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Detail in Typography

Book about typography

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MQ
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815 views30 pages

Detail in Typography

Book about typography

Uploaded by

MQ
Copyright
© © All Rights Reserved
We take content rights seriously. If you suspect this is your content, claim it here.
Available Formats
Download as PDF or read online on Scribd
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Anatrace, itretng layout can certainly atc and pe he reader: but when the deals are not good, reading requis Mh fon an any pleasure shored Detain phy ia al and dose-up view of the sujet It considers al th len hil ‘conde a colon of text eles, words the lng, and the ‘ound thse elements ~ and tdacuses wht i eves fe Icy of text. Yet this more than aide to ore typ Hoi tock, that test ea eat petty an Yo ih inary dll sees maybe found ere, ot st in he Way ook ies been et and produc ‘esa in yporapy ws fs publshd in 8; seve AH languages This fly rovsed and ete eatin, Jos Hochulisa Swiss typographi international evo Be book design work, Arateacher, he hs bad lang capris i A ani his hometown of Stale, As weiter a inc Bok xg i Site (ao), Designing su Jo Hoch: Printed matter ain books (2002) He Ws ih tn designed the annually published "ypoton” series of hele (989-58) and he Eton” Oates fom 300), 1250 / USAS5 ype Pe ann san or-0-007350-34-5 ve np 08 9 |IINN i Detailin typography Letters eterspacng, words, wordspacing ins, Detail in typography ‘A concise yet rich discussion of all the small things that enhance the legibility of texts Jos Hochal Detail in typography testers tersacing words wordapacng ines, Iinespacing, cola Hyphen Press London tao | Sarena her snub yet Amber Sze cere “atop (clot Rant epee (ecm aac Contents Basis Theresding proces Teeter Theword Theline Na i Epi 4 Imprint acknowledgements squaquey Basics This litlebook concerned with those qustionsaftypogrphy tha «ame considered as belonging tothe area of micro detal-yp0 ran ‘While macrotyporaphy the typogeaphic hy is concerned ‘sith the formato te printed mati with thesizeand position of the columns of type and llstations, with the organization of the Irarchy of headings, subheadings nd captions detail ypography incomes eth individual eomponents eter letersi, ‘ols wordacng lines and linear coum of ext These ae ‘the componests that graphic ortypographicdesignerslikeonelet, tthe louse the are thts nonally pane as reste ‘Wie erence i mad fn wat follows formal ates, hs des not primarily refer toate’ ins inthe sense of personal ssl feed or personal tte ut rather w these visible de ‘ments that enable the optimum reception of the text. AS hiss he tf very pies of typography involving lrg amount of text, ‘concern with formal ements Boome concen with sue le At and redabiity: hs, etl sypography formal elements hve ite do wit persona prtrence ‘There ate any matters of dsl typography which one can in so consis role ifrently. The author would certainly not ‘want this hook to be regan lle catch: ater he ute om intligent designers who. inthe pit ofthis hook find ppeopeat solutns wo the problems tat rise ia gien content ‘ren though not all potential problems are deal wit in hist, “An there ae ets i which all the detail ave ben a toad yet the lookso sopoitcaly dll. ed 08 ‘The reoding process Aen eh dae gig alg he es These brief movements are Khown a sical, and they aerate with ie periods sting 04 seconds. A Tne perv i a series of sc, follomed by agence asthe ep jumps back tothe left to start the next in. Information ionlyaboorbed daring the xed period. With average ype sis as used fer books a saeco represents 5-rolters or about t-2 words in Engh. sicade my begin nd within word: OF the up ters only 3-4 ao sed on sharply during the ie pio: theres te porsche by the eve inltintly ad thircontext. Ifthe sense the ets ot lea the eyjumps back i eresion sacades to ech wha has sea bear). Themen erie thevalesthe shorter esl peril and he bigger the saccades te saccades boone 00 big and he Tied pris too short ~ when one reading too fst =the ext rustbe gust at Hera ast with simple conten, heredundn oq “Supedsour neyeytone ‘of fang text, a 90 3 ” Typography mae deine 2 the ato rightly dspesing print saat’ sceatenee wah nee perp ong ne Tener stating the space to comalling ‘hemaxinum thereaders compeehenion of the tt Typos ‘he ecient mene to an cst sitaran and only acidentally sestetie endfor enjoyment of patter rary the reer hit tin Therefore ay disposi printing tral which hater the ition he he ele of emi beeen sor au ree ‘Shtong, Stanley Meson Typography may he defined 2 the at of ighly desing printing ‘nutri accordance wh specie parse of sb arranging the fer ating th ac andor he pe a a 0 maximus the readers compen of tet Type 8 the cliccot em fav erent elearaned ply tbr eile red for segment pti eich ite eg et sn. Therefor ay isposton of pring tral which whatever {he intention, hes the ect af coming betwen author and rede ‘wrong, Suiley Moron Typography may he deine a the ato rightly disposing printing nutri ia accordance wih specie purpose of sb arranging the lees, disibuting the space and contlling te type at a 10 ‘he maim thereaders comprehension ofthe tx Typography i ‘he ficient rans to an ently iltaran and nl scien aesthetic end, for enoyent of pate i rarely the readers chit im. Therefore. any disposition a vate mater which whatever {hc itenton, ha heeft of coming betas shor ac reer ‘sverong ‘Stanley Morison “Typography may be dined the at of righty disposing printing ‘material in accordance with spite paps of so arranging the Jeers, diag the space the ype asta the maximum the reader’ comprehension ofthe tex Typorap i ‘he ecient means to an esentalywiltaran al oly acidetally scthtic nd, for eajpmetof pti ay the rider chit rs. Thereore. at dispeition fpr material which, whatever the tention, ls thee of coming been autor aa rea iswromg. ‘Stnley Morison wcll a Typosraphy maybe defined a the at of gly daposing printing terial in accordance with specie purpose: of x aonging the eters, distributing the space an contrallng the type ast ad to the masimam the eaders comprehension of thetext- Typogeap ys ‘the ficient mans to an esctllyutitarian al nly acidentally tht en for eyment of patterns rary the ears ciel Therefor, any disposition of printing material which, whatever the caiow fs te effet of conning between nba and vader iswrong Srastty Monisox "yeqaapay maybe defindastheart of rightly posing printing mater in accordance with specie puns: of So aranging the eters dstebuting the space and contig the type as aid to ‘he maximum the readers comprehension ofthe test. TypoRsap by the eit means wo a esently wari aed only seehentlly esthetic end for enjoyment of patterns rarely the reader’ eiet sim. Therefrsany disposition of pring material which whatever Ue intention haste el of ening econ uth and ead wrong. Santry Monison oad hoe peso ac by hh pig Minoan ain Inde enhance both the atractives a the radii of 2 text ie sometimes nena to rede the seo the type while ecping he same aeapcing The optically gee nespacing thin produced makes easier tallow the lines[ Ifapageincide pasiagsof testinal sxc types witht intrineae space, the msn et that follows mst res the min Iseline pid Whether ar not sch insert ended wil den 9 ‘Typography is not an art. Typography is nota science. Typography isa craft. Nota craft in the sense of blindly fol- lowing some poorly understood rules, » but rather in the sense of the precise ‘Typography is not an art. Typography is nota science. Typography is a craft. Nora craft in the sense of blindly fol- lowing some poorly understood rules, but rather in the sense of the precise Typography is not an art. Typography snot scence. Typography isaerafe Acrafnotinthe sense inl fllowing some pooriyur derstood rues, bt uber in the sense of the precise application of tried and tested experience The typographer must kiow how the ook bread eh purposeitserves, inorder develop iseon- ‘cept The sypographer is sll responsible for the content ofthe book asis the interior designer forthe thoughts ofthe person who sitgonthechairhe designed Thechairmostbecomfortbleandsu ficient robust -no more than hat, “Typoprply ie nor an art. Typography i nt 3 sience Typography ‘sacra Acraftnotinthesenseof blindly fllowingsome pool n- derstood rues, bur itberin the sense ofthe precise application of vied and rested experionee. The wypographer must know how the book be read, what purpose teres, inorder to deveop ison ‘cept The typographer sas itl responsible forthe content ofthe ‘ookassthe inerer designer forthe thoughts ofthe person who sitson the chair designed, The chair mast be comiortbleandsut ciency robuet-momore than that. mc at ee nda a ‘atl gn Ctenberg can no longer be our paradigm Gute berg ean no Songer ll ws what we should do, but nly make us quiet of what we onl no do ‘What we should notdoisopy handwritten patrns when signing: en asa concept this is wrong, find 1 invariably produces dubious ress, which 4 ahwapsook atta. ifmot downright kitsch ‘Gutenberg can no longer be ou paradigm Gten- be can longer tll ws what we shoal do, but only make us qui aa of what we should a do ‘What we should not do copy andre pt ‘eans when designing type. ren 26 a concep hiss ‘wrong and i ivaraly prods dubious reas 1 which abeays ook artical if not downright kitsch Gutenberg can no longer be our paradign. Gite bergean no longer ell what we shoul do, but nly make usquiy area what we should nt do: What weshould not Joiscopyhandwriten patterns when designing yp, Even as aconcept hiss wrong, sna it inaraly proces dubious els hich «ys lookartel fot Joerg ioc ‘Gutenberg am na longer hear pari. Ces bergen monger ll us what we should do but ‘only mae us quel aware of what we shold mot do: ‘What weshould not dois copy hardin patterns when designing type ren asa cencep tis 'swrongand itimatibly peodces dbus ress, 4 which as lookaeieiah nt domrrigh kuch (5 Whterthe tet ssid aor endl ly ide ‘hc enw nnn tia yal ag 50 pedsoun, ? 5 For me, typogriphy i esently giving an arcu statement 2 form appropri toa statement porn cement at iypogrip articulation whine pace, Theve only sci ‘ypopenhy: all her apphicaiom of spograply are fdas «TR Ee panic design or wome meant ef pychorheray oF oa, ypgeapiy enemy hing a arcu semen fom appre to emenicoThe a prea cee of ogee acu is wate space There ont ‘umpire of pray ar amen ee VGeliedairaraecmrerdGmeticcers For me, ypograpy essentially ging an antculted statement a farm appropri that statement The mest important lem of ‘ypographcariclaon eve space. There's ony practi! yp "apy all ther appetions of typography ae fundamentally fee « gapnic design or seme means of paychodheapy oF For me pcgraphy i estental giving an arteated sateen» Gem Spyoprne ott satcment The mst mporantcement ot ypograahe Srtcuton fhe space, There any praca” tpoprapn al the Sppleons of ypoqrapty se fandarctl hee rpc design o some 4 tears of prehathenpy oF 45. mes ue hy oS fe i se Mpg likewise. if as pst-688 ideology insite, monsics were no Jonge kings by Divine Right but by contact, on what grounds ‘ould fathers and husbands lgisimately claim thee ascendency terion —— ‘na modest couplet Lady Maty Chudleigh thus got to the heart, ofthe gender fot hesenant pebleml 5 temine itv an se pop na an ihe se ‘on the onl npgraphic desig thor non the typo by ill appeat lw disjointed. On the other and, t may look ‘trang if=asin ur example— the inssof the inser text are very shot Anyndent othe inserted passagesboald match theindeto ‘he main ext [7 ‘the sane way that He desig ans of the ype the leg of ‘helin. the nespacig. and thesyleofthesetingll determine the ove appearance ofthe composition, histo = the type ate, the sm ofall the lines alo hasan fet onal he other corpo ‘of pograpy ed on the propetions ofthe aegis in patil typography. deailcan ever be considered in lation, Howey «ta mane on to conser ses concerning the position of he type atcton the pe would he to move away fom thems focus ‘book deal ypograph sa wma alee ‘he qualitios of type ‘Alle well-nown and fequenty sed eypefaces ar equally eb ‘nv nuchthesame ste of thersc-bol versions seis oo aremoe ores equally eile Tinker eho among others reached this conelsion, dows however mention that his espondents found the samsri he wel (Kabel Light) toe unattractive. Ones api ‘ne ence the phenomenon tha typetaces~ reatdew of theie ‘optical eiiiy~ tiger particule elings onthe part of readers ‘Sinplythroogh thr appearance anda havea polive or agave Impact. This sent to Be pragmatic eridence o show that ver td _lhve thee primary an esetil ok of acting a4 vs mans ‘of transport for language ypetics are ao abe to communicate atmosphere In this content, Spencer mentions analyses by Ovi an Zach ison tha enforce this assumption. However om the bass ofan analysisof advertisements overapeiod of 9 years Spencer hives hat ing of congenaity may have itl enor tabi, sch an examination supports Ward's view, thatthe choce af an appropriate typeice is a subconscious act, the fet of which i “pomeral We mty orflet that sansrftterforms which ae ecm much sein thiscentrytcxpessthe notin f "node" sere it eve in the eighth century because of thie assole ‘ions with uggs antigay Kap plato: “Te eit aftypfice raver ie forthe interpretation of atest and its content. also perms to interpret atest in various ways, much a an opera oF piece af sri willbe difecely interpreted by dierent artis. Bat an ants, ‘working hus, wth existing work, must take care vo ret the spirtofthework; hemay not work tains ‘Wilherg repraices the por “Bidhauersches' by Cheistian Morgenstern fom fe diferent editions, anl pis tothe Loma text and yp land ypoqraphic design Fe typesize smentaralempbasisal hae theif) Aller aragsing the five ver sions he conclu thatthe post can be readin al five versions I we nevertheless el (despre the reduction ns) hat toes not affected by the type, thew this sa indication that the design of the type fa absorbed in the reading of he text, ad sa rr ny be tinea of ah sping iting teil oaoanae with spesit purpose of warangingte te tebatinghe pace and controling the eypeas toa ne msasimtbe reales comprehension ofthe ext Typography steeticient means a an emctaly warn aden accidental acetic fr ey ‘meat paternal the ea’ hi si. Therefore, anys Iypographickannumschveben werden abe Ks dsSstzmatei ‘hernstmmng mit eines stint Zeck cig pera soe Type nrondnen al die Zvncenraneso ues ‘em scr ds Vern de Testes in Michie i Die typographic hat on Wencatichen cn patches und ne lc asthetiche ik den sche wll ache esr vor a Typoqrtckan omicheven worden als aj de buns sop cen ite se drkatl te ordenen i vcreestesseing mt ea baal les an ada de tert angst, uit veel en ‘et scr tc ices als dig i 29 vig moet good ‘erttnvan de thst door de ee tebeocdcten. Typist dot {oven idl hel Wee ten align ato glen La typorapi pete dni come art optiner ls dspostionde eet less estivation sigue: ee de placer les tres de epi Fespce et de choses aac i eit ‘aumarinurslncomprthenson du ee parse leew aspect cath tique dela ypopraphi eno it qu accent on bate exert leon tae at gute une le seta rite en Gn intregia rocomrcbiai Itednaper dager omits me teil starnurein fanzine unscopo specific: guint dis perpesiionarle lett dstrbielo puso acontrolare degrade ‘auteral ied atria arta igo comprenson de tot, Latino il mera fc per unui esi so ‘xcsiamamenteilgouiments exec dle forme deta capo pin 11 Seiya sm ypeinsnes he se pti ei, dhs yo sonore ou, ‘Avissal was printed at Colognein 1485, andthe texture faces cut for it were given exaggerated terminals, in some texts diamond shaped in others horizontal, whieh make them dating snd rather ups At the same time, about 1465-80, the types of the ‘asi book script fashion give way inthe books of scholstie phi losophy andiaw tocondenseatypes withthe tactuedcurves an A Mia pri ot Coban di tsa ieee en exaggerated teria, 8 umne tet donated ines ort which ke then davai aa ahr gh At the aime time, sot 165, aes he bake Boker Shion gh ay nthe books of achat: Bony and aw ce dened typevwahthe Factoredcurverael erphaic terminal the AMisslwoaprinted atColognsin 45, andthe equ fcexeut for ewer ive exaggerated erminal,isometests diamond-shaped inothersoriontal which make thom dazaingand rather ugly At the same time abou 14658, the types of the base book erp "ashion give way in the books o chasse philosophy and aw to condensed ype with the freed carves nd emphatic terminals ‘Ati wos printed ot Cologne 1483, andthe wextwafaces cut fort were avon exaggerated terminals, n some texts diamond: ‘Shaped in others horizontal which mako thom dazzling and other Ugh. AL the samo time, about 1465-80, the types of tho bose bok Sept ashion aie way inthe books cholate philosophy ‘ad aw tocondoncod type withthe foctrod curves and erga. Aisa was pine at Calagpein 1, and the cena fs ctor it ‘exe gueneaggented ema nsemcteusdame shapes Teint which make them dang and atheroply Abeaxsetine, hoot 1858 the typ ofthe tse ook srg fishin ge way in thehosk schol philesophy and roca ys wih the facie ures and cmpatictcrniab ofthe een ain cnc edly Absa was printed at Cologne in 483 and the rexruafceseu for iewore given exaggerated terminals in some ext dismond-shped imozhes horizontal, which make hem dazling ar ater ai At ‘the same tm, about 1465-80 the yp of tebasic hook srp ‘shion give way ine books of chasse philosophy nd aw 1 com ensedyposwiththetrataredcurvesandcmphaitereinabof the ‘A Missal was vinted at Calagne in 483, an the tetra faces efor ‘were gi exaggerates tenn, in same tte diamond shaped in ‘others hariontl, which make them dszaing and rather aly. A the sama tin, about 1485-8, the types ofthe base bok asion jive may Inthe Boos of scholastic pilosopy and tw to condensed ‘pes wth the fated curves and emphatic tein ofthe textua, ‘A Miwal was printed at Cologne in ay. i ests ic cat Tor it were give exaggerate teria sone tet ds shape other rival, which make them izing and ith ‘al At the sine nao 1468-Hothesypes othe baie book Serie fasion give way inthe books of else phioxopb a Ine taconemedeypes with the aetaned cures and epi te ‘AWissal was printed at Cologne in 1483, andthe exura aces et fori were piven exaggerated terminal, in some texts dimond. ‘shaped in others horizontal which rake them dnzzling and rather Ly At the sametime, about 465-80, the types ofthe basic hook: Strt fashion give way i the Books 0 schol philosophy and low to condensed types with the Fractured carver and emphatic AMMisal was primed at Cologne 48, and thetexurafceseu fo lwere given exaggerate terminals in some ets amon sap in ohets horizontal which make thers darling and eather ug AC the same tm, about 465-80, the rypeso the ase book sep "hic give way in the oksofscholastic philosophy Sneed type wth the fctoed eurveranl open imino exo De Rot Angie Of Se ef 59 es et So gp Se Sy Rigi ne ond eg se ads jo soytponb 4s contribute sown tonto the acral mass, thr constrctveyor ‘patie Italo becomes apparent that harmon indispense “The copcsionemst be that good typagraphers ae eight to give Serious consideration to which typeface they choose fr which tex. ‘When Wilber vrarks (evn icy in putes) That not the typtae aon, bat aso the typographic design arrangement emphasis sponsible fo the ove ‘hese or impression he woushes in my view.ona hy point The impesion crested by any one typece can only eases whem al the eypelaces concerned ae wed st the same testi the same si 10 the same mcs, wth te same nespacog and ave print by the same meth, wth the same ink and aking, om the same paper withthe same mari. ng to at an af thee cement changes the impression ested bythe type for they areal intrrlitd [7.7] ln book for instance, the indie elemens ae also more ores cosy elted tots extent ant it staility or eit, and ths othe way it isbound andthe binding miteros~ tha tots optic wats physicality ‘A thoortcly les attentive typeface can, rough the proper

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