A Typographic Workbook: A Primer to History, Techniques, and Artistry [2 ed.] 0471696900, 9780471696902

Table of contents :
Preface ................................................................... v

Acknowledgments .......................................................... vi

1: Ancient Writing Systems ................................................ 1
Prehistoric Societies; Development of Oral
Communication; Early Writing Societies; Pictograph-
Based Writing Systems; From Pictographs to
Ideographs; The Semitic Languages; Sumerian
Cuneiform; Minoan Writing; Written Languages
Remain Undeciphered; Egyptian Hieroglyphics;
Hieratic Script; Demotic Script; Ancient Writing
Systems Evolve; The Rise of Ancient Greece; and
Recovering Ancient Egyptian Hieroglyphics

2: Lettering During the Roman Empire and Middle Ages ..................... 23
Impact of the Roman Empire; Roman Triumphal
Arches; Roman Lettering; Capitalis Quadrata to
Rustica; Constantine Ends Christian Persecution; The
Roman Empire Divided; The Scroll versus the Codex;
Roman Script; Christianizing of Ireland and the Celtic
Lettering; The Crumbling Empire Leads to Feudalism;
Celtic Round Uncials; Lettering as a Declaration of
Faith; A Unifying Force in Lettering; The Romanesque
Hand Invites Innovation; The Development of the
Gothic Textura Hand; Mediterranean Expansion of
Muslims; Development of Rag Paper in Europe; The
Late Gothic Period; Rotunda Compared to Gothic
Lettering; and Setting the Stage for the Renaissance

3: Renaissance Typography and Printing ................................... 43
The Renaissance; The Beginning of Printing;
Gutenberg: The Metal Craftsman; Movable, Reusable
Type; Imitation of a Hand-Copied Book; The First
Printing Ink; Composing a Page; Printing the 42-
Line Bible; Assembly-Line Book Production; Early
Typefaces; The Spread of Printing: Jenson in Italy;
Printing in England; The Religious Reformation; The
Pinnacle of the Renaissance; Intertwining Printeries:
The Estienne Family and Simon de Colines; Aldus
Mantius as Publisher; The Letter as Art; Geofroy Tory
Establishes B0okmaking as an Art; France Offers a
New Look in Type: Garamond; Prevalence of Italic
and Script Faces; Handwriting as a Status Symbol;
and Printing Innovations

4: Typography During Colonization and Industrialization .................. 61
Colonial Era Typography; A Mathematically Perfect
Font; Rococo Era Typography; Letterpress Printing;
Typography During Colonial Expansion; Type Fashion
in England; Writing Master Turns Typographer;
Typography in Italy; The Dawn of Industrialization;
Printing Gains Momentum; Introduction of Sans Serif
Fonts; A New Era in Typography: Advertising; The
Practica! Writing Machine; Stone Chromolithography
Printing; The Victorian Era Infl.uences Typography;
and Documenting the American Civil War

5: Early Twentieth-Century Typography .................................... 77
The Arts and Crafts Movement; Kelmscott Press; Page
Type Composition Speeds Up; Art Nouveau; Type far
Mass Production; Offset Lithography; An Aesthetic
Revolution; Post-War Typographer: Rudolph
Koch; Frederic Goudy's Inspired Prívate Press in
the United States; Edward Johnston and Eric Gill:
Classic Letters; The Roaring Twenties; Dada Rejects
Typographic Messages; Art Deco; The Bauhaus
Aesthetic: Kandinsky and Bayer; DeStijl Movement
in the Netherlands; Russian Constructivism: El
Lissitzky and Kurt Schwitters; Minimal Typographic
Design: Jan Tschichold; A Geometric Typeface: Paul
Renner's Futura; The Great Depression; Type for
Daily Newspapers; and The United States at War

6: Technology Changes the Designer's Role ................................ 99
Transitioning from Hot Type to Cold Type;
Technology Changes the Designer's Role in the
Production Process; Fitting Copy; Type Spedfi.cation;
Proofreading Tips; Proofreader's Marks; Type Design
During the Second Half of the Twentieth Century;
Type Design in the 1960s; Type Design During the
Radical 1970s; Wolfgang Weingart; and The Dawning
of the Digital Age

7: Contemporary Typography and Digital Technology ....................... 123
Émigré Magazine; Dot Matrix, Daisy Wheel
and InkJet Printing; Zuzanna Licko; Laser
Printer Technology; Jeffery Keedy; Max Kisman;
Letterror; Neville Brody; Matthew Carter; Digital
Font Technology; Adobe and the Development
of PostScript; PostScript Type I; PostScript Type
2; PostScript Type 3; and Font Availability and
Distribution

8: Character Characteristics ............................................ 141
Upper- and Lowercase Letterforms; Measuring Type;
Distinguishing Font Styles; Fonts, Faces and Families;
Typeface Design; Type far Use in Different Sizes;
Design of an Italic Font; Designing Font Variations
of Weight and Proportion; Lining Figures, Small
Caps, Superscript, Subscript, and Dingbats; Type
Anatomy; Arms and Tails; Th.e Spine and Shoulder;
Serifs, Brackets, Terminals, and Finials; Counters
and Bowls; Apices, Crotches, and Vertices; Swashes
and Flags; Horizontal Spacing and Measurement;
Vertical Spacing; Type Alignment; Spacing Type
and Punctuation in Display Sizes; Uppercase versus
Mixed Upper- and Lowercase Type; and Optical
Character Alignment in Headlines

9: Type Identification and Classification ............................... 167
Black Letter; Old Style; Modern Style Typefaces;
Square or Slab Serif; Sans Serif; Script and Cursive;
Display and Decorative; and Th.e Search far a Modern
Classifr.cation System

10: Setting Text Type ................................................... 183
Legibility and Readability; Font Design
Characteristics; Letterform Proportions; Letter
Spacing, Word Spacing, and Line Spacing;
Arrangement of Text Type; Background Value, Color,
and Contrast; Type Enclosed by Boxes and Bars;
Single Spaces Following Punctuation; Typesetting
Abbreviations; Using Bullets to Emphasize Listed
Information; Prime Marks, Quotation Marks, and
Apostrophes; Adding and Omitting Quoted Content
Correctly; Using a Virgule; Hyphenation and
Justifr.cation; and Widows and Orphans

11: Selecting and Combining
Fonts Creatively ........................................................ 215
Font Selection Considerations; Typographic
Personality: Denotation, Connotation, and
Resonance; Determining Compositional Importance;
Spacing and Grouping Type; Weight, Proportion,
Value and Texture; Positive and Negative; Varying
Position and Orientation; and Varying Font Structure
and Style

12: Organizing Typographic Compositions ................................. 229
Basic Page Layout Considerations; Typical Layout
Considerations; Establishing a Grid; Margins, Gutters
and Alleys; Mastheads; Headlines and Subheads;
Headers and Footers; Body Copy; Callouts and Pull
Quotes; Tables, Lists, and Forms; Captions, Bylines
and Credits; and Sidebars and Initial Caps

Appendix A: Font sample charts .......................................... 249

Appendix B: Key concepts ................................................ 343

Appendix C: Key players ................................................. 371

Credits ................................................................. 380

Bibliography ............................................................ 381

Index ................................................................... 383

Citation preview

A Typographic Workbook a primer to history, techniques, and artistry Second Edition

Kate Clair Cynthia Busic-Snyder

~

WILEY

John Wiley & Sons, lnc. '·

This book is printed on acid-free paper. Copyright© 2005 by John Wiley & Sons, lnc. AH rights reserved Published by John Wiley & Sons, Inc., Hoboken, New Jersey Published simultaneously in Canada No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, scanning, or otherwise, except as permitted under Section 107 or 108 of the 1976 United States Copyright Act, without either the prior written permission of the Publisher, or authorization through payment of the appropriate per-copy fee to the Copyright Clearance Center, Inc. 222 Rosewood Drive Danvers, MA 01923 te! (978) 750-8400 fax (978) 750-4470 or on the web at www.copyright.com. Requests to the Publisher for permission should be addressed to the Permissions Department John Wiley & Sons, Inc. 111 River Street, Hoboken, NJ 07030 tel (201) 748-6011 fax (201) 748-6008 or online at http://www.wiley.com/go/permission. Limit of Liability /Disclaimer of Warranty: While the publisher and author have used their best efforts in preparing this book, they make no representations or warranties with respect to the accuracy or completeness of the contents of this book and specifically disclaim any implied warranties of merchantability or fitness for a particular purpose. No warranty may be created or extended by sales representatives or written sales materials. The advice and strategies contained herein may not be suitable for your situation. You should consult with a professional where appropriate. Neither the publisher nor author shall be liable for any loss of profit or any other commercial damages, including but not limited to special, incidental, consequential, or other damages. For general information on our other products and services or for technical support, please contact our Customer Care Department within the United States at (800) 762-2974, outside the United States at (317) 572-3993 or fax (317) 572-4002.

Wiley also publishes its books in a variety of electronic formats. Sorne content that appears in print may not be available in electronic books. Library of Congress Cataloging-in-Publication Data: ISBN-13: 978-0-471-69690-2 ISBN-10: 0-471-69690-0 Printed in the United States of America 1098765432

,,

Table of Co,n tents Preface .................................................................... v

4: Typography During Colonization and Industrialization ................................... 61

Acknowledgments ................................................ vi

Colonial Era Typography; A Mathematically Perfect Font; Rococo Era Typography; Letterpress Printing; Typography During Colonial Expansion; Type Fashion in England; Writing Master Turns Typographer; Typography in Italy; The Dawn of Industrialization; Printing Gains Momentum; Introduction of Sans Serif Fonts; A New Era in Typography: Advertising; The Practica! Writing Machine; Stone Chromolithography Printing; The Victorian Era Infl.uences Typography; and Documenting the American Civil War

1: Ancient Writing Systems ............................... 1 Prehistoric Societies; Development of Oral Communication; Early Writing Societies; PictographBased Writing Systems; From Pictographs to Ideographs; The Semitic Languages; Sumerian Cuneiform; Minoan Writing; Written Languages Remain Undeciphered; Egyptian Hieroglyphics; Hieratic Script; Demotic Script; Ancient Writing Systems Evolve; The Rise ofAncient Greece; and Recovering Ancient Egyptian Hieroglyphics

5: Early Twentieth-Century Typography ...... 77

2: Lettering During the Roman Empire and Middle Ages .......................................... 23

The Arts and Crafts Movement; Kelmscott Press; Page Type Composition Speeds Up; Art Nouveau; Type far Mass Production; Offset Lithography; An Aesthetic Revolution; Post-War Typographer: Rudolph Koch; Frederic Goudy's Inspired Prívate Press in the United States; Edward Johnston and Eric Gill: Classic Letters; The Roaring Twenties; Dada Rejects Typographic Messages; Art Deco; The Bauhaus Aesthetic: Kandinsky and Bayer; DeStijl Movement in the Netherlands; Russian Constructivism: El Lissitzky and Kurt Schwitters; Minimal Typographic Design: Jan Tschichold; A Geometric Typeface: Paul Renner's Futura; The Great Depression; Type for Daily Newspapers; and The United States at War

Impact of the Roman Empire; Roman Triumphal Arches; Roman Lettering; Capitalis Quadrata to Rustica; Constantine Ends Christian Persecution; The Roman Empire Divided; The Scroll versus the Codex; Roman Script; Christianizing of Ireland and the Celtic Lettering; The Crumbling Empire Leads to Feudalism; Celtic Round Uncials; Lettering as a Declaration of Faith; A Unifying Force in Lettering; The Romanesque Hand Invites Innovation; The Development of the Gothic Textura Hand; Mediterranean Expansion of Muslims; Development of Rag Paper in Europe; The Late Gothic Period; Rotunda Compared to Gothic Lettering; and Setting the Stage for the Renaissance

6: Technology Changes the Designer's Role . 99 3: Renaissance Typography and Printing ................................................. 43 The Renaissance; The Beginning of Printing; Gutenberg: The Metal Craftsman; Movable, Reusable Type; Imitation of a Hand-Copied Book; The First Printing Ink; Composing a Page; Printing the 42Line Bible; Assembly-Line Book Production; Early Typefaces; The Spread of Printing: Jenson in Italy; Printing in England; The Religious Reformation; The Pinnacle of the Renaissance; Intertwining Printeries: The Estienne Family and Simon de Colines; Aldus Mantius as Publisher; The Letter as Art; Geofroy Tory Establishes B0okmaking as an Art; France Offers a New Look in Type: Garamond; Prevalence of Italic and Script Faces; Handwriting as a Status Symbol; and Printing Innovations

Transitioning from Hot Type to Cold Type; Technology Changes the Designer's Role in the Production Process; Fitting Copy; Type Spedfi.cation; Proofreading Tips; Proofreader's Marks; Type Design During the Second Half of the Twentieth Century; Type Design in the 1960s; Type Design During the Radical 1970s; Wolfgang Weingart; and The Dawning of the Digital Age

¡¡¡

TABLE OF CONTENTS

11: Selecting and Combining Fonts Creatively ......................................... 215

7: Contemporary Typography and

Digital Technology .................................... 123 Émigré Magazine; Dot Matrix, Daisy Wheel and InkJet Printing; Zuzanna Licko; Laser Printer Technology; Jeffery Keedy; Max Kisman; Letterror; Neville Brody; Matthew Carter; Digital Font Technology; Adobe and the Development of PostScript; PostScript Type I; PostScript Type 2; PostScript Type 3; and Font Availability and Distribution

Font Selection Considerations; Typographic Personality: Denotation, Connotation, and Resonance; Determining Compositional Importance; Spacing and Grouping Type; Weight, Proportion, Value and Texture; Positive and Negative; Varying Position and Orientation; and Varying Font Structure and Style

12: Organizing Typographic Compositions ............................................. 229

8: Character Characteristics .......................... 141 Upper- and Lowercase Letterforms; Measuring Type; Distinguishing Font Styles; Fonts, Faces and Families; Typeface Design; Type far Use in Different Sizes; Design of an Italic Font; Designing Font Variations of Weight and Proportion; Lining Figures, Small Caps, Superscript, Subscript, and Dingbats; Type Anatomy; Arms and Tails; Th.e Spine and Shoulder; Serifs, Brackets, Terminals, and Finials; Counters and Bowls; Apices, Crotches, and Vertices; Swashes and Flags; Horizontal Spacing and Measurement; Vertical Spacing; Type Alignment; Spacing Type and Punctuation in Display Sizes; Uppercase versus Mixed Upper- and Lowercase Type; and Optical Character Alignment in Headlines

Basic Page Layout Considerations; Typical Layout Considerations; Establishing a Grid; Margins, Gutters and Alleys; Mastheads; Headlines and Subheads; Headers and Footers; Body Copy; Callouts and Pull Quotes; Tables, Lists, and Forms; Captions, Bylines and Credits; and Sidebars and Initial Caps

Appendix A: Font sample charts ...................... 249 Appendix B: Key concepts ................................. 343 Appendix C: Key players .................................... 371 Credits ............................................................... 380

9: Type Identification and Classification .... 167 Black Letter; Old Style; Modern Style Typefaces; Square or Slab Serif; Sans Serif; Script and Cursive; Display and Decorative; and Th.e Search far a Modern Classifr.cation System

Bibliography ....................................................... 381 Index .................................................................. 383

10: Setting Text Type ....................................... 183 Legibility and Readability; Font Design Characteristics; Letterform Proportions; Letter Spacing, Word Spacing, and Line Spacing; Arrangement of Text Type; Background Value, Color, and Contrast; Type Enclosed by Boxes and Bars; Single Spaces Following Punctuation; Typesetting Abbreviations; Using Bullets to Emphasize Listed Information; Prime Marks, Quotation Marks, and Apostrophes; Adding and Omitting Quoted Content Correctly; Using a Virgule; Hyphenation and Justifr.cation; and Widows and Orphans iv

Preface The study and practice of type and typography is both art and science combined with a rich social and technological evolution over the last five and a half centuries, poised for an interesting and innovative future. Although the rules of typesetting are old and the technologies for the creation and distribution of printed materials continue to change, the primary intent remains: quality typography that supports the meaning and understanding of the words it represents. Great typography often results from a strong foundation in the historical development of writing and printing, the clear ability to identify subtle characteristics of typeform design according to a defined context, ·and the successful mastery of the almost infinite number of minute details involved in specifying and setting text. Typography has become a subject area of specialized study-a subset of the general practice of graphic design. Digital technologies have shifted the responsibility of quality typesetting from the professional service bureau typesetter to ihe designer who is also responsible for the overall design aesthetic, print production management, and often the client communication and coordination. Whereas less than two decades ago the designer was able to focus on the composition and leave the minutiae to someone else, this is no longer the case in the digital age of personal computers and publication design. The graphic design student must now take responsibility for expanding their experiences and expertise in a number of supporting subjects related to design. A Typographic Workbook integrates historical and technical typographic information into a single publication with the intent to provide a learning guide for students and a reference for practicing professionals. Various faces are used from one chapter to the next, intended to illustrate a small portion of

the wide range of typeface choices and the visual results, and help with the development of an aesthetic understanding and appreciation for foundation-level typography. Extensive examples illustrate both the preferred methods and techniques, contrasted with numerous examples of undesirable settings with explanations of the differences. This edition of the text includes short exercises intended to support the information presented by encouraging the learner to refer to contemporary internet resources; skill-building exercises encouraging the exploration of the concepts, rules, and theories discussed; review questions that emphasize the important facts and test understanding of the content; a detailed historical perspective of typography as a communication medium; and comprehensive set of three appendices. Included in the historical perspective is a revised approach to copy fitting with a character-perpica chart and expanded exercises. The approach to learning typographic layout has been expanded to include information on standard paper and envelope size charts as well as industry standard folds for publications. Appendix A illustrates numerous fonts indicating the designer(s) and design context. Appendix B lists and defines the key concepts presented in the text. Appendix C lists the key players in the abridged typographic history presented, with a concise bibliographic description when possible. lt is my hope that the information provided, a mesh of the old and the new, sparks a special interest towards creating functional and beautiful typographic compositions while laying the foundation for intermediate and advanced studies in graphic design.

Cynthia Busic-Snyder

V

Acknowledgments Special thanks to my family and close friends for their patience as I pursued this tangent endeavor. Your encouragement made this project possible. Thanks go to my good friend and mentor, Charles Wallschlaeger who knows when to pat me on the head and send me on my way. I am especially appreciative to Kimberly Elam who continues to provide professional inspiration and quiet encouragement. Special thanks to my good friend and mentor Stan Harris who continues to enlighten me on the ways of life and letterpress printing. Thanks to my parents, who taught me that "good enough" isn't, I think. The students I see daily give this project meaning and substance as they continue to teach me new things with their creative questions and innovative solutions. Thank you for challenging me to do my best as I attempt to keep up with each of you. The professionalism exhibited by John Wiley & Sons, Inc. Senior Editor Margaret Cummins, Senior Editorial Assistant Rosanne Koneval and Senior Production Editor Leslie Anglin have been exemplary. I appreciate their consistent patience, support and encouragement.

MPB This one is for you. ICNLYLOM.

vi

Ancient W riting Systems Ancient is generally defined by Western culture as '' before the fall of the Western Roman Empire,

476 CE." Few remember to consider the highly developed societies of the ancient Égyptians, Greeks, and Romans with their magnificent architecture, legal systems, epic plays, elaborate

Key Concepts

ancient boustrephedon

religious rituals and myths, comfortable homes with indoor plumbing, and carefully developed writing systems. Many believe that these societies'

cartouche cuneiform demotic script hieratic scrípt hieroglyphics

technological developments would not have been possible without written communication. 1.1 Cartouche of Egyptian queen Cleopatra 11, who ruled approximately 69-30 BCE. A cartouche (called shenu in ancient Egyptian) is a series of hieroglyphics enclosed by an oval or rectangular band representing the name of a royal or divine persona.

The study of written communication is somewhat

íconography ídeograph logogram mnemonícs papyrus

synonymous with the study of the history of civili-

parchment phaistos disk

zation. In prehistoric times, before writing systems were developed, there was no recorded history; knowledge of past events was orally communi-

phonemes phonetic phonogram pictograph rebus

cated from generation to generation. lt is possible

Rosetta Stone Semitic languages

that if there had never been written records, the history of the world would be condensed to the point that one human could commit it to memory.

syllable typography

A TYPOGRAPHIC WORKBOOK

2

to enunciate a spoken language evolved.

Already subjective in nature, the experi-

Fact Find! Archeological

ence and recollection of events are further

Archeological evidence of fire use, tool

evidence indicates the use

affected by personal interpretation and

making, and cooperative activities predates

of fire, tool making, and

editing; if there were no written record, it

the evolution of a biological capacity for

cooperative activities before

would be impossible to know any of the

speech, indicating the probable use of

details of the earliest cultures and the the

·extensive nonverbal communication.

the evolution of either a verbal or written language. What are examples of nonverbal communication used today? Log on to to your favorite search

As verbal communication developed,

lives of ordinary people who lived in them. Because lettering and typography (the

it became easier for humans to interact

style, arrangement, and appearance of type)

with and assist one another in organized

are tied closely to available manufacturing

activities, as well as structure their lives

technology, writing substrates (clay, stone, or

communally to achieve more comfort-

the question. Correctly cite your

parchment) reflect the raw materials and

able, more predictable, and safer lives.

source(s).

mechanical abilities of a particular society.

engine and find an Internet reference to help you answer

Socia\

exp:ess,·oo

pos.\:uce

Oevelopment of Oral Communication

Much knowledge of ancient cultures comes to us via secondhand parchment copies of

Oral communication allowed humans to

papyrus scrolls, made by monks during the

communicate feelings, thoughts, concepts,

Middle Ages. Most original papyrus texts

techniques, and procedures. It brings forth

no longer exist, as they deteriorated in the

the question of whether thought as we

moist Mediterranean climate, while many

conceive of it today was even possible before

of the copies on parchment (which is made

humans developed the capacity to express

from animal skins) survived. Contemporary

it in words, or whether the expression of

bocdsba\

::ft

))

~

m

of this writing are limited as the Minoan

write down a large number of words. An

culture is believed to have been decimated

advantage is that one does not need to know

by a tidal wave caused by a volcanic.erup-

the language of the writer to understand

tion on a neighboring island. Among arti-

them-everyone understands what 1 means,

facts found in archeological excavations

whether they call it one, eins, uno, or ichi.

of the ancient city of Phaistos that include

Cuneiform required deciphering for

the Minoan alphabet is a clay disk with

understanding to come about; they could

symbols spiraling to or from the center.

not be intuitively identified and so immediately impart understanding to the reader.

Found in 1908 at the ruins of the Minoan palace, the Phaistos Disk is dated to approximately 1700 BCE. The text is

Minoan Writing A significant piece of evidence alluding

made up of sixty-one words, with forty-five different symbols occurring a total of 241

to early writing outside of Mesopotamia is

times. The symbols portray recognizable

found on the islai:id of Crete and is attrib-

objects such as human figures and body

uted to the M:i.noans (a culture named after

parts, animals, weapons, and plants.

their rulf r, King Minos). The remains

CHAPTER 1: ANCIENT WRITING SYSTEMS

11

undeciphered today. Among them is Vinca or Old European, found on rnany artifacts excavated frorn archeological siles in southeast Europe, especially near Belgrade. These samples date between 6000 and 4500 BCE. The Indus script, named for the valley in India where it was found, dates to approximately 3500 BCE. Sometimes referred to as Harappa script, little is known about the language or the people who utilized it. Sorne think it may be a form of a Dravidian Language. A script that first appeared around 2900 BCE in the kingdom of Elam in southwest Persia (modern Iran) is named Proto-Elamite and has yet to be deciphered. So does a script used between 2250 and 2220 BCE called Old Elamite. Linear A is a script used between 1800 and 1.14 Ancient clay tablet inscribed with cuneiform.

1450 BCE on the island of Crete. Although it has not been proven, historians believe

What Is a Rebus? A rebus is a series of pictographs of short words combined to have the reader verbally sound out longer words ar phrases; it is a mode of expressing words and phrases by pictures of objects whose name resembles those words, or the syllables from which they are composed. An example might ínclude the combination of moon + light = moonlight, or eye + ball = eyeball. The invention of the rebus allowed the creation of complex words.

that Linear A may be related to Linear B writing, which has been deciphered. Sorne scholars think the text is a prayer

The Etruscan alphabet has been deci-

and the language is Greek. Another theory

phered, but the Etruscan language remains

also suggests that the language of the

poorly understood. It is assurned to have

disk is Greek, but claims that it contains

developed from the Greek alphabet when

proof of a geometric theorem. Others

the Greeks colonized southern Italy, start-

feel that the disk contains a rnagical text,

ing in the rniddle of the sixth century BCE.

possibly a curse, and that the language of

Meroitic is an extinct language that was

the disk in lndo-European. Finally, sorne

spoken in the Nile Valley and northern

believe that this alphabet rnay provide a

Sudan until the fourth century, CE. Although

link between ancient hieroglyphics and

the Meroitic script has been deciphered, little

ancient Phoenician. The debate continues.

is known about the language it represented.

Written Languages Remain Undeciphered ·

ing the Polynesian language Rapa Nui,

Rongo Rong is a script represent-

Like the script on the Phaistos Disk, a nurnber of writing systerns have been discovered but rernain partially or cornpletely

spoken on Easter Island. Knowledge of the script was lost during the 1860s and has yet to be rediscovered.

A combínation of the pictographs of the sea and the sun results in a rebus meaning "season." The phoenetic sound of each word combine to sound out a new word (season) wíth new meaníng (the natural dívision of temperate zones, sometimes marked astrologically).

12

A TYPOGRAPHIC WORKBOOK

The Voynich Manuscript, named for

Object

Pictograph Hieroglyph

Wilfred M. Voynich, the antique-book

Script hand

Hieratic Demotic script script

dealer who acquired it in 1912, is a lavishly illustrated, 234-page codex written in an unknown script. Numerous attempts

~

·.-

have been made to decipher the text to no avail. One theory that survives is

'""'•·,.·;F··

_,,,,__. l

anímal skins tied together

b.. .. ,

that the manuscript was written by the

vessel

Franciscan friar Roger Bacon sometime during the thirteenth century. harpoon

Egyptian Hieroglyphics Egyptian pictographic hieroglyphics (a writing system that used pictographs to rep-

papyrus bundle

IJi¿sb

c=::::I

resent words and sounds) are believed to have originated around 3000 BCE. Magnificent examples of hieroglyphs found in Pharaoh 's

whip

J

tombs date to approximately 2900 BCE. The highly detailed carved stone tablets

1.16 Pictographs were transformed into hieroplyphs, script hand, hieratic script, and demotic script.

required much patience to produce and this level of effort is not seen in everyday written records from ancient Egypt. The hieroglyphs popularly used for historical, legal,

depending upon the scribe's geographic location

and business records consisted of simplified

or education. Over three hundred symbols had to

symbol systems to speed the writing process. Hieroglyphics commonly run in verti1.15 The fluid appearance of these hieroglyphs was produced with a reed brush on papyrus.

sound could be represented by a variety of symbols

be known in order to "read" the story or message. The Egyptians never simplified the system to the

cal columns, read from top to bottom but

twenty-four consonant sounds needed to represent

not always starting with the far right

the utterances of their spoken language.

column. All the people and animals face

Hieroglyphics evolved into a system of communica-

the same direction in any given passage. To

tion that was constructed in a rebus-like fashion. This

read hieroglyphics, read into or toward

transition to the use of the rebus device marks the

the front of the human or animal sym-

beginning of a phonetic relationship between the

bols. The vertical columns are separated

spoken word for an object and the objects they repre-

by thin rules and delineated by one or two

sent; there is a detachment from the physical object of

colored horizontal rules across the top

the pictograph. A rebus must be deciphered, unlike

and bottom of the adjoining columns.

pictographs, which need only to be identified.

In hieroglyphics the same phonetic (spelling that corresponds t~ pronunciation)

Further embellishments to the manner in which a pictograph was written could add significant meaning to a word or name. For instance, Egyptian pharaohs were believed to be direct descendents of the gods. Their

CHAPTER 1: ANCIENT WRITING SYSTEMS

13

have often been reserved for the chosen few: the elite, the scholars, the ruler, and the priests who controlled the religious rituals and early forms of taxation. Those who could read were pursued for advice in all types of disputes and emergencies; their knowledge and judgment were highly respected. In many cultures the scribes-those who could write-were believed to hold power over human life; if an Egyptian scribe wrote your name in the Book of the Dead, it meant 1.17 In this example the Egyptian hieroglyphics are organized into vertical columns divided by column rules. Each column was read in the direction faced by the symbols.

that your time in this world had expired. Although ordinary people could use demotic script, the average working person did not have access to the education

names were written in hieroglyphs enclosed

required to interpret or write the infor-

with the ankh to signify immortality.

mation using the system. Doubtless the scribes did little to remedy this situation,

Hieratic Script Pictorial hieroglyphics became more simplified with the invention of papyrus and

as it helped to perpetuate the class system and ensure their necessity in society. The transition away from hiero-

reed brushes. By 1500 BCE a calligraphic

glyphics was gradual, eventually giving

style known as hieratic script (meaning

way to demotic script, and ultimately

"'priestly writing") began to appear. Hieratic script was used for religious literature

there was no one left who was able to read the ancient Egyptian writing.

exclusively for a time, until its gradual adaptation for commerce and business uses.

Ancient Writing Systems Evolve

It is characterized and influenced by the

A majority of scholars agree that by

development of the reed pen as a writing

1500 BCE ancient Phoenicia had estab-

tool, so the characters are more abstract and

lished a phonetically based alphabet

simplified than previous forms of lettering.

consisting of twenty-two characters. This ancient Phoenician alphabet is believed

Demotic Script Around 500 BCE the hieratic script eventually evolved into demotic script, (demotic means "of the people"). This

to be the basis of the Greek and Roman alphabets, and hence of the alphabet used in much of the Western world today. Phoenicia was considered the gateway

writing style is vis~ally simplified even

to the Middle Eastern lands and all the

more compared to hieratic script.

goods and foods its people produced.

Throughout history, the dissemination of knowledge and the ability to read and write

The Phoenicians were a seafaring and merchant people located at the crossroads

Papyrus Papyrus is a paper-like material made from the papyrus bulrush that grew wild along the banks of the Nile River. Papyrus is made by soaking the bamboolike plant ín water, then stripping the inner fibers. These fibers are beaten flat and then aligned in a parallel fashion. A second layer of flat fiber strips ís placed crosswise to the first. Layered with cloth, the fibers are placed under great pressure to dry. Individual pieces of papyrus, measuring approximately 9 x 15 inches are joined to create scrolls up to 30 feet in length. When papyrus became a common writing substrate in about 2400 BCE, a reed brush was found to be the perfect writing tool. The pictographs took on a fluid, sinuous, graceful appearance when drawn using a brush. Corners became rounded as the speed of the scribe increased; often several hieroglyphícs were constructed from one continuous, flowing stroke.

14

Exercise Objectives

A TYPOGRAPHIC WORKBOOK

J

~

C:J house

water

~

~

(VV)

knife

distant lands

life

A,/Y"v\,A. A,/Y"v\,A.

~

woman

~

~

~

man

plant

Upon completion of this exercise, readers will be able to: • Understand the

to see/vision

challenges associated with assigning meaning to images and constructing a system of visual communication

m IT basket

fronds

• ldentify and discuss sorne characteristics of pictographic writing • Outline design decisions in the combining of

r J

lake/body of water

cloth

o

IL]

□

oT1

courtyard

vessel

e

foot

water snake

hand

X

1rol

¿j

rn

tied

mouth

)

horizon

ground snake

hill

to support

images intended to communicate to someone other than themselves • Explore the possibility of multiple interpretations of pictographs within different communication contexts

seat

tree

tire

servant

~ fff

~ ~

0

~

beetle/change

sun

to cry

~

sun's rays or energy

to seek or find

)

animal halter

swallow

~

bread

~

~ vulture

r:::,

arm/to give

í lamp/torch

~

reed/ writing

ÍJ

~ owl/watchful

A to walk orto go

CHAPTER 1: ANCIENT WRITING SYSTEMS

15

Hieroglyph Writing Exercise

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format eventually dominated.

Roman Script Business transaél:ions, bookkeeping, and correspondence from approximately 400 CE were written in script. This popular handwriting style was faster to use than capitals and required less

Ancíent Roman wrítíng, formed wíth flat-tipped reed pens, stíll affects the look of many of our contemporary typefaces, as reflected ín the weight variatíons. The angle of the pen, ín addítion to the dírection of pen movement, produced línes of dífferent wídths. The thíckeníng of the línes, especially on curved letters, is called stress. The appearance of our own wríting styles and typefaces are reflectíons of the tools employed ín theír creatíon.

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to about 400 CE, the praél:icality of the codex

Tools and Letters

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Robert Granjon

RENAISSANCE America Black Shakespeare discovered Death

M~gna Carta , signed

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Henri Estienne

Claude Garamond

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Genghi9 Khan in China

Charles Estienne

Johann Fust

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Paper made in Europe ,

Albrecht Dürer

Robert Estienne

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3.26 Example of a cover using Civilité from 1557 illustrates the French style of Renaissance Roman type.

Garamond cut a face, based on the Aldus

3.27 Granjon italic features delicate strokes, and the majuscule letterforms are slanted just as the lowercase letterforms are, unlike earlier italic styles which slanted only the lowercase and maintained Roman uppercase forms.

the upper diagonal stroke. The new italic faces hinted at their handwriting origins but clearly were designed for the printed page, with careful attention given to the advantages and constraints of the medium. In 1577 Graajon cut a typeface intended to simulate everyday handwriting rather

Roman face, that bears his name and is

than formal hand-lettering. His most

considered one of the finest in typographic

famous, based on the popular handwrit-

history. The Old Style face was readily

ing style of the day, Civilité, is considered

and widely accepted, and was used almost

the first cursive face. This face linked

exclusively in Europe for two hundred

lowercase letters and led to the develop-

years. With simplicity and careful blending

ment of a class of specialized script faces.

The Englilh Vfurer.

of letters into legible, classic forms, the type allowed tighter word spacing which resulted in a more even visual tone when

Handwriting as a Status Symbol During the Renaissance, fancy script

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Railroads

1

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5.4 A page from Canterbury Tales printed by Kelmscott Press, circa 1896. These oversized books were reminiscent of the Middle Ages when books were handcrafted on substrates with irregular surfaces. The imperfect handmade paper used by Kelmscott Press was part of the political statement against industrialization.

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7.21 Beowolf 1, designed by Erik van Blokland and Just van Rossum in 1990.

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A::lobe Wo:dT~.:. O:CX\cr-eJ~ AII J°"oni-s are ""::>lrndar in +r.o.:l :

of distortion-the higher the number, the speaking, random fonts are memory-intensive

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http://....:,WtJ or4.r,e.+/s+udc'o5/ Neville Brody

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British designer and art director Neville Brody designed condensed, square, and angular fonts that resonated with the influence of the Russian Constructivists. In

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132

A TYPOGRAPHIC WORKBOOK

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Industria (1990) and Arcadia (1990), Brody's characters are more than a strict re-creation of a bygone era-they include contemporary variations of counterforms and sorne unorthodox shapes that provide an appealing

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quirkiness. Insignia (1990), Blur (1991), Pop (1991), Gothic (1991), and Harlem (1991) are other fonts designed by Brody.

Fonts by Matthew Carter

Matthew Carter

Snell Roundhand Cascade Script Gando Ronde (with H. J. Hunziker) Olympian Auriga Shelley Script CRT Gothic Video Bell Centennial Galliard Georgia New Baskerville V&A Titling Bitstream Charter Charter Walker Tahoma Verdana Various Greek, Korean, Hebrew, and lndian (Devanagari) typefaces

Matthew Carter's career began at the

Enschede foundry in the Netherlands, where he learned the art of punch cutting, and spans over four decades through different media and technology. His timeless designs are based on practica! solutions to specific design problems, taking into consideration the characteristics and constraints of each medium. Carter's typography has seamlessly integrated aesthetics, functionality, and the technology of the time, resulting in typographic forms that encourage the organization of information. Over the years, his work has significantly influenced our visual language. Carter's Galliard is an old style face with broad, dark serifs and sturdy strokes. lnspired by the work of Robert Granjon (1513-1589), Galliard is a timeless solution that successfully transitioned from photocomposition '

L.----~-----~

technology to digital technology. Although the making of Galliard began around 1965, it was not released until 1978 dueto a number of technological difficulties. lt has been u sed for corporate publications, the Bible, and popular packaging applications. Carter's Bell Centennial replaced Bell Gothic as AT&Tworked toward a new identity in the mid-197os. The font had to be legible at very small sie onty tf>,ngs ,n tf>e tdtcf>en tf>at dkt not sneeze, tOOre tf>e cook, and a targe cat wf>.cf> was s,tt,ng on tf>e f>eartf> and gr,nn,ng

frocn ear to ear. 10.2 Legibility and readability are affected by the reader's experience, in addition tl'l the qualities of the letterform. At one time, Gothic or black letter fonts were a cultural standard, whereas today the average reader has great difficulty discerning the content of a paragraph set in this font.

rates, saccadic jump regression, heart rate, and shak.ing tables. Although many of these studies claim to have th.e definitive answer on wh.at characteristics are to be used in typesetting

for maximal legibility, few address ali of the variables controlled by the reader. Once mastered, reading is an automatic process susceptible to influences not consciously k.nown to the reader. In an attempt to prepare the message in a way that will best communicate to the widest range of readers, the designer must always ask., "What, why, for whom, when, and where?" Having answered those questions as accurately as possible, he or she must translate the results into an aesthetic that will maximize the chance for a positive response to the read material.

Font Design Characteristics Each generation has and will continue to redefine the optima[ characteristics of characters for legibility and aesthetics. Intemationally recognized authority on print legibility, Miles Tinker, defines legibility as "concem for perceiving letters and words, and th.e reading of continuous textura! material." He theorized that the shapes of letters must be clearly discriminated, the characteristic word

forms perceived, and continuous text read

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JJKkLLMm NnOoPpQq RrSsTtUuVu WwXxY_yZz 10.4 Sasson Four, by Adrian Williams Design Limited, Surrey, England.

186

10.5 You decide. Here is a visual comparison between Garamond, Garamond Condensed, and Garamond Condensed Light in the left column, and Futura, Futura Condensed and Futura Condensed Bold in the right column . Which is the easiest far you to read? Which is the most difficult? Why? AII examples are set 9/12.

A T Y POGRA PH I C WO RK B OOK

"You don't know rnuch," said the Duchess; "and that's a fact." Alice did not at all like the tone of this rernark, and thought it would be as well to introduce sorne other subject of conversation. While she was trying to fix on one, the cook took the cauldron of soup off the fire , and at once set to work throwing everything within her reach at the Duchess and the baby -the fire-irons carne first ; then followed a shower of saucepans, plates, and dishes. The Duchess took no notice of thern even when they hit her; and the baby was howling so rnuch already, that it was quite irnpossible to say whether the blows hurt it or not.

"You don't know rnuch," said the Duchess; "and that's a fact." Alice did not at all like the tone of this rernark, and thou9ht it would be as well to introduce sorne other subject of conversation. While she was trying to fix on one, the cook took the cauldron of soup off the fire, and at once set to work throwing everything within her reach at the Duchess and the baby -the fire-irons carne first; then followed a shower of saucepans, plates, and dishes. The Duchess took no notice of thern even when they hit her; and the baby was howling so rnuch already, that it was quite irnpossible to soy whether the blows hurt it or not.

"You don't know rnuch," said the Duchess; "and that's a fact." Alice did not at all like the tone of this rernark, and thought it would be as well to introduce sorne other subject of conversation. While she was trying to fix on one, the cook took the cauldron of soup off the fire, and at once set to work throwing everything within her reach at the Duchess and the baby -the fire-irons carne first; then followed a shower of saucepans, plates, and dishes. The Duchess took no notice of thern even when they hit her; and the baby was howling so rnuch already, that it was quite irnpossible to say whether the blows hurt it or not.

"You don't know much," said the Duchess; "and that's a fa et." · Alice did not at all like the tone of this remark, and thought it would be as well to introduce sorne other subject of conversation. While she was trying to fix on one, the cook took the cauldron of soup off the fire, and at once set to work throwing everything within her reach at the Duchess and the baby -the fire-irons carne first; then followed a shower of saucepans, plates, and dishes. The Ouchess took no notice of them even when they hit her; and the baby was howling so much already, that it was quite impossible to soy whether the blows hurt it or not.

"You don't know much," said the Duchess; "and that's a fact." Alice did not at all like the tone of this remark, and thought it would be as well to introduce sorne other subject of conversation. While she was trying to fix on one, the cook took the cauldron of soup off the fire, and at once set to work throwing everything within her reach at the Duchess and the baby -the fire-irons carne first; then followed a shower of saucepans, plates, and dishes. The Duchess took no notice of them even when they hit her; and the baby was howling so much already, that it was quite iJ;npossible to say whether the blows hurt it or not.

"You don't know much," said the Duchess; "ond that's a fact." Ali ce did not at oll like the tone of this remark, and thought it would be as well to introduce some other subject of conversotion. While she was trying to fix on one, the cook took the couldron of soup off the fire, and at once set fo work throwing everything within her reach al the Duchess ond the baby -the fire-irons come first; then followed a shower of saucepans, piafes, ond dishes. The Duchess took no notice of them even when they hit her; and the baby was howling so much already, thot it wos quite impossible to soy whether the blows hurt it or not.

CHAPTER 10: SETTING TEXT TYPE

187

• Clear symbol identiflcation. All symbols should be clearly distinguished, so that the numeral 1 cannot be mistak.en for the numeral 7 or the capital I for the lowercase

l; 10.6 Visual comparison between type set at 7 points (outline) and enlarged versus type set at 85 points (gray). Notice the slight difference in the ascender and descender lengths, and stroke weights.

neither should G become conJused with O

or Q.

The top half of letterJorms should be

particularly recognizable.

• Fitting. There should be good link.age of one letter to another when composed together.

accurately, rapidly, and easily with a high level

• Large x-height. The x-height should be as

of comprehension. Based on his research, it

large as possible without unduly sacrificing

might be theorized that legible text needs to be

the size

large enough and distinct enough that readers

may discriminate between individual letters and words. How does that summary translate

of the ascenders and descenders.

• Printability. Mak.e sure counters in b, d, o, p, q, a, e, and g do not trap ink.. · Familiarity ojjorm. The typeface should not

into specific characteristics to assist designers in

have strange mannerisms, should oJJer no

mak.ing a logical and practica[ Jont selection Jor

distractions, and should appear

any given design problem?

warm to the reader.

easy and

American type designer Edwin Shaar (Flash, Nuptual Script, Futura Script, Imperial, and Gazette) outlined characteristics

of a legible

Letterform Proportions A number

of subtleties in the design of

typeJace:

letterJorms are oJten overlook.ed by the lay-

• Alignment oj type. A variation of alignment as small as one or two thousands of an inch

person. Involved in understanding the content

is noticeable, so special attention should be paid to the natural alignment

of letterforms

of a Jont. • Optically corrected j ace. Optical correction compensates for Jailure of the eye to

of the words, sentences, and paragraphs, the reader seldom concerns himself or herself with individual letters unless they are distracting and inhibit the internalization

of the communication.

In reality, the minute shape difJerences in a

difJerentiate reality Jrom illusion. An

of one Jont compared to the same letter of a difJerent Jont affect the legibility as well as the

example is the need to slightly increase the

aesthetic.

size

of round letters in a Jont over that of

square letters in a Jont.

• Uniform Letter proportions in a font. This involves thick.ness of strok.e, length of serif, and evenness of color when seen in a mass. • Contrast within a font. Italic and boldJace contrast with the regular weight of roman.

letter

Condensed and Extended Proportions of Letters OJten Jonts are designed with an application in mind, and so the relationship

of the height,

width, and strok.e weight is careJully balanced at · a given size Jor a given purpose. Fonts designed

Jor use in newspaper text, Jor example, are not

Key Players Edwin Shaar Martin K. Speckter Miles Tinker Adrian Williams

188

···············································:

j Try This!

necessarily ideal Jor use in a telephone directory.

Select a sans serif, a

Decorative Jonts designed Jor use in display sizes

\ serif, and a slab serif font. Using

ja

may become illegible at small text sizes, as their

lowercase letter combination

j to spell box, j each

intricate components blur and Jill in.

set two examples

: of each. Set the first example of font in 150 point text; in the

\ second example, set the letter o

:

j

beyond the x-height of the font. Print out and clearly label your

j

j

j

j primary visual

characteristics of

j each sample. Are there visually \ discernible differences? List your

j results

in the space provided

balanced, harmonious solution. This sometimes

j involves opening up tne counters slightly to j ensure readability while the horizontal strok.es

j discoveries for class discussion. In the space below, list the

In a typeJace that is designed as a condensed Jont, the weight oJ the stem strok.e changes in

j proportion to the nairline strok.es, resulting in a

j smaller so that it does not extend j j j

A TYPOGRAPHIC WORKBOOK

j

are snortened. An extended version oJ a Jont is one that is

10.7 An example of Serifa set normally (gray), as compared to a computer-condensed variation and a computer-extended variation. Notice how the harmonious proportions of the letterform strokes are destroyed in the stretched versions, making the tont less legible. This treatment is amateurish and undesirable.

wider than the regular face. Again, just lik.e tne

j original Jont and the condensed counterpart, j the proportions of each letter are redesigned j with subtle diJJerences to accommodate the new ! .. shape. The letterforms are not merely "stretched"

to setting type in mixed upper- and lowercase ·letters, mak.es the text more diJJicult to discern.

reconsidered and adjusted in weight and length

j the results.

The differences in the lowercase letterforms created by contour, ascenders, and descenders provide greater variety Jor Jaster recognition. On the other hand, uppercase letterJorms are

so that one does not appear too thick. and

uniJorm in height and similar in width and

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computer, these designed proportions are

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open space in the layout, setting a headline in

of the reader, so it is likely that a person who learned to read sans serif typefaces from a young age has little difJiculty deciphering the

all caps brings emphasis while occupying the

shapes

unwanted white space.

solely on the serif variation in typeset body copy.

to determine whether there is suJJicient space in the layout; likewise, if there is too much

oJ letters and meanings oJ words

based

It is possible, however, to compare the visual

Seríf and Sans Seríf Letterforms Researchers have concluded that because sans serif letterJorms within any given font are more similar to one another, and because serif letterforms within any given Jont are less similar, serif faces are intr;insically more legible than sans serif faces. However, these studies have not been ab[e to take into account the experience

characteristics and aesthetic

oJ body copy set in

serif or sans serif Jonts . There is the possibility

far monotony in larger quantities of body text set entirely in a sans serif font, as the overall texture of the page results in one tone or texture, with nowhere far the eye to rest. Whether serif or sans serif, provide visual relief by breaking

CHAPTER 10: SETTING TEXT TYPE

the text with subheads, pul! quotes, and sidebars when appropriate for the content.

Letter Spacing, Word Spacing, and Line Spacing It is nearly impossible to discuss the variables

191

"Which V\,Ould NOTbe anadvantage," srudAlice, who felrvcryglad 10 getan opportunityofshowingoffalittleofherknowledge. ''.JustthinkofwharV\,Orkirwould makewith thedayand nighrl You1re the earth takes ~-fuur houts 10 tum muro on its~" "Talkingofaxes,'s:iid the Dt.mes5, "chop offher head!" Alice glanmf r.llher anxiowfyat the oook, 101re ifshem:ant 10 take the hint; 6ur thea:iokwas busily stiningthe100p, and~noc10 be listening, 9:l she\,\{'!11: on agaín: 'T~hours, ITIIINK;orisirM:'lve? I-''

of typesetting independently, since one affects the other. Smaller type requires a shorter line length, while wider line lengths require more leading far easy reading. Remember

that sorne of the decisions regarding "correct" practices far speci.fying type are founded in scienti.fic discoveries .based on tight[y controlled

"Which would NOT be an advantage," said Alice, who felt very glad to get an opportunity of showing offalittle ofher knowledge. "Just think ofwhat work it would make with the day and night! You see the earth takes twentyfour hours to turn round on its axis-'' "Talking of axes," said the Duchess, "chop off her head!" Alice glanced rather an:x:iously at the cook, to see ifshe meant to take the hint; but the cook was busily stirring the soup, and seemed not to be listening, so she went on again: ''Twenty-four hours, I THINK; or is it twelve? I-"

circumstances; these rules provide a foundation

far making genera[ decisions, but the best solution to any design problem involves so many uncontrollable variables that the designer must finally mak.e a decision based on the desired compositional aesthetic. Correctly set type results in an e ven visual texture (referred to as color, even though no change in hue is involved).

A primary goal is to avoid wide variations in the text color and to strive for an even, consistent quality, avoiding the s[ipshod appearance associated with a lack. of typesetting expertise and practice. Modern techno[ogy has perpetuated the assumption that type designers have built "normal" or naturally occurring letter space lnto

"Which would NOT be an advantage," said Alice, who felt very glad to get an opportunity of showing off a little of her knowledge. "Just think of what work it would make with the day and night! You see the earth takes twenty-four hours to turn round on its axis-" "Talking of axes," said the Duchess, "chop off her head!" Alice glanced rather anxiously at the cook, to see if she meant to take the hint; but the cook was busily stirring the soup, and seemed not to be listening, so she went on again: "Twenty-four hours, I THINK; or is it twelve? I-" "Which would NOT be an advantage," said Alice, who felt very glad to get an opportunity of showing off a little of her knowledge. "Just think of what work it would make with the day and night! You see the earth takes twenty-four hours to turn round on its axis-" "Talking of axes," said the Duchess, "chop off her head!" Alice glanced rather anxiously at the cook, to see if she meant to take the hint; but the cook was busily stirring the soup, and seemed not to be listening, so she went on again: "Twenty-four hours, I THINK; or is it twelve? I-"

digital fonts. For the most part, this work.s in smaller text sizes for most text fonts. Attention must be given to the finer details of letter spacing so that the letters are not spaced too far apart; [oosely set type combined with standard word spacing mak.es it more di.fficult for readers to mentally assemble the groups of letters into words. Legibili_ty depends on the reader being able to quick.ly glance at the strok.es that constltute individual [etters and discern the letters' relatlonship to one another.

"Which would NOT be an advantage," said Alice, who felt very glad to get an opportunity of showing off a little of her knowledge. "Just think of what work it would make with the day and night! You see the earth takes twenty-four hours to turn round on its axis-" "Talking of axes," said the Duchess, "chop off her head!" Alice glanced rather anxiously at the cook, to see if she meant to cake the hint; but the cook was busily stirring the soup, and seemed not to be listening, so she went on again: "Twenty-four hours, I THINK; or is it twelve? I-"

10.10 A visual comparison between type set in 9 point Adobe Garmond Pro with letter spacing and word spacing altered using the tracking feature in the page layout program. From top to bottom, the settings are -100, -50, O, 50, and 150. Notice how the letter spacing and the word spacing become so similar that it is difficult to see where each word begins and ends.

192

A TYPOGRAPHIC WORKBOOK

"Oh, clon't bother ME," saicl the Duchess; "I never coulcl abicle figures!" Ancl with that she began nursing her child again, singing a sort of lullaby to it as she clicl so, ancl giving it a violent shake at the encl of every line: "Speak roughly to your little boy, Ancl beat him when he sneezes: He only cloes it to annoy, Because he knows it teases."

"Oh, clon't bother ME," saicl the Duchess; "I never coulcl abicle figures! "Ancl with that she began nursing her chilcl again, singing a son of lullaby to it as she clicl so, ancl giving it a violent shake at the encl of every line:

"Oh, clon't bother ME,' saicl the Duchess; "I never coulcl abicle figures!' Ancl with that she began nursing her chilcl again, singing a sort of lullaby to it as she clid so, ancl giving it a violent shake at the encl of every line:

"Speak roughly to your little boy, Ancl beat him when he sneezes: He only cloes it to annoy, Because he knows it teases."

"Speak roughly to your little boy, Ancl beat him when he sneezes: He only cloes it to annoy, Because he knows it teases."

CHORUS.

CHORUS.

e

H

o

R

u

s

10.11 A visual comparison between the word spacing that results from type set flush left, justified center, and force-justified . The examples are 9/12 Adobe Garamond Pro.

(In which the cook ancl the baby joinecl):-

(In which the cook ancl the baby joinecl):-

"Wow! wow! wow!"

"Wow! wow! wow!" While the Duchess sang the seconcl verse of the song, she kept tossing che baby violently up ancl clown, ancl the poor little thing howlecl so, that Alice coulcl harclly hear the worcls:-

While the Duchess sang the seconcl verse of the song, she kept tossing the baby violently up ancl clown, ancl the poor little thing howlecl so, that Alice coulcl harclly hear the worcls:-

"I speak severely to my boy, I beat him when he sneezes; Por he can thoroughly enjoy The pepper when he pleases!"

"I speak severely to my boy, I beat him when he sneezes; Por he can thoroughly enjoy The pepper when he pleases!"

CHORUS. "Wow! wow! wow!"

If there is too much or too little space between the forms, the positions and shapes of strokes are confused with one another and the letter is less easy to identify quickly . Tightly packed letters meld into visual combinations that are not

CHORUS.

(Inwhich thecookancl the babyjoinecl):"Wow!

wow!

wow!"

While the Duchess sang the seconcl verse of the song, she kept tossing the baby violently up and down, ancl the poor little thing howlecl so, that Alice coulcl harclly hear the worcls:"I

speak severely to my boy, beat him when he sneezes; Por he can thoroughly enjoy The pepper when he pleases!" e H o R u s

"Wow!

wow!

wow!"

"Wow! wow! wow!"

the f unction of both. The point of correct letter spacing is to provide the reader with a pleasurable reading experience

easily recognized, making the words impossible to discern.

based on even visual texture and easy discernibility of the letterforms so that they can be assembled into words. The goal of correct word spacing it to dearly separate the words

Coupled with standard word spacing, the combination creates

Jrom one another, but not to the extent that they no longer

visual lumps that appear to Jloat away f rom one another, as

visuatly relate to one another, which makes it difficult Jor the

opposed to a somewhat even visual texture that is easier to

reader to maintain continuity, speed, and meaning. Type alignment affects the word spacing. Type set flush left usuatly assumes proportional letter spacing and word spacing according to the predetermined font characteristics.

view for [onger periods of time. Attention to comfortable letter spacing helps the reader differentiate separate words, increasing reading speed and comprehension of the message. The aesthetic balance is achieved by consideration to comfortab[e letter spacing and word spacing. One shou[d not be adjusted without adjusting the other, so as to maintain

Forcing text into a justified setting, where both margins

are even, causes uneven spacing, especially between words, making it more difficult to read. When severa[ lines of type

CHAPTER 10: SETTING TEXT TYPE

in a paragraph have large word spaces that

193

10.12 A visual comparison between five examples of 9-point Adobe Garamond Pro with varied leading from -4 points to +14 points of leading.

ttWt1n,11:$che1

legibility. Although alterlng of the font slze can

rule of thumb is to allow 3 points of additional

reduce sorne of these undesirable background

leading per line far sans serif faces¡ that is, if

areas, it is impossible to eliminate all of them. At this point, the designer must make an

you select 10-point type, then specify 13 points for the leading, or slightly more, as long as the copy will fit in the designated compositional space. One industry practice associated with setting text type digitally is that the leading should

9/9 "Here! you may nurse ir a bit, if you like!" the Duchess said to Alice, fünging the baby at her as she spoke. "I m_ust go and get ,~eady to play croquet w1th the Queen, and she hurried out of the room. The cook threw a frying- _ pan after her as she went out, but it just missed her.

align vertlcally throughout the text, the resultlng larger background spaces become dominant

/5 l'k ''.Here~ou mar, nurse™',a bit .vou i:! the uu~ess sald. to l!Cf., ' the¿babt'J at ¿fr as Íhe sgo e. 1 u e ,iri3n s ~Wrr~ ~fü of t effºi-~elfooi m.rew a frvmg-:fh¾1s~ffifer.er as s e went out, Dut 1t JUSt

"rlvers" of white, agaln detracting from overall

aesthetlc decision, prioritizing the overall design

of the layout with even visual margins over the issue of complete legibility.

Leading Leading or line spacing (sometimes called

measure approximately 1.2 times the point size of the type. This figure does not tak.e into

9/12 "Here! you may nurse it a bit, if you like!" che Duchess said to Alice, fünging the baby at her as she spoke. "I must go and get ready to play croquet with the Queen," and she hurried out of the room. The cook threw a fryingpan after her as she went out, but it just missed her.

interline or interlinear spacing) affects legibility

account the length of the typeset line, so it may

in severa[ ways. Befare the introduction of metal

not be the correct leading far all documents.

spacers (called leads), text was set salid. It was believed to be acceptable far a couple of reasons.. First, the ascenders and descenders of classical

is the way that automatic (auto) leading is determined in popular software applications.

letterforms and hand-lettered manuscripts were

This means that

much longer than seen in popular faces used

points, the leading is set at 13.2 points. When

flinging the baby at her as she spoke. "I

today, providing much more vertical space between lines of type. Second, during the period when these fonts were popular, less of the population was literate enough to read the text; only the clergy and nobles had access to the manuscripts, and they were accustomed to the way the text was assembled because that was how they had always seen it. The rise of modern type design and technology evolved forms with shorter ascenders and descenders in proportion to the x-height of the letter, requiring more vertical space between lines. Serif fonts are believed to require less

using the auto leading with type that measures

must go and get ready to play croquet

14 points, the leading measures 16.8 points,

with the Queen," and she hurried out

leading since the small linear additions increase the horizontal feeling of the letters, leading the

eye easily from on~ form to the next. Sans serif fonts appear to be easier to read when there is slightly more space between the lines to enhance the horizontal flow across the words. A general

Regardless of its usefulness or uselessness, this

if the layout is specified as 11

while type set at 7 points would result in leading measuring 8.4 points. It is much easier to remember leading speclfications in whole or haif-number increments than in the odd tenth-

9/16

"Here! you may nurse ir a bit,

if you like!" the Duchess said to Alice,

of the room. The cook threw a fryingpan after her as she went out, but it just missed her.

of-a-point increments generated by the auto leading setting in most digital environments. It

9/23

"Here! you may nurse it a bit,

is dlfficult to see slight dlfferences between the auto leading setting and the next round number Une space specification on the computer screen,

if you like!" the Duchess said to Alice, fünging the baby at her as she spoke. "I

so it is possible to accidentally mix leading measurements and overlook visual dlfferences until the type file is in its final printed form. Leading increments are easily controlled

must go and get ready to play croquet with the Queen," and she hurried out

throughout the whole document by using style sheets. Be sure that the auto leading choice in

of the room. The cook threw a frying-

the preferences in the style sheet designation

pan after her as she went out, but it just

is turned off and that the actual dimension desired is selected. This is another safe way

missed her.

194

A T Y PO G RA P H I C W O R K B O O K

6/7. 2 Alice caughr the baby wirh sorne difficulry, as it was a queer-shaped lirrle crearure, and held out its arms and legs in ali direél:ions, "jusr like a srar-fish," rhoughr Alice. Toe poor little rhing was snorring like a sream-engine when she caughr ir, and kept doubling itself up and srraighcening icself out again, so rhat altogether, for che first minute or cwo, it was as muchas she could do to hold ir. 10.13 Five examples of type set with auto leading in a commercial publishing software application.

8/9.6 Alice caught the baby wich sorne difficulty, as it was a queershaped little creature, and held out its arms and legs in ali direél:ions, "just like a star-6.sh," thought Alice. The poor !ittle thing was snorting like a steam-engine when she caught it, and kept doubling itself up and straightening irself out again, so rhar altogether, for che first minute or two, it was as much as she could do to hold it.

Alice caught the baby with sorne difficulty, as it was a queer-shaped little creature, and held out its arms and legs in all direél:ions, "just like a star-fish," thought Alice. The poor little thing was snorting like a steam-engine when she caught it, and kept doubling itself up and straightening itself out again, so that altogether, for the first minute or two, it was as much as she could do to hold it. 12/14.4

Alice caught the baby with sorne difficulty, as it was a queer-shaped little creature, and held out its arms and legs in all direél:ions, "just like a star-fish," thought Alice. The poor little thing was snorting like a steam-engine when she caught it, and kept doubling itself up and straightening itself out again, so that altogether, for the first minute or two, it was as much as she could do to hold it. 14/16.8

Alice caught the baby with sorne difficulty, as it was a queer-shaped little creature, and held out its arms and legs in all direél:ions, "just like a starfish," thought Ali~e. The poor little thing was ~norting like a steam-engine when she caught it, 18;21.6

Leading Affects legibility Every font has a minimal amount of vertical space built into the digital file so that if text type is specified as "set salid," the ascenders and descenders will not touch. The clearance is tiny, however, and the lack of leading makes the text difficult to read. Salid setting is not advised for long passages, nor for detailed, technical ínformation. The lack of leading is very hard for the eyes and the braín, and ít is likely that the information will go unread or that the message will take on negative connotations or interpretation by the reader. Obviously, text set with negative leading is not recommended for text intended to be read. Special circumstances where the message may be enhanced or more clearly communicated by the special treatment must be carefully and selectively determined. Seldom does a proportionately large amount of leading affect legibility negatively-at least up to the point where the reader reviews the same line of text more than once because the eye is unable to jump down to the next line easily. Generally, the slightly larger amount of background space allows the reader to clearly distinguish one line from the next. The difficulty with setting type this way is that it requires a great amount of additional space to accommodate a relatively small amount of copy-a luxury seldom affordable in a limited compositional area. Frequently the space between the lines of type, not necessarily the type design itself, improves the legibility of the message. In other words, 9-point type set with an addítíonal 3 points of leading (9/12) is consistently reported as being easier to read than a larger size with less leading (12/13). Again, the leading depends on other factors such as the line length, letter spacing, word spacing, and characteristics of the font design.

CHAPTER 10: SETTING TEXT TYPE

to avoid confusion between the desired setting

195

a comfortable amount of leading, which takes into account the length of the typeset line, is as follows: Divide the line length measure in picas by the size of the type in points. Round off the result to the nearest half point. An example using 11-point type set in a 21-pica line length

those easier to read, while those taught using the DIN (Deutsches Institut für Normung, the central authority far standards and industry standards in Germany) dimensions may find European page sizes easier to read. The overall dimensions of the page will inevitably affect the dimensions of the interna[ columns of type and the amount of type that will fit on the page. Different studies have reported different comfortable line length dimensions. The general

would look like this: 21/11 equals 1.90909090.

consensus is that line length (or resulting

Round off the result to 2 and specify the type

column width) should measure somewhere

as 11/13. If the type is a smaller point size, such as 10 poirÚ:s, and the column width is slightly longer at 26 picas, the formula provides a result of 26/10, or 2.6. Round off the result to 2.5 points and specify the type as 10/12.5 points. With exception far special circumstances with unusual typefaces, it is seldom necessary to specify increments of less than a half point. Changes in line spacing can add dramatic effects to an otherwise boring layout; leading sets a rhythmic tone or visual pace far the reader. Leading may be used to communicate the relative speed of the passage of time; it can create the image of confusion, crowded spaces, and noise. Once the correct, traditional methods of letter spacing, word spacing, and line spacing

between 13 and 26 picas. One traditional line

The second formula accommodates differences in the set width of the font, whereas the first does not. Move toward the shorter line length far fonts with smaller x-heights, fonts set in smaller point sizes, thinner condensed fonts, light faces, italic faces, and monoweight sans serif faces. Longer line lengths should be used far fonts with larger x-heights, larger point sizes, and a larger

are mastered, explore possibilities to creatively

set width seen in bold variations and extended

enhance the visual communications you create.

variations.

Arrangement of Text Type

The column width, coupled with the ability of the human e ye to focus on a given area of the page, factors into the readability of the

and the automatic setting in different parts of a document. One mathematical formula far determining

The composition often contains elements other than type: illustrations or photographs, lines, fleurons, charts, diagrams, and maps. Added to these are the characteristics of the page (dimensions and horizontal or vertical orientation). Once ~gain, the experience of the reader comes into play, as those who were taught to read using American page sizes find

length formula recommends the measure in picas be twice the type size in points; that is, if the type is set in 12 points, the line length should measure approximately 24 picas. A second common formula recommends that the line

Try This! Determine the correct amount of leading for each example using the line length formula: Line length in picas + type size in points equals the recommended leading (rounded off to the nearest half point). Example: 11-point type in a 33pica column width? Show your work as 33 + 11 = 3.0, so the type should be set 11/14. 8-point type in a 14-pica column width?

\LI-:= 8 ~ 1. 3-':>

-=)

Na

ig~ my d€101," soid

10

" ~li¡-¡¡e, seri;iously/''l'U have noJhing rr!tore to ,do with

you. f4ind no>N!" The !ittle thing so5bed ogainfor grónt~á it was iRl1.1flOSSrbTe to say whích), d i they we~J t5n f"'r

~ poor i

soª1e whtle ip silence. 10.42 30% gray background with 50% black type; the top example is 10/12 Times and the bottom example is 10/12 Futura.

N'o. therc wc.:re no t..:~n:: "d" you·1~ goin~ to turn mto .! pig, my duu; ,~ Hi Al1c-. 1

scn0t1:;;· 1.

·I'J; have notlltnf

more •o do with \UI. MtnJ nm.., "Tt"· po:: R®

readers as well) find it easier toread text with more spacing between words, letters, and lines. Avoid bizarre or decorative fonts that may confuse the reader. More recent research has indicated that using a sans serif face instead of

¡ Juo9le-9aft-f:-1;k'e,. i

5\ce::\c:h 1,

r.,o

)o0 b

a serif face afforded a 4 percent improvement 1

o~

e lo±bioc5 '.5:bce

11.1 AN:hough ali of the fonts above are 42 points, the x-height varíes greatly. Understanding the wide range in size is necessary to make a reasonable judgment about the appropriate visual requirements far any job.

issue. The number of Americans over the age

will have sorne age-related visual impairment.

\e\\-e-rs

XxXxXXHX

among older readers. Along with larger type sizes and a font that provides adequate spacing between letters and

intent. Establish a list of characteristics that the solution will need to communicate, then begin searching for inspirational examples to guide your visualization and sketching process. Find a balance between stylistic attributes and legibility to achieve the most successful results. Following the problem clarification, .determine the personality of the desired solution and select typefaces that complement that feeling. Learn to make typographic choices based on your own knowledge, experience, and intuitive judgment. Analyze the aesthetic sensibility of each choice as it relates (or does not relate) to the intended mood of the design problem. Is the intent serious, entertaining, contemporary, whimsical, frightening, romantic, or melancholy? Designers make font selections based on visual characteristics. Staid, historical designs convey a sense of stability and credibility, while

words, use paragraph indents to help elderly

many contemporary digital faces communicate

readers navigate from one line to another.

activity and indicate direction. Bodoni radiates

Typographic Personality: Denotation, Connotation, and Resonance

Schoolbook is a pragmatic, easy-to-read

elegance, clarity, and tradition. New Century

lt is improbable that there is only one appropriate type solution for each problem. In

upscaleness and formality, while Mistral and Harding are unrefined and textured examples

that the difficulty is to narrow the choices of

for casual solutions.

To simplify the: process of selecting the

:··Cr~ ·54tYve:.;.: ·················:

more character. Classic scripts communicate

fact, there are so many well-designed choices which tace or faces are best.

! C( O ncÁR 6

face, as is Helvetica, but the former conveys

The denotation of a specific font is an analytical description of its serifs and

correct style or combination of styles, it is

bracketing, terminal formation, stroke

important to dearly identify your primary

direction, and stroke weight. The physical description provides a definition of the visual

CHAPTER 11: SELECTING AND COMBINING FONTS CREATIVELY

characteristics based on observation. The

connotative eva/uation of the font refers to

217

Spacing and Grouping Type

the subjective associations assigned to the

Differences in leading or line spacing are one way to bring emphasis to one or more

visual characteristics. This includes thoughts and feelings and visual reminders that the

lines or phrases in a typographic composition. Equal leading is used for blocks of type of

viewer associates with the particular aesthetic.

equal importance in the composition. The introduction of more space surrounding a line or phrase of text brings greater attention by separating it from the rest of the group.

Designers select fonts for specific applications based on the connotative aspects but must be able to address the denotative attributes during discussion and critique of the solution with colleagues and clients. The resonance of a font refers to the visual cues and classification of the visual characteristics according to the connotative associations. How do you determine which fonts communicate romance, historical events, contemporary locations, or futuristic technology? How do fonts convey a sense that one product is a hygiene necessity, and another a romantic indulgence? Use resonant cuesto effectively communicate your message, orto contrast meaning with satire when appropriate.

Determining Compositional lmportance The elements with a typographic message

Letter spacing is another way to bring attention to one area of a typographic composition. Regular or norma l letter spacing creates a visual texture and supports a particular rhythm as the reader perceives and interprets the typographic message. Changing the visual texture of the type slows or stops this rhythm and causes the reader to pay additional attention to certain words. Altering the alignment visually separates one group of type from another. lf the largest proportion of text type is aligned flush left/ ragged right and one word, sentence, or phrase is aligned flush right, then the contrast will bring the reader's attention to the portian of the composition that is different from the

should be organized according to importance. Ranking the different components of the

rest.

message is referred to as a híerarchy. The importance of each of the elements is carefully

Weicht

weighed and ranked. Hierarchies communicate

are relatively common weight variations for

what is most important, what is second in importance, and so on by the size, weight,

traditional fonts. The greater the contrast in weight for selected portions of the composition,

and arrangement of the elements in the composition. Once the message is divided into logical groups of information, then the visual

the greater the difference in the hierarchy. Commonly, readers associate the lighter weights with body text, as they create an even texture against the compositional ground area.

t reatment for each group can be determined with respect to the ~hale composition and communication.

Light, book, regular, bold, and extra bold

The darker, bolder variations are traditionally reserved for short passages, headlines, and -subheads, since large amounts of these weights can become difficult to read.

"That depends a good deal on where you want to get to," said the Cat, "I don't much care where-" said Alice. "Then it doesn't matter which way you go, 11 said the Cat. "-so long as I get somewhere," Alice added as an explanation. "Oh, you're sure to do that," said the Cat, "if you only walk long enough."

"That depends a good deal on where you want to get to," said the Cat. "1 don't much care where-" said Alice. "Then it doesn't matter which way you go," said the Cat. "-so long as I get somewhere," Alice added as an explanation. "Oh, you're sure to do that," said the Cat, "if you only walk long enough."

"That depends a good deal on where you want to get to," said the Cat. "I don't much care where-" said Alice. "Then it doesn't matter which way you go," said the Cat. "-so long as I get somewhere Alice added as an explanation. "Oh, you're sure to do that, 11 said the Cat, "if you only walk long enough."

"That depends a good deal on where you want to get to, 11 said the Cat. "I don't much care where-" said Alice. "Then it doesn't matter which way you go," said the Cat. "-so long as I get somewhere, 11 Alice added as an explanation. "Oh, you're sure to do that, 11 said the Cat, "if you only walk long enough." 11.2 Set the text with equal leading on each line and traditional em space indents. Then it is easy to compare ways to emphasize one phrase by altering leading, letter spacing, ar alignment.

218

A TYPOGRAPHIC WORKBOOK

Alice felt that this could not be denied, so she tried another question. "What sort of people live about here?" "In that direction, 11 the Cat said, waving its right paw round, "lives a Hatter: and in that direction, waving the other paw, "lives a March Hare. Visit either you like: they're both mad. 11 "But I don't want to go among mad people, 11 Alice remarked. 11

Size Contrast in the size of type brings visual interest and importance to one area of a typographic composition. Often used for

11

particular heading or phrase within the greater composition, size can be used to illustrate the one character's voice in a story. Contrast in treatments for emphasizing portions of a com position.

11

AHHHC

Alice felt that this could not be denied, so she tried another question. "What sort of people live about here?" "In that direction, 11 the Cat said, waving its right paw round, "lives a Hatter: and in that direction, 11 waving the other paw, "lives a March Hare. Visit either you like: they're both mad. 11 "But I don't want to go among mad people, 11 Alice remarked.

ººº'

11.4 A combination of sea/e and proportion is used to create this graphic of a sneeze.

Proportion Emphasis in a message can be controlled by the proportions of the individual fonts selected to communicate the meaning of the typographic composition. Proportions of a font

Alice felt that this could not be denied, so she tried another question. "What sort of people live about here?" "In that direction, 11 the Cat said, waving its right paw round, "lives a Hatter: and in that direction, 11 waving the other paw, "lives a March Hare. Visit either you like: they're both mad. 11 "But I don't want to go among mad people, 11 Alice remarked.

can be varied by selecting different weights within the same family, or by selecting one font that is condensed to contrast with one that is extended. Given that all other variables are the same in the composition (size, alignment, weight, and so on), changing the proportion of the forms is an interesting way to bring attention to sorne areas of the composition.

11.3 The visual hierarchy can manifest itself in a variety of ways: ali caps, bold, or the more subtle italic variations.

"we re nere.

"Oh, you can't help that," said

td.

We're ali ma here. I'm mad. You're mad." Cat:

11

size is one of the most easily understood visual

11

11

"Oh, you ca}!'t he!Pffª~i~t~ ~_at: ct 111a.u I'm mad. You're mad."

emphasis to indicate the importance of a

volume of an onomatopoeia or emphasize Alice felt that this could not be denied, so she tried another question. "What sort of people live about here? 11 "In THAT direction, the Cat said, waving its right paw round, "lives a Hatter: and in THAT direction, waving the other paw, "lives a March Hare. Visit either you like: they're both mad. "But I don't want to go among mad people, Alice remarked.

OHyou

can't help that," said the Cat: "we're all mad here. I'm mad. You're mad."

11

Value and Texture Traditional setting of text for large areas of reading, as in a story or article, should be fairly direct and easily·understood. The use of the same font for ali body text sets a precedent and

11.5 The important phrase can be larger than the rest of the text to make it more important. An initial or drop cap sets the first character or two apart and indicates where the reader should begin. Determine whether the leading should remain the same as the bulk of the text far a crowded effect, or be altered .to accommodate the larger text.

"Oh, you can't help that," said the Cat: "we're all mad here. l'm mad. You're mad." "Oh, you can't help that," said the Cat: "we're ali mad here. l'm mad. You're mad." "Oh, you can't help that," said the Cat: "we're all mad here. l'm mad. You're mad." "'Oh, you can't help that," said the Cat: "we're all mad here. l'm mad. You're mad." "Oh, you can't help that," said the Cat: "we're all mad here. l'm mad. You're mad." 11.6 The proportion of letterfarms is a ratio between the height and width of the shape and the stroke weight. Alter one or the other, or both far the most emphasis.

CHAPTER 11: SELECTING ANO COMBINING FONTS CREATIVELY

'You must be,' said the Cat, 'or you wouldn't have come here.' Alice didn't think that proved it at all; however, she went on, 'And how do you know that you're mad?' 'To begin with,' said the Cat, 'a dog's not mad. You grant that?' 'I suppose so,' said Alice. 'Well, then,' the Cat went on, 'you see, a dog growls when it's angry, and wags its tail when it's pleased. Now I growl when I'm pleased, and wag my tail when I'm angry. Therefore I'm mad.' 'I call it purring, not growling,' said Alice. 'Call it what you like,' said the Cat. 'Do you play croquet with the Queen to-day?' 'I should like it very much,' said Alice, 'but I haven't been invited yet.' 'You'll see me there,' said the Cat, and vanished. 11.7

'You must be,' said the Cat, 'or you wouldn't have come here.' Alice didn't think that proved it at all; however, she went on, 'And how do you know that you're mad?' 'To begin with,' said the Cat, 'a dog's not mad. You grant that?' 'I suppose so,' said Alice. 'Well, then,' the Cat went on, 'you see, a dog growls when it's angry, and wags its tail when it's pleased. Now I growl when I'm pleased, and wag my tail when I'm angry. Therefore I'm mad.' 'I call it purring, not growling,' said Alice. 'Call it what you like,' said the Cat. 'Do you play croquet with the Queen to-day?' 'I should like it very much,' said Alice, 'but I haven't been invited yet.' 'You'll see me there,' said the Cat, and vanished. 11.8

219

'You must be,' said the Cat, 'or you wouldn't have come here.' Alice didn't think that proved it at all; however, she went on, 'And how do you know that you're mad?' 'To begin with,' said the Cat, 'a dog's not mad. You grant that?' 'I suppose so,' said Alice. 'Well, then,' the Cat went on, 'you see, a dog growls when it's angry, and wags its tail when it's pleased. Now I growl when I'm pleased, and wag my tail when I'm angry. Therefore I'm mad.' 'I call it purring, not growling,' said Alice. 'Call it what you like,' said the Cat. 'Do you play croquet with the Queen to-day?' 'I should like it very much,' said Alice, 'but I haven't been invited yet.' 'You'll see me there,' said the Cat, and vanished.

11.7-11.12 A visual comparison of value and texture in typeset body text. 11.7 This text shows a consistent value and texture.

11.8 Semibold indicates the characters' voices . 11.9 The characters' voices are separated, using semibold italic far the Cat and semibold far Alice.

11.10 The characters' voices are separated from the narrative text by using italic, which creates a different visual texture.

11.9 11.11 Ali of the text is italic,

'You must be,' said the Cat, 'or you wouldn't have come here.' Alice didn't think that proved it at all; however, she went on, 'And how do you know that you're mad?' 'To begin with,' said the Cat, 'a dog's not mad. You grant that?' 'I suppose so,' said Alice. 'Well, then,' the Cat went on, 'you see, a dog growls when it's angry, and wags its tail when it's pleased. Now I growl when I'm pleased, and wag my tail when I'm angry. Therefore I'm mad.' 'I call it purring, not growling,' said Alice. 'Call it what you like,' said the Cat. 'Do you play croquet with the Queen to-day?' 'I should like it very much,' said Alice, but I haven't been invited yet.' 'You'll see me there,' said the Cat, and vanished. 11.10

'You must be,' said the Cat, 'or you wouldn't have come here.' Alice didn't think that proved it at all; however, she went on, 'And how do you know that you're mad?' 'To begin with,' said the Cat, 'a dog's not mad. You grant that?' 'I suppose so,' said Alice. 'Well, then,' the Cat went on, 'you see, a dog growls when it's angry, and wags its tail when it's pleased. Now I growl when I'm pleased, and wag my tail when I'm angry. Therefore I'm mad.' 'I call it purring, not growling,' said Alice. 'Call it what you like,' said the Cat. 'Do you play croquet with the Queen to-day?' 'I should like it very much,' said Alice, 'but I haven't been invited yet.' 'You'll see me there,' said the Cat, and vanished . . 11.11

'You must be,' said the Cat, 'or you wouldn't have come here.' Alice didn't think that proved it at all; however, she went on, 'And how do you know that you're mad?' 'To begin with,' said the Cat, 'a dog's not mad. You grant that?' 'I suppose so,' said Alice. 'Well, then,' the Cat went on, 'you see, a dog growls when it's angry, and wags its tail when it's pleased. Now I growl when l'm pleased, and wag my tail when I'm angry. Therefore I'm mad.' 'I call it purring, not growling,' said Alice. 'Call it what you like,' said the Cat. 'Do you play croquet with the Queen to-day?' 'I should like it very much,' said Alice, 'but I haven't been invited yet.' 'You'll see me there,' said the Cat, and vanished. 11.12

which creates a consistent visual texture; however, semibold italic subtly emphasizes the characters' voices.

11.12 Ali of the text is set in a variation of italic-the narrative text is medium weight, the Cat's voice is bold, and Alice's voice is semibold. What is the hierarchy? Who or what is the most important and least important?

220

A TYPOGRAPHIC WORKBOOK

AaBbCcDdEeFfGgHhliJjl5_ k Study each of the examples and assign characteristics to each, writng as many as possible on the line next to the font. The list on the right side of the page may provide ideas to get you started, but do not hesitate to add your own descriptors as well. Determine which fonts you might use for various applications. Would you use the font to develop a logotype for a bank, a toy store, oran automotive center? How about a men's or women's clothing outlet or an ltalian restaurant?

AA~~((PPftft66H~HV~ K~-AaBbccodEeFtGgHhliJilJo.cro.a\.t.coo.+empocac~ ............e l.ass.~.ca ........................ .

........chl~~f tO.\.,.Go,

j

tfrd ,· f'.\Q e> in \ar~e

(\ts cE :\:f:,y-t', ~

3 oc

roace cnluMO'.) i

the cells have a meaningful relationship to the data above, below, and beside it. A table may include rules to divide the rows and columns. Toe organization of the text can be done with more subtle visual cues, first and faremost tabular spaces between columns of text and leading between rows of text. If rule lines are

l Cc))or o= ocí\-e, a t: al\

a necessary component of the design, use a fine weight such as .25 point. Experiment with dotted or dashed rules to make the rule even lighter in texture and presence on the page.

URL: http://de.-":>k\op?-}lb, a..ta.,•Jh

~,Y) I od

Lists A list is a group of related terms or infarmation sometimes organized in

/ l'M._,'e\\e\"':,/ o.l ne~'>'R.\\tr_ ~t

URL: http://w1,J.-:i.s-\0Ct lo.~otA\-s¡cn Date visited:

240

Experiment with using a six-celumn grid for a two-page magazine spread. Include a headline, a minimum of three photographs or illustrations with credit and captions, an author's byline, and a three-celumn by six-row data table. Using a pencil, draw boxes with an x from cerner to cerner to indicate the spaces occupied by images. Use lines to indicate lines of text and small, neat scribbles to show the credit, caption, and byline text. Take notes to remind yourself of positive and negative areas of each cemposition.

A TYPOGRAPHIC WORKBOOK

CHAPTER 12 : ORGANIZING TYPOGRAPHIC COMPOSITIONS

'

~

241

,,

Layout Thumbnails Using a Grid

242

A TYP OGRAP HI C WO RK B OO K

hierarchial order. Often lists utilize a bullet (a small geometric shape, usually a circle) or dingbat (a small decorative image) to indicate

each separate ítem in the list. Occasionally a list begins with a name or glossary term followed by a dash. Toe bulleted item is set

Tea Party Attendees Alice March Hare Mad Hatter Dormouse

in from the left margin a pica or two from

Alice

Small, blond, naive girl wearing a blue-and-white checked frock with a white apron; she is the key character and experiences a number of strange subordinate characters and unusual physical phenomena throughout the story. Mad Hatter Although well dressed, he seems to have an issue with offering faod and beverage that does not exist, and wears a large top hat. Perhaps "mad" does not refer to his disposition, but his state of mind. March Hare Also well dressed, especially far a small rodent, he seems to be consistently late far appointments, and somewhat nervous. Dormouse

Small, somewhat cute rodent who is excessively tired throughout most of the story.

the bullet, and the descriptive text follows. A runover is the text of the description that follows onto subsequent lines and should be set so that it aligns with the first letter of the first line of descriptive text. Specified like a hanging indent in most contemporary software applications, this type layout ~llows the term or name to be set apart from the definition or description. A small column width makes it impossible to take advantage of indented text, as the additional inset creates a very short line and interrupts the reader's rhythm and interpretation of meaning.

Forms In a form the type of information to be collected is listed in sorne manner, followed by a space or line to be filled in by the user. Forms range in complexity. As the amount of information and complexity of information increase, so must the designer's awareness and consideration. Toe construction and layout of a form must allow an appropriate

12.24 A hanging indent may be used to clarify the term or subject when runover text is involved. A tab may be set at the same position as the indented text far a more concise appearance. The hanging indent is effective far lists, such as a glossary.

amount of space for the user to fi.11 in the blank areas; information should be grouped logically and in an orderly manner, without extraneous items and unnecessary rules. Sorne forms must maintain margins and columns so that the information can be automatically processed, so consultation with technological experts and software vendors

Tea Party Attendees • Alice • March Hare • Mad Hatter • Dormouse Tea Party Attendees ► Alice ► March Hare ► Mad Hatter ► Dormouse 12.25 A list ítem often becomes clearer to the reader when it is offset by a bullet (middle example} or a dingbat (bottom example}.

CHAPTER 12: ORGANIZING TYPOGRAPHIC COMPOSITIONS

243

Tea Party Attendees

Cups ofTea

Pieces of Cake

Alice

1

1

March Hare

2

o

March Hare: "Have soma winel"

2

Alice:

Mad Hatter Dormouse

5

o

"I don't see any wine."

March Hare: "There isn't any."

3

Alice:

12.26 Although text can be organized in a tablelike structure without horizontal or vertical guides, it is more difficult far the reader to align the information visually and understand the meaning of the data.

"Then it wasn't very civil of you to offer it."

March Hare: "It wasn't very civil of you to sit down without being invitad." Alice:

"I didn't know it was YOUR table ... it's laid for a great many more than three."

Tea Party Attendees

Cups ofTea

Alice

1

1

March Hare

2

o

Alice:

Mad Hatter·

5

2

March Hare: "Do you mean that you think you can flnd out the answer to it?"

Dormouse

o

3

Pieces of Cake

Mad Hatter: "Your hair wants cutting." Alice:

"You should learn not to make personal remarks, it's very ruda."

Mad Hatter: "Why is a raven like a writing-desk?"

Alice:

Tea Party Attendees

Cups ofTea

Pieces of Cake

Alice

1

1

March Hare

2

o

Mad Hatter

5

2

Dormouse

o

3

,, . . . . . .. . . . . . . .. ... . . . . . . .. ... .. ...... ......' .. ' ......................................... •:• ............................................ .

12.28 Horizontal and vertical guides can be made using background shades and thin decorative rules; this example emphasizes the vertical columns of information.

"Exactly so."

March Hare: "Then you should say what you mean." Alice:

12.27 Horizontal and vertical guides assist the reader to understand the meaning of the data but are often too heavy and amateurish-looking.

"I believe I can guess that."

"I do, at least-at least I mean what I say-that's the same thing, you know."

Mad Hatter: "Not the same thing a bitl You might just as well say that 'I see what I eat' is the same thing as 'I eat what I see' I"

12.30 A hanging indent may be used to clarify the term or subject when runover text is involved. This text example is set as a play script, separating the list of cast members from the lines they speak.

may be required to create an accurate and usable form design. A standard rule of thumb is to allow approximately 20 points of leading between lines of a form that will be filled with

Te~ Party Attendees

Cups of Tea

Pieces of Cake

handwritten answers. A much smaller space forces the user to cram information into it, often resulting in illegible responses.

1

1

Font weight can be used to develop a visual

March Hare

2

o

hierarchy, often eliminating the need for rule

Mad Hatter

5

2

Dormouse

o

3

Alice

12.29 Horizontal and vertical guides can be made using background shades; this example emphasizes the horizontal rows of information.

lines that may cause visual clutter.

Captions, Bylines, and Credits Small type such as captions, bylines, and credits may seem insignificant to

A TYPOGRAPHIC WORKBOOK

244

MI{. SI/Ok.Jf-rAMt f>OX ,,,f-' City/Statetf'rA f>lf-rA, M/SS/SS/ff/ Zip code 311't1 Telephone numberc,,z.; ttl-f-'f-'f-'f-' Title/name

Street addressfeJ

Employment Application W'• .,. •• 9'fl•al oppolfw•~ •"'JIIIOJ'9&

PesltlH Applled Fer: _ _ _ _ _ _ _ _ _ _ _ _ _

N■111e:

D ■ t•

., Applic ■ tt•n: _ _ _ __

12.32 A form with less than 20 points of leading makes it almost impossible to complete with readable handwriting.

-----,...,.------------.==----------.r=:-1.....--

A1lllnss: _ _ _ _i+=ü""'if----------=c1TY=------=¡.,.-=dr------.~Plle ■ e:

_ _ _ _ _ Mellile/FAX: _ _ _ _ _ _ _ _ Sec. Sec. No.:

D ■t• ■Vllllalll•

t• start: _ _ _ __

Typ• of• ■ pleyaie■t lleslRII:

Onn-T11■ 0

OPart-Tl111e

OT•111p•rary

Have yoa IIH ■ co ■victed •f ■ cri111• In tite past? O YES lfYes, please explaln: _ _ _ _ _ _ _ _ _ _ _ __ H ■ve yo ■

ever lleen e111ployell llere before?

Ar• yo ■ legally ellglble fer empl•yment in tllls coantry? Oves

lf yo ■ ar•

O NO

■nller

11, 110

yo ■

llave a work penn lt?

ONO

Oves

MI{. Sl/0/CrKAMt StreetaddressfO f>OX ,,,f-' City/State tf'rA f>l«A, M/SS/SS/ff/ Zip code 311't1 Telephone numberc,,z.; ttl-f-'f-'f-'f-' Title/name

Work Experlence l'IIOU:

12.33 A form with at least 20 points of leading is easier to complete with readable handwriting. Title/name

l"NOIII

MI(. SJ/D~«AM!

Street address

ff:i /$DX , ,fr-

City/srtrr"A Zip code

!$!«A, MISS/SS/ff/

3f1't1

!'"°" Telephone number

c,,z; ttt-?-r-r-r-

12.34 A form with at 24 points of leading and a guideline is easier to complete with readable handwriting.

12.31 An example of a typical, generic employment application. Is there an appropriate amount of space to fill in the blanks neatly? What suggestions can you make for improvement, in terms of both functionality and aesthetic?

MI(. Sl(Dl(f«AM! i'iií.E=:iÑii:.ivii:..-rl(DMAS ... ... ... .. ... ........ ..... ......... ... ........ ... ...... ... .... .... .. .

·sfüce.Rf'?X.. /?.f.1. ... ...........· · · · ······· ········ · trrA !$!«A MISSISSlffl

·cii-visi-iüi:. ··· ··· ·· ··· ·· ··· ·· ·· ··· ·· '-··· ·· ·· ·· ··· ·· ·· ··· ·· · ··· ·· · ·· ··· ·· ·· ·· ·· · ···

3t1't1

'i1P·c:00É······ ·· ········· ···· ·················· ·············· ·· ················· ···

12.35 A form with more than 20 points of leading is easier to complete, making it likely that the handwriting will be legible enough to avoid transcription mistakes. The small type below the line leaves more room to write.

CHAPTER 12: ORGANIZING TYPOGRAPHIC COMPOSITIONS

245

12.36 (Left) Examples of a drop cap, photo credit, sidebar, and author's byline as it might appear in a singlepage layout, using a grid for sizing and alignment.

·····Byline

12.37 Photograph with photo credit.

inexperienced designers, however the quality

different face than the other text on the

and placement of this important information

page, so as to eliminate any confusion with

often reveal the typographic sophistication

other text elements on the page. There are

of the designer. Toe small type must be

four different types of captions: narrative,

judiciously oriented and placed so that it

identifier, essay, and pull-quote. Narrative

is clearly visible and legible without being

captions are longer, since they are used to

disruptive and distracting. These small referen ces are another element in the visual

photo or illustration. Identif¡er captions

hierarchy and should work together with the

are short descriptive sentences or phrases

other page elements in the communication.

containing only the most basic information

explain the content and/or context of the

necessary to understand the image. Essay

Captions Captions are the ~mall type below or beside

captions are long, descriptive, storylike

explanations that tell as much or more of

an image or illustration; they explain the

the story line as the body text. Often essay

content and context of the subject. Most

· captions accompany photographic essays in a

captions are set in a small point size and

journalistic style, so there is no written story

246

A TYPOGRAPHIC WORKBOOK

he table was a large one, but the hree were al! crowded together at one ~he had not gone much farther befare she carne in sight of the

line set in body copy. Pull-quote captions are

corner of it: "No room! No room!" they

statements taken from the body text and

cried out when they saw Alice coming.

house of the March Hare: she

used as a description for the photograph or

'There's PLENTY of room!" said Alice

thought it must be the right

illustration.

were shaped like ears and the roof was thatched with fur. lt was so large a house, that she did not like

Bylines The byline contains the name of the author or authors responsible for writing the story,

sorne more of the lefthand bit of

article, or book. These do not follow any standardized rules for size or placement in

mushroom, and raised herself to

the composition, but typically appear at the

about two feet high: even then she walked up towards it rather

beginning of the story just above or below the headline. The byline may be typeset as a

timidly, saying to herself,

sidebar or at the end of the article, sometimes

"Suppose it should be raving mad after all! 1almost wish l'd gone to

accompanied by a short biography of the writer. In newspapers, the byline commonly

see the Hatter instead !"

follows the article head, often with the

to go nearer till she had nibbled

author's name and profession affiliation,

rf

since most newspapers pickup articles from multiple sources. ere was a table set out

under a tree in front

of the house, and the

March Hare and the Hatter

were having tea at it: a Dormou~e was sitting between them, fast asleep, and the other two were using it as a cushion, resting their elbows on it, and talking over its head. "Very uncomfortable for the Dormouse," thought Alice; "only, as it's asleep, 1 suppose it doesn't mind." 12.38 These examples of a raised cap and a drop cap. These indicate where the story begins by drawing attention to the first letter of the first sentence.

indignantly, and she sat down in a large arm-chair at one end of the table.

house, because the chimneys

Credits Photographic and illustration credits vary widely according to the design of the publication or periodical and according to the contractual agreement with the photographer, designer, or illustrator who created the imagery. Sorne publication images are accompanied by very small type running along the bottom or right side of the image; sorne publications include the credit in the caption text; sorne publications and books group the credits for all images at the end of the publication or textbook.

Sidebars A sidebar consists of information that is secondary to the main topic of the section, subsection, or chapter. The information relates to and sµpports the information in

12.39 Example of a hanging cap.

the main story line, often providing a more in-depth explanation that assists readers in reaching a deeper understanding of the topic. The information in the sidebar is not essential to understanding the main content, but may clarify a point of view different than that featured in the main article. Sidebars are separated from the main text by their placement and typographic treatment. A sidebar may be enclosed in a box or decorative rule; a background color or value may draw additional attention to the fact that this information is separate content. A sidebar may be set in a different face-most commonly a condensed or lightweight variation of the face used for headings and subheadings in longer publications, where numerous sidebars may appear. In a newsletter, where there may be only one side.bar per issue, the designer may choose a more decorative font and more elaborate design.

lnitial Caps Initial caps are large, somewhat decorative letterforms used to call attention to the beginning of an article, story, or chapter. Variations on the initial cap include stand-up or raised caps, drop caps (sometimes called inset caps), and hanging caps. The stand-up or raised cap is larger than the typeset body text, and its baseline aligns with the baseline of the first line of text at the beginning of the story. The size of this raised

CHAPTER 12: ORGANIZING TYPOGRAPHIC COMPOSITIONS

247

Chapter Twelve R~view letter is usually based on a multiple of the typeset dimension-that is, two or three lines tall. Special attention must be paid to the letter spacing before and after a stand-up cap so that it maintains proper association with the rest of the letters in the word. A drop cap, like the raised cap, is sized as a multiple of the lines of text, often three or four lines in height. Toe difference is that the inset or drop cap's baseline aligns with the second, third, or fourth line of text. Often the subsequent lines of text require additional mortising, or word spacing, immediately next to the large letterform, so that they are not read as part of a word beginning with that letter. Toe cap line of the drop cap aligns with the cap line of the first line of text in the story. Letters with angled strokes, such as A, V, or W may require special mortising to avoid a relatively large, trapped, white space next to the character. Toe most pleasing solution is for the subsequent lines of type to create a visual angle that complements the angle of the side stroke on the drop cap. Hanging caps are large initial caps that often combine characteristics of the raised cap and the drop cap. A hanging cap may be typeset so that it extends above the cap line of the · first line of text and drops to the baseline of the second, third, or fourth line of text. Toe unique characteristic of a hanging cap is that all subsequent lines of text are inset so that they align vertically with the second character of the first line of text; the hanging cap is set out in the left margin by itself, just like the first line of a hanging indentation, or the bullet indicating an element in a list.

Circle one answer for each definition to indicate the correct key concept term for each. When necessary, determine whether the phrase provided is true or false. This term refers to information that is separated from the typeset text, often inset with a background color or value and rules in a larger size. a. Drop cap (}) Callout c. Masthead d. Pull quote

1.

Toe term basis weight refers to the weight, measured in pounds, of a ream of cut paper.

2.

(I} b.

True False

3. This interior margin is reduced to up to half the dimension of the outside page margins so that the page contents read together as one coherent message. a. b.

ea.

Alley Footer Gutter Thumb space

This establishes the look and tone of the printed piece, communicating the character of the message. Since the majority of the whole story, article, or book is set in this, it should be carefully selected for legibility and readability. a. Masthead b. Folio c. Running head Bodytext

4.

@

5.

Envelopes are manufactured by a. Robert Bringhurst b. Aprinter Converters d. Dingbats

@

248

6.

A TYPOGRAPHIC WORKBOOK

This is the term far infarmation organized into rows

and columns so that the data in each area of the cells have

11.

a meaningful relationship to the data above, below, and beside it.

Form

d.

List

a.

Bleed

c.

Caption

d.

Table

G List

~ . Table "-( Callout c.

Often these utilize a bullet or dingbat to indicate each

separate item.

12.

These are large, somewhat decorative letterfarms used

to call attention to the beginning of an article, story, or Sorne publication images are accompanied by very

7.

small type running along the bottom or right side of the image; sorne publications include this in the caption text; sorne publications and books group these far all images at the end of the publication or textbook. ~

b.

Pull quote

c.

Callout

@

Initial cap

b.

Credit Masthead

c.

Ream

surface finishes, the most common of which are smooth,

Byline

linen, laid, and cockle.

d.

8. A standard rule of thumb is to allow approximately 37 points of leading between lines of a farm that will be filled with handwritten answers. a.

True

C§J

False

9.

chapter. a. Byline

a.

Newsprint

®c.

Uncoated

d.

Kraft Matte-coated

14. This may be typeset so that it extends above the

. cap line of the first line of text and drops to the baseline

Paper is manufactured in large continuous rolls. As

the paper _fibers move through the multiple stages, the fibers align along the length of the roll parallel to the edges resulting in a _ _ _ _ _ _ _ _ _ _ __ a.

Bleed

c.

Grain Ream

d.

Runover

®

13. These papers are available in a number of different

Paper weight is easy to determine since all reams manufactured in North America are 8 1/2" x 11" with 500

of the second, third, or faurth line of text. Toe unique characteristic of a this is that all subsequent lines of text are inset so that they align vertically with the second character of the first line of text.

Gb.

Drop Cap Hanging cap

c.

Raised cap

d.

Initial cap

10.

15. These are the small type below or beside an image or

sheets of paper in a package.

illustration; they explain the content and context of the subject.

a.

True

(E)

a.

Byline

False

b.

Credit

@ d.

Caption Signature

Academy EngiraVed

albcdlefghftjkRmn.opqr§tuvwxyz

ABCDEFGHKJKLM NOJPQRSTUVWXYZ JL234567890?i$%&*:{ 9

6/ 9

Alke was beginnin¡\ to gct very

tircd of ,füing b¡ her sister on the bank, and of

having not 1in~ to do: once or t.v•ce she ha,

él_,uihew@{,ú.R,e~wr,J,

14;1s

tailwtk¡tu, a.nJ wen1, ()l¿&lfillf! to heMJ/, in, a dl/R.onlJJ Jm.t

rfIIXl.ff, "@u eu/JJ eat 6at,l! @u ea1,f eaJ, bal;J!/"

a.nJiJOrfWl.i111.M, ':(fjjJ(} baJ;J ea}, eau!/" ~

'

r~,

(J/J

J/w oot,U,, t l1MUJei wlwt ,pllJilúin,, it dufa't nllU!Á nuzlle.t w/w,J,, IIXl.ff dw¡wJ, it.

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272

A TYPOGRAPHIC WORKBOOK

Bodoni

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Bodoni

And she went on planning to

herself how she would manage it. "They must go hy the carrier," she thought; Hand how funny it'll seem,

sending presents to one's own feet! And how odd the

Originally designed by Giambattista Bodoni around 1767, this font (also called Didone) is considered modern in style . In the early 1900s, Morris Fuller Benton revived Bodoni with his version, ATF Bodoni, in 1911, which is considered the first accurate reviva! of a historical tace for general printing and design applications. Numerous versíons have come about from a variety of designers and foundries and often include book and italíc styles, in book and bold weights. The strong vertical emphasis and the contrast between the fine and thick línes makes Bodoni's legibility better in larger print with generous leading.

directions will look!

ALICE'S RIGHT FOOT, ESQ. HEARTHRUG, NEAR THE FENDER, (WITH ALICE'S LOVE). Oh dear, what nonsense I'm talking!"

8/12 And she went on planning to herself how she would manage it. "They must go by the carrier," she thought; "and how funny it'll seem, sending presents to one's own feet! And how odd the directions will look!

ALICE'S RIGHT FOOT, ESQ. HEARTHRUG, NEAR THE FENDER, (WITH ALICE'S LOVE). Oh dear, what nonsense l'm talking !"

And she went on planning to herself how she would manage it.''They must go by the carrier/' she thought; "and how funny it'll seem, sending presents to one's own feet! And how odd the directions will look! 18120

ALICE'S RIGHT FOOT, ESQ. HEARTHRUG, NEAR THE FENDER, (WITH ALICE'S LOVE). Oh dear, what nonsense I'm talking!"

APPENDIX A: FONT SAMPLE CHARTS

273

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ABCDEFGDIJKLM NOPQRSTUVWXYZ 1234567890?!$%&*:;'' 6/ 9 Jost theo her head stroek agaiost the roof of the hall: in faet she was oow more thao uioe feet high, aod she at ooee took np the Iittle goldeo key aod horried off to the gardeo door.

8/ 12

Just then her head

struek against the roof of the hall: in faet she was now more than nine feet high, and she at

onee took up the little golden key and hurried off to the garden door.

Just then her head struek against the roof of the hall: in faet she was now more than nine feet high, and she at onee took up the little golden key and hurried off to the garden door.

11; 14

Just then her head struek against the roof of the hall: in f aet

14/15

Just then her head struek against the roof of the hall: in faet she was now more than nine feet high, and she at onee took up the little golden key and hurried off to the garden door. 20121

.Just then her head struek against the roof of the hall: in faet she "'ªs JDore than nine f eet 20/21

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Bodoni Poster Designed by Chauncey H. Griffith in 1929, it has little resemblance to the original font designed by Giambattista Bodoni at the end of the eighteenth century, wíth exception of the contrastíng thick and thin strokes and vertical emphasis. The thin vertical counterforms are emphasized by the round, somewhat flattened circular contours. The proportional contrast between these two elements fits Bodoni Poster mto a group of fat-face fonts popular in display sizes. The ball terminals and curvaceous strokes communicate a feeling of cheerfulness.

274

A TYPOGRAPHIC WORKBOOK

Book Antiqua

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6/9 Poor Alice! It was as much as she could do, lying down on one side, to !ook through into the garden with one eye; but to get through was more hopeless than ever: she sat down and began to cry again.

8/12 Poor Alice! It was as much as she could do, lying down on one side, to look through into the garden with one eye; but to get through was more hopeless than ever: she sat down and began to cry again.

Poor Alice! It was as much as she could do, lying clown on one side, to look through into the garden with one eye; but to get through was more hopeless than ever: she sat clown and began to cry again. 11;14

Poor Alice! It was as muchas she could do, lying down on one side, to look through into the garden with one eye; but to get through was more hopeless than ever: she sat down and began to cry again. 14;1s

Poor Alice! It was as much as she could do, lying clown on one side, to look through into the garden with one eye; but to get through was more hopeless than ever: she sat clown and began to 18120

APPENDIX A: FONT SAMPLE CHARTS

275

Bookman Old St)'le

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6/9 "You ought to be ashamed ofyourself," said Alice, "a great girl like you" (she might we!l say this), "to go on crying in this wayl Stop this moment, 1 tell you!" But she went on all the same, shedding gallons of tears, until there was a large pool ali round her, about four inches deep and reaching half d own the hall." 8/12 "You ough t to b e asham ed of yourself," s a id Alice, "a gr eat girl like you " (she might well s ay this), "to go on crying in this way! Stop t h is moment, I tell you!" But she wen t on all t h e sam e, shedding gallons of tears , u ntil ther e wa s a lar ge p ool all rou nd her, a bout fou r inch es deep a nd

reaching h a lf dow n the hall. 11;14 "You ought to be ashamed of yourself," said Alice, "a great girl like you" (she might well say this) , "to go on crying in this way! Stop this moment, I tell you! " But she went on all the same, shedding gallons of tears, until

"You ought to be ashamed of yourself," said Alice, "a great girl like you" (she might well say this), "to go on crying in this way! Stop this moment, I tell you!" But she went on all the same, shedding gallons of tears, until there was a large pool all round her, about four inches deep and reaching half down the hall. 14;16

Bookman Old Style The Bookman font, designed with a large x-height and wide set width, is originally credited to Wadsworth A. Parker around the turn of the twentieth century. The contemporary redesign is attributed to Edward Benguiat, 1975, far ITC.

"You ought to be ashamed of yourself," said Alice, "a great girl like you" (she might well say this), "to go on crying in this way! Stop this moment, I tell you!" But she went on all the same, shedding gallons of tears, until there was a large pool all round her, about four inches deep and reaching half down the hall. 19/23

276

A TYPOGRAPHIC WORKBOOK

ITC Bookman Light

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ABCDEFGHIJKLM NOPQRSTU XYZ 1234567890?! $o/o&*:;" 6/9 After a time she heard a llttle pattering of feet in the distance, and she hastily dried her eyes to see what was com!ng. It was the White Rabb!t returning, splendidly dressed, with a pa!r ofwhite kid gloves in one hand and a large fan in the other: he carne trotting along in a great hurry, muttering to h!mself as he carne, "Oh! the Duchess, the Duchessl Oh! won't she be savage if I've kept her wa!tingl" Alice felt so desperate that she was ready to ask help of any one; so, when the Rabb!t carne near her, she began, in a low, tim!d volee, "Ifyou please, sir-" The Rabbit started violently, dropped the white kid gloves and the fan, and skurried away into the darkness as hard as he could go.

8/12 After a time she heard a little pattering of feet in the distance, and she hastily dried her eyes to see what was coming. It was the White Rabbit returning, splendidly dressed, with a pair of white kid gloves in one hand and a large fan in the other: he carne trotting along in a great hurry, muttering to himself as he carne, "Oh! the Duchess, the Duchess! Oh! won't she be savage if I've kept her waitingl" Alice felt so desperate that she was ready to ask help of any one; so, when füe Rabbit carne near her, she began, in a low, timid voice, "Ifyou please, sir-"

After a time she heard a little pattering of feet in the distance, and she hastily dried her eyes to see what was coming. It was the White Rabbit returning, splendidly dressed, with a pair of white kid gloves in one hand and a large fan in the other: he carne trotting along in a great hurry, muttering to himself as he carne, "Oh! the Duchess, the Duchess! Oh! won't she be savage ifl've kept her waiting!" Alice felt so desperate that she was ready to ask help of any one; so, when the Rabbit carne near her, she began, in a low, timid voice, "If you please, sir-" The Rabbit started violently, dropped the white kid gloves and the fan, and skurried away into the darkness as hard as he could go. 11114

After a time she heard a little pattering of feet in the distance, and she hastily dried her eyes to see what was coming. It was the White Rabbit returning, splendidly dressed, with a pair of white kid gloves in one hand and a large fan 14;15

APPENDIX A: FONT SAMPLE CHARTS

277

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lice took. up the fan and aloves~ and~ as the hall was ven1 hot~ she k.ePt fanina her-self all the time she went on talkina: ••l)ear-~ dear-! tiow queer- even1thina is todaY! And yester-daY thinas went on justas usual. 1 wonder- if 1~ve been chanaed in the niaht? Let me think: was I the same when I aot up this mor-ni na? 1 almost think. 1 can r-emember- feelina a little differ-ent. 13ut if 1~m not the same~ the next question is~ Who in the wor-ld am · ·• Ah~ Tti.A.T~s the ar-eat PUZZie!~~ And she beaan thinkina over- all the childr-en she knew that wer-e of the same aae as her-self~ to see if she could have been chanaed for- anY of them.

Broadway

1

lndicative of the decorative spirit of the 1920s, Broadway is attributed to Morris Fuller Benton in 1925. lt is popularly used ín theater playbills as well as advertisements by hairdressers and beauty salons. The contrast in stroke weight makes ít eye-catching when used in large headlines and signage applications.

278

A TYPOGRAPHIC WORKBOOK

(alcite Pro

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o?! Calcite Pro This contemporary sans serif fant was designed by Akira Kobayashi far Adobe. Although the variation in stroke weight is reminiscent of historical chancery scripts, the contemporary fiare makes it an attractive change far compositions requiring visual ínterest, direction, and motíon. Like ali of the Adobe Professional fants, Calcite is available in a number of variations including regular, bold, and l,lack.

6/9 '/'m sure those are notthe right words, •said poor Alice, and her eyes filled with tears again as she went an, "/ muft be Mabel after ali, and Ishall have to go and live in that poky little house, and have nextto notoysto play with, and oh! everso man ylessons to learn! No, /'ve made up my mind aboutit; ifl'mMabel, /'llftay down here! lt'II be no use their putting their heads down and saying '@me up again, dear!''

"/'m sure those are not the right words," said poor Alice, and her eyes filled with tears again as she went on, "/ mu.fi be Mabel after all, and I shall have to go and live in that pohy little house, and have next to no toys to play with, and oh! ever so many lessons to learn! No, /'ve made up my mind about it; if /'m Mabel, /'11.fiay down here! lt'll be no use their putting their heads down and saying '@me up again, dear!'" 8/11

11114

"/'m sure those are not the

right words," said poar A/ice, and her eyes filled with tears again as she went on, "/

14;15

., "J'm sure those are not the right words," said

poor Alice, and her eves filled with tears again as she went on, "I must be Mabel after ali, and I shall have to go and live in that pokv little house, and have next to no tovs to plav with, and oh! ever so manv lessons to learn! No, I've mude up mv mind about it; if l'm Mabel, l'll stav down here! lt'll be no use their putting their heads down and saving, '@me up again, dear!' "

"l'm sure those are not the right words," said poor Atice, and her eyes filled with tears again as she went on, "I muff be Mabel after ali, and I shall have to go and live

18/18

APPENDIX A: FONT SAMPLE CHARTS

279

N ew Caledóllia

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ABCDEFGHIKLM NOPQRSTUV XYZ 1234567890? !$% &*: ;" 6/9 I shall only look up and say "Who am I then? Tell me that first, and then, if I like being that person, I'll come up: if not, I'II stay clown here till I'm somebody else-but, oh dear!" cried Al ice, with a sudden burst of tears, "I do wish they WO ULD put their heads clown! I am so VERY tired ofbeing ali alone here 1"

8/12 I shall only look up and say "Who am I then? Tell me that f:lrst, and then, if I like being that person, I'll come up: if not, I'll stay clown here till I'm somebody else-but, oh dear!" cried Alice, with a sudden burst of tears, "I do wish they WOULD put their heads clown! I am so VERY tired of being all alone here! "

I shall only look up and say "Who am I then? Tell me that first, and then, if I like being that person, I'll come up: if not, I'll stay clown here till I'm somebody else"but, oh dearl" cried Alice, with a sudden burst of tears, "I do wish they WOULD put their heads clown! I am so VERY 11;14

I shall only look up and say "Who am I then? Tell me that first, and then, if I like being that person, I'll come up: if not, I'll stay clown here till I'm somebody else-but, oh dear!" cried Alice, with a sudden burst of tears, "I do wish they WOULD put their heads clown! I am so VERY tired of being all alone here !" 14;16

I shall only look up and say ''Who am I then? Tell me that first, and then, if I like being that person, I'll come up: if not, I'll stay clown here till I'm somebody else"-but, oh dearI" cried Alice, with a sudden burst of tears, "I do wish they WOULD put their heads clown! 18120

New Caledonia Known as Camelia, this fant was desígned by William A. Dwiggins in 1939 far the Mergenthaler typesetting machine factory in Berlin. Dwiggins created the design as a rework of Scotch Roman which was designed far Mergenthaler Linotype in New York. Linotype again reworked the typeface in 1982 and released itas New Caledonia. This large typeface family is perfect far large amounts of text due to the fine weight differences it allows. lt is available in medium, italic, semibold, semibold italic, bold, bold italic, black, and black italic styles.

280

A T YPO GRA PH I C WO RK B OO K

Caslon 3 Roman

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ABCDEFGHIJKLM NOPQRSTUVWXYZ 1234567890?!$%&*:;'' Caslon The original 1725 version of this font was designed by William Caslon (1692-1766). The Caslon font was long known as the script of kings, although on the other side of the política! spectrum, the Americans used it as well far the Declaration of lndependence. Since its inception in the eighteerith century, it has been reworked over and over by a variety of designers. Caslon 540 is attributed to the ATF from 1902; and Caslon 3, a slíghtly bolder face, also carne from ATF in 1905.

6/9 As she said this she looked down at her hands, and was surprised to see that she had put on one of the Rabbit's little white kid gloves while she was talking. "How CAN I have done that?" she thought. "1 must be growing small again."

8/11 As she said this she looked clown at her hands, and was

surprisedtoseethatshehadputon one of the Rabbit's little white kid gloves while she was talking. "How CAN I have done that?" she thought. · "lmustbegrowingsmallagain."

As she said this she looked clown at her hands, and was surprised to see that she had put on one of the Rabbit's little white kid gloves while she was talking. "How CAN I have done that?" she thought. "1 must be growing small again." 12;14

As she said this she looked clown at her hands, and was surprised to see that 14;16

As she said this she looked down at her hands, and was surprised to see that h h d t f h S e a PU 00 O O e 'o t e Rabb.t's 1·ttl k.d glOVe S l l e W h·t 1 e 1 while she was talking. "How CAN I have done that?" she thought. "I must be growing small again." 18120

As she said this she looked dovvn at her hands, and vvas surprised to see that she had put on one of the Rabbit's little vvhite kid gloves 24/22

APPENDIX A: FONT SAMPLE CHART S

281

Caslon 540 Rom-an Caslon 224 ITC Book Caslon 224 No. 224 ITC Black Caslon 224 No. 224 ITC Black ltalic Caslon 224 No. 224 ITC Bold lt Caslon 224 No. 224 ITC Book lt Caslon 224 No. 224 ITC Medium Caslon 224 No. 224 ITC Medium lt Caston 3 ltatic Caston 3 ltalic Old Style Figures Caslon 3 Roman Caslon 3 Roman Small Caps & Oldstyle Figures Caston 3, Caslon 540 se & OSF Volume Caslon 3, Caslon 540 Volume Caslon 540 EF ltalic Caslon 540 ltalic Caslon 540 ltatic & Swashes Caslon 540 ltalic Old Styte Figures Caslon 540 ltalic Oldstyle Figures Caston 540 Roman Caslon 540 Roman Small Caps Caston 540 Roman Small Caps & Oldstyle Figures Caston Adobe Volume Caslon Antique Caslon Antique EF Caslon Antique ltalic Caslon Antique Votume Caston Antique-ltallc Caslon Black EF Caslon Bold Adobe Caslon Bold ltalic Adobe Caston Classico Caslon Classico Bold Caston Ctassico Bold ltalic Caslon Classico ltalic Caslon Classico Small Caps Caston Ex:pert Bold ltalic Package Adobe Caslon Ex:pert Collection Adobe Volume Caslon Expert ltalic Package Adobe Caslon Expert Regular Package Adobe Caslon Expert Semi Bold ltalic Package Adobe Caslon Expert Semi Bold Package Adobe Caslon Fina Stencil EF Black Caslon Fina Stencil EF Black Rough Caslon Graphique Caslon Graphique Compress D Caslon Graphique D Caston Graphique EF Caston ltatic Adobe Caslon No. 224 ITC Bold Caslon No. 337 se T ttalic Caslon No540 D ltalic Caslon No540 Swash Alternative D ltalic Caston No540 Swash D ltalic Caslon Old Face Caslon Old Face Heavy Caston Old Face ltalic Caston Open Face Caston Openface Caslon Ornaments Adobe Caston Regular Adobe Caslon Rough HEF Bold Caslon Rough HEF Regular Caslon Rough HEF Regular ltalic Caslon Rough HEF Regular SC Caslon RR Extra Condensed Caslon RR Extra Condensed Bold Caslon Semi Bold Adobe Caslon Semi Bold ltalic Adobe Caslon Swash Bold ltalic Adobe Caslon Swash ltalic Adobe Caston Swash Semi Bold ltatic Adobe Caston Three Roman Smalt Caps Caston Titling MT

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She go t up and we nt to the table measure herself by ir, and fo und that, as nea rl y as

she could guess, she was now abo ut two feet high, and was going on shrinki ng rapid ly: she soon found out that thc cause of th is was the fan she was hold ing, and she dropped ir hasti ly, just in time to avoid shrinking away altogether.

She got up and went to the table to meas u re he rself by it, and fo und th at, as nearl y as she could guess, she was now about two fe et high, and was going on shrink ing ra pidly: she soon fo und out that che cause of ch is was the fan she was holdin g, and she d ropped ir hastily, just in time to avoid shrinking away altogether. 8/12

11114 She got up and went to the table to measure herself by it, and found that, as nearly as she could guess, she was now about two feet high, and was going on shrinking rapidly: she soon found out that the cause of this was the fan she was holding, and she dropped it hastily, just in time to avoid shrinking away altogether.

She got up and went to the table to measure herself by it, and found that, as nearly as she could guess, she was now about two feet high, and was going on shrinking rapidly: she soon found out that the cause of this was the fan she was holding, and she dropped it hastily, just in time to avoid shrinking away altogether. 14;16

She got up and went to the table to measure herself by it, and found that, as nearly as she could guess, she was now about two feet high, and was going on shrinking rapidly: she soon found out that the cause of this was the fan she was holding, and she dropped it hastily, just in time to avoid shrinking away altogether. 19122

282

A TYPOGRAPHIC WORKBOOK

Linotype Centennial

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ABCDEFGHIJKLM NOPQRSTUVWXYZ 1234567890?!$%&*:;" Linotype Centennial Linotype Centennial was designed by Adrian Frutiger m 1986 for the celebration of Linotype's 100th anniversary. The typeface is a tribute to the Benton brothers, who designed Century, a similar typeface for the ATF at the end of the ninteenth century. Línotype's Centennial is available in eight weights.

8/11 Just then she heard something splashing about in the pool a little way off, and she swam nearer to make out what it was: at first she thought it must be a walrus or hippopotamus, but then she remembered how small she was now, and she soon made out that it was only a mouse that had slipped in like herself.

11114 Just then she heard something splashing about in the pool a little way off, and she swam nearer to make out what it

Just then she heard something splashing about in the pool a little way off, and she swam nearer to make out what it was: at first she thought it must be a walrus or hippopotamus, but then she remembered how small she was now, and she soon made out that it was only a mouse that had slipped in like herself. 15118

APPENDIX A: FONT SAMPLE CHARTS

283

Century Old St}'le

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1234567890?!$%&*:;" 6/9 "Would it be of any use, now," thoughtAlice, "to speak to this mouse? Everything is so out-of-the-way down here, that I should think very likely it can talk: at any rate, there's no harm in trying." So she began: "O Mouse, do you know the way out of this pool? I am very tired of swimming about here, O Mouse!" (Alice thought this must be the right way of speaking to a mouse: she had never done such ■ thing before, but she remembered having seen in her brother's Latín Grammar, "A mouse-of a mouse-to a mouse-a mouse-0 mouse!") The Mouse looked at her rather inquisitively, and seemed to her to wink with one of its little eyes, but it said nothing.

"Would it be of any use, now," thought Alice, "to speak to this mouse? Everything is so out-of-the-way clown here, that I should think very likely it can talk: at any rate, there's no harm in 8/12 "Would it be of any use, now," thought trying." So she began: "O Mouse, Alice, "to speak to this mouse? Everything is so outdo you know the way out of this of-the-way down here, that I should "think very likely it can talk: at any rate, there's no harm in trying." So pool? I am very tired of swimming she began: "O Mouse, do you know the way out of about here, O Mouse!" (Alice this pool? I am very tired of swimming about here, O Mouse!" (Alice thought this must be the right way thought this must be the right way of speaking to a mouse: she had never done such a of speaking to a mouse: she had thing before, but she remembered having seen in her never done such a thing before, brother's Latín Grammar, "A mouse-of a mouse-to a mouse-a mouse-0 mouse!") The Mouse looked but she remembered having seen at her rather inquisitively, and seemed to her to wink in her brother's Latin Grammar, with one of its little eyes, but it said nothing. "A mouse-of a mouse-to a 11;14 "Would it be of any use, now," mouse-a mouse-0 mouse!") thought Alice, "to speak to this mouse? The Mouse looked at her rather Everything is so out-of-the-way clown inquisitively, and seemed to her to here, that I should think very likely it can talk: at any rate, there's no harm in wink with one of its little eyes, but trying." So she began: "O Mouse, do it said nothing. 14;16

284

A T YPO GRAP H I C WO RK 8 OOK

New Century Schoolbook

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ABCDEFGHIJKLM NOPQRSTUVWXYZ 1234567890?!$%&*:;" Century Old Style and New Century Schoolbook Century Old Style was finíshed in 1894 by Linn Boyd Benton; it had been a new text typeface for the Century magazine. Morris Fuller Benton revived it in 1906, and New Century Schoolbook was designed by Morris Fuller Benton in 1919. The Century family of fonts is indicative of the neo-Renaissance aesthetic that became prevalent m typography at the end of the ninteenth century.

6/9 "Perhaps it doesn't understand English," thought Alice; "I daresay it's a French mouse, come over with William the Conqueror." (For, with ali her knowledge ofhistory, Alice had no very clear notion how long ago anything had happened.) So she began again: "Ou est ma chatte?" which was the first sentence in her French lesson-book. The Mouse gave a sudden leap out ofthe water, and seemed to quiver ali over with fright. "Oh, I beg your pardon!" cried Atice hastily, afraid that she had hurt the poor animal's feelings. "I quite forgot you didn't like cats."

8/11 "Perhaps it doesn't understand English," thought Alice; "I daresay it's a French mouse, come over with William the Conqueror." (For, with all her knowledge of history, Alice had no very clear notion how long ago anything had happened.) So she began again: "Ou est ma chatte?" which was the first sentence in her French lesson-book. The Mouse gave a sudden leap out of the water, and seemed to quiver all over with fright. "Oh, I beg your pardon!" cried Alice hastily, afraid that she had hurt the poor animal's feelings . "I quite forgot you didn't like cats."

11;14 "Perhaps it doesn't understand English," thought Alice; "I daresay it's a French mouse, come over with William the Conqueror." (For, with all her knowledge of history, Alice had no very clear notion how long ago anything had happened.) So she began again: "Ou est ma chatte?" which was the first sentence in her French lesson-book. The Mouse gave a sudden leap out of the water, and seemed to quiver all over with fright. "Oh, I beg your pardon!" cried Alice hastily, afraid that she had hurt the poor animal's feelings. "I quite forgot you didn't like cats."

"Perhaps it doesn't understand English," thought Alice; "I daresay it's a French mouse, come over with William the Conqueror." (For, with all her knowledge ofhistory, Alice had no very clear notion how long ago anything had happened.) So she began again: "Ou est ma chatte?" which was the first sentence in 14;16

APPENDIX A: FONT SAMPLE CHARTS

285

ITC Cheltenhélm

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ABCDEFGHIJKLM NOPQRSTUVWXYZ

1234567890?!$%&*:;" 6/9 "Well , perhaps noti' said Alice in a soot hing tone: "don't be angry about it. And yet I wish I could show you our cat Dinah: 1think you'd take a fancy to cats if you could only see her. She is such a dear quiet thing." Alice went on, hall to herself, as she swam lazily about in the pool, "and she sits purr ing so nicely by the fire, licking her paws and washing her face- and she is such a nice soft thing to nurse- and she's such a capital one for catching mice- oh. 1 beg your pardon!" cried Alice again, for this time the Mouse was br istling ali over, and she felt certain it must be really offended. "We won't talk about her any more if you'd rather not."

8/12 "Well, p erhaps not," said Alice in a soothing tone: "don't be angr y ab out it. And yet l wish l could s how you our cat Dinah: l think you'd take a fancy to cats if you could only s ee her. She is s uch a dear quiet thing," Alice went on, half to herself, as she swam lazily about in the pool, "and she sits purring so nicely by the fire, licking her paws and washing her face-and she is s uch a nice soft thing to nurse-and she's such a capital one far catching mice-oh, l beg your pardon! " cried Alice again, far this time the Mouse was b ristling ali over, and she felt certain it must be really offended. "We won't talk about her any more if you'd rather

"Well, perhaps not," said Alice in a soothing tone: "don't be angry about it. And yet I wish I could show you our cat Dinah: I think you'd take a fancy to cats if you could only see her. She is such a dear quiet thing," Alice went on, half to herself, as she swam lazily about in the pool, "and she sits purring so nicely by the fire, licking her paws and washing her face-and she is such a nice soft thing to nurse-and she's such a capital one for catching mice-oh, I beg your pardon!" cried Alice again, for this time the Mouse was bristling all over, and she felt certain it must be really offended. "We won't talk about her any more if you'd rather not." 11;14

"Well, perhaps not," said Alice in a soothing tone: "don't be angry about it. And yet I wish I could show you our cat Dinah: I think you'd take a fancy to cats if you could only see her. She is such a dear quiet thing," Alice went on, half to herself, as she swam 14;16

ITC Cheltenham Designer Tony Stan reworked a turn-of-the-century font originally designed by architect Bertram Grosvenor Goodhue. Although typefaces from that period were often thin, Cheltenham was created as an alternative to the norm; the original Cheltenham was designed with long ascenders and short descenders as a result of legibility studies from the period, indícating that the eye identifies letters by scanning their tops. TQny Stan's ITC Cheltenham mixes a heavier stroke weight with condensed letterform proportions and a large x-height, resulting in a legible text type.

286

A TYPOGRAPHIC WORKBOOK

Berthald City Medium

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ABCDEFGHIJKLM N□PORSTUVWXYZ

1234567890? 6/9

Berthold City Medium Designed by Georg Trump rn 1930 far the Weber foundry in Stuttgart, City has a contemporary feeling, with a 90º relationship between even vertical.and horizontal strokes connected by both curved and angled corners. The large slab serifs stabilize the font, giving it visual strength and presence. His designs were originally categorized with others in the style of "new typography," but later his own unique style evolved in later designs. Georg Trump fought in both world wars and spent much of the rest of his lite as a teacher, instructing students in the art of 1 graphics and typography.

' We indeedl" criad the Mouse, who

was trembling dawn ta the end of his tail. "As il l would talk on such a subjectl 0ur family always HATEO cats : nasty, low, vulgar things ! Don'! Jet me hear the name again !"

•we indeed!" cried the Mouse, who was trernbling down to the end of his tail. "As if I would talk on such · e subject! Our farnily always HATEO cats: nasty, low, vulgar things! Don't let me 8/11

hear the narne again! "

"We indeed!" cried the Mause, wha was trembling dawn ta the end af his tail. "As if I wauld talk an such a subject! 0ur family always HATEO cats: nasty, law, vulgar things! Dan't let me hear the name again!" 11/14

"We indeed!" cried the Mouse, who was trernblirig down to the end of his tail. "As if 14;16

0 !$ /o&*:¡"

"We indeed!" cried the Mause, wha was trembling dawn ta the end af his tail. "As if I wauld talk an such a subject! □ ur family always HATED cats: nastY, law, vulgar things ! Dan't let me hear the name again!" 18120

"We indeed!" criad the Mouse, who was trembling dawn to the end of his tail. "As if I wauld talk on such a subject! Our family always HATED cats: nasti 24/24

APPENDIX A: FONT SAMPLE CHARTS

287

Ciarendon

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ABCDEFGHIJKLM NOPQRSTUVWXYZ .. '' 1234567890?! $%&* ., 6/9 "I won't indeed!" said Alice, in a great hurry to change the subject of conversation. "Are you-are you fond-of-of dogs?" The Mouse did not answer, so Alice went on eagerly: "There is such a nice little dog near our house I should like to show you! A little bright-eyed terrier, you know, with oh, such long curly brown hair! And it'll fetch things when you throw them, and it'll sit up and beg far its dinner, and all sorts of thingsI can't remember half of them-and it belongs to a farmer, you know, and he says it's so useful, it's worth a hundred pounds! He says it kills ali the rats and-oh dear!" cried Alice in a sorrowful tone, "I'm afraid I've offended it again!" Far the Mouse was swimming away from her as hard as it could go, and making quite a commotion in the pool as it went.

8/12 "I won't indeed!" said Alice, in a great hurry to change the subject of conversation. "Are you-are you fond-of-of dogs?" The Mouse did not answer, so Alice went on eagerly: "There is such a nice little dog near our house I should like to show you! A little bright-eyed terrier, you know, with oh, such long curly brown hair! And it'll fetch things when you throw them, and it'll sit up and beg for its dinner, and all sorts of things-1 can't remember half of them-and it belongs to a farmer, you know, and he says it's so useful, it's worth a hundred

"I won't indeed!" said Alice, in a great hurry to change the subject of conversation. "Are you-are you fond-of-of dogs?" The Mouse did not answer, so Alice went on eagerly: "There is such a nice little dog near our house I should like to show you! A little bright-eyed terrier, you know, with oh, such long curly brown hair! And it'll fetch things when you throw them, and it'll sit up and beg for its dinner, and all sorts of things-1 can't remember half of them-and it belongs to a farmer, you know, and he says it's so useful, it's worth a hundred pounds! He says it kills all the rats and-oh dear!" cried Alice in a sorrowful tone, "I'm afraid I've offended it again!" For the Mouse was swimming away from her as hard as it could go, and making quite a commotion in the pool as it went. 1v14

Clarendon Clarendon was created by graphic artist and teacher Hermann Eidenbenz in 1953, and was inspired by sorne of the first slab serif fonts that appeared at the beginning of industrialization in Great Britain in the 1820s. Clarendon was one of the names far this new typographic style, which was known in Europe as English Egyptienne. Clarendon's clear, objective, and tlmeless forms have never lost theír contemporary feel. In small point sizes Clarendon is still a legible font, and in larger print its individual style attracts attention which makes it a common solution far retail signage applications.

288

A TYPOGRAPHIC WORKBOOK

ITC Clearface Regular

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ABCDEFGHIJKLM NOPQRSTUVWXYZ 1234567890? !$%&*:;" ITC Clearface

6/9 So she called softly after it, "Mouse dear! Do come back again, and we won't talk about cats or dogs either, if you don't like them!" When the Mouse heard this, it turned round and swam slowly back to her: its face was quite pale (with passion, Atice thought), and it said in a low trembling voice, "Let us get to the shore, and then 1'11 tell you my history, and you'll understand why it is I hate cats and dogs."

The original version of this font was designed by Morrís Fuller Benton in 1910 and was named Clearface Gothic. 8/11 So she called softly after it, The contemporary version "Mouse dear! Do come back again, and we was desígned by Víctor Caruso won't talk about cats or dogs either, if you in 1978. The variation in stroke don't like them!" When the Mouse heard this, it turned round and swam slowly weight wíth the large serifs makes back to her: its face was quite pale (with the font legible in different sizes. passion, Alice thought), and it said in a lt is available in regular, italic, bold, · low trembling voíce, "Let us get to the hold italic, heavy, heavg italic, shore, and then I'll tell you my history, black, and black italic style and you'll understand why it is I hate cats variations. and dogs."

So she called softly after it, "Mouse dear! Do come back again, and we won't talk about cats or dogs either, if yo u don't like them !" When the Mouse heard this, it turned round and swam slowly back to her: its face was quite pale 11114

So she called softly after it, "Mouse dear! Do come back again, and we won't talk about cats or dogs either, if you don't like them !" When the Mouse heard this, it turned round and swam slowly back to her: its face was quite pale (with passion, Ali ce thought), and it said in a low trembling voice, "Let us get to the shore, and then I'll tell you my history, and you'll understand why it is I hate cats and dogs." 14116

So she called softly after it, "Mouse dear! Do come back again, and we won't talk about cats or dogs either, if you don't like them!" When the Mouse heard this, it turned round and swam slowly back to her: its face 18120

APPENDIX A: FONT SAMPLE CHARTS

289

Compacta

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1234581890?! /oli*:;" CHAPTIR 111: ACIUCUS-RACf ANO AIBN& n11 ,m i1•11• 11mr-l11ki1111rty tk1t 1m1111• 11111 IIIHII lirjs ,111 •r11111• fllllm, III IIÍIIII 1111 tlelr r,r llíl!ÍI! 11111 11 lle■, 11• ID lrl"ill wet, mss, 111 1m1f1rt1lle.

6/9 Tlll

8/11 CHAPTIR 111: ACAUCUS-RACf ANO ALONG TAU Tbey wm ÍI.Ud a~mr-l11ki11 ,arty

Dat 1m1•1e• 11 i.e •uH•e •ir•s wilb •raggle• featlm, t•e ni■als wn• t~eir fu clingiag close 11 tbe11, and all •rip,i11 wet, mss, 11• um11fortabl1. 1;14 CHAPTER 111: ACAUCUSRACE ANO ALONG TAU Jhey were indeed aqueer-leoking party that assembled

18/20

CHAPTER 111: ACAUCUS-RACE ANO A

lDNG TAU They were indeed aqueer-looking party that assembled on the bank-the birds with draggled feathers, the anima Is with their fur clinging elose to them, and all dripping wet, cross, and uncomfortable.

Compacta Designed by Fred Lambert between 1963 and 1965. Compacta has strong verticals that are impressive when used as a large headline or title to contrast with the body text. The font variations include líght, light compressed, regular, italic, bold italic, black, and black poster.

cº ºH Ap'EI R111 ·. AeAue · us. RAeE 1 ANDA

3 13

an the bank-the draggledelose feathers, tbe animals witb birds their fwitb ur clinging 11 them, and ali dripping wet, cross, and

incomfartalle.

1 CA~cus-RA~~A:::eA ~~:G 1 1

.:~er-looking :::,::;:/::::~:led

on the bank-the birds with draggled feathers, the animals with their fur clinging Glose to them, and ali dripping wet, cross, and

LONG TAU They were indeed aqueer-looking party that assembled on the bank-the birds with draggled feathers, the animals with their fur c1·1ug·1ng Glose to them, and all dripping wet, cross,.and uncomfortable.

290

A T YPO GRA P HI C WORK B OOK

Cooper Black abcdefghijklmnopqrstuvwxyz

ABCDEFGHIJKLM NOPQRSTUVWXYZ 1234567890?!$%8*:;'' Cooper Black Oswald Bruce Cooper designed the extra-bold roman face Cooper Black in 1920. He based the newer desígn on the forms of his typeface Cooper Old Style, which appeared with Barnhart Bros. & Spindler Type Founders in Chicago a year earlier. Cooper Black was produced by Barnhart ín 1922 and acquíred in 1924 by SchríftguB AG in Dresden, where it was later completed with a matching italic. Cooper Black has a sturdy presence and may be found on storefronts in almost any city worldwide. The rounded outer contours create forms that appear soft and friendly.

6/ 9 At last the Mouse, who seemed to be a person of authority among them, called out, "Sit down, all of you, and listen to me! l'U soon make you dry enough!" They ali sat down at once, in a large ring, with the Mouse in the middle, Alice kept her eyes anxiously fixed on it, for she felt sure she would catch abad cold n she did not get dry very soon. 8/11 At last the Mouse, who seemed to be a person of authority among them, called out, "Sit down, ali of you, and listen to me! 1'11 soon make you dry enough!" They ali sat down at once, in a large ring, with the Mouse in the middle. Alice kept her eyes anxiously fixed on it, for she felt sure she would catch a bad cold if she did not get dry verysoon.

11113 At last the Mouse, who seemed to be a person of authority among them, called out, "Sit down, all of you, and listen to me! 1'11 soon make you dry enough!" They all sat down at once, in a large ring,

At last the Mouse, who seemed to be a person of authority among them, called out, "Sit down, ali of you, and listen to me! 1'11 soon make you dry enough!" They ali sat down at once, in a large ring, with the Mouse in the middle. Alice kept her eyes anxiously fixed on it, for she felt sure she would catch abad cold if she did not get dry very soon. 14; 16

At last the Mouse, who seemed to be a person of authority among them, called out, "Sit down, ali of you, and listen to me! · 1'11 soon make you dry enough!" They ali sat down at once, in a large ring, with the Mouse in 18/ 19

APPENDIX A: FONT SAMPLE CHARTS

291

,,

COPPERPLATE GOTHIC

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1234567890?! $%&*: ;" 11/14

Copperplate Gothic Although the original design of Copperplate Gothic was drawn by Frederic W. Goudy at the turn of the twentieth century, the subsequent variations in weight and style were created by Clarence C. Marder. The wide, square font is legible at small sizes and is attractive in large display sizes as well. 6/9

"AHEM!" SAID THE

"AHEM ! " SAID THE MOUSE

18;18

MOUSE WITH AN IMPORTANT AIR, "ARE YOU ALL READY? THIS IS THE DRIEST THING

I

KNOW. SILENCE ALL

WITH AN IMPORTANT AIR, "ARE YOU ALL READY? THIS IS THE DRIEST

I

ROUND, IF YOU PLEASE! 'WILLIAM

THING

THE CONQUEROR, WHOSE CAUSE

IF YOU PLEASE ! 'WILLIAM THE

WAS FAVOURED BY THE POPE,

KNOW. SILENCE ALL ROUND,

WAS SOON SUBMITTED TO BY THE

CONQUEROR, WHOSE CAUSE WAS

ENGLISH, WHO WANTED LEADERS,

FAVOURED BY THE POPE, WAS SOON

AND HAD BEEN OF LATE MUCH

SUBMITTED TO BY THE ENGLISH, WHO

ACCUSTOMED TO USURPATION AND CONQUEST. EDWIN AND MORCAR,

WANTED LEADERS, AND HAD BEEN

THE EARLS OF MERCIA AND

OF LATE MUCH ACCUSTOMED TO

NORTHUMBRIA-'"

USURPATION AND CONQUEST. EDWIN

" AHEM I" SAID THE MOUSE WITH AN IMPORTANT

AJR, "ARE YOU ALL READ Y? THIS IS THE ORIEST THING 1 KNOW. SILENCE ALL ROUND, IF YOU PLEASE! ' WILLIAM THE CONQUEROR, WHOSE CAUSE WAS FAVOURED BY THE POPE, WAS

14/16

"AHEM ! " SAID

AND MORCAR, THE EARLS OF MERCIA

SOON SUBMITTED TO BY THE ENGLISH , WHO WANTED LEADERS, ANO HAO BEEN OF LATE MUCH ACCUSTOMED TO USURPATION ANO CONQUEST, EDWIN ANO MORCAR, THE EARLS OF MERCIA ANO NORTHUMBRIA-' "

THE MOUSE WITH AN

AND NORTHUMBRIA-' "

IMPORTANT AIR, "ARE YOU ALL READY? THIS IS THE

8/11

"AHEMI" SAID THE MOUSE WITH AN

DRIEST THING

I

KNOW.

IMPORTANT AIR, "ARE YOU ALL READY? THIS IS

24/22

"AHEM!" SAID THE

MOUSE WITH AN IMPORTANT

THE DRIEST THING I KNOW. SJLENCE ALL ROUND,

SILENCE ALL ROUND, IF

IF YOU PLEASEI 'WJLLIAM THE CONQUEROR,

YOU PLEASE! 'WILLIAM THE

WHOSE CAUSE WAS FAVOURED BY THE POPE,

CONQUEROR, WHOSE CAUSE

AIR, "ARE YOU ALL READY?

WAS FAVOURED BY THE POPE,

THIS IS THE DRIEST THING

WAS SOON SUBMITTED TO BY THE ENGLISH, WHO WANTED LEADERS, AND HAD BEEN OF LATE MUCH ACCUSTOMED TO USURPATION AND

WAS SOON SUBMITTED TO BY

CONQUEST, EDWIN AND MORCAR, THE EARLS OF

THE ENGLISH, WHO WANTED

I

KNOW. SILENCE ALL ROUND,

292

A

OGRAPHIC WORKBOOK

Courier Standard abcdefghijklmnopqrstuvwxyz '

ABCDEFGHIJKLM NOPQRSTUVWXYZ 1234567890? ! $%&*:;" "Ugh!" said the Lory, with a shiver. "I beg your pardon!" said the Mouse, frowning, but very politely: "Did y_ou speak?" "Not I ! " said the Lory hastily. 14;16

Courier Standard This monospaced Adobe font was originally desígned by Howard Kettler for IBM typewríters. Later it was redesigned by by Adrian Frutíger for the IBM Selectric Typewriters.

6/9

"Ugh?" said the Lory,

with a shiver. "I beg your pardonl" said the Mouse, frowning, but very politely:

"Did you

speak?" "Not I!" said the Lory hastily.

8/11 "Ugh!" said the Lory, with a shiver. "I beg your pardon!" said the Mouse, frowning, but very politely: "Did you speak?" "Not I!" said the Lory hastily.

"Ugh ! " said the Lory, wi th a shiver. "I beg your pardon!" said the Mouse, frown11; 14

"Ug·h .1 " said the Lory, with a shiver. "I beg your pardon!" said the Mouse, frowning, but very politely: "Did you speak?" "Not I!" said the Lory hastily. 18/20

"Ugh !" said the Lory, with a shiver. "I beg your pardon!" said the Mouse, frowning, but very .p olitely: "Did you spea_k ?" 24/22

APPENDIX A: FONT SAMPLE CHARTS

293

Data Seventy '

i"-

' ~ ., .

2lbCdefi hrklmno rstuvwx

ABC FG JKL NOPQRSTU XYZ

1234567890?!$%&*:;" The Mouse did not notice this question, but hurriedly went on," '-found it advisable to go with Edgar Atheling to meet William and offer him the crown. William's conduct at first was moderate. But the insolence of his Normans-' How are you getting on now, my dear?" it continued, turning to Alice as it spoke. 18/20

The Mouse did not notice this question, but hurriedly went on,"' found it advisable to go with Ed_g_ar Atheling to meet Wrniam and 27/22

The Mouse did not notice this question, but hurriedly went on, " '-found it .advisable to go with Edgar Atheling to meet William and offer him the crown. William's conduct at first was moderate. But the insolence of his Normans-' How are you getting on now, my dear?" it continued, turning to Alice as it spoke.

11;14

The Mouse did not notice this question, but hurriedly went on, '' '-·found it advisable to go with Edgar Atheling to meet William and offer him the crown. William' s conduct at first was moderate. But the insolence of his Normans-' How are you getting on now, my dear?"

14/16

6/9 The Mouse dld nol nolice lhls quesllon, bul hurrledly wenl on," '-found II advlsable lo go wllh Edgar Alhellng Ui meel William and offar hlm lha crown. Wllllam's conducl al llrsl was moderale. Bul !ha lnsolence of hls Normans-' How are you gelling on now, my dear7" 11 continuad, lurnlng IJI Alica as 11 spoke.

8/12 The Mouse did not notice this question, but hurriedly went on," '-found it advisable ID go with Edgar Atheling to meet William and offer him the crown. William's conduct at first was modera te. But the insolence of his Normans-' How are you getting on now, my dear?" it continued, turning to Alice as it spoke.

294

A T YPO GRAPHI C WORK B OOK

ECCEI1TITI C

123{50 7OOO?I :I#i()+{}:? Eccentric Although the original font foundry is unknown, the font design is attributed to Gustav F. Schroeder, from 1881. This narrow, all-caps font is referred to as "high-waisted" since the crossbars are placed within the top quarter of the height of the letterforms. The thin monoline font is whimsical and lighthearted. '-----------'----------~~

TTJ\T I WJ\S GOifIG TO SJ\T," SI\ID TTTE DODO IfI J\fI orrrnDED TOfit "WJ\S, TTTI\T TTTE DEST TTTifIG TO GET us DftI WOULD nr I\ CI\UCUSftl\(E." "WTTJ\T IS I\ CI\UCUS-ftl\CE?" SI\ID I\LICt fIOT TTTJ\T snr WI\fITED nucn TO KfIOW, OUT TTTE DODO TTI\D FI\USED J\S Ir II TTTOUGTTT Ttll\T SOTTEDODI OUGtlT TO SFEI\K, I\ílD no onr ELSE srrnrD IílCLifIED TO SI\I I\f1ITTTif1G. "WTTT," SI\ID Tnr DODO, "TTTE DEST WI\I TO . EXFLI\Iíl II IS TO DO IT." (I\TID, I\S IOU TTIGTTT LIKE TO TftI Tnr Ttllíl_G IOUftSELr, sonr WITITEft DI\T, I WILL TELL IOU

APPENDIX A: FONT SAMPLE CHARTS

295

,,

ITC Eras MediUm

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ABCDEFGHIJli.rd~! Why~ ~he.'J.1 eat: a litt:le. t)i.td a~ 1 • ,,, ~oor1 a~ I_oolC at: 1.t:. punctuation, and ligatures. The designer, Bernard Haber, took nd ~:~~:::ir~~:~z~dv~~~;;º '

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1

APPENDIX A: FONT SAMPLE CHARTS

301

,.

Georgia

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BCDEFGHIJKLM

NOPQRSTUVWXYZ 1234567890?!$%&*:;" 6/9 This speech caused a remarkable sensation among the party. Sorne ofthe birds hurried off at once: one old Magpie began wrapping itself up very carefully, remarking, "I really must be getting home; tbe night-air doesn't suit my throat! " anda Canary called out in a trembling voice to its children, "Come away, my dears! It's high time you were ali in bed!" On various pretexts they ali moved off, and Alice was soon left alone.

8/12 This speech caused a remarkable sensation among the party. Sorne of the birds hurried off at once: one old Magpie began wrapping itself up very carefully, remarking, "I really must be getting home; the night-air doesn't suit my throat! " anda Canary called out in a trembling voice to its children, "Come away, my dears! It's high time you were all in bed!" On various pretexts they all moved off, and Alice was soon left alone.

This speech caused a remarkable sensation among the party. Sorne of the birds hurried off at once: one old Magpie began wrapping itself up very carefully, remarking, "I really must be getting home; the night-air doesn't suit my 11114

This speech caused a remarkable sensation among the party. Sorne of the birds hurried off at once: one old Magpie began wrapping itself up very carefully, remarking, "I really must be getting home; the night-air doesn't suit my throat!" and a Canary called out in a trembling voice to its children, "Come away, my dears! It's high time you were all in bed!" On various pretexts they all moved off, and Alice was soon left alone. 14;16

This speech caused a remarkable sensation among the party. Sorne of the birds hurried off at once: one old Magpie began wrapping itself up very carefully, remarking, "I really must be getting home; the night-air doesn't suit my 18/20

Georgia This Microsoft Corporation font was designed by Matthew Carter and "hinted" by Tom · Rickner (from Agfa Monotype) far release in 1997. Thís font was designed far legíbility in the low-resolution computer screen environment. Georgia maintains a sense of class and fríendliness, in both Web and print publishing applications. The italic variatíon of Georgia is a true ítalic, not merely a computer-generated oblique version of the roman, as are so many italicized digital fonts. This can be seen easily in the variations of the lowercase letters, such as the two-story roman a and g, that become one-story in the italic style variation.

302

A TY P OGRA PH I C WO RK B OOK

Gill Sans

abcdefghijklmnopqrstuvwxyz

ABCDEFGHI KLM NOPQRSTUVWXYZ 1234567890? !$%&*:;'' 6/9

"I wish I hadn't mentioned Dinah !"

she said to herself in a melancholy tone. "Nobody seems to like her, down here, and l'm sure she's the best cat in the world! Oh, my dear Dinah! 1wonder if I shall ever see you any more!" And here peor Alice began to cry again, fer she felt very lonely and low-spirited . In a little while, however, she again heard a little pattering of footsteps in the distance, and she looked up eagerly, half hoping that the Mouse had changed his mind, and was coming back to finish his story.

"I wish I hadn't mentioned Dinah!" she said to herself in a melancholy tone. "Nobody seems to like her, down here, and l'm sure she's the best cat in the world! Oh, my dear Dinah! 1 wonder if I shall ever see you any more!" And here poor Alice began to cry again, for she felt very lonely and low-spirited. In a little while, however, she again heard a little pattering of footsteps in the distance, and she looked up eagerly, half hoping that the Mouse had changed his mind, and was coming back to finish his 8/11

story.

"I wish I hadn't mentíoned Dínah ! " she saíd to herself in a melancholy tone. "Nobody seems to like her, 11/14

"I wish I hadn't mentioned Dinah !" she said to herself in a melancholy tone. "Nobody seems to like her, down here, and l'm sure she's the best cat in the world ! Oh, my dear Dinah ! 1 wonder if I shall ever see you any more!" And here poor Al ice began to cry again, for she felt very lonely and low-spirited. In a little while, however, she again heard a little pattering of footsteps in the distance, and she looked up eagerly, half hoping that the Mouse had changed his mind, and was coming back to finish his story.

14;16

"I wish I hadn't mentioned Dinah !" she said to herself in a melancholy tone. "Nobody seems to like her, down here, and l'm sure she's the best cat in the world ! Oh, my dear Dinah ! 1wonder if I shall ever see . you any more!" And here poor Alice began to cry again, for she felt very lonely and lowspirited. ·In a little while, however, she again heard a little pattering of footsteps in the 22122

APPENDIX A: FONT SAMPLE CHARTS

303

Goudy abcdefghijklmnopqrstuvwxyz

ABCDEFGHI KLM

NOPQRSTUVWXYZ 1234567890?!$%&*:;" 6/9

CHAPTER IV: THE RABBIT SENDS IN A LITTLE BILL

lt was the White Rabbit, trotting slowly back again, and looking anxiously about as it went, as if it had lost something; and she heard it muttering to itself •The Duchess! The Duchess! Oh my dear paws! Oh my fur and whiskers! She'll get me executed, as sure as ferrets are ferrets! Where CAN I have dropped them, I wonder?"

CHAPTER IV: THE RABBIT SENDS IN A LITTLE BILL It was the White Rabbit, trotting slowly back again, and looking anxiously about as it went, as if it had lost something; and she heard it muttering to itself ''The Duchess! The Duchess! Oh my dear paws! Oh my fur and whiskers! She'll get me executed, as sure as ferrets are ferrets! Where CAN I have dropped them, I wonder?" 8/12

CHAPTER IV: THE RABBIT SENDS IN A LITTLE BILL It was the White Rabbit, trotting slowly back again, and looking anxiously about as it went, as if it had lost something; and she heard it muttering to itself "The Duchess! The Duchess! Oh my dear paws! Oh my fur and whiskers! She'll get me executed, as sure as ferrets are ferrets! Where CAN I have dropped them, I wonder?" 11/14

CHAPTER IV: THE RABBIT SENDS IN A LITTLE BILL It was the White Rabbit, trotting slowly back again, and looking anxiously about as it went, as if it had lost something; and she heard it muttering to itself "The Duchess! The Duchess! Oh my dear paws! Oh my fur and whiskers! She'll get me executed, as sure as ferrets are ferrets! Where CAN I have dropped them, I wonder?" 14/16

18/20

CHAPTER IV: THE RABBIT SENDS IN A LITTLE BILL

It was the White Rabbit, trotting slowly back again, and looking anxiously about as it went, as if it had lost something; and she

304

A T YPOGRA P HI C WO RK B OO K

Goudy Sans

Goudy and Goudy Sans

6/9 Al ice guessed in a moment that it was looking far the fan and the pair of white kid gloves, and she very good-naturedly began hunting about far them, but they were nowhere to be seeneverything seemed to have changed since her swim in the pool. and the great hall. with the glass table and the little door. had vanished completely.

8/11 Al ice guessed in a moment that it was looking for the fan and the pafr of white kid gloves, and she very good-naturedly began hunting about for them, but they were nowhere to be seen-everything seemed to have changed since her swim in the pool, and the great hall, with the glass table and the little door, had vanished completely.

Alice guessed in a moment that it was looking for the fan and the pair of white kid gloves, and she very good-naturedly began hunting about for them, but they were nowhere to be seen-everything seemed to have changed since her swim 11114

Alice guessed in a moment that it was looking far the fan and the pair of white kid gloves, and she very goodnaturedly began hunting about far them, but they were nowhere to be seeneverything seemed to have changed since her swim in the pool, and the great hall, with the glass table and the little door, had vanished completely. 14116

Alice guessed in a moment that it was looking for the fan and the pair of white kid gloves, and she very good-naturedly began hunting about for them, but they were nowhere to be seen18/20

Recognizable characterístícs in Goudy's fonts include the upward pointíng ear of the g, the díamondshaped dots over the í and j, and the round, upward expansíon of the horizontal strokes at the base of the E and L. The original Goudy Old Style was completed for the ATF in 1915-16, whíle the italic varíatíon carne a year later. Goudy Bold and Extra Bold were drawn by Morris Fuller Benton a few years after that. Goudy desígned three weights of this fríendly-looking sans serif font from 1922 to 1929. Goudy imparted personality to the sans serif by adding a slíght curve to the termínals and strokes. Sorne capital letterforms include a decorative slab serif, and sorne alternate uncía! forms are avaílable as well. Goudy Sans was drawn at the same time as geometric sans serífs, such as Futura, were growing in popularity.

APPENDIX A: FONT SAMPLE CHARTS

305

Hobo Mediúm

abcdefi!hUklmnopqrstuvwxyz

AB DEF HIJKLM NOPQRSTUUWXYZ

1234567890?!$%&*::~~ Uery soon the Rabbit noticed Alice. as she went huntim! about. and called out to her in an anary tone. ºWhY. MarY Ann. what ARE you doina out here? Run home this moment. and fetch me a Pair of aloves and a fan! Quick. now!.. And Alice was so much friahtened that she ran off at once in the direction it Pointed to. without trYina to exPlain the mistake it had made. 11114

Hobo This whimsical font was designed by Morris Fuller Benton m 1910. The curvílínear strokes, mdicative of the Art Nouveau style of the time, meld into one another while many terminals fade into a curvilinear swash. The weight of the design and lack of descenders makes the font difficult to read in small sizes.

8/12 Ueri1 soon the Rabbit noticed Alice. as she went huntine about. and called out to her in an aneri, tone ...WhY. MarY Ann. what ARE You doine out here? Run home this moment. and fetch me a Pair of eloves and a fan! Quick. now! .. And Alice was so much friehtened that she ran off at once in the direction it Pointed to. without trYine to e>