Difference between revisions of "Typography" - New World Encyclopedia
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[[Category:Politics and social sciences]] | [[Category:Politics and social sciences]] | ||
[[Category:Anthropology]] | [[Category:Anthropology]] | ||
| + | {{Nofootnotes|date=May 2008}} | ||
| − | [[Image: | + | [[Image:Caslon-schriftmusterblatt.jpeg|thumb|right|250px|A specimen of roman typefaces by [[William Caslon]]]] |
| − | '''Typography''' is the art and | + | '''Typography''' is the art and techniques of [[typesetting|arranging type]], [[type design]], and modifying type [[glyph]]s. Type glyphs are created and modified using a variety of [[illustration]] techniques. The arrangement of type involves the selection of [[typeface]]s, [[Point (typography)|point size]], [[line length]], [[leading]] (line spacing), adjusting the spaces between groups of letters ([[Tracking (typography)|tracking]]) and (kerning) adjusting the space between pairs of letters. <ref>Pipes, Alan. ''Production For Graphic Designers 2nd Edition, Page 40'': Prentice Hall Inc 1997</ref> |
| − | Typography is performed by | + | Typography is performed by [[typesetting|typesetters]], compositors, typographers, [[graphic artist]]s, [[art director]]s, comic book artists, and clerical workers. Until the [[Digital Age]], typography was a specialized occupation. Digitization opened up typography to new generations of visual designers and lay users. |
==History== | ==History== | ||
| − | |||
| − | '' | + | :''For the origins and evolution of typography, see the main articles [[History of western typography]], [[History of typography in East Asia]], and [[Movable type]]''. |
| − | + | '''[[Etymology]]''': '''Typography''' (from the [[Greek language|Greek]] words {{Polytonic|τύπος}} ''typos'' = "to strike" "That by which something is symbolized or figured …" and {{Polytonic|γραφία}} ''[[-graphy|graphia]]'' = to write). | |
| − | + | Typography traces its origins to the first [[Punch (numismatics)|punch]]es and [[Die (manufacturing)|die]]s used to make [[Seal (device)|seal]]s and [[currency]] in [[ancient history|ancient times]]. The first known movable type printing artifact is probably the [[Phaistos Disc]], though its real purpose remains disputed. The item dates between 1850 B.C.E. and 1600 B.C.E., back to [[Minoan civilization|Minoan]] age and is now on display at the archaeological museum of [[Herakleion]] in [[Crete]], [[Greece]]. | |
| − | + | ||
| + | Typography with [[movable type]] was separately invented in 11th-century [[China]], and [[Moveable type|modular movable metal type]] began in 13th-century China, was developed again in mid-15th century [[Europe]] with the development of specialised techniques for casting and combining cheap copies of [[Punchcutting|letterpunches]] in the vast quantities required to print multiple copies of texts. | ||
==Scope== | ==Scope== | ||
| − | |||
| − | Since digitization typography | + | In contemporary use, the practice and study of typography is very broad, covering all aspects of letter design and application. These include: |
| + | * [[typesetting]] and [[type design]]; | ||
| + | * [[Penmanship|handwriting]] and [[calligraphy]]; | ||
| + | * [[graffiti]]; | ||
| + | * inscriptional and [[architecture|architectural]] lettering; | ||
| + | * poster design and other large scale lettering such as [[Information sign|signage]] and [[billboard (advertising)|billboards]]; | ||
| + | * business communications and promotional collateral; | ||
| + | * [[advertising]]; | ||
| + | * [[logo|wordmarks and typographic logos (logotypes)]]; | ||
| + | * [[apparel|apparel (clothing)]]; | ||
| + | * [[labeling (map design)|labels]] on maps; | ||
| + | * [[Dashboard|vehicle instrument panels]]; | ||
| + | * kinetic typography in [[film|motion picture films]] and [[television]]; | ||
| + | * as a component of [[industrial design]]—type on household appliances, [[pen]]s and [[watch|wristwatch]]es, for example. | ||
| + | * and as a component in modern poetry (see, for example, the poetry of [[E. E. Cummings]]) | ||
| + | |||
| + | Since digitization, typography has spread to a wider ranger of applications, appearing on [[web page]]s, [[Liquid crystal display|LCD]] [[mobile phone]] screens, and hand-held [[video game]]s. The [[Omnipresence|ubiquity]] of type has led typographers to coin the phrase "Type is everywhere." | ||
| − | + | Traditional typography follows four principles: [[repetition]], [[contrast (vision)|contrast]], [[proximity]], and [[Typographic alignment|alignment]]. | |
==Text typography== | ==Text typography== | ||
| − | [[Image:Oscar wilde english renaissance of art 2.png|thumb|right|200px|'''Text typeset''' in Iowan Old Style roman, italics and small caps, | + | |
| − | [[Image:Latex example type.png|thumb|right|200px|Text typeset using [[LaTeX]] digital typesetting software | + | {{FixBunching|beg}} |
| + | [[Image:Oscar wilde english renaissance of art 2.png|thumb|right|200px|'''Text typeset''' in Iowan Old Style roman, italics and small caps, optimized at approximately 10 words per line, typeface sized at 14 [[point (typography)|points]] on 1.4 x [[leading]], with 0.2 points extra [[tracking (typography)|tracking]]. Extract of an essay by [[Oscar Wilde]] ''The English Renaissance of Art'' ''ca''. 1882.]] | ||
| + | {{FixBunching|mid}} | ||
| + | [[Image:Latex example type.png|thumb|right|200px|Text typeset using [[LaTeX]] digital typesetting software]] | ||
| + | {{FixBunching|end}} | ||
In traditional typography, text is ''composed'' to create a readable, coherent, and visually satisfying whole that works invisibly, without the awareness of the reader. Even distribution with a minimum of distractions and anomalies are aimed at producing clarity and transparency. | In traditional typography, text is ''composed'' to create a readable, coherent, and visually satisfying whole that works invisibly, without the awareness of the reader. Even distribution with a minimum of distractions and anomalies are aimed at producing clarity and transparency. | ||
| − | Choice of font(s) is perhaps the primary aspect of text | + | Choice of font(s) is perhaps the primary aspect of text typography—[[prose]] [[fiction]], [[non-fiction]], editorial, educational, religious, scientific, spiritual and commercial writing all have differing characteristics and requirements. For historic material, established text typefaces are frequently chosen according to a scheme of historical ''genre'' acquired by a long process of accretion, with considerable overlap between historical periods. |
| − | Contemporary books are more likely to be set with state-of-the-art [[serif | + | Contemporary books are more likely to be set with state-of-the-art [[serif]]fed "text romans" or "book romans" with design values echoing present-day design arts, which are closely based on traditional models such as those of [[Nicolas Jenson]], [[Francesco Griffo]] (a punchcutter who created the model for Aldine typefaces), and [[Claude Garamond]]. With their more specialized requirements, newspapers and magazines rely on compact, tightly-fitted text romans specially designed for the task, which offer maximum flexibility, readability and efficient use of page space. Sans serif text fonts are often used for introductory paragraphs, incidental text and whole short articles. A current fashion is to pair [[sans serif]] type for headings with a high-performance seriffed font of matching style for the text of an article. |
| − | The text layout, tone or ''color'' of set matter, and the interplay of text with [[white space]] of the page and other graphic elements combine to impart a "feel" or "resonance" to the subject matter. With [[print | + | The text layout, tone or ''color'' of set matter, and the interplay of text with [[White space (visual arts)|white space]] of the page and other graphic elements combine to impart a "feel" or "resonance" to the subject matter. With [[Printing press|print]]ed media typographers are also concerned with binding margins, paper selection and printing methods. |
| − | Typography is modulated by [[ | + | Typography is modulated by [[orthography]] and [[linguistics]], word structures, word frequencies, [[Morphology (linguistics)|morphology]], [[Phonetics|phonetic]] constructs and linguistic [[syntax]]. Typography also is subject to specific cultural conventions. For example, in [[French language|French]] it is customary to insert a [[non-breaking space]] before a [[colon]] (:) or [[semicolon]] (;) in a sentence, while in [[English language|English]] it is not. |
==Readability and legibility== | ==Readability and legibility== | ||
| − | + | {{Unreferencedsection|date=May 2008}} | |
| − | + | [[Readability]] and legibility are often confused. “Legibility is the quality of the typeface design and readability with the design of the printed page. Designers aim to achieve excellence in both. | |
| − | + | "The typeface chosen should be legible, that is, it should be read without effort. Sometimes legibility is simply a matter of type size; more often, however, it is a matter of typeface design. Generally speaking, typefaces that are true to the basic letterforms are more legible than typefaces that have been condensed, expanded, embellished, or abstracted. | |
| − | ''' | + | "However, even a legible typeface can become unreadable through poor setting and placement, just as a less legible typeface can be made more readable through good design."<ref>Craig, J. and Scala, IK. ''Designing with Type, the Essential Guide to Typography. 5th ed''. p63. Watson Guptil. 2006.</ref> |
| + | Studies of legibility have examined a wide range of factors including type size and type design. For example, comparing <font style="font-family:Times, Palatino, Garamond, Georgia, serif">[[serif]]</font> vs. [[sans serif]] type, ''[[italic type]]'' vs. [[roman type]], [[line length]], [[line spacing]], color contrast, the design of right-hand edge (for example, [[Justification (typesetting)|justification]], straight right hand edge) vs. ranged left, and whether text is [[hyphen]]ated. | ||
| + | Legibility research was published from the late nineteenth century on, but the overall finding has been that the reading process is remarkably robust, and that significant differences are hard to find. So comparative studies of seriffed vs. sans serif type, or justified vs. unjustified type, have failed to settle the argument over which is best.{{Fact|date=May 2008}} | ||
| − | + | Legibility is usually measured through speed of reading, with comprehension scores used to check for effectiveness (that is, not a rushed or careless read). For example, [[Miles Tinker]], who published numerous studies from the 1930s to the 1960s, used a speed of reading test that required participants to spot incongruous words as an effectiveness filter. | |
| − | |||
| + | These days, legibility research tends to be limited to critical issues, or the testing of specific design solutions (for example, when new typefaces are developed). Examples of critical issues include [[typeface]]s (also called [[font]]s) for people with [[visual impairment]], and typefaces for highway signs, or for other conditions where legibility may make a key difference. | ||
| + | Much of the legibility research literature is somewhat atheoretical—various factors were tested individually or in combination (inevitably so, as the different factors are interdependent), but many tests were carried out in the absence of a model of reading or visual perception. Some typographers believe that the overall word shape ([[Bouma]]) is very important in readability, and that the theory of [[parallel letterwise recognition]] is either wrong, less important, or not the entire picture. | ||
| + | |||
| + | Studies distinguishing between Bouma recognition and parallel letterwise recognition with regard to how people actually recognize words when they read, have favored parallel letterwise recognition, which is widely accepted by [[cognitive psychologist]]s.{{Fact|date=April 2008}} | ||
| + | |||
| + | |||
| + | Some commonly agreed findings of legibility research include: | ||
| + | * Text set in lower case is more legible than text set all in [[capital letter|upper case]] (capitals), presumably because lower case letter structures and word shapes are more distinctive. | ||
| + | * Extenders ([[ascender]]s, [[descender]]s and other projecting parts) increase [[Salience (communication)|salience]] (prominence). | ||
| + | * Regular upright type ([[roman type]]) is found to be more legible than [[italics]]. | ||
| + | * [[Contrast]], without dazzling brightness, has also been found to be important, with black on yellow/cream being most effective. | ||
| + | * Positive images (''e.g.'' black on white) are easier to read than negative or reversed (''e.g.'' white on black). | ||
| + | * The upper portions of letters play a stronger part than the lower portions in the recognition process. | ||
| + | |||
| + | Legibility can also be compromised by [[letterspacing]], word spacing, or [[leading]] that is too tight or too loose. It can be improved when generous vertical space separates lines of text, making it easier for the eye to distinguish one line from the next, or previous line. Poorly designed fonts and those that are too tightly or loosely fitted can also result in poor legibility. | ||
| + | |||
| + | Typography is an element of all printed material. Periodical publications, especially [[newspaper]]s and [[magazine]]s, use typographical elements to achieve an attractive, distinctive appearance, to aid readers in navigating the publication, and in some cases for dramatic effect. By formulating a [[style guide]], a periodical standardizes on a relatively small collection of [[typeface]]s, each used for specific elements within the publication, and makes consistent use of type sizes, italic, boldface, large and small capital letters, colors, and other typographic features. Some publications, such as ''[[The Guardian]]'' and ''[[The Economist]]'', go so far as to commission a [[type designer]] to create [[bespoke]] (custom tailored) typefaces for their exclusive use. | ||
| + | |||
| + | Different periodical publications design their publications, including their typography, to achieve a particular tone or style. For example, ''[[USAToday]]'' uses a bold, colorful, and comparatively modern style through their use of a variety of typefaces and colors; type sizes vary widely, and the newspaper's name is placed on a colored background. In contrast, the ''[[New York Times]]'' use a more traditional approach, with fewer colors, less typeface variation, and more [[Column (typography)|column]]s. | ||
| + | |||
| + | Especially on the front page of newspapers and on magazine covers, [[headline]]s are often set in larger display typefaces to attract attention, and are placed near the [[Masthead (publishing)|masthead]]. | ||
==Display typography== | ==Display typography== | ||
| − | |||
| − | + | [[Image:John Wilkes Booth wanted poster new.jpg|thumb|190px|right|19th century poster printed with wood and metal types]] | |
| + | |||
| + | Display typography is a potent element in [[graphic design]], where there is less concern for readability and more potential for using type in an artistic manner. Type is combined with [[negative space]], graphic elements and pictures, forming relationships and dialog between words and images. | ||
Color and size of type elements are much more prevalent than in text typography. Most display typography exploits type at larger sizes, where the details of letter design are magnified. Color is used for its emotional effect in conveying the tone and nature of subject matter. | Color and size of type elements are much more prevalent than in text typography. Most display typography exploits type at larger sizes, where the details of letter design are magnified. Color is used for its emotional effect in conveying the tone and nature of subject matter. | ||
| − | Display typography encompasses [[poster]]s; [[book cover]]s; typographic [[ | + | Display typography encompasses: |
| + | * [[poster]]s; [[book cover]]s; | ||
| + | * typographic [[logo]]s and wordmarks; billboards; | ||
| + | * [[packaging]]; on-product typography; calligraphy; | ||
| + | * [[graffiti]]; inscriptional and architectural lettering; | ||
| + | * poster design and other large scale lettering [[sign]]age; | ||
| + | * business communications and promotional collateral; advertising; | ||
| + | * [[logo|wordmarks and typographic logos (logotypes)]], | ||
| + | * and kinetic typography in motion pictures and television; [[vending machine]] displays; online and [[computer screen]] displays. | ||
The wanted poster for the assassins of [[Abraham Lincoln]] was printed with lead and woodcut type, and incorporates photography. | The wanted poster for the assassins of [[Abraham Lincoln]] was printed with lead and woodcut type, and incorporates photography. | ||
===Advertising=== | ===Advertising=== | ||
| − | |||
| − | |||
| − | + | [[Image:EncycBrit1913.png||thumb|right|A print advertisement for the ''[[Encyclopædia Britannica]]'' from a 1913 issue of ''[[National Geographic]]'']] | |
| − | :'' | + | Typography has long been a vital part of [[promotional material]] and [[advertising]]. Designers often use typography to set a theme and mood in an advertisement; for example using bold, large text to convey a particular message to the reader. Type is often used to draw attention to a particular advertisement, combined with efficient use of color, shapes and images. Today, typography in advertising often reflects a company's [[brand]]. Fonts used in advertisements convey different messages to the reader, classical fonts are for a strong personality, while more modern fonts are for a cleaner, neutral look. Bold fonts are used for making statements and attracting attention. |
| − | The history of inscriptional lettering is intimately tied to the history of writing, the evolution of letterforms | + | ===Inscriptional and architectural lettering=== |
| + | |||
| + | {{Seealso|Epigraphy}} | ||
| + | |||
| + | |||
| + | The history of inscriptional lettering is intimately tied to the history of writing, the evolution of letterforms and the craft of the hand. The widespread use of the computer and various etching and [[sandblasting]] techniques today has made the hand carved monument a rarity, and the number of [[lettercarver]]s left in the [[USA]] continues to dwindle. | ||
For monumental lettering to be effective it must be considered carefully in its context. Proportions of letters need to be altered as their size and distance from the viewer increases. An expert letterer gains understanding of these nuances through much practice and observation of their craft. Letters drawn by hand and for a specific project have the possibility of being richly specific and profoundly beautiful in the hand of a master. Each can also take up to an hour to carve, so it is no wonder that the automated sandblasting process has become the industry standard. | For monumental lettering to be effective it must be considered carefully in its context. Proportions of letters need to be altered as their size and distance from the viewer increases. An expert letterer gains understanding of these nuances through much practice and observation of their craft. Letters drawn by hand and for a specific project have the possibility of being richly specific and profoundly beautiful in the hand of a master. Each can also take up to an hour to carve, so it is no wonder that the automated sandblasting process has become the industry standard. | ||
| − | To create a sandblasted letter, a rubber mat is laser cut from a computer file and glued to the stone. The sand then bites a coarse groove or channel into the exposed surface. Unfortunately, many of the computer applications which create these files and interface with the laser cutter do not have many typefaces available, and often have inferior versions of typefaces that are available. What can now be done in minutes, however, lacks the striking architecture and geometry of the chisel-cut letter which allows light to play across its distinct interior planes | + | To create a sandblasted letter, a rubber mat is laser cut from a computer file and glued to the stone. The sand then bites a coarse groove or channel into the exposed surface. Unfortunately, many of the computer applications, which create these files and interface with the laser cutter, do not have many typefaces available, and often have inferior versions of typefaces that are available. What can now be done in minutes, however, lacks the striking architecture and geometry of the chisel-cut letter which allows light to play across its distinct interior planes. |
| − | |||
| − | |||
| + | ==Notes== | ||
| + | <references/> | ||
==References== | ==References== | ||
| − | * [[Robert Bringhurst|Bringhurst, Robert]] (2002). ''[[The Elements of Typographic Style]]'' (version 2.5). Vancouver: Hartley & Marks. ISBN 0-88179-133-4. | + | * [[ASTM]] D7298 Standard Test Method of Comparative Legibility by Means of Polarizing Filter Instrumentation |
| − | + | * [[Robert Bringhurst|Bringhurst, Robert]] (2002). ''[[The Elements of Typographic Style]]'' (version 2.5). Vancouver: Hartley & Marks. ISBN 0-88179-133-4. Often referred to simply as "Bringhurst," ''Elements'' is widely respected as the current authority on typographic style for Latin typography. ([http://www.aaronsw.com/2002/typographicStyle excerpts]). Well-paired with Tschichold's ''The Form of the Book'', below, from the same publisher. | |
| − | * [[Heller | + | * [[Jan Tschichold|Tschichold, Jan]] (1991). ''The Form of the Book: Essays on the Morality of Good Design''. Vancouver: Hartley & Marks. ISBN 978-0881790344. A comprehensive collection of essays on the typographic art. A more classic companion to Bringhust, above. |
| − | + | * [[Steve Heller (graphic design)|Heller, Steven]] and [[Philip B. Meggs|Meggs, Philip B.]] ''Texts on Type: Critical Writings on Typography'' (c) 2001, Allworth Press, Allworth Communications, New York. ISBN 1-58115-082-2. A compilation of over fifty texts on the history, practice, and aesthetics of type design and typography. | |
*''{{lang|fr|Lexique des règles typographiques en usage à l'Imprimerie nationale}}'', {{lang|fr|[[Imprimerie nationale (France)|Imprimerie nationale]]}}, 2002, ISBN 2-7433-0482-0, for French typography. | *''{{lang|fr|Lexique des règles typographiques en usage à l'Imprimerie nationale}}'', {{lang|fr|[[Imprimerie nationale (France)|Imprimerie nationale]]}}, 2002, ISBN 2-7433-0482-0, for French typography. | ||
| − | |||
* Swanson, Gunnar ''Graphic Design and Reading: explorations of an uneasy relationship'' (c) 2000, Allworth Press, Allworth Communications, New York. ISBN 1-58115-063-6. ''The Crystal Goblet, or Printing Should Be Invisible'' Beatrice Warde; ''Improving the Tool'' Hrant H. Papazian. | * Swanson, Gunnar ''Graphic Design and Reading: explorations of an uneasy relationship'' (c) 2000, Allworth Press, Allworth Communications, New York. ISBN 1-58115-063-6. ''The Crystal Goblet, or Printing Should Be Invisible'' Beatrice Warde; ''Improving the Tool'' Hrant H. Papazian. | ||
| − | + | * Alexander Lawson, ''[[Anatomy of a Typeface]]'' , first published in 1990, devotes entire chapters to the development and uses of individual or small groupings of typefaces. ISBN 978-0879233334 | |
| − | * White, Alex W. (1999). ''Type in | + | * White, Alex W. (1999). ''Type in Use—Effective typography for electronic publishing'' (version 2.0). W.W. Norton & Company, Inc. New York. ISBN 0-393-73034-4 (pbk). |
| − | + | * {{Cite book|publisher=David R Godine|isbn=0879239506|year=2000|origyear=1931|pages=188|last=Gill|first=Eric|authorlink=Eric Gill|title=An Essay on Typography}} | |
==External links== | ==External links== | ||
| − | + | *[http://www.aiga.org/content.cfm/search?topicAlias=typography AIGA typography articles]—Articles and interviews relating to typography from AIGA's Voice section. | |
| − | + | *[http://www.decodeunicode.org/ Decode Unicode] Wiki with all 98,884 Unicode characters, including full text search capability. | |
| − | * [http://www. | + | *[http://cg.scs.carleton.ca/~luc/fonts.html Luc Devroye's typography pages]—Large list of typography and font resources |
| − | + | *[http://www.typeculture.com/academic_resource/ Type-Culture Academic Resource]—Educational resources, including documentary videos about typography. | |
| − | |||
| − | |||
| − | |||
| − | |||
| − | |||
| − | |||
| − | * [http://www. | ||
| − | |||
| − | *[http:// | ||
| − | |||
| − | * [http://www.typeculture.com/academic_resource/ | ||
| + | {{Typography terms}} | ||
| − | {{ | + | {{Credits|Typography|260748987|}} |
Revision as of 17:40, 30 December 2008
{{#invoke:Message box|ambox}}
Typography is the art and techniques of arranging type, type design, and modifying type glyphs. Type glyphs are created and modified using a variety of illustration techniques. The arrangement of type involves the selection of typefaces, point size, line length, leading (line spacing), adjusting the spaces between groups of letters (tracking) and (kerning) adjusting the space between pairs of letters. [1]
Typography is performed by typesetters, compositors, typographers, graphic artists, art directors, comic book artists, and clerical workers. Until the Digital Age, typography was a specialized occupation. Digitization opened up typography to new generations of visual designers and lay users.
History
- For the origins and evolution of typography, see the main articles History of western typography, History of typography in East Asia, and Movable type.
Etymology: Typography (from the Greek words τύπος typos = "to strike" "That by which something is symbolized or figured …" and γραφία graphia = to write).
Typography traces its origins to the first punches and dies used to make seals and currency in ancient times. The first known movable type printing artifact is probably the Phaistos Disc, though its real purpose remains disputed. The item dates between 1850 B.C.E. and 1600 B.C.E., back to Minoan age and is now on display at the archaeological museum of Herakleion in Crete, Greece.
Typography with movable type was separately invented in 11th-century China, and modular movable metal type began in 13th-century China, was developed again in mid-15th century Europe with the development of specialised techniques for casting and combining cheap copies of letterpunches in the vast quantities required to print multiple copies of texts.
Scope
In contemporary use, the practice and study of typography is very broad, covering all aspects of letter design and application. These include:
- typesetting and type design;
- handwriting and calligraphy;
- graffiti;
- inscriptional and architectural lettering;
- poster design and other large scale lettering such as signage and billboards;
- business communications and promotional collateral;
- advertising;
- wordmarks and typographic logos (logotypes);
- apparel (clothing);
- labels on maps;
- vehicle instrument panels;
- kinetic typography in motion picture films and television;
- as a component of industrial design—type on household appliances, pens and wristwatches, for example.
- and as a component in modern poetry (see, for example, the poetry of E. E. Cummings)
Since digitization, typography has spread to a wider ranger of applications, appearing on web pages, LCD mobile phone screens, and hand-held video games. The ubiquity of type has led typographers to coin the phrase "Type is everywhere."
Traditional typography follows four principles: repetition, contrast, proximity, and alignment.
Text typography
 Text typeset in Iowan Old Style roman, italics and small caps, optimized at approximately 10 words per line, typeface sized at 14 points on 1.4 x leading, with 0.2 points extra tracking. Extract of an essay by Oscar Wilde The English Renaissance of Art ca. 1882. |
|
File:Latex example type.png Text typeset using LaTeX digital typesetting software |
In traditional typography, text is composed to create a readable, coherent, and visually satisfying whole that works invisibly, without the awareness of the reader. Even distribution with a minimum of distractions and anomalies are aimed at producing clarity and transparency.
Choice of font(s) is perhaps the primary aspect of text typography—prose fiction, non-fiction, editorial, educational, religious, scientific, spiritual and commercial writing all have differing characteristics and requirements. For historic material, established text typefaces are frequently chosen according to a scheme of historical genre acquired by a long process of accretion, with considerable overlap between historical periods.
Contemporary books are more likely to be set with state-of-the-art seriffed "text romans" or "book romans" with design values echoing present-day design arts, which are closely based on traditional models such as those of Nicolas Jenson, Francesco Griffo (a punchcutter who created the model for Aldine typefaces), and Claude Garamond. With their more specialized requirements, newspapers and magazines rely on compact, tightly-fitted text romans specially designed for the task, which offer maximum flexibility, readability and efficient use of page space. Sans serif text fonts are often used for introductory paragraphs, incidental text and whole short articles. A current fashion is to pair sans serif type for headings with a high-performance seriffed font of matching style for the text of an article.
The text layout, tone or color of set matter, and the interplay of text with white space of the page and other graphic elements combine to impart a "feel" or "resonance" to the subject matter. With printed media typographers are also concerned with binding margins, paper selection and printing methods.
Typography is modulated by orthography and linguistics, word structures, word frequencies, morphology, phonetic constructs and linguistic syntax. Typography also is subject to specific cultural conventions. For example, in French it is customary to insert a non-breaking space before a colon (:) or semicolon (;) in a sentence, while in English it is not.
Readability and legibility
|
This section does not cite any references or sources. Please help improve this section by adding citations to reliable sources. (help, get involved!) Unverifiable material may be challenged and removed. This section has been tagged since May 2008. |
Readability and legibility are often confused. “Legibility is the quality of the typeface design and readability with the design of the printed page. Designers aim to achieve excellence in both.
"The typeface chosen should be legible, that is, it should be read without effort. Sometimes legibility is simply a matter of type size; more often, however, it is a matter of typeface design. Generally speaking, typefaces that are true to the basic letterforms are more legible than typefaces that have been condensed, expanded, embellished, or abstracted.
"However, even a legible typeface can become unreadable through poor setting and placement, just as a less legible typeface can be made more readable through good design."[2]
Studies of legibility have examined a wide range of factors including type size and type design. For example, comparing serif vs. sans serif type, italic type vs. roman type, line length, line spacing, color contrast, the design of right-hand edge (for example, justification, straight right hand edge) vs. ranged left, and whether text is hyphenated.
Legibility research was published from the late nineteenth century on, but the overall finding has been that the reading process is remarkably robust, and that significant differences are hard to find. So comparative studies of seriffed vs. sans serif type, or justified vs. unjustified type, have failed to settle the argument over which is best.[citation needed]
Legibility is usually measured through speed of reading, with comprehension scores used to check for effectiveness (that is, not a rushed or careless read). For example, Miles Tinker, who published numerous studies from the 1930s to the 1960s, used a speed of reading test that required participants to spot incongruous words as an effectiveness filter.
These days, legibility research tends to be limited to critical issues, or the testing of specific design solutions (for example, when new typefaces are developed). Examples of critical issues include typefaces (also called fonts) for people with visual impairment, and typefaces for highway signs, or for other conditions where legibility may make a key difference.
Much of the legibility research literature is somewhat atheoretical—various factors were tested individually or in combination (inevitably so, as the different factors are interdependent), but many tests were carried out in the absence of a model of reading or visual perception. Some typographers believe that the overall word shape (Bouma) is very important in readability, and that the theory of parallel letterwise recognition is either wrong, less important, or not the entire picture.
Studies distinguishing between Bouma recognition and parallel letterwise recognition with regard to how people actually recognize words when they read, have favored parallel letterwise recognition, which is widely accepted by cognitive psychologists.[citation needed]
Some commonly agreed findings of legibility research include:
- Text set in lower case is more legible than text set all in upper case (capitals), presumably because lower case letter structures and word shapes are more distinctive.
- Extenders (ascenders, descenders and other projecting parts) increase salience (prominence).
- Regular upright type (roman type) is found to be more legible than italics.
- Contrast, without dazzling brightness, has also been found to be important, with black on yellow/cream being most effective.
- Positive images (e.g. black on white) are easier to read than negative or reversed (e.g. white on black).
- The upper portions of letters play a stronger part than the lower portions in the recognition process.
Legibility can also be compromised by letterspacing, word spacing, or leading that is too tight or too loose. It can be improved when generous vertical space separates lines of text, making it easier for the eye to distinguish one line from the next, or previous line. Poorly designed fonts and those that are too tightly or loosely fitted can also result in poor legibility.
Typography is an element of all printed material. Periodical publications, especially newspapers and magazines, use typographical elements to achieve an attractive, distinctive appearance, to aid readers in navigating the publication, and in some cases for dramatic effect. By formulating a style guide, a periodical standardizes on a relatively small collection of typefaces, each used for specific elements within the publication, and makes consistent use of type sizes, italic, boldface, large and small capital letters, colors, and other typographic features. Some publications, such as The Guardian and The Economist, go so far as to commission a type designer to create bespoke (custom tailored) typefaces for their exclusive use.
Different periodical publications design their publications, including their typography, to achieve a particular tone or style. For example, USAToday uses a bold, colorful, and comparatively modern style through their use of a variety of typefaces and colors; type sizes vary widely, and the newspaper's name is placed on a colored background. In contrast, the New York Times use a more traditional approach, with fewer colors, less typeface variation, and more columns.
Especially on the front page of newspapers and on magazine covers, headlines are often set in larger display typefaces to attract attention, and are placed near the masthead.
Display typography
Display typography is a potent element in graphic design, where there is less concern for readability and more potential for using type in an artistic manner. Type is combined with negative space, graphic elements and pictures, forming relationships and dialog between words and images.
Color and size of type elements are much more prevalent than in text typography. Most display typography exploits type at larger sizes, where the details of letter design are magnified. Color is used for its emotional effect in conveying the tone and nature of subject matter.
Display typography encompasses:
- posters; book covers;
- typographic logos and wordmarks; billboards;
- packaging; on-product typography; calligraphy;
- graffiti; inscriptional and architectural lettering;
- poster design and other large scale lettering signage;
- business communications and promotional collateral; advertising;
- wordmarks and typographic logos (logotypes),
- and kinetic typography in motion pictures and television; vending machine displays; online and computer screen displays.
The wanted poster for the assassins of Abraham Lincoln was printed with lead and woodcut type, and incorporates photography.
Advertising
Typography has long been a vital part of promotional material and advertising. Designers often use typography to set a theme and mood in an advertisement; for example using bold, large text to convey a particular message to the reader. Type is often used to draw attention to a particular advertisement, combined with efficient use of color, shapes and images. Today, typography in advertising often reflects a company's brand. Fonts used in advertisements convey different messages to the reader, classical fonts are for a strong personality, while more modern fonts are for a cleaner, neutral look. Bold fonts are used for making statements and attracting attention.
Inscriptional and architectural lettering
- See also: Epigraphy
The history of inscriptional lettering is intimately tied to the history of writing, the evolution of letterforms and the craft of the hand. The widespread use of the computer and various etching and sandblasting techniques today has made the hand carved monument a rarity, and the number of lettercarvers left in the USA continues to dwindle.
For monumental lettering to be effective it must be considered carefully in its context. Proportions of letters need to be altered as their size and distance from the viewer increases. An expert letterer gains understanding of these nuances through much practice and observation of their craft. Letters drawn by hand and for a specific project have the possibility of being richly specific and profoundly beautiful in the hand of a master. Each can also take up to an hour to carve, so it is no wonder that the automated sandblasting process has become the industry standard.
To create a sandblasted letter, a rubber mat is laser cut from a computer file and glued to the stone. The sand then bites a coarse groove or channel into the exposed surface. Unfortunately, many of the computer applications, which create these files and interface with the laser cutter, do not have many typefaces available, and often have inferior versions of typefaces that are available. What can now be done in minutes, however, lacks the striking architecture and geometry of the chisel-cut letter which allows light to play across its distinct interior planes.
Notes
ReferencesISBN links support NWE through referral fees
- ASTM D7298 Standard Test Method of Comparative Legibility by Means of Polarizing Filter Instrumentation
- Bringhurst, Robert (2002). The Elements of Typographic Style (version 2.5). Vancouver: Hartley & Marks. ISBN 0-88179-133-4. Often referred to simply as "Bringhurst," Elements is widely respected as the current authority on typographic style for Latin typography. (excerpts). Well-paired with Tschichold's The Form of the Book, below, from the same publisher.
- Tschichold, Jan (1991). The Form of the Book: Essays on the Morality of Good Design. Vancouver: Hartley & Marks. ISBN 978-0881790344. A comprehensive collection of essays on the typographic art. A more classic companion to Bringhust, above.
- Heller, Steven and Meggs, Philip B. Texts on Type: Critical Writings on Typography (c) 2001, Allworth Press, Allworth Communications, New York. ISBN 1-58115-082-2. A compilation of over fifty texts on the history, practice, and aesthetics of type design and typography.
- Lexique des règles typographiques en usage à l'Imprimerie nationale, Imprimerie nationale, 2002, ISBN 2-7433-0482-0, for French typography.
- Swanson, Gunnar Graphic Design and Reading: explorations of an uneasy relationship (c) 2000, Allworth Press, Allworth Communications, New York. ISBN 1-58115-063-6. The Crystal Goblet, or Printing Should Be Invisible Beatrice Warde; Improving the Tool Hrant H. Papazian.
- Alexander Lawson, Anatomy of a Typeface , first published in 1990, devotes entire chapters to the development and uses of individual or small groupings of typefaces. ISBN 978-0879233334
- White, Alex W. (1999). Type in Use—Effective typography for electronic publishing (version 2.0). W.W. Norton & Company, Inc. New York. ISBN 0-393-73034-4 (pbk).
- Gill, Eric [1931] (2000). An Essay on Typography. David R Godine, 188. ISBN 0879239506.
External links
- AIGA typography articles—Articles and interviews relating to typography from AIGA's Voice section.
- Decode Unicode Wiki with all 98,884 Unicode characters, including full text search capability.
- Luc Devroye's typography pages—Large list of typography and font resources
- Type-Culture Academic Resource—Educational resources, including documentary videos about typography.
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