typesetting conventions - linda.calinda.ca/cede212aldus/student course notes/comd type...

Typesetting Conventions

S E C T I O N O N E

Preliminaries

1.1 Reference Guides

1.2 For the Client: Preparing the Manuscript

1.3 Selecting and Combining Type

1.4 Character Sets

1.4 Using Lorem Ipsum (Placeholder Text)

1.5 Proofreader’s Marks

1.7 Proofreading Essentials

S E C T I O N T W O

Typesetting Style Guide

2.1 Abbreviations and Acronyms

2.1 Ampersands

2.1 Brackets

2.2 Angled Brackets (Chevrons)

2.2 Braces

2.2 Bullets

2.4 Capitals and Decorative Initial Caps

2.23 Centered Setting (see Text Settings)

2.5 Dashes (Hyphens, En Dashes, Em Dashes)

2.5 Dimensions

2.5 Ellipses

2.5 Emphasis and Contrast

2.6 Figures

2.23 Flush Left, Flush Right (see Text Settings)

2.7 Folios

2.7 Footnotes (also see Special Characters)

Emily Carr Universityof Art + Design

Introduction to TypographyInstructor: Linda Coe, BDes, FGDC

Student Course Notes © 2004 – 2013 Linda Coe

2.7 Fractions

2.8 Headers and Footers

2.8 Hierarchy

2.9 Hyphenation and Justification

2.9 Indents and Block Quotes

2.11 Italics

2.23 Justified Setting (see Text Settings)

2.11 Kerning

2.12 Leaders

2.13 Leading (Line spacing and Text Settings)

2.14 Letter and Word Spacing

2.17 Ligatures and Diphthongs

2.17 Line Length (Column Measure)

2.18 Margins

2.18 Parenthesis

2.18 Pull Quote or Block Quote

2.18 Punctuation

2.19 Rules and Underscores

2.19 Small Caps

2.20 Special Characters: Accents, Dingbats, Pi Fonts

2.21 Superscripts and Reference Marks

2.22 Tabs and Tables

2.23 Text Settings

2.25 Tracking

2.25 Type Sizes

2.26 Typographic Colour

2.26 Widows and Orphans

2.27 X-height

2.27 Zeal

S E C T I O N O N E

Preliminaries

Reference Guides

Baines, Phil & Andrew Haslan. Type and Typography. New York, NY:Watson-Guptill Publications Inc., 2002.

Bringhurst, Robert. The Elements of Typographic Style. Vancouver, BC:Hartley & Marks, Publishers, 1992.

Buckley, Peter, ed. Canadian Press Stylebook: A Guide for Writers and

Editors. Toronto, ON: The Canadian Press, 1993.

Cabarga, Leslie. Logo, Font and Lettering Bible. Cincinnati, OH: 2004.

Carter, Rob; Day, Ben; Meggs, Philip. Typographic Design: Form and

Communication. New York, NY: Van Nostrand Reinhold,1993.

Chicago University Press, ed. The Chicago Manual of Style. Chicago, IL:Chicago University Press, 1972.

Felici, James. The Complete Manual of Typography. Berkeley, CA:Peachpit Press, 2003.

Fella, Edward et al. Letters on America: A Visual Language History.

New York, NY: Princeton Architectural Press, 2000.

Hacker, Diana. A Canadian Writer’s Reference. Scarborough, ON:Nelson Canada, 1991.

Level, Jeff. Font Reference Guide. New York, NY: Commack, 1995.

Lupton, Ellen. Thinking With Type. New York, NY: Princeton ArchitecturalPress, 2004.

Spiekermann, Erik & E.M. Ginger. 2nd ed. Stop Stealing Sheep and FindOut How Type Works. Berkeley, CA: Adobe Press, 2003.

■ Adobe Type Primerhttp://www.adobe.com/education/pdf/type_primer.pdf

■ Thinking With Type (Ellen Lupton)http://www.thinkingwithtype.comPreliminaries

■ FontShop Typography Glossaryhttp://www.fontshop.com/glossary/

The majority of corporate clients havea style guide as well as a corporateidentity standards manual.

Frequently, The Canadian Press StyleGuide and/or The Chicago Manual ofStyle form the basis for the style guide(dictating spelling, punctuation,common terms and grammar rules inuse by the client). The corporate styleguide must be adhered to and mayaffect your typographic layout.


Introduction to Typography ConventionsInstructor: Linda Coe, BDes, FGDC

Student Course Notes © 2004 – 2013 Linda Coe 1.1

For the Client: Preparing the Manuscript

Good copy preparation and accurate markup ensures correct typesettingwith a minimum of alterations—reducing costs and anxiety. It is advisableto carefully edit and check the text before the designer receives it. If thecopy is still undergoing edits clearly mark it “Draft.”

Do not “design” the text, simply follow the criteria below and allow thedesigner to make the appropriate typographic decisions.

1. Use white 8.5" x 11" paper and allow a two-inch margin on the leftside of each page.

2. Type copy double spaced on one side of the sheet only.3. Type copy flush left, ragged right. Use one space only between

sentences or after punctuation. 4. If you must colour code text, use dark colours—yellow does not

show up when printed from a black and white printer.5. Use only hard returns between paragraphs and headings.6. Do not indent paragraphs.7. Type in upper and lower case throughout the copy (unless all caps

is required for proper names, abbreviations or acronyms).8. Do not use underscores, but do use italics and bold face where

required.9. Mark each page by hand with a page number on hard copy.10. Minor corrections or notes may be marked in red pen beside or

above the line in question on the hard copy. 11. If photos are included, do not staple or paper clip photos to the copy.

Identify the back of each photo with a number or letter written insoft non-smear felt pen or write on post-it notes (do not write onthe back of photos with ball point pen—the marks show throughto the front. Key titles and captions on a separate sheet of paper.Photos imbedded in Word files do not have adequate resolution forprinting, include the original photo separately.

12. Mark “- End -” or “- 30 -” on the last page of the copy.13. Save your copy as RTF—Rich Text Format (or MicroSoft Word).14. Make sure to back up your text and provide both soft and

hard copy.15. Label the storage device with the date, file name and include the

program name and version number. 16. When emailing text it is helpful to receive hard copy with notes

or keyed information indicated on individual pages. Do not insert instructions into the middle of text blocks!

The marketing department or thecommunications department, in largeorganizations, handle the ongoingflow of design projects. They oftenhave writers and editors on staff whowill professionally craft your projectcontent.

Some clients do not have editors andwriters on staff and the designer maybe required to subcontract the workout to a freelance professional.

It is up to the designer to ensure thatthe content being prepared for themfollows the copy prep guidelines hereto save time and money.




Selecting and Combining Type

Creating interest and effective hierarchy is achieved through the use ofone typeface family (concordant relationship) by using different sizes,weights and styles. Univers, for example, is a large family with 21 variationsin weight and style.

Many typographers design flexible typeface families that include a serifand a sans serif version which complement one another when combined.Sumner Stone created three combination families when he designed StoneSerif and Stone Informal (both serif families) and Stone Sans.

Complex design may require more than one family (contrasting relationship)in order to provide enough contrast and distinction. Examine typefaces that:

■ cover the variety of applications needed

■ work in a range of sizes

■ are legible and readable

■ work in positive and negative form

■ reflect the nature of the document

■ convey feeling and personality

■ have expert character sets (if required)

In addition to the above, note the following production issues:

■ test a sample at the size it will be used (view in print, not onscreen);the laser output will look a bit heavier than the actual printed job.

■ don’t set type to fit, select the right point size and leading for readability

■ don’t tint or reverse out small type with delicate thin serifs

Tips for the Font Safari

■ use keyword searches to narrow the online subject

■ take as much time as possible when making a selection

■ ask the online experts for help in identifying samples

■ sign up for newsletters and announcements/collect legitimate free fonts

■ create your own type specimen catalogs by printing out PDFs

■ before purchase; ensure you are getting exactly the font you need

Caution!

Don’t mix fonts from varying historicalperiods. Don’t mix two or more sansfamilies or two or more serif familiesin a project.




Find Out More

Typebook Creator is a type specimenprogram that helps you build yourown typeface sample books, a handyreference when searching for theappropriate typefaces in your personalcollection.

http://www.veenix.com/FontTools.html

Character SetsA character set is a complete group or sub-group of glyphs in a font.Basic character sets include:

■ Standard: Adobe’s is a superset of ISOLatin1

■ Expert: Small Caps, Old Style Figures, Em-fractions, Superior andInferior Figures, Superior Lowercase, additional f-ligatures and otherspecial characters

■ SCOSF: Small caps, & Old Style Figures

■ OSF: Old Style Figures

■ Dfr, & Alternates: DeutschFraktur (a specialized subset for GermanBlackletter or Fraktur. Other Alternate Character Sets (ornaments,math, Pi, logo and image fonts.)

Using Lorem Ipsum (Placeholder Text)

“Neque porro quisquam est qui dolorem ipsum quia dolor sit amet,consectetur, adipisci velit…” (There is no one who loves pain itself,who seeks after it to have it, simply because it is pain…).

Popularized by Letraset in the 1960s, it closely resembles the Englishlanguage in its construction of vowels, consonants and word length.Lorem Ipsum includes over 200 Latin words and several model sentencestructures and does not distract the reader from the layout.

When using Lorem Ipsum to prepare a rough layout for presentation, setthe text using the same typesetting conventions as you would with “real”project content:

■ kern all heads and large type elements

■ create realistic line endings

■ set realistic bullet points

■ use actual copy for contact information

■ layout rough as accurately as possible

Although there are other text generators available, Lorem Ipsum is theprofessional standard because it:

■ contains no rude or embarrassing words

■ is free of non-characteristic words

■ uses no repetition

■ not likely to be mistaken for actual copy




Find Out More

www.lipsum.com

http://en.wikipedia.org/wiki/Lorem_ipsum

www.lorem-ipsum.info/generator3

DO NOT USE

Nonsense repeating text formsannoying patterns that detractfrom the layout.

skjddk fhdighdid kvnxkvnklskjddk fhdighdid kvnxkvnklskjddk fhdighdid kvnxkvnklskjddk fhdighdid kvnxkvnklskjddk fhdighdid kvnxkvnklskjddk fhdighdid kvnxkvnkl

small caps

1 2 3 4 5 6 7 8 9

Difficult floor

The Last Unicorn

Find Out More

Adobe’s glyph coverage here:

http://store.adobe.com/type/browser/info/glyphs.htm

Proofreading Essentials

Proofreading is the quality control stage of a project—it is an art. Manyotherwise perfect jobs are spoiled by careless or hurried proofreading.Good copy preparation and thorough proofreading will reduce the chanceof errors and the amount of time and money spent on corrections.

1. When reading, one visualizes the entire word; when we proofread, weread the letters and characters s-e-p-a-r-a-t-e-l-y. Learn the differencebetween these tasks.

2. If you are the author, have someone else proofread the material.

3. When an interruption occurs, place a checkmark where proofing hasstopped (preferably at the end of a line). When you begin again,start proofing two or three sentences preceding your checkmark.

4. Read once for sense and then once again character by characteragainst the original. If the copy is short, reading it backwards is helpfulin finding typos.

5. Proofread from hard copy, not on the computer screen.

6. Compare the original text with the typeset copy and look for incon-sistencies between them; look for inconsistencies between illustrationsand captions; errors in spelling and grammar; misstatement of facts,figures or dates (check that calendar!); inaccuracies in quotations; andother defects.

7. Check all addresses and other contact information including namesand titles. Test all phone numbers, fax numbers, URLs and emails tomake sure they work.

8. Also check for style and typographic consistency; detection of poorspacing (such as double spaces between words, sentences and punctuation), alignment, and incorrect indention and line breaks(including hyphenation); assure that the correct typeface with thedesired leading has been used and that it has been set to the correctmeasure.

8. Watch for letters that are transposed (untied for united).

9. Watch for doublets or repeaters (repeated words) which may occurin the centre of a line; at the end of one line and the beginningof another; in the middle of a word; in the repetition of a series ofwords.

10. Check for frequently misspelled words (ommission for omission; reccomend for recommend, etc.)

11. Check for the addition of letters (frog for fog) or the omission of aletter (carless for careless) or letter changes (swindling for dwindling).




12. Homonyms need to be checked carefully (principal for principle).

13. Spell aloud all names of people and places: S-u-z-a-n-n-e M-a-c-D-o-n-a-l-d; do not just say the name Suzanne MacDonald.

14. Look for unconscious omissions (or freudian slips!) which can rendera sentence ridiculous.

15. Make sure that display headings are correct and that they actuallyrefer to the copy following it.

16. Check comparative prices carefully to make sure they are correct andin their proper sequence.

17. “Ensure that the proper opening and closing ‘single’ or ‘double’quotation marks are used,” she said. Replace all inch and foot markswith proper quotation marks.

18. If there is time, leave your work overnight and review it when youare fresh the next morning.

19. Mark all changes in the margin in red ink, using the appropriateproofreader’s marks. (Mark changes in the left margin if they occurnear the beginning of a line and in the right margin if toward the end.)

20. Have the approving authority sign each proof.

21. Number each sequence of proofs as the job progresses and keepthem for reference until the project has been approved and published.




S E C T I O N T W O


Abbreviations Contemporary typesetting does not require contractions,abbreviated dimensions, or the commonly used abbreviations for ”thatis” and ”for example” to be followed by a period. Review your client’sstyle guide for their particular corporate usage.

CBC GDC MBA

Mr Ms St Rev Dr or Mr. Ms. St. Rev.

1cm not 1cm. 37cm singular, not plural 37cms

ie and eg is becoming more common than i.e., and e.g.,

Use periods, no spaces: Vol.II p.376 c.1492 (use italic c)

Acronyms Acronyms are sets of initials that spell out names. Acronymswidely known (and pronounceable), are set in upper and lowercase.

Icograda, Nato set this ICOGRADA, NATO not this

Ampersand An ampersand is the abbreviation for “et,” Latin for and.We can still identify the e and t letter forms in some ampersand designs.Use ampersands in lists or as directed in legal names, not in running text.

& & & & (Berkeley, Adobe Caslon Italic, Baskerville Old Face, Frutiger)

black & white

Roberts & Gordon Solicitors

The painting is an abstract acrylic coloured inbrilliant reds, oranges, yellows and ochres.

Brackets Square brackets are used when referencing other works, sourcematter or editorial commentary. They are also used when additional paren-thetical copy occurs inside of parenthetical copy.

(Please make note of this important reference[critical to the professional designer] to avoidbecoming a desktop dabbler).




Caution!

Refer to client’s corporate styleguide as their style may vary fromthese guidelines.

Angled Brackets or Chevrons These are found in Pi and Greek fonts. Inlinguistics, chevrons indicate orthography. Chevrons are sometimes usedto denote dialogue that is thought instead of spoken.

The English word /kæt/ is spelled ‹cat›

‹What a beautiful flower! ›

Braces Braces, “Curly Brackets,” are generally found in mathematics,occasionally they are used as a graphic device in design layouts.

{ D E S I G N }

Bullets To emphasize itemized lists, use bullets not hyphens or asterisks.Standard bullets often look better reduced two points in size relative totheir text size. There are many styles to choose from; select a style ofbullet that complements the text. The bullets found in these notes areZapf Dingbats, set 5pt with 9pt body copy size.

Set a tab to align copy; run-on text aligns to the first line not the bullet.Don’t set bullets too close or too far from the text they highlight.

When appropriate, ornaments are used in place of a round or squarebullet. Large bullets may be tinted colour or gray so they have decorativevolume, but are not heavy looking.




■ salmon

■ trout

■ halibut

■ tuna

• ochre

• maroon

• teal

• indigo

• uniforms

• shoes, chef’s hat

• textbooks

• knife set

In effective communication design,

type, image and space:

• set the mood of a document(formal, casual, urgent)

• create hierarchy (make thestructure of the documentapparent)

• invite the reader to scan thedocument in a given way (top-to-bottom, left-to-right, column-by-column)

✔ Number each page of themanuscript.

✔ Double space the content.

✔ Set “End” or – 30 – at theconclusion of the manuscript.

Chevrons

‹ shift option 3

› shift option 4

« option backslash

» shift option backslash

Bullet

• option 8




Setting Copy with Aligned Bullets

Lorem ipsum dolor sit amet, consectetur adipiscing elit.Innisl dolor, non iaculis quam ornare:

■ neque, vestibulum a malesuada ut

■ obortis sed dapibus et, volutpat adipiscing duifringila

■ consequat commodo accumsan eu, consectetur nectellus aenean lobortis sodales massa sit amet.

■ duis eu magna eros, laoreet tempus arcu egetvarius mauris elis

Setting Copy with Run-in Bullets *

Lorem ipsum dolor sit amet, consectetur adipiscing elit.Innisl dolor, non iaculis quam ornare:

■ Neque, vestibulum a malesuada ut fermentumtortor vitae velit facilisis amet pellentesque. Ut necnibh eu magna pulvinar feugiat et congue lectus. Sedscelerisque euismod tortor, non faucibus eros.

■ Obortis sed dapibus et, volutpat adipiscing duifringila morbi rutrum feugiat hendrerit. Cras eu erosodio. Donec fermentum tortor vitae velit facilisis velmolestie magna accumsan.

■ Consequat commodo accumsan eu, consecteturtellus aenean lobortis sodales masa sit amet eu magnapulvinar feugiat et congue lectous. Sed scelerisqueeuismod tortor, non faucibus eros sollicitudin et.

■ Duis eulous magna eros, laoreet tempus arcu egetvarius mauris etiam tellus leo, consequat commodoaccumsan eu. Consectetur nec tellus. Aenean lobortissodales massa.

* Run-in bullets are best used in cases where the high-

lighted phrases are lengthy and depth is limited.

Setting Copy with Hanging Bullets

Lorem ipsum dolor sit amet, consectetur adipiscingelit. Innisl dolor, non iaculis quam ornare:


■ obortis sed dapibus et, volutpat adipiscing duifringila

■ consequat commodo accumsan eu, consectetur nectellus aenean lobortis sodales massa sit amet.


Setting Copy with Indented Bullets

Lorem ipsum dolor sit amet, consectetur adipiscingelit. Innisl dolor, non iaculis quam ornare:


■ obortis sed dapibus et, volutpat adipiscingdui fringila

■ consequat commodo accumsan eu,consectetur nec tellus aenean lobortis sodalesmassa sit amet.


S AM P L E S

Capitals (All Caps) Capital letters are sometimes used for headlines, andare always optically kerned. Copy in poorly designed advertising matteroften relies on CHEESEY all cap settings to draw attention. Professionaltypography uses SMALL CAPS for introductory copy or as needed in settingabbreviations, acronyms or designations in body copy.

Body copy is easier to read when set in upper and lower case letters. Theascenders and descenders of the lowercase characters aid the eye whenreading lines of type. COPY SET IN ALL CAPS IS READ AT A SLOWER PACETHAN WHEN IT IS SET IN UPPER AND LOWER CASE. THIS MAY HAVE ASIGNIFICANT IMPACT ON COMPREHENSION.

A History of Graphic Design

A HISTORY OF GRAPHIC DESIGN

Never set all caps in script, decorative or ornamental type:

A history of grAphic design

Centered text (See Text Settings page 2.3)

Decorative Initial Caps Use decorative initial caps sparingly. They fre-quently introduce the first paragraph of a chapter in formal book setting(a convention of ancient manuscripts). Depth may vary, but decorativecaps align to a baseline.




Many typographers design flexible

typeface families that have both a serif

and a sans serif version which compli-

ment one another when combined.

Raised cap initial

Although the craft of the printer

contributes to the scholarly

aptitude of most of its practi-

tioners, the fact remains that since the

first century and a half following

Dropped cap initial


typeface families that have both a

serif and a sans serif version which

compliment one another when

combined.

Hanging cap initial


typeface families that have both a

serif and a sans serif version which

compliment one another when

combined.

Decorative swash cap initial

Dashes There are three styles of dashes: the hyphen, the en dash andthe em dash.

The hyphen is used sparingly to achieve cleaner line endings, compoundadjectives, compound nouns and, less frequently, telephone annotation:

blue-green Smythe-Jones 604-555-1392

The en dash is used for duration and for contracted dates in place of“to” in short notes:

8:30 – 5:30pm November – December

20 – 50 years of age Vancouver – Toronto flight

Note: There are no spaces used either side of dates or pagination. Thisstyle is at the discretion of the editor in running text:

1900–1993 pp.14–18

The em dash is used for a parenthetical clause:

Dinner—if it arrives at all—is bound to be late this evening.

The en and em dashes vary in length from typeface to typeface, there isno set standard length.

9:30 – 4:30pm 9:30 – 4:30pm 9:30 – 4:30pm

Dimensions use the proper mathematics symbol for setting dimensions,not a lowercase x which is often too large and clumsy:

4"¥ 5" not 4" x 5" 3'8" ¥ 2'8" not 3'8" x 2'8"

Ellipses The ellipses punctuation mark indicates the ommission of text,and is preceded and followed by one letter space. A period set prior to anellipses must be closed up to the sentence.

“A typographer determined to forge new routes,must move … through uninhabited country … ”— Robert Bringhurst

Emphasis and Contrast Emphasis is necessary in most layouts to createinterest, to make it more appealing and to help the reader/viewer navigatethrough the content. Emphasis may be created by using different typefaces,styles and weights, with colour and by varying scale and proportion.(See also Hierarchy page 2.8)




Hyphens

Hyphens, en and em dashes vary inwidth from typeface to typeface.

nm - – —nm - – —

nm - – —

Dashes

en – option hyphenem — option shift hyphen

Dimensions

Symbol font option y

Ellipses

… option ;

Style Variations For Emphasis (Proceed with Caution)

ALL CAPITALS SMALL CAPS

CAPS & SMALL CAPS Underlined

Italic ITALIC CAPS

ITALIC SMALL CAPS ITALIC CAPS & SMALL CAPS

Bold BOLD CAPSBOLD CAPS & SMALL CAPS BOLD SMALL CAPS

Bold Italic ITALIC BOLD CAPS

ITALIC BOLD CAPS & SMALL CAPS ITALIC BOLD SMALL CAPS

LARGE & SMALL BOLD CAPS

Varying the SIZE, weight and style is important forHIERARCHY, but care must be taken not to use toomany styles for EMPHASIS. Overusing bold or italicsdetracts from the message.

Figures When setting body copy, numbers of one hundred and fewershould be spelled out unless they are used for reference purposes:

There are twenty pages of notes, the use of figures isexplained on page 14.

If a sentence begins with a figure it should be spelled out:

Thirteen cats chased over 110 mice.

If the word from precedes a date spell out ”to”:

… from 1972 to 1976, set this … from 1972 – 1976, not this

When setting dates use this style:

October 17, 2011(Exceptions to this rule can be made for special settings such as display

heads, invitations and legal documents.)

Do not punctuate ante meridiem or post meridiem:

9:00 am or 9:00 AM set this 9:00 a.m. not this

When ”percent” is used as a noun within the body of a text, spell it out,otherwise use the % symbol.




A percent one way or the

other isn’t going to make much

difference if you’re talking

between 1% and 5% when the

overall mark is based on 100%.

If there are no cents when setting dollar amounts, eliminate the decimalpoint and zeros.

$100 set this $100.00 not this

Some of the larger type families include several sets of figures includinglowercase and cap figures as well as os style and lining figures.

Old style figures look less obtrusive in running text. Lining figures are easierto read in tabular columns of figures.

“Frederic W. Goudy, prolific type designer though he was, came rather

to the design of blackletter … his prodigious output of 123 type designs.”

Not, “Frederic W. Goudy, prolific type designer though he was, came

rather late to the design of blackletter… his prodigious output of 123

type designs.”

Flush Left, Flush Right Text Settings (See Text Settings, page 2.23).

Folios (Page Numbers) In formal text settings, folios (Latin for leaf)are usually placed along the lower margin of the pages, but they mayalso be positioned at the top of the page or the centre of each side of thespreads (if outer margins are generous). Set even numbers on the left(verso) side of the spread and odd numbers on the right (recto) side ofthe spread.

Footnotes Use superior figures to reference footnotes in the text.1

When numbering the footnotes use full numbers and no periods.2

Depending on the style of type, footnotes are set two points smaller thanthe regular body text.3 (See also Special Characters, page 2.20)

1 If there are only a very few footnotes, use *, **, †, †† (dagger; Option-t), double dagger(Option-Shift-7), in this order.

2 The same applies to ®, ™, © in text settings. you may type out TM if it is too small in theactual footnote.

3 In some cases such as legal and technical copy, footnotes may be set even smaller.

Fractions Learn to correctly set fractions. Em fractions should beconstructed using the solidus (fraction bar) and be set smaller than theintegers.

61⁄2% not 6 1/2% 8 3⁄4" not 8 3/4"

6 ½% not 6 1/2% 8 ¾" not 8 3/4"




Use lining figures for easy to readtabular numeric copy.

31074251

1702

9060

22 23

Nut Fractions are built using en dash-es, superscript and subscript, baselineshifting and creative kerning if theyare not available in the chosen font.

1–2

5–8

Verso Recto

Folios are set in a face contrasting tothe running text.

Many typeface designs have alternate fonts which include inferior andsuperior figures as well as proper fractions. Often, though, you mustcreate your own fractions in Quark or InDesign using superscript andsubscript commands along with the fraction bar (option shift 1).Experiment to obtain the correct proportions in various typefaces.

Headers and Footers In formal and complex text settings these identifybook titles, authors, or other attributions appearing along the upper and/orlower edges of the pages. They are set in a smaller size and contrastingstyle to the running text.

C H A P T E R 1 3 Special Characters and Special Situations

a p p l i e d a r t s m a g a z i n e [ p o r t f o l i o ] 1 1 2

Hierarchy Elements in a layout are arranged in a graduated series fromthe most important to the least important. Designers take into accountthe relative importance of each element in the message, the nature ofthe reader, the environment in which it will be read and the need for themessage to be cohesive.

Hierarchy creates appeal in a composition and aids understanding orhelps the reader/viewer to navigate through the text. The more complexthe content, the more hierarchy is of benefit. It allows the reader to“cherry pick” the content they are most interested in as the subheadsclearly define the focus of the material.

Visual hierarchy is the study of the various parts within a text and theirrelationship to one another. When the parts have similar characteristicsthey have equal visual hierarchy, but when they are in contrast to oneanother, their differences form a logical order for the reader to follow.Size, weight, colour and spatial interval create contrasts.

Harmony unifies design, contrast creates liveliness and emphasis. Extremescale contrasts create a counterpoint relationship while similarities inthe typestyles (eg vertical and horizontal strokes) become typographiccounterparts.

Hierarchical Components

■ title, sub title

■ heads, subheads

■ sub-sub heads (and so on)

■ introductory text

■ body text

■ charts, graphs

■ callouts

■ bulleted lists

■ captions

■ pull quotes, call outs

■ sidebars

■ headers, footers

■ folios

■ indices, appendices

■ special considerations




Fractions Within “Expert” Sets

¼ shift g

½ shift h

¾ shift i

⅛ shift j

⅜ shift k

⅝ shift l

⅞ shift m

⅓ shift n

⅔ shift o

Hyphenation and Justification The hyphen is used only for wordbreaks or line breaks. Hyphen ation allows for cleaner looking raggedcolumns and better justified columns of text. An incorrect word divisionis known as a “bad break.” For legibility, hyphenate as little as possible.Guidelines for using hyphens are:

■ do not hyphenate headline or display copy

■ avoid two or more hyphens in a row

■ break lines for sense

■ avoid creating ungainly word patterns through hyphenation

■ never hyphenate a one-syllable word or numerals

■ do not hyphenate proper nouns (or separate titles or initials from names)

■ leave two characters behind and take at least three forward

■ divide on a double consonant, unless the word root ends with a double consonant (eg miss-ing, not mis-sing).

■ try to break the word so the part left on the line suggests its meaning.

If the automatic H&J function does not provide the results you need,manually rebreak the lines. Copy may need to be edited or in the extreme,consider altering your column width throughout the document.

Test layout samples for copy fit before setting the entire project.

Indents and Block Quotes Indicating paragraphs aids the reader incomprehending lengthy text. Conventional indention is between one andtwo ems wide, but designers sometimes use a different style length.

Outdents may be used. Short blocks of text, such as an introduction, canbe set solid with a device inserted to indicate paragraph breaks.

When indenting (or outdenting) paragraphs:

■ do not add extra leading between paragraphs

■ avoid indenting the first paragraph placed under heads and subheads.

■ be consistent in the amount of space used for indention

See samples next page.




The Art of the Letter (indent)

Lorem ipsum dolor sit amet, consectetur adipiscing elit.

Mauris vitae lectus neque. Aliquam ullamcorper augue nec

libero dignissim bibendum. Quisque vehicula sodales erat

ut adipiscing.

Donec at magna tellus. Nunc sed libero eu tortor facilisis

sagittis. Suspendisse laoreet adipiscing sollicitudin. Vestib

sed risus purus, vel pharetra nisl. Pellentesque a felis augue.

Introduction

Lorem ipsum dolour sit amet, consectetur adipiscing elit.

Mauris vitae lectus neque.§Aliquam ullamcorper augue

nece libero dignissim bibendum. Suspendisse laoreet

adipiscing sollicitudin. Vestibulum sedea risus augue

purus.§Velosi pharetra nisl quisque vehicula sodales erat

ute adipiscing. Donec alet magna tellus. Nunc sed liberos

eure tortor.§Facilisis sagittis suspendisse laoreet adipisc-

ing sollicitudin. Vestibis sede risus purus, vel pharetra

nislen. pellentesque at felis augue libero.

Block quotes are set with the same indention as the regular text (do notfurther indent the first paragraph in the extract text block). The leadingbetween the main body of the text and the block quote should be anadditional full line space or a half line space. It is sometimes set in italicsor a slightly smaller size.

W.M. Rossetti stressed that her face often appeared in her brother’spictures; he provided a list of such occurrences in the BurlingtonMagazine of 1903. In Dante Gabriel Rossetti: His Family Letters with aMemoir he wrote:

In these years, 1830 to 1854, Dante Rossetti was so constantly in the

company of Lizzie Siddal that this may have even conduced towards the

break-up of the P.R.B. as a society of comrades. He was constantly

painting and drawing from her. (I, 175)




The Art of the Letter (outdent)

Lorem ipsum dolor sit amet, consectetur adipiscing elit.

Mauris vitae lectus neque. Aliquam ullamcorper augue

nec libero dignissim bibendum. Quisque vehicula

sodales erat ut adipiscing.

Donec at magna tellus. Nunc sed libero eu tortor facilisis

sagittis. Suspendisse laoreet adipiscing sollicitudin.

Vestibulum sed risus purus, vel pharetra nisl.

S AM P L E S

Short introductory text is sometimes setwith a typographic device separatingthe paragraphs.

Italics Use true italic postures provided in the font. Never use the “slant”feature available in some programs.

Italics may be used for contrast, for example in an introduction to the mainbody of a text. Use italics for book and magazine titles, periodicals, plays,film and TV titles, art works, ship names, etc. Titles within italic settingsare set Roman.

Never use underscores for this purpose! Italics are also used in formaltext for describing foreign terms and for emphasis.

Bringhurst, Robert. The Elements of Typographic Style.Vancouver, BC: Hartley & Marks, Publishers, 1992.

In Byzantine times, a similar method was used to execute small, easy-to-transport mosaic medallions, formerlycalled emblemata in Hellenistic Greece.

It is the anniversary of the sinking of the Titanic this year.

Justified Text Setting (See Text Settings, page 2.23).

Kerning Kerning is the subtle horizontal adjustment of character combi-nations which gives typeset text unity and even “colour.” There are twoimportant reasons for kerning text; aesthetics and readability.

■ kerning too tightly: type appears blotchy, uneven

■ kerning too loosely: type appears fragmented, distorts readability

■ take particular care to kern display type—larger sizes emphasize poorletterspacing

■ check your work often from hard copies, do not rely on what you seeon screen

Vocational TrainingVocational TrainingVocational Training

When proofreading, allowing your gaze to view the whole wordor phrase as a grey “blur” helps to pinpoint loose—light—areas anddark—tight—areas.




The Most Common Kerned Pairs

P. PA T. TA

Ta Te To Tr

Tu Tw Ty V.

VA Va Ve

VO Vo ve

W. WA Wa

We WO Wo

we Y. Ya

Ye ye Yo yo

Say “No!” to fake italics,select a real italic typefacefor your copy.

Are you a type criminal?

Slanted

Slanting letter forms does not italicmake! Use an actual italic style whenneeded.

ItalicItalics are designed this way.

Kerning is dependent upon the individual typeface design, the size beingtypeset and the visual result desired by the designer. There is no “onesize fits all.” Slab serif faces are problematic as the serifs are so wide.Reputable font dealers sell designs which need little kerning—at least atthe smaller text setting sizes. Display sizes require kerning.

With both serif and sans serif typefaces, the optimum letterspacing forgeneral text is determined by the counterforms of the lowercase letters.

Typefaces with small counterforms require less space between charactersthan those with large counterforms.

Leaders Leaders are used in settings where one column of type mustconnect to another on the opposite margins of a page. They aid thereader in following the sense of the copy. Leaders are used in tables ofcontents, menus, lists, spacing, charts, etc.

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Dot every 5 points

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Dot every 7 points

. . . . . . . . . . . . . . . . . . . . . Dot every 10 points

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Dot every 5 points

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . Dot every 7 points

. . . . . . . . . . . . . . . . . . . Dot every 10 points

Table of Contents


Abbreviations and Acronyms . . . . . . . . . . . . . . . . . . . . 3

Ampersands . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5

Brackets, Angled Brackets . . . . . . . . . . . . . . . . . . . . . . . . . 6

Braces . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8

Note: Page numbers should be set

flush right in Tables of Content.




S AM P L E S

Bartender’s Favourites

BC SEA BREEZE BLUES . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . $15Victoria Gin, Mead, BlueberrieA local libation showcasing BC's finest ingredients.

EBI SUNOMONO . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . $14Spirit Bear Gin, Cucumber, YuzuA liquid spin on the popular Japanese salad.

CROW’S FOOT . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . $12Whisky, Vanilla, Lychee, MelonThis cocktail carries whiskey with exotic fruit flavours.

Leading

Leading (Line Spacing) The space between any two or more lines of type iscalled line spacing, type measure or leading. Leading allows the eye to easilytrack copy from one line to the next.

A mathematical ratio is used to express this measurement. Eg 9 point typewith 4 points of extra space in between the lines is expressed as 9/13 or“nine on thirteen.”

■ use an actual amount of leading, not “Auto,” most copy has at leasttwo extra points of leading between lines

■ x-height affects the appearance of both type size and leading

■ large text on signs and displays require more leading

■ upper and lower case text set solid or with negative leading results inascenders and descenders conflicting and is rarely used

The more generous the leading used, the more readable the text, espe-cially in the case of small type. Extremely generous leading provides alayout with a light, airy, appearance.

When setting complex copy with columns of running text, sidebars, andpull quotes, use multiples of the chosen leading to align the baselines ofthe text blocks.

Pull quotes are used for contrast, emphasis or to highlight importantinformation. Contrasting type, size, weight, style or colour and columnwidth is used to distinguish a pull quote from the regular body copy.




Body Copy with Base-aligned Pull QuoteMorbi rutrum feugiat hendrerit. Cras eu erosodio. Donec fermentum tortor vitae velit facili-sis vel molestie magna accumsan. Etiam tellusleo, consequat commodo accumsan eu, con-sectetur nec tellus. Aenean lobortis sodalesmassa sit amet pellentesque. Ut nec nibh eumagna pulvinar feugiat et congue lectus. Sedscelerisque euismod tortor, non faucibus erossollicitudin et. Duis eu magna eros, laoreettempus arcu.

Etiam risus nunc, port

id pulvinar eget, aliam

ut risus endise luctus

quam quis magna faub

cibus. Porta sit amet.

Awkward Line Spacing (ascenders anddescenders conflict)

The empty space betweenany two or more lines oftype is called line spacingor leading. In traditionalmetal type, lead slugs of Garamond set minus leading (14/12).

The empty space betweenany two or more lines oftype is called line spacingor leading. In traditionalmetal type, lead slugs of Garamond set solid (14/14).

Conventional Line Spacing

The empty space betweenany two or more lines oftype is called line spacingor leading. In traditionalmetal type, lead slugs of Garamond set plus leading (14/16).

The empty space betweenany two or more lines oftype is called line spacingor leading. In traditionalmetal type, lead slugs of Garamond set plus leading (14/18).

The empty space between

any two or more lines of

type is called line spacing

or leading. In traditional

metal type, lead slugs of Garamond set plus leading (14/24).

Leading and Text Settings Heads and subheads aid the reader in navigatingcontent. Consistent leading between heads, subheads and body copy andbetween sections is important.

Don’t allow subheads to float between sections of text. Position subheadscloser to the text they pertain to than the previous text block.

Line Spacing with Subheads

Letter and Word Spacing Letter Spacing The space between letters (letter spacing) is adjusted toimprove legibility, control rag or justified settings and control how muchspace the copy will fill. This may also change the “colour” of the page.

The em is a fundamental relative unit of measurement. It is the same size asthe type being set—if you are setting type that is 10 points, the em is 10 points.

Typefaces that are designed as expanded or condensed style have an emthat is wider or narrower than a square.

Typeface characters are measured in relative units which are based onfractions of an em. This system separates the design of letters in a fontfrom any absolute measurement of the characters—otherwise, a separatelisting of the absolute width values for each and every character wouldbe needed.

■ the en space is half an em space

■ a thin space is half an en space

■ a figure space is equal to the width of the numerals in a typeface (maybe designed the same width to align vertically in tabular settings)




Magna AccumsanMorbi rutrum feugiat hendrerit.Cras eu eros odio. Donec ferilmentum tortor vitae velit cilisisvel molestie magna accumsan.Etiam tellus leo, consequatcommodo.

Donec FermentumAccumsan eu, consectetur nectellus. Aenean lobortis sodalesmassa sit amet pellentesque. Utnec nibh eu magna pulvinarfeugiat et congue lectus. Sedscelerisque euismod tortor,

non faucibus velit cilisis velmolestie magna accumsan.Etiam tellus, consequateros.

Tortor VitaeSed placerat interdum dolor,in molestie turpis dictum sitamet. Cras ultrices turpis vellectu.

Donec fermentum tortor vitaevelit facilisis vello molestiemagna accumsan. Etiam tellusleone, consequat commodoaccumsan eu, consectetur nec

Adjust letter spacing in general terms: normal, loose, tight or very tight.The design of the typeface dictates how much adjustment is reasonable.Consider using a condensed typeface design if space is limited.

Too much or too little letter spacing makes reading more difficult. Letter-spacing is usually set “normal” at least for the first draft layout. Proofreadthe material and adjust letter spacing in body copy as necessary to providea clean rag or justified format. Headlines, subheads and other displaycopy must be kerned to provide an even appearance:




Lorem ipsum dolor sit amet, con-sectetur adipiscing elit. Nam velvenenatis enim. Sed metus metus,vehicula vitae dignissim id, inter-dum quis massa. Donec at metusmagna. Quisque eleifend hen-drerit ipsum, vitae tempor elitmollis sed. Aliquam ut nulla justo.Class aptent taciti sociosqu adlitora torquent per conubia nos-tra, per inceptos himenaeos.

9/13 pt Frutiger Roman, set Normal

Lorem ipsum dolor sit amet,consectetur adipiscing elit.Nam vel venenatis enim. Sedmetus metus, vehicula vitaedignissim id, interdum quismassa. Donec at metus magna.Quisque eleifend hendreritipsum, vitae tempor elit mollissed. Aliquam ut nulla justo.Class aptent taciti sociosqu adlitora torquent per conubianostra, per in

7/9 pt Frutiger Roman, set +7, loose

Lorem ipsum dolor sit amet, con-sectetur adipiscing elit. Nam velvenenatis enim. Sed metus metus,vehicula vitae dignissim id, inter-dum quis massa. Donec at metusmagna. Quisque eleifend hendreritipsum, vitae tempor elit mollis sed.Aliquam ut nulla justo. Class aptenttaciti sociosqu ad litora torquentper conubia nostra, per inceptoshimenaeos.

7/9 pt Frutiger Roman, set -5, tight

Lorem ipsum dolor sit amet, consecteturadipiscing elit. Nam vel venenatis enim. Sedmetus metus, vehicula vitae dignissim id,interdum quis massa. Donec at metusmagna. Quisque eleifend hendrerit ipsum,vitae tempor elit mollis sed. Aliquam utnulla justo. Class aptent taciti sociosqu adlitora torquent per conubia nostra, perinceptos himenaeos.

7/9 pt Frutiger Roman, set -20, very tight

Lorem ipsum dolor sit amet, consecteturadipiscing elit. Nam vel venenatis enim.Sed metus metus, vehicula vitae dignissimid, interdum quis massa. Donec at metusmagna. Quisque eleifend hendrerit ipsum,vitae tempor elit mollis sed. Aliquam utnulla justo. Class aptent taciti sociosqu adlitora torquent per conubia nostra, perinceptos himenaeos. Vivamus est sem, ele-mentum sed accumsan quis, dapibus aneque.

9/12 pt Garamond, set normal

Lorem ipsum dolor sit amet, consectetur adipiscingelit. Nam vel venenatis enim. Sed metus metus,vehicula vitae dignissim id, interdum quis massa.Donec at metus magna. Quisque eleifend hendreritipsum, vitae tempor elit mollis sed. Aliquam ut nullajusto. Class aptent taciti sociosqu ad litora torquentper conubia nostra, per inceptos himenaeos.Vivamus est sem, elementum sed accumsan quis,dapibus a neque.

9/12 pt Garamond, set -15, very tight

S AM P L E S

Word Spacing Also referred to as the space band. Adjust word space toimprove legibility, control rag or justified settings and control how muchspace the copy will fill. Word spacing changes the “colour” of the page.

Too much space between words interrupts readability by creating gaps,called rivers, that run annoyingly through the text block. If the wordspacing is too tight words and phrases run together making reading slowand difficult.

Note

Only adjust letter and word spacingafter all copy edits have been com-pleted.





9/13 pt Frutiger Roman, set Normal


9/13 pt Frutiger Roman, word space ranges:Min 85, Opt 110, Max 250

Lorem ipsum dolor sit amet,consectetur adipiscing elit. Namvel venenatis enim. Sed metusmetus, vehicula vitae dignissimid, interdum quis massa. Donecat metus magna. Quisqueeleifend hendrerit ipsum, vitaetempor elit mollis sed. Aliquamut nulla justo. Class aptent tacitisociosqu ad litora torquent perconubia nostra, per inceptoshimenaeos.

9/13 pt Frutiger Roman,word space ranges:Min 135, Opt 160, Max 300

Lorem ipsum dolor sit amet, con-sectetur adipiscing elit. Nam vel vene-natis enim. Sed metus metus, vehiculavitae dignissim id, interdum quismassa. Donec at metus magna.Quisque eleifend hendrerit ipsum,vitae tempor elit mollis sed. Aliquamut nulla justo. Class aptent tacitisociosqu ad litora torquent per conu-bia nostra, per inceptos himenaeos.

10/12 pt Garamond, set Normal

Lorem ipsum dolor sit amet, con-sectetur adipiscing elit. Nam vel vene-natis enim. Sed metus metus, vehiculavitae dignissim id, interdum quismassa. Donec at metus magna.Quisque eleifend hendrerit ipsum,vitae tempor elit mollis sed. Aliquamut nulla justo. Class aptent tacitisociosqu ad litora torquent per conu-bia nostra, per inceptos himenaeos.

10/12 pt Garamond, word space ranges:Min 85, Opt 110, Max 250

Lorem ipsum dolor sit amet, con-sectetur adipiscing elit. Nam velvenenatis enim. Sed metus metus,vehicula vitae dignissim id, interdumquis massa. Donec at metus magna.Quisque eleifend hendrerit ipsum,vitae tempor elit mollis sed.Aliquam ut nulla justo. Class aptenttaciti sociosqu ad litora torquent perconubia nostra, per inceptos hime-naeos.

10/12 pt Garamond, word space ranges:

Min 135, Opt 160, Max 300

S AM P L E S

Ligatures and Diphthongs Ligatures are formed by the merging of twocharacters into one unit. They are used in cases where two letterforms setawkwardly together causing a blotchy appearance.

Two kinds of ligatures are found in nearly all ISO character sets: fi and fl.In most Expert character sets the following ligature units are common: fi fl ff ffi ffl.

Please set the first paragraph flush left (ligatures)

Please set the first paragraph flush left (no ligatures)

Diphthongs are a type of ligature used for vowel representation. Manyare outdated and no longer used. The most common examples are oe andae, OE and AE.

Line Length (Column Measure) Selecting the best line length forrunning text rests with the designer, but a few guidelines apply:

■ select the appropriate faces and copyfit for the allocated space

■ columns that are too narrow have poor line breaks

■ columns that are too wide have too many words to read easily

Most print matter has running text or body copy that is set in one or morecolumns on a page.

Study the following examples and notice the number of words per line.Depending on the content, average word lengths set best with widemeasures of approximately eight to twelve words per line. The smallerthe point size, the narrower the measure.

Expert Character Set Ligatures

fi fl fl� �

Diphthongs

Æsopæstheticamœbiaencyclopœdiamediæval




S AM P L E S

On October 3, 1932 The Times, appeared in its new typeface. The newspaper held exclusive rights to the type forjust one year, after which the design was released for copies produced by the Linotype and Intertype firms. Thenew face was very successful for The Times, but it never gained popularity with other newspapers, particularly inthe United States.

Scala set 8/12 at 40 picas wide—too wide too read comfortably.

On October 3, 1932 The Times, appeared in its new typeface.The newspaper held exclusive rights to the type for just oneyear, after which the design was released for copies producedby the Linotype and Intertype firms. The new face was veryScala set 18/20 at 40 picas wide—fewer words per line, more readable.

Copy with specialized wording(legal documents, technical terms, etc.)will take up more space than basicEnglish text.

Margins The margins surrounding the content of a page or a panel areintegral to the layout. They support the text, and allow breathing room. Inbooks, deep side and lower margins provide a place for us to grip withoutobscuring text.

Generous margins are strongest. Copy appears too dense and too darkwhen margins are narrow.

Parentheses Parentheses are used to enclose text insertions, explana-tions and references. (See also Brackets, page 2.1)

Pull Quote or Call Out These blocks of text are duplicated from themain body of the text. Pull quotes are positioned alongside the main text,or framed by the main text. They are used for contrast, emphasis or tohighlight important information. When possible, match the leadingbetween the main text and the pull quote so baselines align.

Punctuation Review a grammar style manual for the proper use ofpunctuation.

Periods: Use a single space between sentences (unless using a monospacetypeface). Double spaces are unnecessary between sentences in conventionaltypesetting




On October 3,1932 The Times,appeared in itsnew typeface.The newspaperheld exclusiverights to the typefor just one year,after which thedesign wasreleased forcopies producedby the Linotypeand Intertype

Scala set 10/12 at 6picas wide. Note thepoor rag right.

On October 3, 1932 The Times, appeared in itsnew typeface. The newspaper held exclusiverights to the type for just one year, after whichthe design was released for copies produced bythe Linotype and Intertype firms. The new facewas very successful for The Times, but it nevergained popularity with other news-papers, partic-ularly in the United States.

Scala set 8/12 at 17p3 picas wide

On October 3, 1932 The

Times, appeared in its

new typeface. The news-

paper held exclusive

rights to the type for just

one year, after which

the design was released

for copies produced by

the Linotype and Inter-

type firms. The new face

was very successful for

The Times, but it never

gained popularity with

other news-papers, par-

ticularly

Scala set 7/10 at 6picas wide. Notethe more balancedrag right.

Your client’s style guide may provideother style criteria relating to capital-ization and punctuation; consistencyis critical.

Pull quotes or call outs are used for contrast andemphasis.

Where possible, eliminate periods after initials. US style guides preferperiods after initials be retained, British style guides recommend omittingthem. Refer to client‘s style guide.

Ms. Teal Mr. Black Dr. Phil No. 3 Dundas St. Ms Teal Mr Black Dr Phil No 3 Dundas St

In display settings where retaining periods after initials or other punctuationis required, reduce them in size and remember to kern the type.

Ms.J.K.Rawlings set thisMs. J.K. Rawlings not this

Apostrophes and Quotes: Use the correct key strokes for apostrophes and

double and single quote marks:

“It’s important to typeset proper quotes!” set this

"It’s important to typeset proper quotes!" not this

Hang opening quotes when set as display type.

Rules, Underscores Line rules are used to organize or separate textblocks. They are also used as graphic devices, for boxes and in tables.They are available in different styles and weights. Thick rules are called bars.

Oxford Rule

Dot Rule

Underscores Use underscores sparingly for emphasis (it’s better to use abold face in headlines). If you must use underscores, do not cross descenders,break the underscore.

Fine Tuning and Tweaking Type set this

Fine Tuning and Tweaking Type not this

Small Capitals Small caps also look better when typesetting designationsor when setting acronyms in running text. Acronyms in running textappear spotty and dark, disturbing the flow of the content.

Instead of italics, small caps may be used for emphasis in text. They arefrequently used in running headers and footers.

Linda Coe, bdes, fgdc Joe Campbell, argg

“Oh, boy!” “ option [

” option / shift [

‘ option ]

’ option / shift ]

Common Rule Weights

.25 hairline rule, .50 rule

.75 rule, 1 pt rule, 2 pt rule

10 pt rule (bar)




Coupon Rule

Fold Line Dash Rule

Always use real small caps

Never resort to fake SMALL CAPS

Radio services include cbc Radio One, cbc Radio 2, Première Chaîne,

Espace musique and the international radio service Radio Canada International.

Television operations include cbc Television, Télévision de Radio-Canada,

cbc News Network, le Réseau de l'information, artv (part ownership),

Documentary and Bold. set this

Radio services include CBC Radio One, CBC Radio 2, Première Chaîne,

Espace musique and the international radio service Radio Canada International.

Television operations include CBC Television, Télévision de Radio-Canada,

CBC News Network, le Réseau de l'information, ARTV (part ownership),

Documentary and Bold. not this

Special Characters: Accents, Dingbats, Pi Fonts

Foreign Accent Characters Floating accents are difficult to set. Select type with

the required accents. For accent marks over letters, press the Option key with the

letter, then press the letter you want under it.

´ option e Acute

` option ~ Grave

¨ option u Umlaut

˜ option n Tilde

ˆ option i Circumflex

ç option c Cedilla

Ç option + shift c

¡ option + 1 Spanish Exclamation

¿ option + shift +? Spanish Question

Dingbats and Sorts AKA “printer’s ornaments” or “printer’s characters,”the term dingbat is frequently used. These characters are used as spacersand decorative elements; asymbolic forms that instruct or inform:

■ bullets (round, square, triangular, other)

■ check off boxes for forms or questionnaires

■ endpoints (used in magazine layout)

■ paragraph indicators

■ borders (when set in a repeating format)

■ highlighting information (tel, fax, etc)

■ decorative visual elements

☞✄




Mathematical Symbols

÷ option / Division

± option Shift = Plus or minus

≥ option . Greater or equal

≤ option , Lesser or equal

≈ option x Approx. equal

≠ option = Not equal

∞ option 5 Infinity

∂ option D Partial differential

∫ option B Integral

ƒ option F Florin

Ω option Z Cap Omega

∆ option J Cap Delta

∏ option Shift P Product

∑ option W Summation

π option P Pi

√ option V Radical

Superscripts and Reference Marks Footnotes (see page 2.7) andreference marks indicate marginal, parenthetical or reference mattercorresponding to the content being set. These should be small, subtle.

They begin on the same page as the text they refer to, usually separatedfrom the main text by a fine rule or set in the lower side margin.

Footnotes may also be placed together at the end of a section or the end ofthe book and may be titled “References” or “Endnotes.”

Place them in the order shown below. If more are needed, they are oftendoubled up. In copy where many are needed, use consecutive superscripts.

* shift + * Asterisk

† option + t Dagger (obelisk, long cross)

‡ option + shift + & Double dagger/obelisk

¶ option + 7 Pilcrow, paragraphos

§ option + 6 Section

# option + shift + # Octothorpe

Special Characters

© option g Copyright

™ option 2 Trademark

® option r Trademark

° option shift 8 Degree symbol

⁄ option shift ! Fraction bar

| shift \ Vertical bar

™ option 2 Trademark

Currency

¢ option $ Cent

$ shift $ Dollar

£ option 3 Pound

€ shift + option + 2 Euro

¥ option + Y Yen




Adobe™

Sputnik*

Tabs and Tables Setting copy between line rules is challenging.Mechanical setting of all caps or lining figures is straightforward. Simplyensure the distance from the capline to the upper rule equals the distancefrom the baseline to the lower rule.

Optical setting is required for upper and lower case settings becauseascenders and descenders ‘pull our eyes’ up or down making text appearto be off centre.

Each typeface design requires a different amount of spacing above andbelow the lines of text.

Tabular heads and subheads must also be set optically as tab entry datemay vary greatly in width (eg, a heading may be short, but the entry textlong). Tab entries wider than their heads look awkward in mechanicallycentered.

Numbers in numeric tables decimal align (as in monetary amounts). Thereare often fractions, footnote references and parentheses (indicating neg-ative amounts)—these hang in the margin.




Centered on baseline

Cap-height centered

Visually centered

Expense Summary

Expense Summary

Expense Summary

S AM P L E S

Text Settings Flush left and justified are the most common settings forcommunication purposes. Small amounts of flush right, ragged left textare acceptable (for example in stationery and brochures).

Solid paragraph blocks of flush right text is difficult to read. We are usedto reading from left to right and it is more difficult to pick up visual cuesreading flush right copy line to line.

Centered copy is often used for invitations and other formal pieces.Magazines, newspapers and most books are set justified, often withhairline rules between tightly set columns to save space.

In each setting style it is important to review the text line by line andtrack short line out or long ones in to create “even colour” on the page.In some copy there are bulleted lists interspersed between running text.These bullet points may have lines shorter than the full column measureand are never stretched ot to full the column (see top of this page).

Usually, only one setting is chosen for a layout to provide uniformitywithin a document.

Keep in Mind Spacing and Proportion Harmony

Letter spacing, word spacing and line spacing work together in harmony—they are never considered independently of one another.

Larger type sizes require larger line measures. And, the wider the columnmeasure, the more leading is needed to aid readability.

■ consider the needs of the audience

■ think about how best to convey the message typographically

■ consider how the project will be read (close up, in motion, or at adistance)

■ the structure of the contents

Flush Left Ragged Right

Typography is a tool of communication. It must be communication in itsmost intense form. The emphasis must be on absolute clarity since thisdistinguishes the character of our own writing from that of ancient pic-tographic forms. The printed image corresponds to the contents throughits specific optical and psychological laws, demanding their typical form.The essence and purpose of printing demand an uninhibited use of alllinear directions.




Flush Left, Ragged Right

Contemporary, the ragged edge pro-vides the optical illusion of a wideralley between columns of text. Thissetting is used frequently in fliers,brochures, booklets and many otherprojects—rarely in novels or dense,formal academic texts.

Four Basic Typesetting Formats

■ flush left, ragged right

■ flush right, ragged left

■ justified

■ centered

Flush Right Ragged Left

Typography is a tool of communication. It must be communication in itsmost intense form. The emphasis must be on absolute clarity since thisdistinguishes the character of our own writing from that of ancient picto-graphic forms. The printed image corresponds to the contents through

its specific optical and psychological laws, demanding their typicalform. The essence and purpose of printing demand an uninhibited use

of all linear directions

Centered

Typography is a tool of communication. It must be communication in its most intense form. The emphasis must be on absolute clarity since

this distinguishes the character of our own writing from that of ancient pictographic forms.

The printed image corresponds to the contents through its specific optical and psychological laws, demanding their typical form. The essence and purpose of printing demand an uninhibited

use of all linear directions.

Justified

Typography is a tool of communication. It must be communication in itsmost intense form. The emphasis must be on absolute clarity since this dis-tinguishes the character of our own writing from that of ancient picto-graphic forms. The printed image corresponds to the contents through itsspecific optical and psychological laws, demanding their typical form. Theessence and purpose of printing demand an uninhibited use of all lineardirections.

Don’t Use Stacked Alignments!

Sure, motels do it all the time—stacked signs are attached to the sides of buildings so they are noticed at street and sidewalk level. Study themcarefully and you’ll notice that, in most cases, the typography is hideousbecause the shapes of the letters vary in width. In print and online settings,consider running headlines on their side instead of vertically.




Flush Right, Ragged Left

Contemporary, the ragged left layoutis used in sparingly in fliers, direct mailand brochures. rarely used in textsand novels as it slows down readingconsiderably.

Centered

Traditional and formal, centered lay-outs are often used for invitations,announcements, certificates and smallamounts of text. Care must be takento ensure the rag is even on both sidesof the visual centre.

Justified

Traditional and formal, a justified setting allows for more characters per line. Used in newspapers or for-mal documents where tradition orspace is an issue. Avoid creating“rivers” of whte space by gappy word spacing in this setting.

Type Crime: Stacked Alignment

INSTITUTE IN

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Vertical alignment in display settings

Some layouts have multi-decked capped or title case headlines. Wherepossible, optically align the caps on the flush left edge of the layout.

Tracking Tracking is the opening up of the space between letters. Theamount of spacing may be subtle or extensive. There are two importantreasons for tracking open text: aesthetics and readability.

The subtle tracking out of short lines is used to refine a rag or justifiedcolumn of running text.

■ tracking too tightly: type appears to run together again

■ tracking too loosely: w o r d s b e c o m e f r a g m e n t e d a n d a r em o r e d i f f i c u l t t o r e a d .

In other cases, the designer makes an aesthetic choice to use tracking asa graphic hierarchical treatment frequently used in headers and footers:

C H A P T E R 1 3 Special Characters and Special Situations

a p p l i e d a r t s m a g a z i n e [ p o r t f o l i o ] 1 1 2

Type Sizes Type smaller than 14 point in size is referred to as “body copy”size. If the type size is larger than 14 point, it is said to be “display” size.When designing type, allowances are made for these two broad size ranges.Enlarging the size beyond a certain scale creates different proportionsthroughout. Design adjustments are made to ensure the look of the typedesign remains consistent in a variety of sizes.

Keep in mind that the numerical size will differ visually depending on howlarge or how small the x-height is.

Typographic Colour “Typographic colour” refers to the overall appear-ance of the body copy in a project. Different typefaces have a visualweight inherent in their design. If poor kerning or poor letter or wordspacing occur in certain sections, they may appear lighter (too gappy)than or darker (too tight) than the surrounding text. Strive for balancedcolour on each page. (Letting your gaze blur may aid in highlightingproblem areas.) See samples in X-height, page 2.26.




General Typesize Guide

Captions: 6 – 8pt

Body copy: 9 – 13pt

Heads/Subheads: 14pt and up

UNLOCK YOURINNERMOSTCREATIVITYTO PRODUCEUNIQUE ANDBEAUTIFULTEXTILE ART

UNLOCK YOURINNERMOSTCREATIVITYTO PRODUCEUNIQUE ANDBEAUTIFULTEXTILE ART

Widows and Orphans The first typeset draft of any project results in anumber of typographic problems to be addressed.

Widows are single words of four characters or less dangling at the end ofa line. This makes it appear as though there is too much space betweenparagraphs or sections of copy.

Refine line breaks by re-breaking, the inclusion of minimal hyphenationand/or subtle letter or word spacing adjustments. In extreme cases, theeditor may have to rewrite a sentence to avoid the problem.

Orphans are line fragments—one- or two-line chunks from a text block atthe end of a column or the top of a column. Set three or more lines in atext block to end a base aligned column or begin a new column.

X-height The x-height is a critical design attribute. It varies in heightfrom one typeface design to another, giving the face the optical effect oflooking larger or smaller than its typeset size. A small x-height makesleading appear deeper and a large x-height makes leading appear tighter.

Setting samples of text in various sizes and leading will help you inselecting the optimum sizes for your projects. Faces with lower x-heightsmay need less leading than those with larger x-heights and vice versa.

Test, test, test!

X-height Affects Size (8' Bembo Bold)

X-height (the height of the lowercase letter) is not a unit of measurement. It is, however,

a most important consideration in design because it has a considerable visual impact

on the type size. Typeset lines of the same size set in different faces may appear to be

larger or smaller than others. (9/13 Bembo Regular)

X-height Affects Size (8' Clarendon Bold)

X-height (the height of the lowercase letter) is not a unit of

measurement. It is, however, a most important consideration

in design because it has a considerable visual impact on the

type size. Typeset lines of the same size set in different faces may

appear to be larger or smaller than others. (9/13 Clarendon Regular)




S AM P L E S

X-height Affects Size

Note how the sample text blocks notonly appear smaller or larger thantheir size in comparison to each other,but the line breaks also change. Thisis due to the differences inherent intypeface design. The samples are allthe same point size and leading.

X-height Affects Size (8' Antique Olive Roman)

X-height (the height of the lowercase letter) is not a unit of

measurement. It is, however, a most important consideration in

design because it has a considerable visual impact on the type

size. Typeset lines of the same size set in different faces may

appear to be larger or smaller than others. (9/13 Antique Olive Roman)

Zeal The approach designers apply to typography in communicationdesign projects. Frequently, the first symptom of Typophelia.




typesetting conventions - linda.calinda.ca/cede212aldus/student course notes/comd type...

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