Type Design and Families

- Although photographs, illustrations, and other graphic elements support the text, the personality of the printed page is created largely through the choice of the typeface and its layout on the page.

- It is that which convey the message to the reader.

3 principles that can help provide framework for understand the art of typography.


1. Use a typeface that will properly communicate your message. Some typeface are elegant, such as those used for wedding invitations. Other reflect a wide variety of emotions, from the informal to even those that are humorous.
2. Type size should be related to the importance of the message. The more important the message, the larger the size of type. Headlines and captions should stand out from the body of text in order to highlight the central idea of the page or column. Headlines and captions that are highlighted in this way help the reader to organize information as it is being read – the message gets through more clearly and quickly than when reading undifferentiated captions and headlines.
3. Type face through out a design should be use with consistency
   - Don’t use too many typefaces in one design.
   - The practice of using too many typefaces in one design will result in graphically confusing page design.
   - In general, headings, subheadings, captions, and text should each be set in the same typeface.
   - No more than 3 or 4 different face variety throughout the entire document. Preferably, only two are allowed.

The Classification and Type Groups.

• Typographers and designers classify type into 6 different groups.


1. Black Letter (or text)
2. Roman (or serifs)
3. Square Serifs (Also known as Egyptians or slab serifs)
4. Sans Serifs (Or Gothic or Grotesque)
5. Script and cursives
6. Miscellaneous (or novelty) type

Black Letter


• Most commonly found on diplomas, newspaper, nameplates, weddings certificates and heavy metal CD covers.
• Beyond these situations, there aren’t many uses for this type race.
• If you do use black letter, avoid running the type in all uppercase. (Black letter are difficult to read in the first place, but nearly impossible to decipher when set in all-Caps.

Romans


• Have 3 main sub-categories.
  1. Old Style
  2. Transitional
  3. Modern
• Roman is considered basic types. This is because of their inherent texture, they are preferred as a body type for most publications.
• Transitional is a popular choice for poetry, books, novels and anything else that exudes quality.
• Modern use as display face, imparts a contemporary and elegant feeling.

Sans Serifs


• Nearly all traffic signage – stop signs, street names, and interstate signs – and may outdoor boards use sans serifs.
• San Serifs have excellent legibility and because of this they communicate well to a moving target or taxi signs, messages are moving quickly past the audience.
• San Serifs are becoming widely used today in newsletters, annual reports, magazines, newspapers, posters, packaging and especially on websites.

Square Serifs


• Give a sturdy feeling
• Uppercase versions impart a sense of strength, stability and ruggedness.
• Great for headlines posters and display face, but they tend to be reader-friendly as text.

Scripts and Cursives


• Mimic handwriting.
• Have few inherent problem
  1. Readability
  2. Mistaken perception that they impart a personal feel
• If you decided to use them, don’t run them all as uppercase.
• They are most commonly use for nameplates, announcements and invitations.
• They can also add interest, contrast and interesting twist to the printed page when used appropriately as a dropped initial letter, title, deck or for some other display application.

Miscellaneous or Novelty


• Many of the miscellaneous or novelty faces are simplistic visual metaphors for their respective titles : Balloon, Dracula, stars and bars, Icicle and the likes.
• Most of the faces in this classification are designed for special purposes and use primarily in newspaper display advertising.

Type Specification


1. Use the correct typeface
2. Size the type appropriately
3. Lead the lines for a comfortable and efficient read
4. Choose a proper line length
5. Use line arrangement strategies thoughtfully
6. Use uppercase (all-CAPS) sparingly
7. Adjust space within and between words
8. Match the weight to the voice of the message
9. Give the word emphasis by adjusting posture and width
10. Style the type appropriately
11. Mix type carefully
12. Remember the margin

Use correct typeface


• Selecting the correct type is to divide the contents of the message in 2 basics groups: display type and text.
• Display type is any type that runs 14 points or larger. This includes headlines, titles, decks, and subheads, which are set larger for emphasis.
• Text or body type is the reading matter, the content of the story. Body copy runs between 7 to 12 points in size, with 8- to 10- point settings being the most common range.
  • A foolproof though not especially creative, ploy is to use the same for both display and text.

Size the Type Appropriately


• Research suggests that the most readable size for body copy in books, newspapers and magazines is between 8- to 12- point.
• Use larger type when Reverse (while letter on dark backgrounds) requires larger sizes than they would printed normally (black on white).

Lead the Lines Effectively


• Space lines of type so the audience will get an inviting and efficient read.

Choose the Proper Line Length


• Because we can scan groups of words, not single words when we read, its important to establish line breaks to compliment our reading rhythm, particularly with headlines.

Use the Line Arrangement Strategies Thoughtfully


• Use most common approaches to arranging your line endings are justified and flush left columns.
• Some researchers believe flush left alignment is user friendly and offers better readability.

Use Uppercase (All-CAPS) Sparingly


• Capitals takes amount of spaces
• However words or lines set in all-CAPS can be powerful design elements, particularly when used in short doses.
• Art directors often like to use them to create punchy headlines in an ad.

Adjust Space Within and Between Words


• Due to inconsistent letter spacing within words, you may need to adjust the letter spacing via kerning and tracking
  1. Kerning is adjusting the space between individuals letters
  2. Tracking regulates the spacing between large group or words

Match the Weight to the Voice of the Message


• Weight refers to the density or darkness of a typeface
• Normal or regular weight is the most commonly use in body copy
• Research has proven that the most readable text weight

Give word emphasis with Posture and Width


• Posture refers to the stance of the type, or how upright it is
• 3 examples of typography posture:
  1. Roman
  2. Oblique
  3. Back slanted (rarely available)

Style the Type to Affect the Message


• Type style refers to one of a number of structural deviations within the letter form of a specific family of type.
• Four stylistic variations in their family tree.
  (Normal, book, condense, italic)

Mixed Types Carefully


• When families are mixed, care should be taken to avoid combining families of the same race, particularly if they closely resemble one another.

Remember the Margins


• White space will give readers pause and little visual relief
• Margins help organize or divide your layout and show readers where one section or story ends and another begins.
• Margins are white (or something negative or textured) space that surround the art and type
• Their function is to frame the page

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