + Regular Times New Roman

Training your eye Typefaces used on this page: Eurostile Bold Condensed + Regular Times New Roman

"Human Society, the world, man in his entirety is in the alphabet. The alphabet is a source...first comes the house of man and its construction, then the human body, its build and deformities; then justice, music, the church; war, harvest, geometry; the mountain, nomadic life and secluded life, astronomy, toil and rest; the horse and the snake; the hammer and the urn which-- turned over and struck-- makes a bell; trees, river, roads; and finally destiny and God.

That is what the alphabet signifies.” --Victor Hugo, 1802-1885

1 Training your eye Typefaces used on this page: Eurostile Bold Condensed Times New Roman Hoefler Text Regular Zapfino Regular + glyph X "Human Society, the world, man 12-point type is too large. in his entirety is in the alphabet. The alphabet is a source...first comes the house of man and its Metric Kerning. construction, then the human Line length is too short (not enough body, its build and deformities; words on the line) giving uneven then justice, music, the church; spacing and lots of hyphens. war, harvest, geometry; the Quote marks are ditto marks, not mountain, nomadic life and se- quote marks. cluded life, astronomy, toil and Computer ellipsis is to tightly kerned. rest; the horse and the snake; the hammer and the urn which-- Double hyphen instead of em dash is turned over and struck-- makes OK for an email. a bell; trees, river, roads; and fi- Paragraph space is created by nally destiny and God. hitting 2 returns.

2 letter hyphenations. The last That is what the alphabet signi- paragraph is the worst type of widow. fies.” --Victor Hugo, 1802-1885 Hyphen between dates. Small caps are computer generated.

Byline is italic but the comma is roman. Double hyphen. Quote marks incorrect.

No ligatures.

2 Training your eye Typefaces used on this page: Eurostile Bold Condensed + Regular Times New Roman Hoefler Text Regular Zapfino Regular + glyph Frutiger 95 Ultra Black ITC Avant Garde Gothic X ? 12-point type is too large. 10-point is easier to read because "Human Society, the world, man “Hu m a n So c i e t y , the world, man you can see entire phrases, and it in his entirety is in the alphabet. in his entirety is in the alphabet. looks like you know typography. The alphabet is a source...first The alphabet is a source… first comes comes the house of man and its the house of man and its construction, Metric Kerning. Optical Kerning. then the human body, its build and construction, then the human deformities; then justice, music, the Line length is too short (not enough Flush left gives even space between body, its build and deformities; church; war, harvest, geometry; the words on the line) giving uneven the words. then justice, music, the church; mountain, nomadic life and secluded spacing and lots of hyphens. war, harvest, geometry; the life, astronomy, toil and rest; the horse and the snake; the hammer and the Quote marks are ditto marks, not Curly quotes are true quotes. mountain, nomadic life and se- quote marks. urn which—turned over and struck— cluded life, astronomy, toil and makes a bell; trees, river, roads; and Computer ellipsis is to tightly kerned. More air with the ellipsis glyph. rest; the horse and the snake; the finally destiny and God. hammer and the urn which-- “That is what the alphabet signifies.” Double hyphen instead of em dash is The Em dash (used a bit like a big turned over and struck-- makes OK for an email. comma—creates emphasis). 1802–1885 a bell; trees, river, roads; and fi- Paragraph space is created by Space between paragraph nally destiny and God. �Victor Hugo, hitting 2 returns. manually set (in this case 2mm).

2 letter hyphenations. The last Hyphenation eliminated. Always That is what the alphabet signi- paragraph is the worst type of widow. manually hyphenate (or don’t). fies." --Victor Hugo, 1802-1885 Hyphen between dates. En dash should be used for range. Small caps are computer generated. The small caps are true drawn.

Byline is italic but the comma is Comma in same font as name. roman. Ornament used instead of dash. Double hyphen. Quotes use at beginning of each Quote marks incorrect. paragraph, but only closed at the end of the quote.

No ligatures. Ligatures used.

No-break used on line 3.

3 Anatomy of type Typefaces used on this page: Eurostile Bold Condensed Footlight MT Regular Frutiger Roman ITC Avant Garde Gothic

c a p h e i g h t T h e q u i c k b r o w n f o x jumps over the lazy dog.

The height of the capital letters.

4 Anatomy of type Typefaces used on this page: Eurostile Bold Condensed Footlight MT Regular Frutiger Roman ITC Avant Garde Gothic

c a p h e i g h t x-h e i g h t T h e q u i c k b r o w n f o x jumps over the lazy dog.

The x-height of a typeface is the size of the letter x. A lowercase x is the only character which reaches all four corners of the letter space. It is the x-height which makes the font seem large or small when rendered at 10pt. The x-height of fonts varies dramatically from font to font.

5 Anatomy of type Typefaces used on this page: Eurostile Bold Condensed Footlight MT Regular Frutiger Roman ITC Avant Garde Gothic Franklin Gothic Regular, Goudy Oldstyle Regular, Edwardian Script, Hobo, Mrs Eaves Regular & Geneva Regular.

c a p h e i g h t x-h e i g h t T h e q u i c k b r o w n f o x jumps over the lazy dog.

boxing boxing boxing boxing boxing boxing

The point size of a font is measured from the highest point to the lowest point, not by the x-height. All of these fonts are displayed at 50pt—you can clearly see that x-height is the most important factor in the perceived size of a font.

6 Anatomy of type Typefaces used on this page: Eurostile Bold Condensed Footlight MT Regular Frutiger Roman ITC Avant Garde Gothic

c a p h e i g h t x-h e i g h t T h e q u i c k b r o w n f o x jumps over the lazy dog.

b a s e l i n e

The invisible line on which the typeface sits.

7 Anatomy of type Typefaces used on this page: Eurostile Bold Condensed Footlight MT Regular Frutiger Roman ITC Avant Garde Gothic

c a p h e i g h t a s c e n d e r x-h e i g h t T h e q u i c k b r o w n f o x jumps over the lazy dog.

b a s e l i n e d e s c e n d e r

Ascenders are strokes that rise above the x-height. Descenders are strokes that dip below the baseline.

8 Anatomy of type Typefaces used on this page: Eurostile Bold Condensed Footlight MT Regular Frutiger Roman ITC Avant Garde Gothic

c a p h e i g h t a s c e n d e r s t r e s s x-h e i g h t T h e q u i c k b r o w n f o x jumps over the lazy dog.

b a s e l i n e d e s c e n d e r t h i c k a n d t h i n

The angle through the thinnest parts of the curves. The transitions are known as the thick and thin.

9 Anatomy of type Typefaces used on this page: Eurostile Bold Condensed Footlight MT Regular Frutiger Roman ITC Avant Garde Gothic

c a p h e i g h t c o u n t e r a s c e n d e r s t r e s s s t r o k e x-h e i g h t T h e q u i c k b r o w n f o x jumps over the lazy dog.

b a s e l i n e d e s c e n d e r s e r i f t e r m i n a l t h i c k a n d t h i n

The stoke is the main line in the letter. The serif is the tail of the font. The counter is the hole left by the negative space. A terminal is the end of a stroke without a serif.

10 Anatomy of type Typefaces used on this page: Eurostile Bold Condensed Footlight MT Regular Frutiger Roman ITC Avant Garde Gothic b a r a n d c a p h e i g h t c o u n t e r a s c e n d e r s t r e s s s t r o k e h o o k x-h e i g h t T h e q u i c k b r o w n f o x jumps over the lazy dog.

b a s e l i n e d e s c e n d e r s e r i f t e r m i n a l t h i c k a n d t h i n

The bar is the horizontal stroke such as in, A, H, and t. A hook is found in f and r.

11 Anatomy of type Typefaces used on this page: Eurostile Bold Condensed Footlight MT Regular Frutiger Roman ITC Avant Garde Gothic b a r a n d c a p h e i g h t c o u n t e r a s c e n d e r s t r e s s s t r o k e h o o k x-h e i g h t T h e q u i c k b r o w n f o x jumps over the lazy dog.

b a s e l i n e d e s c e n d e r s e r i f t e r m i n a l t h i c k e a r a n d b o w l t h i n a n d l o o p

The g has some special features.

12 Types of faces Typefaces used on this page: Eurostile Bold Condensed + Bold + Regular ITC Avant Garde Gothic

oldstyle modern slab serif sans serif Oldstyle fonts are your classic serifs. After the industrial revolution the Once the industrial revolution really William Caslon removed the serif They developed out of a handwritten world began to change. Baroque, took off a new trade was invented— from a font in 1816 because he tradition that involved the use of a Rococo and oldstyle faces were called advertising. This lead to the hated them. Nobody cared. It wasn’t broad tipped pen held at an angle. named “Oldstyle” and a new era creation of many new fonts. until the Bauhaus movement that it This is what produces the thick and of font design commenced. These became popular and was mimicked. The new style often incorporated the thin lines that create the stress. fonts reflected the fashion of the diagonal stress of oldstyle fonts but The strokes in san serifs have almost day and are much more severe in Many of these fonts are fabulous for retained the horizontal—slab—serif no transition from thick to thin appearance. readability in lengthy body copy. of the moderns (but a little chunkier). (Optima being one of the few Modern faces have serifs but the exceptions to the rule). Oldstyle fonts are not necessarily At the time, the Rosetta stone was serifs are horizontal and thin. Any old—they are still being designed. discovered and the world was San serifs generally have very big stress is straight up and down. interested in all things Egyptian. x-heights so they seem quite large. As a group they are generally much The font foundries discovered they more difficult to read. could sell more fonts if they gave them Egyptian names—so they did. Consequently, these fonts are often called Egyptians. To make matters more confusing, Clarendon is considered the quintessential slab serif, so they are sometimes called Clarendons.

Century Oldstyle Bernard Condensed Clarendon Futura Garamond Onyx Memphis Frutiger Minion Bodoni Century Schoolbook Franklin Gothic Perpetua Bodoni Poster Egyptian 505 Geneva 13 Types of faces Typefaces used on this page: Eurostile Bold Condensed + Bold + Regular ITC Avant Garde Gothic

script blackletter distressed decorative Scrips emulate hand lettering and Blackletters are old Celtic fonts often Welcome to the 1980s and the Decorative fonts are fonts made of are present throughout typographic found in bibles. They are usually quite demolition and reconstruction ballet shoes or Japanese pagodas history. elaborate and are difficult to read. of typefaces. With the advent of or eraser dust—they are just for fun. desktop publishing came a plethora of fringe typeface—designed to jar the senses.

NevisonBickham Casual Script Minstral Edwardian Script Lucida Blackletter 14 The art of readability Typefaces used on this page: Eurostile Bold Condensed + Bold + Regular ITC Avant Garde Gothic Gloucester MT Extra Condensed

Corsiva MT Footlight MT Egyptian 505 Any typeface that calls attention “One pill makes you larger and one pill makes “On e p i l l m a k e s y o u l a r g e r and one pill “On e p i l l makes you larger and one pill to itself will register lower on the makes you small. And the ones that makes you small. And the ones that you small. And the ones that mother gives you mother gives you don’t do anything at all. readability scale. Even the slight mother gives you don’t do anything at don’t do anything at all. Go ask Alice, when Go ask Alice, when she’s ten feet tall. uniqueness of Footlight MT makes it all. Go ask Alice, when she’s ten feet tall. she’s ten feet tall. difficult to read as body copy. “And if you go chasing rabbits and you “And if you go chasing rabbits and you “And if you go chasing rabbits and you know know you’re going to fall, tell ’em a know you’re going to fall, tell ’em a hookah smoking caterpillar has given hookah smoking caterpillar has given you’re going to fall, tell ’em a hookah smoking you the call. Things to avoid: caterpillar has given you the call. you the call. “Recall Alice—when she was just small.” Lots of contrast between thick and “Recall Alice—when she was just small.” “Recall Alice—when she was just small.” thin on the stress. —Jefferson Airplane, 1963 —Jefferson Airplane, 1963 —Jefferson Airplane, 1963 Tall narrow letter forms and short squat forms.

Slanted fonts, as well as italic and oblique forms.

Fancy serifs.

Any extreme features.

Changing the kerning settings from metric to optical will immediately increase readability. But for fonts like these, there is only so much you can do—avoid them for extensive body copy.

15 The art of readability Typefaces used on this page: Eurostile Bold Condensed + Bold + Regular ITC Avant Garde Gothic Gloucester MT Extra Condensed

Garamond 10pt Minion 10pt Century 10pt The best typefaces for body copy “When men on the chessboard get up and “When men on the chessboard get up “When men on the chessboard get up are the oldstyle faces. They were tell you where to go, and you’ve just had and tell you where to go, and you’ve and tell you where to go, and you’ve some kind of mushroom, and your mind made for use in books—so they have just had some kind of mushroom, and just had some kind of mushroom, and been designed specifically for long is moving slow: go ask Alice—I think your mind is moving slow: go ask Alice your mind is moving slow: go ask Alice bodies of text. she’ll know. —I think she’ll know. —I think she’ll know. “When logic and proportion have fallen Note: Century is a slab serif, however, “When logic and proportion have fallen sloppy dead, and the White Knight is “When logic and proportion have fallen it is quite legible. Make sure you give sloppy dead, and the White Knight is talking backwards, and the Red Queen is sloppy dead, and the White Knight is talking backwards, and the Red Queen it plenty of breathing room and it off with her head, just remember what the talking backwards, and the Red Queen is off with her head, just remember may well work for you. dormouse said; “feed your head—feed is off with her head, just remember what what the dormouse said; “feed your your head”. the dormouse said; “feed your head— head—feed your head”. —Jefferson Airplane, 1663 feed your head”. —Jefferson Airplane, 1963

—Jefferson Airplane, 1963

16 Serif vs. sans serif Typefaces used on this page: Eurostile Bold Condensed + Bold + Regular ITC Avant Garde Gothic Nevison Casual

Arno Pro 10pt Arial 10pt Arial 8.8pt On screen you will always find it “They paved paradise and put up a “They paved paradise and put up “They paved paradise and put up a easier to read a sans serif font. This is parking lot, with a pink hotel, a boutique a parking lot, with a pink hotel, a parking lot, with a pink hotel, a boutique because the delicate serifs do not and a swinging hot spot. boutique and a swinging hot spot. and a swinging hot spot. render well at 72dpi. “Don’t it always seem to go, that you don’t “Don’t it always seem to go, that you “Don’t it always seem to go, that you don’t don’t know what you’ve got ’til it’s However, the opposite is true in print. know what you’ve got ’til it’s gone—they know what you’ve got ’til it’s gone—they gone—they paved paradise and put We don’t really understand why a paved paradise and put up a parking lot. paved paradise and put up a parking lot. up a parking lot. serif is easier to read than a san serif “They took all the trees and put them in a “They took all the trees and put them in in a printed environment— but it is. “They took all the trees and put them tree museum, then they charged the people a tree museum, then they charged the There are various theories (such as: in a tree museum, then they charged a dollar and a half just to see ’em. people a dollar and a half just to see ’em. the serifs lead the eye into the next the people a dollar and a half just to letter) but none have been proven. “Don’t it always seem to go, that you don’t see ’em. “Don’t it always seem to go, that you don’t know what you’ve got ’til it’s gone—they “Don’t it always seem to go, that you know what you’ve got ’til it’s gone—they There seems to be some evidence paved paradise and put up a parking lot. don’t know what you’ve got ’til it’s paved paradise and put up a parking lot. that (due to its proliferation) body “Hey farmer, farmer, put away that ddt now. gone—they paved paradise and put copy set in sans serif is becoming “Hey farmer, farmer, put away that ddt now. Give me spots on my apples but leave me up a parking lot. more broadly accepted. However, Give me spots on my apples but leave me the birds and the bees—Please! there are rules for helping to increase “Hey farmer, farmer, put away that d d t the birds and the bees—Please! its legibility: increased leading and “Don’t it always seem to go, that you don’t now. Give me spots on my apples but leave me the birds and the “Don’t it always seem to go, that you don’t shorter line length being the 2 most know what you’ve got ’til it’s gone—they bees—Please! know what you’ve got ’til it’s gone—they important (note the difference paved paradise and put up a parking lot. paved paradise and put up a parking lot. in legibility between the 2 Arial “Late last night, I heard the screen door “Don’t it always seem to go, that you columns). slam and a big yellow taxi come and took don’t know what you’ve got ’til it’s “Late last night, I heard the screen door away my old man. gone—they paved paradise and put slam and a big yellow taxi come and took up a parking lot. away my old man…” “Don’t it always seem to go, that you don’t “Late last night, I heard the screen know what you’ve got ’til it’s gone—they door slam and a big yellow taxi come Joni Mitchell, 1988 paved paradise and put up a parking lot.” and took away my old man…”

Joni Mitchell, 1988 Joni Mitchell, 1988

17 What is wrong with this typography? Typefaces used on this page: Eurostile Bold Condensed + Regular ITC Avant Garde Gothic

This is the a genera piece for Empire Magazine (for Peta). It is a 10 page spread for a special feature on GNs adapted for the big screen.

Why did I get a C?

18 Caps vs. lowercase Typefaces used on this page: Eurostile Bold Condensed + Bold + Regular ITC Avant Garde Gothic Haettenschweiler

Text set in all caps is much more difficult to read. Esta Esta Frutiger “It’s just another bombtrack When you read you don’t really read “It’s just another bombtrack and suckas. “It’s just another bombtrack and suckas. be thinkin’ that and suckas. be thinkin’ that each letter, you assess the shape of Be thinkin’ that they can fade it, but I’m going to drop it at a higher level, they can fade it, but I’m going they can fade it, but I’m going the word and register the meaning ’cause I’m inclined to stoop down, to drop it at a higher level, to drop it at a higher level, from the shape. hand out some beat-downs. Cold ’cause I’m inclined to stoop ‘cause I’m inclined to stoop The only time you actually read a runna train on punk ho’s that think down, hand out some beat- down, hand out some beat- word is when you are unfamiliar with they run the game, but I learned to downs. Cold runna train on downs. Cold runna train on its shape. burn that bridge and delete those who punk ho’s that think they run punk ho’s that think they compete at a level that’s obsolete. the game, but I learned to run the game, but I learned If you use all caps the shape is lost burn that bridge and delete to burn that bridge and and replaced with blocks that trigger “Instead I warm my hands on the those who compete at a level delete those who compete at no meaning in your mind. flames of the flag as I recall our that’s obsolete. a level that’s obsolete. downfall and the business’ that burned “Instead I warm my hands on “Instead I warm my hands us all. See through the news and views the flames of the flag as I on the flames of the flag as that twist reality. Enough—I call the recall our downfall and I recall our downfall and bluff—manifest destiny. the business’ that burned the business’ that burned us “Landlords and power whores, on my us all. See through the news all. See through the news people they took turns. Dispute the and views that twist reality. and views that twist reality. suits I ignite and then watch ’em burn Enough—I call the bluff— Enough—I call the bluff— the thoughts of a militant mind— manifest destiny. manifest destiny. hardline, hardline after hardline.” “Landlords and power “Landlords and power whores, on my people they whores, on my people they Rage Against the Machine, 1993 took turns. Dispute the suits took turns. Dispute the suits I ignite and then watch ’em I ignite and then watch ‘em burn the thoughts of a burn the thoughts of a militant mind—Hardline, militant mind—Hardline, hardline after hardline.” hardline after hardline.”

Rage Against the Machine, 1993 Rage Against the Machine, 1993

19 Letter spacing and word spacing Typefaces used on this page: Eurostile Bold Condensed + Bold + Regular ITC Avant Garde Gothic Kleptocracy Zapfino Regular + glyph

Georgia –10 kern Georgia optical kern Georgia +10 kern

Since we recognise phrases even “Oh l o r d , wont you buy me a mercedes “Oh l o r d , wont you buy me a “Oh l o r d , wont you buy me a better than words, any spacing benz? My friends all drive porsches, mercedes benz? My friends all drive mercedes benz? My friends all anomalies between the letters or the I must make amends—worked hard porsches, I must make amends— drive porsches, I must make words can hinder our ability to read all my lifetime, no help from my worked hard all my lifetime, no help amends—worked hard all my the copy fluidly. friends. So lord, wont you buy me a from my friends. So lord, wont you lifetime, no help from my friends. mercedes benz? buy me a mercedes benz? So lord, wont you buy me a There are no rules for spacing—you mercedes benz? just need to habitually look for “Oh lord, wont you buy me a color tv? “Oh lord, wont you buy me a color tv? spacing issues and to trust your eye Dialing for dollars is trying to find me: Dialing for dollars is trying to find “Oh lord, wont you buy me a color to pick up any problems. I wait for delivery each day until three. me: I wait for delivery each day until tv? Dialing for dollars is trying to So oh lord, wont you buy me a color tv? three. So oh lord, wont you buy me a find me: I wait for delivery each If it looks like the letters are too close color tv? day until three. So oh lord, wont “Oh lord, wont you buy me a night on or far apart, then they are—how do you buy me a color tv? the town? I’m counting on you, lord, “Oh lord, wont you buy me a night on these 3 versions of the same copy please don't let me down. Prove that the town? I’m counting on you, lord, “Oh lord, wont you buy me a night look to you? you love me and buy the next round. please don’t let me down. Prove that on the town? I’m counting on you, Note: Many script faces need to be Oh lord, wont you buy me a night on you love me and buy the next round. lord, please don’t let me down. kerned tighter together because the the town?” Oh lord, wont you buy me a night on Prove that you love me and buy tails often leave spaces between the the town?” the next round. Oh lord, wont you  1970 adjoining letters. For example: with Janis Joplin, buy me a night on the town?”  1970 Victor Hugo’s signature: the i was Janis Joplin,  1970 replaced with a dottless i, the V, i, c, t Janis Joplin, and u, were all kerned individually to close up the gaps.

Remember to kern individual problems—don't just kern all the copy the same way, or you will finish up with more problems than you started with.

20 Victor Hugo Vıctor Hugo Line length and justification Typefaces used on this page: Eurostile Bold Condensed + Bold + Regular ITC Avant Garde Gothic Kleptocracy + glyph

Georgia 10pt

If a line of copy is too long we have “Oh l o r d , wont you buy me a mercedes benz? My friends all drive porsches, I must make amends—worked hard all my lifetime, trouble finding the next line. no help from my friends. So lord, wont you buy me a mercedes benz? Oh lord, wont you buy me a color tv? Dialing for dollars is trying to find me: I wait for delivery each day until three. So oh lord, wont you buy me a color tv? Oh lord, wont you buy me a night on the town? I’m counting on you, lord, please don’t let me down. Prove that you love me and buy the next round. Oh lord, wont you buy me a night on the town?”

 Janis Joplin, 1970

21 Line length and justification Typefaces used on this page: Eurostile Bold Condensed + Bold + Regular ITC Avant Garde Gothic Kleptocracy + glyph

Georgia 10pt

If a line is too long we have trouble “Oh l o r d , wont you buy me a mercedes benz? My friends all drive porsches, I must make amends—worked hard all my lifetime, finding the next line. no help from my friends. So lord, wont you buy me a mercedes benz? Oh lord, wont you buy me a color tv? Dialing for dollars is trying to find me: I wait for delivery each day until three. So oh lord, wont you buy me a color tv? Oh lord, wont you buy me a If it too short in breaks up the phrases night on the town? I’m counting on you, lord, please don’t let me down. Prove that you love me and buy the next round. Oh lord, we recognise. wont you buy me a night on the town?”

 Janis Joplin, 1970

“Oh l o r d , wont you buy me a mercedes benz? My friends all drive porsches, I must make amends—worked hard all my lifetime, no help from my friends. So lord, wont you buy me a mercedes benz? “Oh lord, wont you buy me a color tv? Dialing for dollars is trying to find me: I wait for delivery each day until three. So oh lord, wont you buy me a color tv?”

 Janis Joplin, 1970 22 Line length and justification Typefaces used on this page: Eurostile Bold Condensed + Bold + Regular ITC Avant Garde Gothic Kleptocracy + glyph

Georgia 10pt

 Janis Joplin, 1970

“Oh l o r d , wont “Oh l o r d , wont you buy me a you buy me a mercedes benz? My friends mercedes benz? all drive porsches, I must My friends all make amends—worked drive porsches, hard all my lifetime, no I must make help from my friends. So amends—worked lord, wont you buy me a hard all my mercedes benz? lifetime, no help from my friends. “Oh lord, wont you buy me a So lord, wont color tv? Dialing for dollars you buy me a is trying to find me: I wait mercedes benz? for delivery each day until three. So oh lord, wont you “Oh lord, wont you buy me a color tv? buy me a color tv? Dialing for “Oh lord, wont you buy me a dollars is trying to night on the town?” find me: I wait for delivery each day  Janis Joplin, 1970 until three. So oh lord, wont you buy me a color tv?”

 Janis Joplin, 1970 23 Line length and justification Typefaces used on this page: Eurostile Bold Condensed + Bold + Regular ITC Avant Garde Gothic Kleptocracy + glyph

Georgia 10pt

“Oh l o r d , wont “Oh l o r d , wont you buy me a “Oh l o r d , wont you buy me a you buy me a mercedes benz? My friends mercedes benz? My friends mercedes benz? all drive porsches, I must all drive porsches, I must My friends all make amends—worked make amends—worked drive porsches, hard all my lifetime, no hard all my lifetime, no I must make help from my friends. So help from my friends. So amends—worked lord, wont you buy me a lord, wont you buy me a hard all my mercedes benz? mercedes benz? lifetime, no help from my friends. “Oh lord, wont you buy me a “Oh lord, wont you buy me a So lord, wont color tv? Dialing for dollars color tv? Dialing for dollars you buy me a is trying to find me: I wait is trying to find me: I wait mercedes benz? for delivery each day until for delivery each day until three. So oh lord, wont you three. So oh lord, wont you “Oh lord, wont you buy me a color tv? buy me a color tv? buy me a color tv? Dialing for “Oh lord, wont you buy me a “Oh lord, wont you buy me a dollars is trying to night on the town?” night on the town?” find me: I wait for delivery each day  Janis Joplin, 1970  Janis Joplin, 1970 until three. So oh

lord, wont you buy me a color tv?”

 Janis Joplin, 1970 24 Line length and justification Typefaces used on this page: Eurostile Bold Condensed + Bold + Regular ITC Avant Garde Gothic Kleptocracy + glyph

Georgia 10pt

There are a couple of ways to “Oh l o r d , wont “Oh l o r d , wont you buy me a “Oh l o r d , wont you buy me a “Oh l o r d , wont you buy me a mercedes determine how wide your columns you buy me a mercedes benz? My friends mercedes benz? My friends benz? My friends all drive porsches, I should be: mercedes benz? all drive porsches, I must all drive porsches, I must must make amends—worked hard all No more than 10 words or no more My friends all make amends—worked make amends—worked my lifetime, no help from my friends. drive porsches, hard all my lifetime, no hard all my lifetime, no than 65 characters (2.5 alphabets). “So lord, wont you buy me a mercedes I must make help from my friends. So help from my friends. So benz? Oh lord, wont you buy me a color No less than 4 words (average). amends—worked lord, wont you buy me a lord, wont you buy me a tv? Dialing for dollars is trying to find If you intend fully justifying your text hard all my mercedes benz? mercedes benz? lifetime, no help me: I wait for delivery each day until then err on the longer side. from my friends. “Oh lord, wont you buy me a “Oh lord, wont you buy me a three. So oh lord, wont you buy me a Shorten the line length if the So lord, wont color tv? Dialing for dollars color tv? Dialing for dollars color tv? is trying to find me: I wait is trying to find me: I wait typeface has a large x-height or a you buy me a “Oh lord, wont you buy me a night on the for delivery each day until for delivery each day until very small one. mercedes benz? town? I’m counting on you, lord, please three. So oh lord, wont you three. So oh lord, wont you “Oh lord, wont you don’t let me down. Prove that you love If you are using reverse type (white buy me a color tv? buy me a color tv? on black) make the line a little buy me a color me and buy the next round. Oh lord, tv? Dialing for shorter than 65 characters. “Oh lord, wont you buy me a “Oh lord, wont you buy me a wont you buy me a night on the town?” dollars is trying to night on the town?” night on the town?” Shorten the line length if the copy is find me: I wait for  Janis Joplin, 1970 difficult to read for any reason. delivery each day  Janis Joplin, 1970  Janis Joplin, 1970 until three. So oh

Women do not like reading justified lord, wont you buy text—men don’t seem to mind. me a color tv?” If it looks wrong—it is wrong.  Janis Joplin, 1970 25 Line length, justification and leading Typefaces used on this page: Eurostile Bold Condensed + Bold + Regular ITC Avant Garde Gothic Kleptocracy + glyph

Georgia Do these look better? “Oh l o r d , wont you buy me a mercedes benz? My friends all drive porsches, I must make amends—worked hard By increasing the leading and all my lifetime, no help from my friends. So lord, wont you buy me a mercedes benz? Oh lord, wont you buy me a reducing (or increasing) the font size the readability is improved. color tv? Dialing for dollars is trying to find me: I wait for delivery each day until three. So oh lord, wont you buy me a color tv? Oh lord, wont you buy me a night on the town? I’m counting on you, lord, please don’t let me down. Traditionally, an average leading for body copy is set at around 20% more Prove that you love me and buy the next round. Oh lord, wont you buy me a night on the town?” than your font size. So, if your font is  Janis Joplin, 1970 10pt then your leading would be 12pt. “Oh l o r d , wont you buy “Oh l o r d , wont you buy me a “Oh l o r d , wont you buy me a “Oh l o r d , wont you buy me a mercedes me a mercedes benz? mercedes benz? My friends mercedes benz? My friends all benz? My friends all drive porsches, I My friends all drive all drive porsches, I must drive porsches, I must make must make amends—worked hard all my porsches, I must make make amends—worked hard amends—worked hard all lifetime, no help from my friends. amends—worked hard all my lifetime, no help from my lifetime, no help from my all my lifetime, no help my friends. friends. “So lord, wont you buy me a mercedes from my friends. So “So lord, wont you buy me a benz? Oh lord, wont you buy me a color lord, wont you buy me “So lord, wont you buy me a mercedes benz? Oh lord, wont tv? Dialing for dollars is trying to find me: a mercedes benz? mercedes benz? Oh lord, wont you buy me a color tv? Dialing you buy me a color tv? Dialing I wait for delivery each day until three. So “Oh lord, wont you buy for dollars is trying to find me: I for dollars is trying to find me: oh lord, wont you buy me a color tv? me a color tv? Dialing wait for delivery each day until I wait for delivery each day until for dollars is trying three. So oh lord, wont you buy “Oh lord, wont you buy me a night on the three. So oh lord, wont you buy to find me: I wait for me a color tv? me a color tv? town? I’m counting on you, lord, please delivery each day until “Oh lord, wont you buy me a don’t let me down. Prove that you love me three. So oh lord, wont “Oh lord, wont you buy me a night on the town? I’m counting and buy the next round. Oh lord, wont you you buy me a color tv? night on the town? I’m counting on you, lord, please don’t let me buy me a night on the town?” Oh lord won’t you…” on you, lord, please don’t let me down. Prove that you love me down. Prove that you love me  1970  Janis Joplin, and buy the next round. Oh lord, Janis Joplin, 1970 wont you buy me a night on and buy the next round. Oh lord, the town?” wont you buy me a night on the town?”  Janis Joplin, 1970  Janis Joplin, 1970

26 Large & small x-height Typefaces used on this page: Eurostile Bold Condensed + Bold + Regular ITC Avant Garde Gothic Zapfino Regular + glyph

Antique Olive Bernhard Mod Mrs Eaves

An exceptionally large x height “The black, black widow “Th e b l a c k , black widow is sittin’ in the “Th e b l a c k , black widow is sittin’ in decreases legibility. Some faces is sittin’ in the middle of middle of the web, it’s the fly she seeks. the middle of the web, it’s the fly she have such large x-heights that it is the web, it’s the fly she You may be her lover but you never will seeks. You may be her lover but you hard to tell an ‘n’ from an ‘h’—such recover, ‘cause she ain’t had a bite for never will recover, ’cause she ain’t as Antique Olive. seeks. You may be her lover but you never will recover, weeks. You think you’re the same, ’cause had a bite for weeks. You think you’re And very small x-heights also you got the same name, but the widow the same, ‘cause you got the same ’cause she ain’t had a bite decrease legibility. The body of the has a mobile home. Remember what I name, but the widow has a mobile for weeks. You think you’re character is disproportionate to the told you, she got eight arms to hold you, home. Remember what I told you, the same, ‘cause you got caps and ascenders, and our eyes and she’s never gonna let you roam. she got eight arms to hold you, and find this distracting. The letters also the same name, but the she’s never gonna let you roam. appear very small. Just live they do in widow has a mobile home. “She’ll tuck you into bed, truck on Bernhard Modern. Remember what I told you, your head, then she’ll wrap you as a “She’ll tuck you into bed, truck on midnight snack. your head, then she’ll wrap you as a Then there are fonts that seem to she got eight arms to hold midnight snack. have mixed sized ascenders and you, and she’s never gonna “So if you see a spider, don’t you sidle descenders, like Mrs. Eaves. See how let you roam. up beside her—why’d you think the “So if you see a spider, don’t you sidle tall the ‘l’ is compared to the ‘t’ and widow’s wearin’ black—Jack?” up beside her—why’d you think the how short the x-height is on the ‘y’ “She’ll tuck you into bed, widow’s wearin’ black—Jack?” and ‘u’—all these things serve to truck on your head, then 1976 decrease readability. 1976 she’ll wrap you as a �The Oreoes, midnight snack. �The Oreoes, “So if you see a spider, don’t you sidle up beside her— why’d you think the widow’s wearin’ black—Jack?”

1976

�The Oreoes,

27 Line spacing (aka. leading) Typefaces used on this page: Eurostile Bold Condensed + Bold + Regular ITC Avant Garde Gothic

Colonna Gill Sans Light Marker Felt Please note: I do not endorse using “Wooden Jesus where are you from, “Wo o d e n Je s u s where are you from, “Wo o d e n Je s u s where are you from, illegible typefaces for body copy, Korea or Canada or maybe Taiwan? Korea or Canada or maybe Taiwan? Korea or Canada or maybe Taiwan? but if you must (for reasons beyond I didn't know it was the holy land but your control), these are the ways you I didn't know it was the holy land I didn't know it was the holy land but I believed from the minute the I believed from the minute the check can increase its legibility. but I believed from the minute the check left my hand, and I pray— left my hand, and I pray—can I be First play with the point size and then saved? I spent all my money on a future check left my hand, and I pray— can I be saved? I spent all my money with the leading, using the guidelines grave. Wooden jesus I’ll cut you in on on a future grave. Wooden jesus I’ll can I be saved? I spent all my money on the previous pages. twenty percent of my future sin. cut you in on twenty percent of my on a future grave. Wooden jesus I’ll Remember, using default leading future sin. “Porcelain Mary her majesties pure, cut you in on twenty percent of my (under any circumstances) will make looking for virgin territory. Coat you look like an amateur. future sin. “Porcelain Mary her majesties pure, hanger halos don’t come cheap, from looking for virgin territory. Coat television shepherds with living room “Porcelain Mary her majesties pure, hanger halos don’t come cheap, sheep, and I pray—can I be saved? looking for virgin territory. Coat from television shepherds with I spent all my money on a future grave. hanger halos don’t come cheap from living room sheep, and I pray—can Wooden jesus I’ll cut you in on twenty I be saved? I spent all my money percent of my future sin.” television shepherds with living room sheep, and I pray—can I be on a future grave. Wooden jesus I’ll Ch r i s Co r n e l l , 1990 cut you in on twenty percent of my saved? I spent all my money on a future sin.” future grave. Wooden jesus I’ll cut

Ch r i s Co r n e l l , 1990 you in on twenty percent of my future sin.”

Ch r i s Co r n e l l , 1990

28 Reverse type, light-weights & heavy-weights Typefaces used on this page: Eurostile Bold Condensed + Bold + Regular ITC Avant Garde Gothic Cooper Black & Eccentric, American Typewriter Regular + Bold

light & heavy positive negative

Ultra bold and ultra lightweight fonts “Th e l i tt l e c o n v e r s a t i o n “Th e l i tt l e c o n v e r s a t i o n is over very soon: “Th e l i tt l e c o n v e r s a t i o n is over very are difficult to read even in small is over very soon: and I and I watch in admiration, from my amounts as body. soon: and I watch in admiration, watch in admiration, from corner of the room. from my corner of the room. Positive text is always easier to read my corner of the room. “They shine on you with starry eyes and in print when compared to the same “They shine on you with starry eyes they rain a friendly storm. Like kids font rendered in the negative in print. “They shine on you with and they rain a friendly storm. Like around a christmas tree and then you The constraints of print mean that the starry eyes and they rain a kids around a christmas tree and smile all nice and warm. ink bleeds into the white space, via friendly storm. Like kids then you smile all nice and warm. to pores in the paper. This makes the around a christmas tree “The little conversations—if I tried my very “The little conversations—if I tried my font feel lighter than it actually is. If and then you smile all nice best—you know I never could say anything you are using reverse type, always very best—you know I never could and warm. in twenty words or less. Somewhere, increase the font weight (or choose say anything in twenty words or less. sometime, down the line, someday I may a font with a heavy stroke or without Somewhere, sometime, down the line, “The little conversations—if I tried my very confess, and tell you all—that’s all. delicate serifs). best—you know I never could say anything someday I may confess, and tell you “The little conversations, on me are very in twenty words or less. Somewhere, all—that’s all. rough. They leave me all in pieces. You sometime, down the line, someday I may “The little conversations, on me are know there’s never time enough. Like very rough. They leave me all in confess, and tell you all—that’s all. a book with missing pages—a story pieces. You know there’s never time “The little conversations, on me are very —incomplete. It’s like a painting left enough. Like a book with missing rough. They leave me all in pieces. You know unfinished, it feels like not enough to pages—a story —incomplete. It’s like a eat—starvin’. there’s never time enough. Like a book with painting left unfinished, it feels like missing pages—a story —incomplete. It's These little conversations, well for me not enough to eat—starvin’. like a painting left unfinished, it feels like they’ll never do. Now what am I supposed These little conversations, well not enough to eat—starvin'.” to do with broken sentences of you? I’ll for me they’ll never do. Now what stay in my corner `cause that’s all that I Co n c r e t e Bl o n d e , 1982 am I supposed to do with broken can do, and let the others speak for me. sentences of you? Little conversations, are we.” —Concrete Blonde, 1982 —Concrete Blonde, 1982

29 What makes type legible? Typefaces used on this page: Eurostile Bold Condensed + Bold + Regular ITC Avant Garde Gothic, Courier & Gill Sans Light Hobo, Caflisch Script, Interstate Light, Kenyan Coffee, Geneva, Helvetica Bold, Seraphim, Bernhard Modern & Blue Goblet

monospace title case which is best? Monospaced fonts, such as Courier, “So, so you think you can “So, So You Think You Can Tell Heaven create inconstant letter spaces, tell Heaven from Hell—blue From Hell—Blue Skies From Pain. Can which are less legible because skies from pain. Can you You Tell a Green Field From a Cold your eyes have to keep adjusting to tell a green field from a Steel Rail? A Smile From a veil? Do You the different letter spacing. Some cold steel rail? A smile Think You Can Tell? typefaces are poorly spaced, which from a veil? Do you think creates the same problem. you can tell? “And Did They Get You to Trade Your Heroes for Ghosts? Hot Ashes For Title case makes type less legible “And did they get you to Trees? Hot Air For a Cool Breeze? and less readable (some argue, even trade your heroes for in headings). Your eyes and brain are ghosts? Hot ashes for trees? Cold Comfort For Change? And Did less accustomed to it than lowercase. Hot air for a cool breeze? You Exchange a Walk on Part in the Cold comfort for change? And War For a Lead Role in a Cage? did you exchange a walk on “How I Wish…How I Wish You Were part in the war for a lead Here. We’re Just Two Lost Souls role in a cage? Swimming in a Fish Bowl, Year After “How I wish…how I wish you Year—Running Over the Same Old were here. We’re just two Ground—What Have You Found? lost souls swimming in a The Same Old Fears—Wish You fish bowl, year after year— Were Here.” running over the same old ground—what have you found? Pink Floyd, 1975 The same old fears—wish you were here.”

Pink Floyd, 1975

30 “To quote or not to quote” Typefaces used on this page: Eurostile Bold Condensed + Bold + Regular ITC Avant Garde Gothic Helvetica, Adobe Jensen, Interstate Bold & Constantina

quote marks prime marks ditto marks Let’s make it clear—if you Ditto marks look exactly the same as “These are quote marks.” Simon is not 5’6”—he is 5'6". confuse quote, prime and ditto These are quote marks for sans double prime marks: marks—professionals in the design serif fonts. This type of quote is Remember: foot = ' & inches = " There is no excuse for this mistake! community will know that you don’t known as a curly quote. know what you are doing. “These are quote marks.” " These are also curly quotes—the vast majority serif fonts employ " curly style quotes (with some very rare exceptions). " “These are quote marks.” But they are known as oblique quotes rather than curly quotes. This is what the sans serif quote marks look like (see the angle).

"These are not quote marks." They are double prime marks (they are straight up and down) and below we have an example of single prime marks: 'Don’t make this mistake'.

31 Hang that punctuation Typefaces used on this page: Eurostile Bold Condensed + Bold + Regular ITC Avant Garde Gothic Abadi Condensed Light Eccentric Std unhung left hung left unhung right hung right “I don’t mind “I don’t mind “I don’t mind “I don’t mind stealing bread stealing bread stealing bread stealing bread from the mouths from the mouths from the mouths from the mouths of decadents. of decadents. of decadents. of decadents. But I can’t feed But I can’t feed But I can’t feed But I can’t feed on the powerless on the powerless on the powerless on the powerless when my cup’s when my cup’s when my cup’s when my cup’s already overfilled… already overfilled already overfilled… already overfilled… I’m goin’ hungry.” I’m goin’ hungry.” I’m goin’ hungry.” I’m goin’ hungry.”

temple of the dog (1990)

32 Hung and aligned Typefaces used on this page: Eurostile Bold Condensed + Bold + Regular ITC Avant Garde Gothic Abadi Condensed Light Eccentric Std unhung left hung left unhung right hung right “I don’t mind “I don’t mind “I don’t mind “I don’t mind stealing bread stealing bread stealing bread stealing bread from the mouths from the mouths from the mouths from the mouths of decadents. of decadents. of decadents. of decadents. But I can’t feed But I can’t feed But I can’t feed But I can’t feed on the powerless on the powerless on the powerless on the powerless when my cup’s when my cup’s when my cup’s when my cup’s already overfilled… already overfilled already overfilled… already overfilled… I’m goin’ hungry.” I’m goin’ hungry.” I’m goin’ hungry.” I’m goin’ hungry.”

temple of the dog (1990)

33 Green grocer’s punctuation Typefaces used on this page: Eurostile Bold Condensed + Bold + Regular ITC Avant Garde Gothic Calisto MT apostrophes em dashes en dashes hyphens An apostrophe does not mean: here Text with in parentheses is like The most common use of an en dash The hyphen is also important. it is used comes an ‘s’. Apostrophes are used whispering; text within commas is just is to indicate a duration (or range). when you conjunct an adjective. when an abbreviation is used (such a statement; text within em dashes is • 9–5, • blue-green as it is = it’s) or to signify ownership more emphatic. (the dog’s bowl). However, in modern • September–December • part-time Use em dashes to draw attention to language, the apostrophe has been a point in the middle of a sentence— • New York–London • second-place dropped from its, hers and his (the like this—the em dash separates the dog looked into its empty bowl). • post–Vietnam • first- and second-place thought from the rest of the sentence, (first-place and second-place) When the last letter of the word is an and thus, helps to avoid confusing • over–sixty-five ‘s’ the apostrophe is placed after the the reader. ‘s’ (Jodie Richards’ dog). Or you can use them to mark an Don’t embarrass yourself by using the abrupt change in a sentence—how green grocer’s apostrophe. does this look now?

One of the most common apostrophic mistakes is made with the contraction of ‘and’. For example in peaches ‘n’ cream—this is a paraphrase not an abbreviation. Peaches ’n’ cream is correct, note that they are both apostrophes and not single quote marks.

The other common mistake is in the abbreviation of years for example, it is not 1940’s—it is 1940s (there is no abbreviation here). However, the sentence, “in the ’40s is was common…”, is abbreviated and the 19 should be replaced with an apostrophe.

34 Styling type Typefaces used on this page: Eurostile Bold Condensed + Bold + Regular ITC Avant Garde Gothic Lucida Bright

initial caps ellipses baseline shift typestyle AM WOMAN—hear me roar—in Ellipsis are used to indicate that Baseline shift is used when you want Underline: numbers too big to ignore and text has been omitted (usually from to raise or lower text. Do not ever. Death to those who I know too much to go back original or quoted material). Do not underline. Underlining does not draw ‘‘ and pretend. use 3 full stops as an ellipses (they will your attention to text—it makes it I kern too close), use the ellipses glyph. difficult to read. By all means draw a "’Cause I’ve heard it all before and I’ve (9959 5333) line any time you like but don’t use You do not leave a space after an been down there on the floor—no one’s the underline function. ellipsis unless it is followed by… . ever gonna keep me down again. ( ) Bold and italic: “Oh yes, I am wise, but it’s wisdom born 9959 5333 Remember, if you choose to use bold of pain. Yes, I’ve paid the price, but look or Italic (or both) any punctuation how much I gained: if I have to, I can do which sits directly next to it must have anything. I am strong. I am invincible. the same type style.

“I am woman.” However, there is one exception to (FAT CAT) the rule (it looks like this)—If you use 1972 parenthesis they should both be formatted the same way. Helen Reddy, (FAT CAT)

default TopsyTurvy

with baseline shift TopsyTurvy

35 What is an expert set? Typefaces used on this page: Eurostile Bold Condensed + Bold + Regular ITC Avant Garde Gothic Calisto MT Cambria, Century Old Style. Eurostyle Condensed & Goudy Oldstyle small caps In many fonts the small caps setting is a software generated re-rending of the caps. This creates problems with proportion (they often look too fine against the caps). However, in expert sets these figures are completely redrawn, and reproportioned, to make them sit beautifully alongside either caps or lower case.

So, where should you use small caps?

If you set acronyms in small caps, they are more subtle:

The job is from 9am–5pm. The job is from 9a m –5p m . (f a k e ) The job is from 9am–5pm. The job is from 9 –5

I work for the fbami. pm. (true) I work for the f b i . (f a k e )

The abc are after me for an interview.

The a b c are after me for an interview. (fake)

The ato are after me for tax evasion.

The a t o are after me for tax evasion. (f a k e )

Th e r e Is No Re s t Fo r Th e Wi c k e d (f a k e ) There Is No Rest For The Wicked (true)

36 What is an expert set? Typefaces used on this page: Eurostile Bold Condensed + Bold + Regular ITC Avant Garde Gothic Calisto MT Cambria, Century Old Style. Eurostyle Condensed, Goudy Oldstyle, Adobe Jensen, Adobe Caslon Pro & Courier small caps oldstyle figures In many fonts the small caps setting Regular numbers appear too large is a software generated re-rending of when they are set with body text the caps. This creates problems with because they sit on the baseline and proportion (they often look too fine are the same height as a Capital. against the caps). However, in expert Expert sets include oldstyle figures. sets these figures are completely redrawn, and reproportioned, to make them sit beautifully alongside either caps or lower case.

So, where should you use small caps?

If you set acronyms in small caps, Default: they are more subtle: Who can I turn to: 8675-309. The job is from 9am–5pm. The job is from 9a m –5p m . (f a k e ) Proportional Oldstyle: The job is from 9am–5pm. Who can I turn to: 8675-309. The job is from 9 –5 Tabular Lining: I work for the fbami. pm. (true) I work for the f b i . (f a k e ) Who can I turn to: 8675-309. The abc are after me for an interview.

The a b c are after me for an interview. (fake) Proportional Lining: The ato are after me for tax evasion. Who can I turn to: 8675-309. The a t o are after me for tax evasion. (f a k e ) Monospaced: Th e r e Is No Re s t Fo r Th e Wi c k e d (f a k e ) There Is No Rest For The Wicked (true) Who can I turn to: 8675-309.

37 What is an expert set? Typefaces used on this page: Eurostile Bold Condensed + Bold + Regular ITC Avant Garde Gothic Calisto MT Cambria, Century Old Style. Eurostile Condensed, Goudy Oldstyle, Adobe Jensen, Adobe Caslon Pro, Courier, Garamond & Mrs Eaves small caps oldstyle figures ligatures In many fonts the small caps setting Regular numbers appear too large Ligatures were created to solve is a software generated re-rending of when they are set with body text common typographic problems. the caps. This creates problems with because they sit on the baseline and The most common problem is with proportion (they often look too fine are the same height as a Capital. the hook on the ‘f’. You can set against the caps). However, in expert Expert sets include oldstyle figures. ligatures to default in InDesign but sets these figures are completely you will only get basic ligatures. redrawn, and reproportioned, to However, in a comprehensive font, make them sit beautifully alongside ligatures can go way beyond this. either caps or lower case.

So, where should you use small caps? If you set acronyms in small caps, Default: fickle flame they are more subtle: Who can I turn to: 8675-309. The job is from 9am–5pm. fickle flame The job is from 9a m –5p m . (f a k e ) Proportional Oldstyle: q w e r t y u i The job is from 9am–5pm. Who can I turn to: 8675-309. o p a s d f g h j The job is from 9 –5 Tabular Lining: k l z x c v b n I work for the fbami. pm. (true) I work for the f b i . (f a k e ) Who can I turn to: 8675-309. m Í ß æ 1 2 3 4 The abc are after me for an interview. 5 6 7 8 9 ` @ The a b c are after me for an interview. (fake) Proportional Lining: A B C D E F The ato are after me for tax evasion. Who can I turn to: 8675-309. G H I J K L M The a t o are after me for tax evasion. (f a k e ) Monospaced: Th e r e Is No Re s t Fo r Th e Wi c k e d (f a k e ) N O P Q R S T There Is No Rest For The Wicked (true) Who can I turn to: 8675-309. U V W X Y Z

38 What is an expert set? Typefaces used on this page: Eurostile Bold Condensed + Bold + Regular ITC Avant Garde Gothic Calisto MT Cambria, Century Old Style. Eurostile Condensed, Goudy Oldstyle, Adobe Jensen, Adobe Caslon Pro, Courier, Garamond & Mrs Eaves small caps oldstyle figures ligatures swashes In many fonts the small caps setting Regular numbers appear too large Ligatures were created to solve The more elaborate swashes can is a software generated re-rending of when they are set with body text common typographic problems. really help to create a style or a the caps. This creates problems with because they sit on the baseline and The most common problem is with mood, but be careful—more is less. proportion (they often look too fine are the same height as a Capital. the hook on the ‘f’. You can set against the caps). However, in expert Expert sets include oldstyle figures. ligatures to default in InDesign but sets these figures are completely you will only get basic ligatures. redrawn, and reproportioned, to However, in a comprehensive font, make them sit beautifully alongside ligatures can go way beyond this. either caps or lower case. Jenny, Jenny, who can I turn to: So, where should you use small caps? 8675-309 If you set acronyms in small caps, Default: fickle flame they are more subtle: enny, JeNNy, Who can I turn to: 8675-309. fickle flame who can I The job is from 9am–5pm. turn to: The job is from 9a m –5p m . (f a k e ) Proportional Oldstyle: q w e r t y u i s8675-309 The job is from 9am–5pm. Who can I turn to: 8675-309. o p a s d f g h j j The job is from 9 –5 Tabular Lining: k l z x c v b n I work for the fbami. pm. (true) Jenny, Jenny, I work for the f b i . (f a k e ) Who can I turn to: 8675-309. m Í ß æ 1 2 3 4 The abc are after me for an interview. 5 6 7 8 9 ` @ who can I turn to:8675-309 The a b c are after me for an interview. (fake) Proportional Lining: A B C D E F The ato are after me for tax evasion. Who can I turn to: 8675-309. G H I J K L M The a t o are after me for tax evasion. (f a k e ) Monospaced: N O P Q R S T Th e r e Is No Re s t Fo r Th e Wi c k e d (f a k e ) There Is No Rest For The Wicked (true) Who can I turn to: 8675-309. U V W X Y Z Jenny, Jenny,

who can I turn to: 8675-309 39 Condensed and extended type Typefaces used on this page: Eurostile Bold Condensed + Bold + Regular ITC Avant Garde Gothic + Demi Lithos Pro + Arno Pro squish & stretch true-drawn display type body type By using the squish button you Some typefaces come with Some typefaces come with a When you set type in a large format can condense any text. However, condensed and/or expanded display version. The display type you will often find that the space squishing changes the proportions versions—they are designed to is designed to be rendered large. between the letters is far too large. of your typeface. This typeface has work together. The font used in Many open type faces take point size The larger the type the more obvious no thick and thin but if I apply a lot of the headings for this document into account in their algorithms and the bad spacing becomes. So you squish to it the proportions become in Eurostile. it comes with various reduce the letter spacing at large will need to apply considerable quite distorted. faces, which are true drawn and point sizes. This can make life much manual kerning to the type. work beautifully together: Condensed, easier for designers. Now this doesn’t mean that you Condensed bold, oblique, medium, should never use squish or stretch This is Arno Pro Bold and below is demi, demi oblique, bold, bold (even though it is regarded by some Arno Pro Bold Display, they are both oblique, extended and bold as a no-no), just remember to be set to optical kern with no manual extended. conscious of the limitations and be adjustment. Look at the space certain about what you are doing. Can you see how well the condensed between the ‘a’ and the ‘m’. Dream on heading sits with the, bold subs and Also, an you see how the thick and how the proportions have been dreamer— thin varies between the two renditions maintained in the condenced type? of the font? life gets in Dream on your way. dreamer— Dream on Dream on dreamer— dreamer— Dream on life gets in dreamer— life gets in Dream on life gets in your way. your way. dreamer— your way. 40 Kern, kern and kern again Typefaces used on this page: Eurostile Bold Condensed + Bold + Regular ITC Avant Garde Gothic Bell Gothic Black

kerning tradition letter spacing kerning pairs Kerning is reducing or expanding Until the 1970s all type was set in Kerning is letter spacing and it can Most professional quality fonts have the space between your letters. metal and pressed onto paper. Each vary markedly between fonts. As kerning pairs built into them. That is, The purpose of kerning is to create letter was cast in a block of steel, set we discussed in readability section, the designers create the fonts with visually consistent space between in place and fastened on a board. kerning can seriously affect the certain spacing between certain your letters. accessibility of text. pairs of letters. For example: Aw, Ta, Each piece of metal occupied a Ve and wa, just to name a few. There are various different types of certain amount of space that could If the text is kerned too loosely kerning: pair kerning, auto/optical only be adjusted by carving away we will struggle to read it. InDesign automatically takes kerning, manual kerning and finally part of the metal. When you look at advantage of these algorithms, if Equally if it kerned too tightly readability is tracking or range kerning. designs that predate 1970, one of the they are present, without you having decreased. things that gives them away (as old) to switch them on. is the letter spacing (see below left). E ven u neven letter s pacing c an Some fonts have thousands of mess w i th o ur heads. kerning pairs and some only have Remember, expert kerning is one of a few. But is not the number of the skills that separates the desktop kerning pairs that matters it is the publisher from the designer. quality of them. Kerning pairs are often the weak point in an inexpertly designed font, try the optical kerning setting before you start manually kerning to see if the spacing improves. If it doesn’t you will have to manually kern the pairs.

41 Kern, kern and kern again Typefaces used on this page: Eurostile Bold Condensed + Bold + Regular ITC Avant Garde Gothic Bell Gothic Black metric kerning optical kerning tracking manual kerning With the advent of the lithographic Often enough you will find that the Sometimes, particularly with When you set type in a large format press (which we still use today) font designer’s work is less than headings, you will find that the letter you will often find that the space typesetting became much more perfect and that the metric letter spacing is too loose whether you between the letters is far too large. flexible and the space between the spacing is a little off. InDesign has a choose metric or optical kerning. The larger the type the more obvious letters can now be adjusted. check box for optical kerning— Under these circumstances you may the bad spacing becomes. So you if you have any trouble with your choose to range kern or track. will need to apply considerable It has taken quite a few decades for letter spacing with a font, turn on the manual kerning to the type even if type designers to really develop the Range kerning is when you apply the optical kerning. You will probably find you set it to optical kerning. sophisticated kerning algorithms that same amount of kerning a group of a remarkable improvement in the we see in present day fonts—to not letters or a group of words. To do this I think the ‘A’ and ‘w’ need to be readability of your text and that will exploit them or use them expertly is a you use tracking rather than kerning. kerned closer here, so I have kerned save you many hours of work. crime, which attracts much ‘looking (If you select a body of text and try them manually to -80. I also feel down the nose’ by those who know By checking this box you are to adjust the kerning you will discover the next ‘a’ needs to be pulled in and love well crafted typography. asking InDesign to take over the that the kerning values become toward the ‘w’, so I have given them kerning. You are saying, ‘ignore inactive or greyed out.) a setting of 0. These algorithms take into account the typographers algorithms and the letter sitting along side each In this case I have decided that the replace them with your own. letter as well as the point size of the tracking on Await could do with type when assessing all aspects of I often find that body copy flows being tightened up a little— so I letter spacing. Metric kerning can better with optical kerning on, but have applied -25 tracking to the be flawless in a beautifully designed each font has its own algorithm and entire word. font. You may still need to manually should be tested. Conversely, I often adjust some of you headings, but for find my headings and sub-heads the most part your body copy with have better kerning if the are set flow effortlessly. to metric—again test it both ways before you start manually adjusting. Await Await Await Await 42 Un-average leading Typefaces used on this page: Eurostile Bold Condensed + Bold + Regular ITC Avant Garde Gothic Regular + Bold + Bold Oblique John Handy

headlines caps effect Large x-heights: increase leading Although 20% more than your type This is especially true of all-caps— Sometimes the manipulation of size is considered desirable in body where the leading needs to be leading can be used as an effect. Small x-heights: Decrease leading copy, when you start working with seriously reduced or the lines of If you are going to do it—then really Tall ascenders: Decrease leading. large point sizes you may find the text can look like they do not even do it. Because of the lofty ascenders the 20% rule less than perfect and that belong together. copy will feel like it has more room the leading needs to be reduced. around it. Reverse type: Increase the point size and increase the leading a little bit. Long lines: If you must use long lines and she broke add some leading to help the reader David played and find the next line. I heard there was your throne Wide letter spacing: If you are it pleased the lord working with a font that has wide a secret chord… letter spacing, add a little bit of and leading—the extra whitespace helps to make the copy feel balanced. I heard there was a secret chord… David played and she it pleased the lord cut David played and your it pleased the lord haır 43 Paragraph spacing Typefaces used on this page: Eurostile Bold Condensed + Bold + Regular ITC Avant Garde Gothic Regular Tahoma

indent space between subs & heads A paragraph is a group of sentences An indent should be roughly the size Never leave a full return space The space between your heads and that belong together. A paragraph of and em dash at the point size between paragraphs—the large the copy it relates to should be less always has something that indicates you are using. Never indent the first space breaks the visual link between than the spaces between it and the that it is distinct from both the next paragraph. The strong straight line the paragraphs, making them look copy it does not relate to. and the last group of sentences. will help to link it to any headings you like they are unrelated. may have above. about par2 (2above 0below) You can indent your paragraphs or Wish me well, say goodbye. I’ll never See how this copy is close to the you can use spacing in between tell, I saw you cry. Understand, you’re heading above it. This make it look them, but never (ever) do both. Wish me well, say goodbye. I’ll never not to blame, it’s just that the wind, the like it is discussing par2. However if I tell, I saw you cry. Understand, you’re wind knows my name and it’s calling place the next heading smack bang in the middle… not to blame, it’s just that the wind, the me—calling me. Calling me again. wind knows my name and it’s calling about par3 (2above 2below) me—calling me. Calling me again. I think that you knew, right from the the visual link is broken you cannot I think that you knew, right from the start, there was this restlessness in my tell if the heading relates to the copy start, there was this restlessness in my heart. It’s a feeling that I have tried above or below it. heart. It’s a feeling that I have tried to tame, but it’s hard when the wind…, to tame, but it’s hard when the wind…, when the wind knows your name and it’s about par4 (2above 1below) when the wind knows your name and it’s calling me—calling me. Calling me again. These spaces between are very calling me—calling me. Calling me again. flexible. As long as you create It’s a cruel wind that tears us apart, It’s a cruel wind that tears us apart, but separation where you intend to but a worst thing is a tired and bitter a worst thing is a tired and bitter heart. separate and visual links where you heart. So dry your eyes, no more tears. So dry your eyes, no more tears. Hold want things to be linked. Hold me once and I’ll walk out of here. me once and I’ll walk out of here. Who Remember, once you decide on Who knows one day we’ll meet again, knows one day we’ll meet again, but spacing paragraphs and headings don’t wait for me ʼcos the wind knows but don’t wait for me ʼcos the wind you should stick to it throughout your knows my name and it’s calling me— my name and it’s calling me—calling entire document. calling me. Calling me again. Yes, it’s me. Calling me again. Yes, it’s calling This predictability helps the reader calling me—calling me. Calling me again. me—calling me. Calling me again. to focus on the content rather than Fa i r g r o u n d At t r a c t i o n 1989 Fa i r g r o u n d At t r a c t i o n 1989 concentrating on navigation.

44 Alignment again—too much, is never enough Typefaces used on this page: Eurostile Bold Condensed + Bold + Regular ITC Avant Garde Gothic Caslon Pro Semi + Bold + Italic

left right centre Be consistent. Don’t mix your Text justified to the left is the most Right aligned is a delightful surprise Boring and amateur looking. alignments from paragraph to readable. The spacing between in headings, pull quotes and in any Plus you have to keep looking for paragraph. Unless you really mean letters and words is consistent and short burst of text. It is most effective the next line. That is not to say that to do it and it really does create an finding the next line is easy (provided when you can provide a solid edge there is isn’t a place in this world for awe inspiring effect— it will look like you got your column widths, font (a few lines of text rather than one). centred text but you do need to think you don’t know what you are doing. choice, point size and leading right). However, it is not easy to read as very carefully about how you are body copy because it is often going to use it to avoid looking like a Anytime you do not fully justify, keep When you align to the left try to keep difficult to find the next line. desktop publisher. an eye on your rag (ragged edge). your rag as smooth as possible. A ragged edge creates negative Try to divide your copy into phrases spaces (holes) in your document for ease of reading. See how much which draw the eye to places you do easier it is to read the second version not intend. even though it is italic?

InDesign does a very good job of flowing text to avoid rag, but there There is this old woman, she lives down the are things you can do that will help I often ask her, “are you looking road. You can often find her kneeling inside InDesign to understand when you for the mother lode?” of her hole and I often ask her, want smooth rag. “Huh? No my child, this is not my “are you looking for the mother lode?” Don’t use hard returns except when desire,” and then she “Huh? No my child, this is not my desire”, you mean to start a new paragraph says, “I’m digging for fire”. and then she says, “I’m digging for fire”. (this will allow you to avoid activating your paragraph spacing). I often ask her, There is this old man who spent so much of his life sleeping, that he is able to keep Soft returns should also be used “are you looking for awake for the rest of his years. He resides, on sparingly. A preferable method of the mother lode?” a beach, in a town where I am going to live shifting a piece of text down or up “Huh? and I often ask him is to use the “no-break’ instruction. No my child, “are you looking for the mother lode?” This tells indesign that you consider this is not my desire,” the text to be flowing—a soft return and then she says, “Huh? No my child, this is not my desire”, tells it the opposite. “I’m digging for fire”. and then he says, “I’m digging for fire”. The Pixies 1990 The Pixies 1990

45 Heads & sub-heads Typefaces used on this page: Eurostile Bold Condensed + Bold + Regular ITC Avant Garde Gothic Blue Goblet break the revision new tips Headlines and sub-heads do more rulesLook through this document. Avoid using caps or small caps, they If your copy is flush left keep your than give clues to the content are difficult to read and they take headings flush left. If you centre your Have I practiced what I teach? of a document. They provide up more horizontal space. If you headlines you break the visual link Can you see any of the devices organisation by providing some use lowercase, the headings will be between the heading and the body. I have mentioned employed? repetitive elements that help to unify easier to read and because they This is particularly important on a How consistently have they been the document. take up less horizontal space you will dense page as it will help to make employed? Is the structure of the be able to use bigger bolder text. the page feel more open. These visual clues provide contrast document readily apparent? which draws the reader’s eye. The larger the type size the less Choose a typeface for you heads Have you had any trouble navigating (Keep in mind though that a small leading you will need, especially if which contrasts starkly against your the document? percentage of people will head you do not have any ascenders and body copy. This is not only visually Well then, doesn’t this heading draw straight for the body copy and descenders. Remember keep the more appealing, it brings structure your attention? In an otherwise ignore the headings altogether.) heading together as a visual unit. and organisation to the document. consistent document this heading Any indent you use should be about Generally your body text will be stands out like dog’s balls. Don’t feel 2 spaces or the length of an em. sans serif (forgive my serif, I knew this hemmed in by your stylesheets—feel To preserve the strength of your would be displayed on an projector) free to break your own rules. As long alignment do not indent the first and a good contrast against a serif is as you don’t do it too often and the paragraph. a sans serif or a modern. integrity of document is maintained, it can be very rewarding. There should always be a little more If your body copy is light weight, space above a sub-head than then go for something bold. Look for Remember, as designers, your below. This helps to create a visual contrast in your typefaces. You want primary purpose is to communicate connection between the sections of different structure in the headline the message. If breaking the rules your document. Don’t be a pussy— to the body copy, but remember to helps you to do that then you should make the distinction noticeable. choose something that can be read. definitely do it…but always ask yourself this question. “does it serve Avoid line breaks that effect the my higher purpose?”. readability of the heads: hyphens, widows and orphans or anything which interrupts the flow or creates ambiguity or confusion.

46 Pull Quotes Typefaces used on this page: Eurostile Bold Condensed + Bold + Regular ITC Avant Garde Gothic Regular + Bold + Bold Oblique Tahoma

creativity reigns There are a few rules for creating Your job is to make the reader want to read the body copy. Pull quotes are designed to pull the reader into the article. effective pull quotes. You can, put them anywhere on the page; justify them anyway you like; colour them; add graphic elements like: oversized quote marks, question marks or ampersands. Quite often when pull quotes are called for, you are dealing with Always hang the punctuation. long bodies of text with next to no visual collateral. Have fun with them and do everything you can think of to make Reduce the size of the punctuation them visually interesting. Look at the white space these pull quotes create—aren’t they refreshing? so that it does not over burden the text (feel free to thoughtfully break Don’t let your young life get you down, it always had a Don’t let your young life get you down, it this rule and make the punctuation certain mystery. Many changes come to everyone about the Take always had a certain mystery. Many changes huge—just demonstrate that you time that they turn seventeen. come to everyone about the time that they considered it). Grandma said at times you’ll feel a sting—there’ll be sharp one turn seventeen. Use one alignment—don’t set half of turns and uphills and closed doors. Then she said hold onto step Grandma said at times you’ll feel a sting— it right and the other half centre. your faith ’cause in this world you’ve got to go and get yours. there’ll be sharp turns and uphills and closed So you stand up. Be strong. Go out there toward doors. Then she said hold onto your faith ‘cause Make centre type obviously centred. and hold on to the real thing that matter. in this world you’ve got to go and get yours. ’Cause no one’s gonna hand it to you on a Break the lines to create phrases and you’ve got what So you stand up. Be strong. Go out there and silver platter. visual appeal. hold on to the real thing that matter. ‘Cause no There’s no need to feel you’re on your own, you one’s gonna hand it to you on a silver platter Position Initial caps on one of the just let your intuition guide you through. baselines of you body copy. to go and Take one step toward what you believe, believe. There’s no need to feel you’re on your own, just don’t be afraid to make your move. let your intuition guide you through. Take one Be consistent throughout your step toward what you believe, don’t be afraid to In my head those words remind me what, document. Create a style for your get yours make your move. pull quotes and stick to it! Grandma said at times you’ll feel a sting —there’ll be sharp turns and uphills and In my head those words remind me what, closed doors. Then she said hold onto your faith ’cause in Grandma said at times you’ll feel a sting— this world you’ve got to go and get yours. there’ll be sharp turns and uphills and closed So you stand up. Be strong. Go out there and hold on to the doors. Then she said hold onto your faith ‘cause real thing that matter. ’Cause no one’s gonna hand it to you in this world you’ve got to go and get yours. on a silver platter. So you stand up. Be strong. Go out there and hold on to the real thing that matter. ‘Cause no The Brand New Heavies 1994 one’s gonna hand it to you on a silver platter. Th e Br a n d Ne w He a v i e s 1994

47 White space Typefaces used on this page: Eurostile Bold Condensed + Bold + Regular ITC Avant Garde Gothic Regular HamburgerHeaven

white space is solid gold

if you want to really get attention, nothing gets it like white-space

48 Combined faces Typefaces used on this page: Eurostile Bold Condensed + Bold + Regular ITC Avant Garde Gothic Regular + Bold + Bold Oblique Zitkit, Bernhard Modern + Antique Olive Nord

contrast = don’t be a uniformity When combining typefaces the Serif with sans serifs If you ar truly terrified of font most important thing is to follow combining, there is another option Scripts with anything but scripts grandma’s great advice (page 47): whimp for you: look for a font with lots of stand up, be strong, go out there Light weight with heavy weight forms (regular, bold and italic will and look for contrast—massive Short with tall never do you) and combine those amounts of contrast. forms effectively. Fat with thin Trying to combine two sans serifs You’ll want: condensed, expanded, or serifs is hard work. My sans serif Black with white demi, bold black, extra black, ultra headings have worked against Huge with itty bitty black and oblique, in all of these my san serif body because of the combinations. And don’t forget to Reverse with positive massive contrast in weight. But it is consider small caps as an option. easier combine a serif with a sans Vertical stress with diagonal stress Try Swiss, Eurostile Arno and Caslon, serif than it will ever be combine two No stress with exaggerated stress they are very broad fonts. type faces with such a fundamental similarity. Large counters with small counters

If you really want to stick to serifs try All caps with no caps to use a different form of the same Thin with fat, so-fat it makes you diet font (bold, black or italic). Tall ascenders and descenders with By the way, don’t be afraid to do none at all this—another form of the same font will give your work a professional look. Dirty fonts with prudish fonts It just won’t scream at the audience, Contemporary with classical and as long as you didn’t want to scream then you have succeeded Large x-height with small x-height Stand up typographically. Tall and thin with fat and short

Positive and elegant with negative, black and rude be strong

49 Wha’ you say? Typefaces used on this page: Eurostile Bold Condensed + Bold + Regular ITC Avant Garde Gothic Regular + Bold + Bold Oblique Blue Goblet, John Handy, Liquid Squid, Zitkit, Curlz, Bickham, Blackoak, Marker Felt, Underground, Masquite, Eurostile, Birch, Giddyup, Rockwell. Mrs Eaves + Franklin Gothic

what does your typography say? When you have something to say, you need to reinforce it with your typography. Think about it—both Suzanne an Christian have given you exercises in this. for sale What are you trying to say? I Quit it’s time This doesn’t mean resorting to kitsch: think about the meaning behind the words and the font. Every font has a personality and a history. These for sale things help to trigger emotions in it’s time.. the audience. If for example you were doing a flyer I quit for a preschool, it would be easy to just choose a hand rendered, for sale it’s time crayon looking font, with some I quit letters backward. But if you thought more deeply about it and did some research, you might discover that Century Schoolbook was designed for children’s books because it closely resembled the way children I Quit for sale it’s time were taught to write.

Now this is an interesting starting point, because we will all subconsciously associate the font for sale it’s time with our childhoods—even if we don’t know why. I Quit 50 Wha’ you say? Typefaces used on this page: Eurostile Bold Condensed + Bold + Regular ITC Avant Garde Gothic Regular MotterFem + Scriptina

Lipstick Misogyny is an interesting The type face used for ‘lipstick’ play on language. Misogyny is the is a classic 1960–1970s font hatred of women and is usually often associated with the hippy associated with men. By adding generation, drug experimentation, lipstick to the phrase it becomes dropping out of school and free love. women who hate women. Almost everyone recognises its history at a glace. The idea behind the name is to draw attention to the cruel and For those women, now in their late harsh judgement metered out by 40s, it is particularly potent because women to other women. That is: they were intimately involved with this women who make it into positions social movement. of power and then maintain a glass The addition of the lipstick colour and ceiling or judge women for their glossy gradient further emphasises sexual histories. The aim is to inspire the meaning of the word. solidarity and foster support. The type face chosen for ‘misogyny’ So how does the typography support is actually a lovely soft hand these ideas? rendered font, which is obviously the work of a woman. This helps to reinforce the notion that men are not associated with this phrase.

However, when this font is used to write the word misogyny some of the hatefulness of the word seeps into the font—suddenly the edges seem hard and bitterness and resentment of the writer come to the forefront.

It even seems like a lot of pressure would have been put on the pen.

51 Colour in black & white Typefaces used on this page: Eurostile Bold Condensed + Bold + Regular ITC Avant Garde Gothic Blue Goblet

texture is colour Colour is created by the space Hey listen up here’s a message for you Hey listen up here’s a message for you Mr H ey listen up here’s a message for you M r Small-town between your letters, the size of the Mr Small-town Burgermeister, with Small-town Burgermeister, with your hair, penis, Burgermeister, with your hair, penis, money, wrinkle, money, wrinkle, worry…. Make a slight clothes counters in the font, the x-height, the your hair, penis, money, wrinkle, worry…. M ake a slight clothes correction and slick the correction and slick the eyebrow of your worry…. Make a slight clothes eyebrow of your reflection. weight of the strokes, serifs (or their correction and slick the eyebrow of your reflection. absence) and by the leading. reflection. But if you’re gonna take off your clothes, where But if you’re gonna take off your clothes, where you gonna you gonna put your wallet? ’Cos your skin ain’t put your wallet? ’Cos your skin ain’t got no tailored pockets. You can see how a heavy font But if you’re gonna take off your clothes, got no tailored pockets. No, no, no… N o, no, no… makes the area feel heavy with text where you gonna put your wallet? ’Cos your skin ain’t got no tailored pockets. If you’re gonna dance the hoodoo with your If you’re gonna dance the hoodoo with your girlfriend or but that the light areas feel like they girlfriend or your boyfriend. If you’re gonna No, no, no… your boyfriend. If you’re gonna dance the hoodoo with contain less text. If you have a text dance the hoodoo with your girl/boy/anybody your girl/boy/anybody friend, then you won’t need no heavy document you can make it If you’re gonna dance the hoodoo with friend, then you won’t need no voodoo—you voodoo—you won’t need that thing to spend. ‘Cos your skin won’t need that thing… feel lighter with a font that feels light, your girlfriend or your boyfriend. If ain’t got no…. you’re gonna dance the hoodoo with If you’re gonna love together, don’t want to and vice verse. your girl/boy/anybody friend, then you be on the end of anyone’s tether. And if you’re If you’re gonna love together, don’t want to be on the end of won’t need no voodoo—you won’t need gonna take off your clothes, where you gonna anyone’s tether. And if you’re gonna take off your clothes, that thing to spend. ’Cos your skin… put your wallet? ’Cos your skin ain’t… where you gonna put your wallet? ’Cos your skin ain’t…

Hey listen up here’s a message for you Mr Small-town Burgermeister, Hey listen up here’s a message for you Mr Small- Hey listen up here’s a message for you Mr Small-town Burgermeister, with your hair, with your hair, penis, money, wrinkle, worry…. Make a slight clothes town Burgermeister, with your hair, penis, money, wrinkle, worry…. Make a slight clothes correction penis, money, wrinkle, worry…. Make a slight correction and slick the eyebrow of your reflection. clothes correction and slick the eyebrow of and slick the eyebrow of your reflection. your reflection. But if you’re gonna take off your clothes, where you gonna put your But if you’re gonna take off your clothes, where But if you’re gonna take off your clothes, wallet? ’Cos your skin ain’t got no tailored pockets. No, no, no… you gonna put your wallet? ’Cos your skin ain’t got where you gonna put your wallet? ’Cos your skin ain’t got no tailored pockets. No, no, no… If you’re gonna dance the hoodoo with your girlfriend or your no tailored pockets. No, no, no… If you’re gonna dance the hoodoo with your boyfriend. If you’re gonna dance the hoodoo with your girl/boy/ If you’re gonna dance the hoodoo with your girlfriend or your boyfriend. If you’re gonna anybody friend, then you won’t need no voodoo—you won’t need girlfriend or your boyfriend. If you’re gonna dance dance the hoodoo with your girl/boy/anybody the hoodoo with your girl/boy/anybody friend, friend, then you won’t need no voodoo—you that thing to spend. ’Cos your skin ain’t got no…. then you won’t need no voodoo—you won’t need won’t need that thing to spend. ’Cos your skin ain’t got no…. If you’re gonna love together, don’t want to be on the end of anyone’s that thing… If you’re gonna love together, don’t want tether. And if you’re gonna take off your clothes, where you gonna If you’re gonna love together, don’t want to be on to be on the end of anyone’s tether. And if eat 1989 put your wallet? ’Cos your skin ain’t… the end of anyone’s tether. And if you’re gonna… you’re gonna take off your clothes, where…

52 Don’t be a DTP Typefaces used on this page: Eurostile Bold Condensed + Bold + Regular ITC Avant Garde Gothic

font choices default type centre justified There a certain things that will give Helvetica, Arial and Times New Nothing will give you away faster Beware the safety and limitations of you up as a wanna-be designer. Roman are a dead give away. Print is than 12 point type and auto leading. centre justification. You can centre Avoid these things. not the same as web design—you do 12 point is simply too big for body justify if you want a very formal look not have to consider the limitations copy when rendered in just about (like a wedding invitation). of the user’s system. any font. Print your work at actual Remember, most pages with a size—it is the only way to tell if the Increasingly, you need to avoid most strong look and feel do not use size of your typeface is working. of the fonts that come standard with centre justification. your software packages. Garamond and Myriad are heading this way. If you One of the main things that will give are going to you away is not having a full suite. centre justify It is OK to use Garamond if you are do it like you are using the light version for your body out-and-proud. copy and an extra bold for your Really mean it! sub-head (neither of this things ship standard with software).

And don’t stick something in those empty spaces you just created, white space likes to be empty.

BTW: good luck convincing you client of that.

53 Don’t be a DTP Typefaces used on this page: Eurostile Bold Condensed + Bold + Regular ITC Avant Garde Gothic

GG’s punctuation kerning double returns 2 spaces after. Don’t confuse your primes, ditto, Accepting default kerning for The space before and after Who decided this was a good idea? quotes and apostrophes. Look at lengthy body copy is one thing, but paragraphs is a DTP staple. Indesign You should not put two spaces after every single one of them when you to not address the individual kerning makes it so easy to experiment with a full stop, it interferes with reading proof read your work. issues of you heads, sub-heads and the space after a return and the rhythm. Your audience isn’t stupid, displays is a crime that will cost you space around your heads and sub- they know what a full stop means. Apostrophes do not hang both ways. dearly when you show your work to heads that to not use them is just When you abbreviate something a professional. plain daft. like ‘because’ it become ’cause not ‘cause—hanging this way it is an Once you’ve established a look open quote. Have a look at this link you like, creating a style sheet is a to see the prejudice you will be up simple task and style sheets make against is you make this mistake. maintaining the settings throughout the document is dead easy. http://ilovetypography. com/2007/10/31/the-apostrophe- Don’t use double returns, they reek contrary-to-popular-belief-it-doesnt- of unprofessionalism. swing-both-ways/

54 Don’t be a DTP Typefaces used on this page: Eurostile Bold Condensed + Bold + Regular ITC Avant Garde Gothic borders big indents bullets effects Half inch indents (particularly Hyphens and asterisks as bullet. Just about any effect built into any The more borders I see, the more on the first paragraph) loudly scream Option 8 for a bullet. application loses it’s flavour after a certain I am of the inadequacy ‘secretary with a copy of InDesign at month. Beware of built in effects— But it is bigger than that! Bullet points of the designer. It’s not that your service’—now really, is that how only DTPs think the 3D function and in Indesign have to be established as there isn’t a place for borders, you want your peers to see you? spinning type are cool. a style. Unfortunately, InDesign does because there definitely is, but not handle them like Microsoft Word. there are much better ways to You need to use the hanging indent show that a group of words or button and establish stylesheets in paragraphs belong together. order to avoid using hard returns and a chronic amount of tabs. Something New You could, for example, separate your copy by choosing a font that creates another texture on the page as discussed earlier.

Or you could employ the services exaggerated black line above and below the separated text.