Typography 2: Structures

TYPOGRAPHY 2 StructuresShweta Sharma | 2012

GRPH 2B06Fall 2012

Typography 2: StructuresInstructor, Steve Quinlan Book

GRPH 2B06

TYPOGRAPHYTYPOGRAPHY

BookBook

the CHAPTER

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CONTENTS

FOCUS

letter and word shapecounterformreadability

kerningcolumn widthleadingalignmentrag shapejustification mgmtpunctuationligatures

CONTENTS

1 / the Letter

2 / the Word

3 / the Line

4 / Arrangement

5 / the Column

6 / the Grid

7 / Syntax + Hierarchies I

8 / Syntax + Hierarchies II

1CHAPTER

CHAPTER

1 the Letter

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Thyascender linecap linex-height

baseline

descender line

kerning, serif constructions, hot spots, weight distribution

increase spacereduce space

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sectetur adipiscing elit. Sed nunc massa, suscipit quis

tincidunt sit amet, congue a libero enim porta tristique.

Nulla porta urna vitae diam suscipit id bibendum nunc

fermentum.

6

CHAPTER CHAPTER

CHAPTER

2 22

2the Word

the Word

the Word




CHAPTER

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typography

typography

typographyTYPOGRAPHY

TYPOGRAPHY

TYPOGRAPHY

typ

graogrpogypo

rap aph phy

3 Letter Rule

loose spacing

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8

3 3333CHAPTER

type gives body and voice to silent thought.

CHAPTER

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type gives body and voice to silent thought. Times New Roman

Helvetica Neue Bold

[

[

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consectetur adipiscing elit. Sed nunc massa, suscipit quis tincidunt

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Sed eget orci tortor, vel aliquam sem. Morbi lacinia convallis urna,

vel commodo risus elementum sed. Cras nec nunc venenatis arcu dapibus fringilla. Aliquam sit amet

sem tortor, eget mollis urna.


CHAPTER

3 the LineLorem ipsum dolor sit amet, consectetur adipiscing elit. Pellentesque elit magna, consectetur posuere imperdiet eu, rutrum eget massa. Vivamus hendrerit risus malesuada est convallis at congue massa tristique. Ut ut cursus ligula. Etiam ut elementum tortor.


Times New Roman

Helvetica Neue Bold

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sem tortor, eget mollis urna.

10

typography is a beautiful group of letters, not a group of beautiful letters.


typography is a beautiful group of letters, not a group

of beautiful letters.

[

]

][4CHAPTER

CHAPTER

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Bodoni Std EQUALIZE

EQUALIZE

Caslon Pro

Baskerville

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typography is a beautiful group of letters, not a group

of beautiful letters.

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12

5

5CHAPTER

CHAPTER

5 the ColumnLorem ipsum dolor sit amet, consectetur adipiscing elit. Pellentesque elit magna, consectetur posuere imperdiet eu, rutrum eget massa. Vivamus hendrerit risus malesuada est convallis at congue massa tristique. Ut ut cursus ligula. Etiam ut elementum tortor.

Most people read without

seeing what they read. In all

probability you have no idea of

the name of this typeface. Not

that it’s of overwhelming im-

portance. As advertising doyen

David Ogilvy once commented,

no housewife ever bought a

new detergent because the ad-

vertisement was set in Caslon.

Nevertheless, if a piece of text

looks unattractive or diffi cult

to scan, one isn’t likely to

read it.

Typographers live in a world

inhabited by serifs, counters,

kerns, ligatures and line feeds,

populated with Egyptian

Expands, Latin Extends and

Modern Romans. Wordage

is viewed in terms of colour

and weight, points, picas and

leading. The aesthetics involve

pace, proportion, scale, bal-

ance, harmony and order. As

you can see, there is more to

it than you thought. Further-

more, the options held by this

fraternity can excite an inten-

sity of passion only equaled by

medieval ecclesiastics arguing

about how many angels can

dance on the head of a pin.

Typographers have ideological

commitments to symmetrical

or asymmetrical arrange-

ments, fervent allegiances to

particular typefaces, unremit-

ting hatred for others, and what

could be construed as moral

attitudes; ‘using bold caps’,

declared Paul Rand, ‘is like

wearing belt and suspenders.’

widow

optical margin alignment

Baseline Grid:gives vertical rhythm

awkward ragmeasure 9p0

too muchhyphenationleading 12pt

Gill Sans [8/12 pt

x 9p0hyphenation onopt. margin onbalance rag onJUSTIFICATION

80% - 100% - 133%

gutter 1p1

14

Most people read without seeing what they read. In all probability you have no idea of the name of this typeface. Not that it’s of overwhelming importance. As advertising doyen David Ogilvy once commented, no housewife ever bought a new detergent because the advertisement was set in Caslon.Nevertheless, if a piece of text looks unattractive or di� cult to scan, one isn’t likely to read it.

Typographers live in a world inhabited by serifs, counters, kerns, ligatures and line feeds, populated with Egyptian Expands, Latin Extends and Modern Romans. Wordage is viewed in terms of colour and weight, points, picas and leading. � e aesthetics involve pace, pro-portion, scale, balance, harmony and order. As you can see, there is more to it than you thought. Furthermore, the options held by this fraternity can excite an intensity of passion only equaled by medieval ecclesiastics

arguing about how many angels can dance on the head of a pin. Typographers have ideological commitments to symmetrical or asymmetrical arrangements, fervent allegiances to typefaces, unremitting hatred for others, and what could be construed as moral attitudes; ‘using bold caps’, declared Paul Rand, ‘is like wear-ing belt and suspenders.’

Most people read without seeing

what they read. In all probability

you have no idea of the name of

this typeface. Not that it’s of

overwhelming importance. As

advertising doyen David Ogilvy

once commented, no housewife

ever bought a new detergent be-

cause the advertisement was set in

Caslon. Nevertheless, if a piece of

text looks unattractive or diffi cult

to scan, one isn’t likely to read it.


inhabited by serifs, counters, kerns,

ligatures and line feeds, populated

with Egyptian Expands, Latin

Extends and Modern Romans.

Wordage is viewed in terms of

colour and weight, points, picas

and leading. � e aesthetics involve

pace, proportion, scale, bal-ance,

harmony and order. As you can

see, there is more to it than you

thought. Furthermore, the options

held by this fraternity can excite an

intensity of passion only equaled

by medieval ecclesiastics arguing

about how many angels can dance

on the head of a pin. Typographers

have ideological commitments

to symmetrical or asymmetrical

arrangements, fervent allegiances

to particular typefaces, unremitting

hatred for others, and what could be

construed as moral attitudes; ‘using

bold caps’, declared Paul Rand, ‘is

like wearing belt and suspenders.’3

8/12 Minion Pro Regular[ x 9

8/12 Adobe Jenson Pro [ x 9

Minion [8/12 pt

x 9p0hyphenation onopt. margin on

balance rag offJUSTIFICATION

80% - 80% - 133%

Jenson [8/12 pt

x 9p0hyphenation onopt. margin offbalance rag offJUSTIFICATION

80% - 80% - 133%

Most people read without seeing what they read. In all probability you have no idea of the name of this typeface. Not that it’s of overwhelming importance. As advertising doyen David Ogilvy once commented, no housewife ever bought a new detergent because the advertisement was set in Caslon.Nevertheless, if a piece of text looks unattractive or di� cult to scan, one isn’t likely to read it.

Typographers live in a world inhabited by serifs, counters, kerns, ligatures and line feeds, populated with Egyptian Expands, Latin Extends and Modern Romans. Wordage is viewed in terms of colour and weight, points, picas and leading. � e aesthetics involve pace, pro-portion, scale, balance, harmony and order. As you can see, there is more to it than you thought. Furthermore, the options held by this fraternity can excite an intensity of passion only equaled by medieval ecclesiastics

arguing about how many angels can dance on the head of a pin. Typographers have ideological commitments to symmetrical or asymmetrical arrangements, fervent allegiances to typefaces, unremitting hatred for others, and what could be construed as moral attitudes; ‘using bold caps’, declared Paul Rand, ‘is like wear-ing belt and suspenders.’

Most people read without seeing

what they read. In all probability

you have no idea of the name of

this typeface. Not that it’s of

overwhelming importance. As

advertising doyen David Ogilvy

once commented, no housewife

ever bought a new detergent be-

cause the advertisement was set in

Caslon. Nevertheless, if a piece of

text looks unattractive or diffi cult

to scan, one isn’t likely to read it.


inhabited by serifs, counters, kerns,

ligatures and line feeds, populated

with Egyptian Expands, Latin

Extends and Modern Romans.

Wordage is viewed in terms of

colour and weight, points, picas

and leading. � e aesthetics involve

pace, proportion, scale, bal-ance,

harmony and order. As you can

see, there is more to it than you

thought. Furthermore, the options

held by this fraternity can excite an

intensity of passion only equaled

by medieval ecclesiastics arguing

about how many angels can dance

on the head of a pin. Typographers

have ideological commitments

to symmetrical or asymmetrical

arrangements, fervent allegiances

to particular typefaces, unremitting

hatred for others, and what could be

construed as moral attitudes; ‘using

bold caps’, declared Paul Rand, ‘is

like wearing belt and suspenders.’3

8/12 Minion Pro Regular[ x 9

8/12 Adobe Jenson Pro [ x 9

15

Most people read without seeing what they read. In all probability you have no idea of the name of this typeface. Not that it’s of overwhelming importance. As advertising doyen David Ogilvy once commented, no housewife ever bought a new detergent because the advertise-ment was set in Caslon. Nevertheless, if a piece of text looks unattractive or diffi cult to scan, one isn’t likely to read it.

Typographers live in a world inhabited by serifs, counters, kerns, ligatures and line feeds, populated with Egyptian Expands, Latin Extends and Modern Romans. Wordage is viewed in terms of colour and weight, points, picas and leading. The aesthetics involve pace, proportion, scale, balance, harmony and order. As you can see, there is more to it than you thought. Furthermore, the options held by this fraternity can excite an intensity of passion only equaled by medieval ecclesiastics arguing about how many angels can dance on the head of a pin. Typographers have ideological commit-ments to symmetrical or asymmetrical arrangements, fervent allegiances to particular typefaces, unremitting hatred for others, and what could be construed as moral attitudes; ‘using bold caps’, declared Paul Rand, ‘is like wearing belt and suspenders.’

Most people read without seeing what they read. In all probability you have no idea of the name of this typeface. Not that it’s of overwhelming importance. As advertising doyen David Ogilvy once commented, no housewife ever bought a new detergent because the advertisment was set in Caslon. Nevertheless, if a piece of text looks unattractive or di� cult to scan, one isn’t likely to read it.

Typographers live in a world inhabited by serifs, counters, kerns, ligatures and line feeds, populated with Egyptian Expands, Latin Extends and Modern Romans. Word-age is viewed in terms of colour and weight, points, picas and leading. The aesthetics involve pace, proportion, scale, balance, harmony and order. As you can see, there is more to it than you thought. Furthermore, the options held by this fraternity can excite an intensity of passion only equaled by medieval ecclesiastics arguing about how many angels can dance on the head of a pin. Typographers have ideological com-mitments to symmetrical or asymmetrical arrangements, fervent allegiances to part-icular typefaces, unremitting hatred for others, and what could be construed as moral attitudes; ‘using bold caps’, declaredPaul Rand, ‘is like wearing belt and suspenders.’

Most people read without seeing what they read. In all probability you have no idea of the name of this typeface. Not that it’s of overwhelming importance. As advertising doyen David Ogilvy once commented, no housewife ever bought a new detergent because the advertisement was set in Caslon. Nevertheless, if a piece of text looks unattractive or diffi cult to scan, one isn’t likely to read it.

Typographers live in a world inhabited by serifs, counters, kerns, ligatures and line feeds, populated with Egyptian Expands, Latin Extends and Modern Romans. Wordage is viewed in terms of colour and weight, points, picas and leading. Th e aesthetics involve pace, proportion, scale, balance, harmony and order. As you can see, there is more to it than you thought. Further-more, the options held by this fraternity can excite an intensity of passion only equaled by medieval ecclesiastics arguing about how many angels can dance on the head of a pin. Typographers have ideological commitments to symmetrical or asymmetrical arrangements, fervent allegiances to particular typefaces, un-remitting hatred for others, and what could be construed as moral attitudes; ‘using bold caps’, declared Paul Rand, ‘is like wearing belt and suspenders.’

Frutiger 45 Light [9/12 pt x 14p0

hyphenation offopt. margin onbalance rag onJUSTIFICATION

80% - 110% - 120%

Garamond [10/13 pt


80% - 90% - 133%

Caslon [10/13 pt


80% - 100% - 133%

16

Most people read without seeing what they read. In all probability you have no idea of the name of this typeface. Not that it’s of overwhelming importance. As advertising doyen David Ogi-lvy once commented, no housewife ever bought a new detergent because the advertisement was set in Caslon. Nevertheless, if a piece of text looks unattractive or diffi cult to scan, one isn’t likely to read it.

Typographers live in a world inhabited by serifs, counters, kerns, ligatures and line feeds, populated with Egyptian Expands, Latin Extends and Modern Romans. Wordage is viewed in terms of colour and weight, points, picas and leading. The aesthetics involve pace, proportion, scale, balance, harmony and order. As you can see, there is more to it than you thought. Furthermore, the options held by this fraternity can excite an intensity of passion only equaled by medieval ecclesiastics arguing about how many angels can dance on the head of a pin. Typographers have ideological commitments to symmetrical or asymmetrical arrangements, fervent allegiances to particular typefaces, unremitting hatred for others, and what could be construed as moral attitudes;

‘using bold caps’, declared Paul Rand, ‘is like wearing belt and suspenders.’

Most people read without seeing what they read. In all probability you have no idea of the name of this typeface. Not that it’s of overwhelming importance. As advertising doyen David Ogilvy once com-mented, no housewife ever bought a new detergent because the advertisement was set in Caslon. Nevertheless, if a piece of text looks unattractive or difficult to scan, one isn’t likely to read it.

Typographers live in a world inhabited by serifs, counters, kerns, ligatures and line feeds, populated with Egyptian Expands, Latin Extends and Modern Romans. Wordage is viewed in terms of colour and weight, points, picas and leading. The aesthetics involve pace, proportion, scale, balance, harmony and order. As you can see, there is more to it than you thought. Furthermore, the options held by this fraternity can excite an intensity of passion only equaled by medieval ecclesiast ics arguing about how many angels can dance on the head of a pin. Typographers have ideological commitments to symmetrical or asymmetrical arrangements, fervent al legiances to par t icular t ypefaces, unremitting hatred for others, and what could be construed as moral attitudes; ‘using bold caps’, declared Paul Rand, ‘is like wearing belt and suspenders.’

Most people read without seeing what they read. In all probability you have no idea of the name of this typeface. Not that it’s of overwhelming importance. As advertising doyen David Ogilvy once commented, no housewife ever bought a new detergent because the advertisement was set in Caslon. Nevertheless, if a piece of text looks unattractive or difficult to scan, one isn’t likely to read it.

Typographers live in a world inhabited by serifs, counters, kerns, ligatures and line feeds, populated with Egyptian Expands, Latin Extends and Modern Romans. Wordage is viewed in terms of colour and weight, points, picas and leading. The aesthetics involve pace, proportion, scale, balance, harmony and order. As you can see, there is more to it than you thought. Furthermore, the options held by this fraternity can excite an intensity of passion only equaled by medieval ecclesiastics arguing about how many angels can dance on the head of a pin. Typographers have ideological commitments to symmetrical or asymmetrical arrangements, fervent allegiances to particular typefaces, unremitting hatred for others, and what could be construed as moral attitudes; ‘using bold caps’, declared Paul Rand,

‘is like wearing belt and suspenders.’

Helvetica Light [ ]9/12 pt x 14p0hyphenation onopt. margin onbalance rag -JUSTIFICATION70% - 75% - 133%

Caslon [10/13 pt x 14p0hyphenation onopt. margin onbalance rag onJUSTIFICATION80% - 100% - 133%

Baskerville [ ]9/12 pt x 14p0hyphenation offopt. margin onbalance rag -JUSTIFICATION40% - 80% - 133%

17

Most people read without seeing what they read. In all probability you have no idea of the name of this typeface. Not that it’s of overwhelming im-portance. As advertising doyen David Ogilvy once commented, no housewife ever bought a new detergent because the ad-vertisement was set in Caslon. Nevertheless, if a piece of text looks unattractive or difficult to scan, one isn’t likely to read it.

Typographers live in a world inhabited by serifs, counters, kerns, ligatures and line feeds, popu la ted w i th Egypt ian Expands, Latin Extends and Modern Romans. Wordage is viewed in terms of colour and weight, points, picas and leading. The aesthetics involve pace, proportion, scale, bal-ance, harmony and order. As you can see, there is more to it than you thought. Further-more, the options held by this fraternity can excite an intensity of passion only equaled by medieval ecclesiastics arguing about how many angels can dance on the head of a pin.

Typographers have ideological commitments to symmetrical or asymmetrical arrangements, fervent allegiances to particular typefaces, unremitting hatred for others, and what could be construed as moral attitudes; ‘using bold caps’, declared Paul Rand, ‘is like wearing belt and suspenders.’

4 cont’d

9/12 Helvetica Neue LT Std Light[ ] x 10




4 cont’d


Most people read without seeing what they read. In all probability you have no idea of the name of this typeface. Not that it’s of overwhelming importance. As advertising doyen David Ogilvy once commented, no housewife ever bought a new detergent because the advertisement was set in Caslon. Nevertheless, if a piece of text looks unattractive or difficult to scan, one isn’t likely to read it.

Typographers live in a world inhabited by serifs, counters, kerns, ligatures and line feeds, populated with Egyptian Expands, Latin Extends and Modern Romans. Wordage is viewed in terms of colour and weight, points, picas and leading. The aesthetics involve pace, proportion, scale, balance, harmony and order. As you can see, there is more to it than you thought. Furthermore, the options held by this fraternity can excite an intensity of passion only equaled by medieval ecclesiastics arguing about how many angels can dance on the head of a pin. Typographers have ideological commitments to symmetrical or asymmetrical arrangements, fervent allegiances to particular typefaces, unremitting hatred for others, and what could be construed as moral attitudes; ‘using bold caps’, declared Paul Rand, ‘is like wearing belt and suspenders.’






5

10/12 Baskerville Regular[ ] x 18

9/12 Univers LT Std 45 Light[ ] x 18






5

10/12 Baskerville Regular[ ] x 18

9/12 Univers LT Std 45 Light[ ] x 18

10



9/12 Marion Regular[ ] x 18

10




10




10




10




15 Most people read without seeing what they read. In all probability you

have no idea of the name of this typeface. Not that it’s of overwhelming

importance. As advertising doyen David Ogilvy once commented, no

housewife ever bought a new detergent because the advertisement

was set in Caslon. Nevertheless, if a piece of text looks unattractive or

diffi cult to scan, one isn’t likely to read it.

Typographers live in a world inhabited by serifs, counters, kerns,

ligatures and line feeds, populated with Egyptian Expands, Latin

Extends and Modern Romans. Wordage is viewed in terms of colour

and weight, points, picas and leading. The aesthetics involve pace,

proportion, scale, balance, harmony and order. As you can see,

there is more to it than you thought. Furthermore, the options held

by this fraternity can excite an intensity of passion only equaled

by medieval ecclesiastics arguing about how many angels can dance

on the head of a pin. Typographers have ideological commitments

to symmetrical or asymmetrical arrangements, fervent allegiances

to particular typefaces, unremitting hatred for others, and what

could be const-rued as moral attitudes; ‘using bold caps’, declared

Paul Rand, ‘is like wearing belt and suspenders.’

9/15 Helvetica 85 Heavy[ x 25

15Most people read without seeing what they read. In all probability you




















Most people read without seeing what they read. In all probability you have no idea of the name of this typeface. Not that it’s of overwhelming importance. As advertising doyen David Ogilvy once commented, no housewife ever bought a new detergent because the advertise-ment was set in Caslon. Nevertheless, if a piece of text looks unattractive or difficult to scan, one isn’t likely to read it.

Typographers live in a world inhabited by serifs, counters, kerns, ligatures and line feeds, populated with Egyptian Expands, Latin Extends and Modern Romans. Wordage is viewed in terms of colour and weight, points, picas and leading. The aesthetics involve pace, proportion, scale, balance, harmony and order. As you can see, there is more to it than you thought. Furthermore, the options held by this fraternity can excite an intensity of passion only equaled by medieval ecclesiastics arguing about how many angels can dance on the head of a pin. Typographers have ideological commit-ments to symmetrical or asymmetrical arrangements, fervent allegiances to particular typefaces, unremitting hatred for others, and what could be construed as moral attitudes; ‘using bold caps’, declared Paul Rand, ‘is like wearing belt and suspenders.’

15 Most people read without seeing what they read. In all probability you




















Baskerville [ ]9/12 pt x 14p0hyphenation offopt. margin onbalance rag -JUSTIFICATION40% - 80% - 133%

18




4 cont’d


CHAPTER

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CHAPTER

It may seem that many people point-blank refused to use the telephone because they might have to speak to someone to whom they had no formal introduction! Can’t get much less intimate than that can you.

The telephone survived the stupidity of snobbery and opened up a whole new world of intimacy. People could keep in touch. They could swap confidences in a way they would never think of in a face-to-face encounter. They could make their lives faster, more effi cient and easier.

In the 1990’s the mobile phone took the transformation of everyday life to another level altogether - constant communication. As the yuppie label faded rapidly, the mobile phone became the instrument of intimacy; the builder of relationships. If you wanted to be empathetic, you would

have to admit there was a hell of a lot to listen to. In an average day an adult can use as many as 40,000 words. That’s about fi ve hours of continuous speech. If you multiply this be 75, that’s about a billion words in a lifetime.

And what will all these words be about? Important issues of the day? Very few of them. Most of our talk could be termed trivial. It’s about the process of talking rather than the content; we talk about family and friends, the weather, local news, and (especially) the days goings-on. Gossip is the lifeblood of intimacy.

People automatically phone home to announce they are in the car and on the way home. Everyone is constantly calling everyone else to explain where they are, what is happening, what might happen. A point-by-

point tracking throughout our lives with our loved ones. Intimate talking has become a 24/7 activity. Forget grammar and argument. We’re talking haphazard, incomplete and emotional. This is not about communicating info-rmation as we know it. This is a constant sensing of where you are, where I am, and how we are both feeling.

To me commitment is one of the most demanding Lovemark attributes. Remember that great definition of the difference between being committed and being involved? In a plate of bacon and eggs, the pig is committed and the chicken is involved. Working with P&G I was introduced to Cape Town academics Jan Hofmeyr and Butch Rice from Commitment-Led Marketing. We all agree that loyalty is not enough. As Hofmeyr and Rice point out,

loyalty can just be consumers acting on autopilot, continuing to buy the same brand because they can’t be bothered to make another choice. But commitment can transform loyalty from an unthinking acceptance to a real state imbued with real emotions- loyalty beyond reason.

This continuation of loyalty and commitment is the powerful force we need to harness for Lovemarks. Getting to the crucial place where people are beyond the information stage and point-by-point compar-isons. They have made their choice. They have committed to it before friends and family. It is part of them and they are not going to change now.

HEAD

GUTT

ER

MARGIN

FOOT

COLUMN

20

CHAPTER

CHAPTER

77

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the last to recognize waterIt may seem that many people point-blank refused to use the telephone because they might have to speak to someone to whom they had no formal introduction! Can’t get much less intimate than that can you.

The telephone survived the stupidity of snobbery and opened up a whole new world of intimacy. People could keep in touch. They could swap confidences in a way they would never think of in a face-to-face encounter. They could make their lives faster, more effi cient and easier.

In the 1990’s the mobile phone took the transformation of everyday life to another level altogether - constant communication. As the yuppie label faded rapidly, the mobile phone became theinstrument of intimacy; the builder of relationships. If you wanted to be empathetic, you would have to admit there was a hell of a lot to listen to. In an average day an adult can use as many as 40,000 words. That’s about five hours of continuous speech. If you multiply this be 75, that’s about a billion words in a lifetime.

And what will all these words be about? Important issues of the day? Very few of them. Most of our talk could be termed trivial. It’s about the process of talking rather than the content; we talk about family and friends, the weather, local news, and (especially) the days goings-on. Gossip is the lifeblood of intimacy.

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