ypography esignTypography Design © 2017 Aptech Limited All rights reserved. No part of this book may be reproduced or capied in any form or by any means — graphic, electronic or mechanical, including photocopying, recording, taping. or storing in information retrieval system or sent or tvansferred without the prior written permission of copyright owner Aptech Limited. All trademarks acknowledged. ‘APTECH LIMITED Head Office: Aptech House, A.65, MIDC, Marol Andheri (East), ‘Mumbai - 400.093, India \wvaw.aptech-worldwide.com E-mail: [email protected] Edition 1 - 2017Preface This book is designed to introduce the basic techniques of typography. It traces the evolution and covers various aspects of typography. It also helps understanding the scope and application in contemporary society. ‘The ARENA Design team has designed this course keeping in mind that motivation coupled with relevant training and methodology can bring out the best. The team will be glad to receive your feedback, suggestions, and recommendations for improvement of the book. Please feel free to send your feedback to the ARENA Design team at the Head Office, Mumbai. ARENA Design Team OnlinevarsityTable of Contents Session introduction to Typography History of Typography Evolution ‘Summary Exercise Session 2: Expressions Through Typography Expressive Typography Need for Expressive Typography Choosing a Typeface Tips to Select a Typeface Summary Exercise Session 3: An Introduction to Type Family Classifications of Type Type Design Type Anatomy ‘Summary Exercise Session 4: Typography for Industries Usage of Typography for Various Industries Usage of Typography, Inckiding Color Scheme/Fonts in Concept Design Usage of Typography in Promotional Material ‘Summary ExerciseSession 1 Introduction to Typography Learning Outcomes in this session, you will earn to: > Explain various forms of typography 1.1 History of Typography 1.1.1 The Origin of the Typographic Forms Written words are accepted as a primary method of communication in our culture. Its primary elements, the characters of the modem alphabet, were once quite literal symbols of everyday objects which were gradually abstracted to the lotters of the alphabet. ‘Cave paintings, dating as far back as 20,000 B.C. are the first evidence of recorded pictures, true written communication 's thought to have been developed some 17,000 years later by the Sumerians, around 3500 B.C. Sumerians created cuneiform. Refer to Figure 1.1 Figure 1.1: Cuneiform Image Courtesy: htip://wwm.designingwithtype.com/itemstitemsSumerian. html 1.1.2 Pictograms Sumerians recorded and records preserved stories by using simple drawings of everyday objects, called Pictograms. A Pictogram is also known as Pictograph an ideogram that conveys meaning through pictorial resemblance to a physical abject. > often used in writing and graphic systems where characters to a great extent are pictorial in appearance. Pictures began representing as they were, Pictographs, and eventually certain pictures represented concept or an idea, Ideographs, and finally to represent sounds that are Phonograms, Early written symbols were based on: > Pictographs (pictures which resemble what they signify) > Ideograms (symbols which represent ideas).Ancient Sumerian, Egyptian, and Chinese civilizations began to use such symbols over, developing them into logographic writing systems. Pictographs are stil used as a medium of writien communication in some non-lerate cultures in Africa, Oceania, and The Americas. Most contemporary cultures use pictographs as simple, pictorial, or representational symbols, Refer to Figure 1.2. Figure 1.2: Pictograms 1.1.3 Ideograms Need to communicate complex concepts was experienced during advanced civilization, By 3100 B.C. Egyptian hieoglyphies incorporated Ideograms symbols representing ideas or thoughts. Thus, allouing abstract concepts to be ‘more expressive a5 compared 10 pictograms. Refer to Figure 1.3 for examples of Ideograms. In today’s world, the Roman numerals are considered to contain ideograms. ca|#2 || ¥ ] x ee =< Mf uy 1.1.4 Phonograms ‘Symbols for spoken sounds, called Phonograms had been developed by Phoenicians around 1600 B.C. A symbol or character, as a phonetic alphabet, represents a phoneme or a word in speech. For example, symbol for ox, called aleph, was used to represent the spoken sound beth and ‘A’, their symbol for house, represented the sound ’B’, Along with ‘sounds, phonograms could also represent words. Refer to Figures 1.4 and 1.5.ea Aarts @L7C71F o7hedw% | [Sails : Figure 1.4: Phonograms Figure 1.5: Spoken sounds Image Courtesy: wuw.thedsite.com! Image Courtesy: Ikwingingit blogspot. designstuttidesignitypo-history.htm#top in/2070/03/alphabet.hermt 1.1.5 Alphabets ‘The history of alphabet began in ancient Eqypt. By 27th century BC, Egyptian writing had a set of nearly 24 hieroglyphs. \inich are called unilateral. Itrepresented syllables that begin with a single consonant of therr language and a vowel (or ‘no vowel) to be supplied by the native speaker. Alphabet is generally credited to the Phoenicians for developing the first tue alphabet a set of symbols representing ‘spoken sounds that could be combined to represent a spoken language. Predominantly, a seafaring merchant society traded with several cultures, spreading ther alphabet throughout the Western world, Around 1,000 B.C. the Greeks adapted the Phoenician alphabet. The Greoks developed the art of handwriting in several styles. Refer to Figure 1.6 Pictograms evolved into the letters of the alphabet V+ AA Early symbol for “02 Phoenician “aleph Greek Roman Figure 1.6: Alphabets Image Courtesy: http://graphiedesign.spokanefalls.edultutorials/process/type_basics/history.htm The word ‘Alphabet’ arrives from the Greek letters alpha and beta, The Uppercase Alphabet that we know today, were developed several hundred years later by the Romans using Greek alphabet as a base, Ar of handwriting was refined, several distinctive styles of lettering used for dlfferent purposes was fashioned, Important official documents and manuscripts featured a rigid, and a formal script. By A.D. 100, a flourishing book industry was developed by the Romans. As Roman handwriting advanced, lower case letters and rough forms of punctuation were gradually added. The Phoenician alphabet was based on the principle that one sign denotes one ‘spoken sound. ‘The 23 letters from the Etruscans wio based their language on the Greek, was used by Romans to further develop the alphabets, Letters ABEZHIKMNOTXY were kept intact, CDGLPRSV was remodeled and revived while two Phoenicians letters, F and Q, discarded by the Greeks were revived. The Z comes at the end of alphabets because for a while the Romans discarded it, but then brought it back when they thought it was indispensable. Serifs were the small finishingstrokes given at the end of letters by the Romans. Roman letters highlight the first examples of thick and thin stokes, Refer to Figure 1,7. 1.2 Evolu ABTrA ZHO euma vata e8LON 3 | KAMNEZOTNT PrTYOxXxY¥A Tigra Ts Poona aphaba in Typography is an important part of visual communication as it conveys thoughts and information through human sight. Its history is presented here in chronological visual form on four timelines and the evolution is shown in the context of world events, architectural development, and art history. ‘Communication has evolved over the years. The timeline in the evolution of communication is as follows: > > > Typography: This begins with the invention of writing over five thousand years ago and ends with the invention of movable type in Europe during middle of the fifteenth century, Hand Press and handset metal types: This period began from Gutenberg's invention of moveable type to the end of the eighteenth century and lasted for about three hundred and fifty years. ‘The Industrial Revolution and nineteenth century: This period was an era of technolegical innovation and ‘an outpouring of new typographic forms. ‘Year 1900 - Twentieth century: During this period, type was shaped by the aesthetic conceins of modernism. 1.2.1 Evolution of Typography From the origin for writing til date, typography has been through various stages. Evolution of typography can be depicted in four stages. They are as follows: > 3150 B.C.-A.D.1450 + 3150 B.C.: The earliest written documents are impressed clay tablets from Sumer. Refer to Figure 1.8. The ‘signs represent clay tokens that were used for record keeping before the invention of writing, Figure 1.8: Clay tablet3000 B.C.: Cuneiform, a very early writing system, consisting of wedgeshaped marks on clay tablets. It was invented by the Sumerians. + 2500 B.C.: Egyptians begin to make papyrus, which was @ new writing material derived from the stems of the papyrus plant. + 2400 B.C.: False-door stele inscribed with hieroglyphic writing, from Old Kingdom Egypt, > AD. 1450-1800 + Sweynheym and Pannartz, 1465: The first type designed in Italy. It had some Roman features. Refer to Figure 1.9. barillebefus:q quom pm aufes uocare® moifesfigura plenviens ice thefum wocari-ur duce ming deledbus effec aduer(s amalech qui oppug- naban¢filiosifrabel ec aduerfariidebellarec p noisfiguram:e populi ft Figure 1.9: Type designed in Italy + Sweynheym and Pannartz 1467: The first Roman style type, influenced by Roman inscriptional capitals and ‘manuseripts written in Caroline minuscules. Refer to Figure 1.10. effe fenfum femal quencur, cand ils ad cogwandum theda quadng;fopufeée. Democrcuf quali in puceo quodam fic alco ut funduffic nulluf uerscacem tacere demerfam rummrum feulce Figure 1.10: Roman type style Nicolas Jenson 1470: Early Venetian roman typeface, as shown in Figure 1.11. ab omniporena deo miilus deus uerbum quafiluas if cunétis anndiciat. Non hincautalninde:fed undigy can ad deur uerum:graccos fimul et barbaros omnetn fexii Figure 1.11: Venetian roman typeface > AD. 1800-1899 + 1803: The first Fat Face was designed by Robert Thorne. Refer to Figure 1.12. R. THORNE Figure 1.12: Robert Thome's first fast face 1815: Vincent Figgins reveals, the first Egyptian (slab-serif) typefaces. Refer to Figure 1.13, ABCDEFGHIJK Figure 1.13: Egyptian (slab-serif typefaces + 1816; The first sans serif type was introduced by William Caslon IV, Refer to Figure 1.14 LETTERFOUNDER Figure 1.14: Sans serif type> A.D 1900 onwards 1910: German sans-serif ‘black style’. Refer to Figure 1.15. 2000: Wolfgang Weingart, book cover. Refer to Figure 1.16. 2001: Jim Sherraden, book cover for Hatch Show Print. Refer to Figure 1.17 2003: Philippe Apeloig poster. Refer to Figure 1.18, DELIKATESS| [HAUS] [ERICH FROMM IKOLN| [HAUPT-LISTE. Figure 1.15: Block Figure 1.16: Wolfgang Figure 1.17: Hatch Show Figure 1.1 style Weingart Philippe Apeloig or aC oan 1. Sumerians recorded and records preserved stories by using simple drawings of everyday objects, called a. Ideograms b. Phonagrams ©. Pictograms d. Alphabets 2. The word 'Alphabet’ comes from the Greek letters Alpha, Gamma b. Beta, Gamma. c. Alpha, Beta d. Alpha, Sigma 1.2.2 Experimental Typography It fs defined as the unconventional and more artistic approach to setting type. Francis Picabia was a Dada founder in the early 20th century. David Carson is usually associated with this movement, mainly for his work in Ray Gun magazine inthe 1990s, An uproar was raised among the design community due to his abandonment of standards in typesetting practices, layout, and design. Emphasis on communicating emotion, rather than legibility was placed by Experimental ‘ypography. + scope ‘The practice and study of typography is very broad in contemporary use. It covers all aspects of letter design and application, These include: Typesetting and type design Handuriting and calligraphy Graffiti Inscriptional and architectural lettering Poster design and other large scale lettering such as signage and billboards Business communications and promotional collateral Adverising Word marks and typographic logos (logotypes) Agoarel (clothing)Labels on maps Vehicle instrument panels Kinetic typography in mation picture fims and television {As a component of industrial design-type on houschold appliances. pens and wristwatches, for example ‘As a component in modern poetry (see. for example, the pootry of E. . Cummings) vyvvy Due to digitization, typography has spread to a wider range of applications. appearing on Web pages, LCD mobile phone screens, and hand-held video games. Typagraphers have coin the phrase ‘Type is everywhere’, due to its ubiquity nature, 1.3 Summary In this session, Introduction to Typography, you learned that Cave paintings, dating as far back as 20,000 B.C. are the frst evidence of recorded pictures. Pictogram is often used in witing and graphic systems where characters to a considerable extent are pictorial in appearance. Ideograms symbols represented abstract ideas and concepts than literal pictograms, Phonograms are symbols for spoken sounds. ‘The Uppercase Alphabet that we know today, were developed several hundred years later by the Romans using Greek alphabet as a base. Evolution of typography occurred in four different stages. Experimental typography is an unconventional and more artistic approach to setting type. © Typographers have coin the phrase "Type is everywhere’, due to its ubiquity nature, COLLABORATIVE UL i GROUPS Onlinevarsity1.4 Exercise A Pictogram is also known as Pictograph. a, True b. False ‘Which amang the following areas are covered by typography with respect to various aspects letter design and ‘application? ‘Typesetting Calligraphy ‘Advertising Al of these. ‘a designer, designed the first Fat Face. Robert Thorne Vincent Figgins William Gaston 1V None of these ‘The history of the alphabet started in ancient _ Egypt France Greece Italy ‘Symbols for spoken sounds, called Phonograms Aiphabot Pictograms IdeogramsAnswers to Exercise True All of these Robert Thorne Egypt Phonograms Answers to Quick Test Quick Test 1.1 1. Pietograms 2. Alpha, BetaBE AHEAD OF EVERYONE ELSE READ ARTICLES OnlineSession 2 Expressions Through Typography Learning Outcomes In this session, you will learn to: > Explain Expressive typography > Explain the need of Expressive typography > Choose a typeface 2.1 Expressive Typography A.child’s alphabet learning process starts with the recognition of letter shapes to associate it with sound and meaning Letters feature ingrained symbols of written and verbal language. Type becomes an image in an art form by Expressive typography, where text is highly visual. Letters are carriers of meaning and not just abstract notions. It is real and has physical shapes. The art of typography pays attention to shapes, to be used in graphic design. Shapes of letters are not Just features, They are expressive and are basically used as sound symbols for written verbal language. Individual letters of an alphabet is revisited a number of times by a design student to learn ways to use letters as an imagery and heighten sensitivity to their shapes. A creative and prominent designer intimately knows every angle, curve, and stroke of letters. Refer to Figure 2.1 Figure 2.1: Expressive typography Image Courtesy: http:// typostudents.blogspot.in/2010/1 Vexpressivetypography.htm! Figure 2.2: Physical manipulation of the type Image Courtesy: hitp:/hrww.smashingmagazine.com/2011/03/24/how-to-choose-a-typeface A. single style does not define this approach to type. Graphic elements need to be arranged in a logical and natural manner. The most obvious and easy way of adding an expression is by using the Physically manipulating type. Refer to Figure 2.2. ‘Ways to create expressive typography are as follows > Type can be altered to support a concept or atitude > Type can be used as lines or shapes, > Striking contrasts of size, style, postion, and direction of type can be used to impart a message. > The size and shape ofthe letters have a direct bearing on the meaning of the words. > Always remember to find the perfect congruence between the meaning and the type ise All design principles, such as hierarchy. unity. variety, proportions, balance, scale, and so on can be applied to typographical design2.2 Need for Expressive Typography Type design when expressively presented i'stanily connects to the target audience. Letters as shapes give dramatic flair and life to the designs. They feature real physical shapes and are nat just abstract notions or carriers of meaning. Detailing to shapes is an essential part of typography 2s the shape and size of the lellers have a direct bearing on the meaning of the words. Letters used as visual elements have allusion to their meaning: representing collage rather than typography. Typography isnot staid but has to be functional However the text may be, typography needs to be practiced mindfully, creatively, and respectfully. 2.3 Choosing a Typeface ‘Ao abundant supply Of optiors for evaluation makes choosing a typeface tricky. Moreover, the beauty and complexity of type ean make your head spin. & winning typeface can be selected using the following options. 2.3.1 Setting a Goal Setting goals is essential while designing a typeface. Following are the goals to be kept in mind while designing a typeface Form a strong impression after interpreting audience reaction, Impression may be stated by the client or may be determined by the aucienee. > The typeface needs to stike effective combination of readabiliy and legibly. ‘Some degree of independent consideration needs to be given for each characteristic. There is a possiblity of the design going the wrong way, but the problem can be compounded as it evolves. Understanding subjective and objective parts could be the toughest. A complete understanding of the impression helps with the objective aspect of typeface selection, There are no fixed positions on the spectrum from subjective to objective. However, itis known that legibility is easily quantifiable than a mood. The two most objective attributes are readability and legibility. 2.3.2 Legibility It refers to design of typeface with relation to width of strokes and presence of novel type design elements. Legible typeface makes it easier to identify every lellerform. For example, a decorative typeface has low legibility as itis primarily meant to be seen at a glance, rather than read at a length. Conversely, typefaces designed for novels or newspapers have very high legibility. Refer to Figure 2.3. (Obsequicns polecas ama ‘queen ncac the ignorant 9 Meanwhile, polecas over the champion throughout breeding freedom. The te doubles obsequious poleca puts the forcheoming w torture designates absequi polecats against your dang| Omimenpoleens guns microwave outside a view. Figure 2.3: Legibitity Image Courtesy: http:/Iwww.smashingmagazine.com/2011/08/24/how-to-choose-a-typeface A legible writing adds value to the content, Legiilty of text can be derived using following methodology: > Typefaces with conventional letterforms: Letterforms featuring excessive ormamentation, novel design, unique shape or artistic deformation elements. This aids the reader to understand data they need, instead of Just taking in a message. Novelty always comes at the cost of immediate comprehension,> Typefaces with generous spacing: Due to tight racking the human eye fils in visual gaps between various shapes that make different letterforms. This slows down the recognition time for word, leterform and sentence structures. Adequate spacing allows the eyes to proceed as fast as cognitive skills ofthe reader will permit. Typefaces with a tall xcheight: A “short” x:height decreases legibility of certain letters. The apertures, or ‘openings, of similar lowercase letters like "e” and ‘e" are distinguished with greater ease if the x-height is generous. 2.3.3 Readability Settings for typeface, complimented with the basic typeface legibility, yields readability. It is a dynamic interaction of the type style, tracking, color. size, leading, and other properties combined into one overall impression. Certain typographic style delivers quantifiable degree of readability. For example, one can use a style with intentionally low readability that Is part of the message. Else it could be focusing on designing high readabilly as the message Is complicated, and audience are expected to understand Consider the example of Sabon in Figure 2.3 and alter its readabilty. On the left, the font size of the text is been decreased, and tracking and leading is altered, the color is lightened, and the block is set to full justification. Now, it lums out to be a mess with unatiractive text rivers, Refer to Figure 2.4, The unaltered text is left for comparison to the right side. Obsequious polesats ames Obsequions polecars amust Meanwhile, poltcars. ove] aueen neat the ignorant ap the "champion theovgha} Meanwhile, polecars over breeding freed the champion throughout fontside the fortheom! breeding freedom. The rs ee ear eee polccats agsiast you: “dl oursde the forthcoming wi Bruamenpotccats "guns tolcromae cede a'view.} torture designates obsequid teeing sauskeats‘ulfls olf polccats against your dang ‘ous polecats below the Herbivore polecats amusg Ormamenpolecats guns ev ques sear the ignorant aq) microwave outside a view. Figure 2.4: Readability Image Courtesy: http:/iwww.smashingmagazine.com/2011/03/24/how-to-choose-a-typeface Vital components that generate a reader's interest and ensure readability are as follows: > Choosing typefaces: Larger quantities of text would not be read if font used for display purposes like posters or headlines are used. Conversely, a typeface designed for extended reading loses its impact in relation to how large itis blown up. > Text alignment: Align toxt to “ight ragged” for comfortable word spacing online to avoid “rivers”. A natural flow of text is lost when "Force,ustiiec" text or hypheniess justification is used. "Force,ustified” text or hyphenless Justification causes the reader to lose the natural fow of the text as the eye has to make various leaps and Jumps to complete words and sentences. Currently, there is no praper native suppost for hyphenation in CSS, but Hyphenator,s 1 for proper online client-side hyphenation is used. Line Spacing: Make sure your line height 's greater than the point size of your typeface for muli-line texts. A user may lose track ifthe lines above and below are too close to it. Eyes get confused when text is wrapped from one end of the line to another. Generously spaced lines make the content easy and convenient for understanding 2.3.4 Aspects of Appropriateness Some typefaces are more appropriate for a design task than others. Suitability is something one learns both by experience with @ typeface and by other attribute of the typeface, including its history and original purpose. The four altributes of a typeface are as follows: > Design Intent It is very useful to consider the design intent of the typeface. Most of the popular typefaces have detailed vriteups and review making so thal one knows at least something about your choice. For instance, if a typeface was designed for signing, ike Cooper Black, it probably isn’t going to work well set as the body copy of a book> Aesthetics A typeface should conform ta the aesthetics expected by the audience for which the design is intended. For instance, ifa piece is being designed for a bank, setting their text er logo for an ad campaign, is too casual then it won't attract quality audience. Alternatively, if the logo designed is formal it might attract quality audience. Hence, ane needs match the gist of typeface to the gist of topic. In Figure 2.5, two combinations of typefaces have been created. The fist one, Lithos and Souvenir, create an aesthetic that fs more suited to a kid's museum than a bank, The second combination is composed of Clarendon and Bembo. It fits the topic ike a well-tallored banker's suit Choose Your Term CD} Choose Your Term CDs Guaranteed rate of rely] Guaranteed tate of tur term of your choice. | term of your choice. Mima depot 500 eo iaeaty wil fom . Figure 2.5: Aesthetics Image Courtesy: http:/iwww.smashingmagazine.com/201 1/03/24/how-to-choose-a-typeface Mood ‘Mood is a dynamic synthesis of what one gets when he/she considers the aesthetics of a typeface together with the readability designed into the piece, along with the perceived meaning of the text itself. For example, with ‘one typeface and one text a person can evoke a mond of excitement or panic, The typeface itself first evokes a strong reaction, but the readability of the text and the design itself can take communication to another level In Figure 2.6, observe how the implied meaning of the phrase ‘kick back and relax’ is dramatically changed by altering the typeface and readability. Mood is extremely powerful, and i's better to get the work reviewed to make sure one is not sending a wrong message. This demonstrates that matching the basic personality of the typeface, and its readability, to the expected emotional response of the message is essential for success. Kick back & relax Figure 2.6: Mood Image Courtesy: htip:/!www.smashingmagazine.com/201 1/03/24/how-to-choose-a-typeface Individual Preferences Most of the times a typeface stnkes a typographer for some reason as appropriate. The typographer's right brain knows it but the left brain can‘t understand why. If helshe can make it work based on that alone, then heishe can go for it, He/she would of course do wellto get informed about the typefaces in his arsenal especially if he/she keeps using them over and over. A typographer may discover that his/her use of a typeface has nothing to do with its original intent, but it can sill look great, For example, a typographer might like OCR-A on the cover of an album design, though OCR-A was designed specifically for optical scanners so that computers can recognize the words through software. If the intended design fis for the project, the typographer can go for it.2.4 Tips to Select a Typeface Following things needs to be taken into consideration to design an effective typeface: > Plan the Hierarchy ‘Once a typographer gets a good grasp of content and typographic hierarchy he needs to decide an the hierarchy of types based on various parts in an advertisement, For example, fonts and their styles used for heading, subhead, body copy, and baseline will be different as per the weight age in that advertisement, Refer to Figure 27 HERB BYTER | LAMPOLG #1937 |G Dining Room Licht Dining Digestion safeguards p mechanism, An illum Dittionsfequerts pro nism, Au ilninating | Album fasts above the) en a ned eee Accent explores phr4 Figure 2.7: Hierarchy Image Courtesy: http://wwm.smashingmagazine.com/201 1/03/24/how-to-choose-a-typeface Consider what others have already done y A ypographer needs to study what others have already done so that he can bring uniqueness in his design. ¥ Experiment the easy way Tips to experiment quickly and thoughtfully with the typeface choices: ‘Whether you are designing for the Web or print set up style a sheet that speeds up the flow of ideas. because they are easy to swap out > Change the size of different elements to create and release tension by playing with hierarchy. > Change things on the basis of the judgment. > Anachronisms should be avoid For example, if the typographer doesn't know the particular history of typeface, he might end up using it in a way that might make him look a lite silly. If he picks Trajan ta ilustrate the title graphics of an article about ancient Greece, that would be an unintended anachronism. This is because, Greece pre-dates Rome, and Trajan was a Roman emperor. The typeface Trajan is taken from "Trajan's Column’, which is a monument to a iilitary victory around the year 100 A.D. Answering ‘Trajan’ to the question “What font did you set the cover of this book about Ancient Greece in?" will make typographer squirm. Refer to Figure 2.8. THE OLIVE TREE: A HISTORY OF ANCIENT GREECE UP TO BUT NOT INCLUDING ANYTHING ROMAN THE OLIVE TREE: AMISTORY OFANCIENT GREECE UP TO BUT NOT INCLUDING ANYTHING ROMAN, Figure 2.8: Anachronism Image Courtesy: http://www.smashingmagazine.com/201 1/03/24/how-to-choose-a-typeface> Avoid trite correlations Following things should be taken into consideration while using a font: > Do not use Papyrus only because the topic is ‘ancient, especially if t's about Ancient Egypt > Do not use Comic Sans only because the topic is humorous > Do not use Lithos only because the topic is about Greek restaurants. Do net use Futura only because the topic deals with the future’. Refer to Figure 2.9, In Ancient Times funny Things happened IN GREEK RESTAURANTS about the FUTURE Figure 2.9: Trite correlations Image Courtesy: http://www.smashingmagazine.com/2011/03/24/how-to-choose-a-typeface > Consider an extended type family Extended type families commonly has serif and sans serif versions, with multiple weights, full sets of special characters and ligatures. This ensures that a typographer will be able to find the right solution for every typographic challenge he can imagine An extended type family gives him a uniform, orderly mood. Refer to Figure 2.10. Sympathizing wo MANY BIG JAC Figure 2.10: Extended type families Image Courtesy: http:fwwm.smashingmagazine.com/2011/03/24/how-to-choose-a-typeface Stick to the classic combinations If a typographer is stuck, it is advisable to go with the tried and true, especially f the deadline is tight, In such instances one can choose a neutral serif and sans serif combination. Refer to Figure 2.11Wings in Journ Wings in Jou the Flamable j the Flamable Adeclining censorship | _A declining censorship purge purges flames against tf ames agains th advantageous cousin. | cousin. Flames refuses the ched before the liquor. Around a before the liquor. Arouny copes the arcade. Wind takes focket copes the arcad complementary stercotype be Wind takes a complemé the paper. When will flames Figure 2.11: Classic combination Image Courtesy: http:/ww.smashingmagazine.com/201 1/03/24/how-to-choose-a-alypeface Use limited palette ‘One can consider limited palette of typefaces that he likes best from lists of the most popular type of all time. Refer to Figure 2.12. Unexemplary rings tr: How can rings pace a pretentious western? Rings k mountains. A zero hires the clearance. Next to ring pauses che resource meanwhile. Mountains constitu ‘AN EMPTIED DIALECT OR PARALLEL DIAMETER? The Yesture rope the idea without» marvelous suf: The unig ch et ett he pre Eck Rg con preset mountains, Rings stamps mountains next tothe prone exitend Figure 2.12: Limited palette Image Courtesy: http://www.smashingmagazine.com/2011/03/2M/how-to-choose-a-typelace > Break the Rules (One can break the rules to break the cliché. Refer to Figure 2.12, ea oD Are aon ON Smee ee = Cc Pein Roe sc Figure 2.13: Break the rules Image Courtesy: http:// wuw.smashingmagazine.com/2011/03/24/how-to-choose-typeface2.5 Summary In this session, Expressions through Typography, you leamed that A creative and prominent designer intimately knows every angle, curve, and stoke of letters, Type design when expressively presented instantly connects to the target audience, Setting goals are essential to design an effective typeface. Design Intent, aesthetics, mood, and individual preferences are the four aspects of appropriateness. Onlinevarsity ae ANYWHERE ANYTIME -2.6 Exercise 1 refers to design of typeface with relation to width of strokes and presence of novel type design elements, Lesibility Readability Design intent None of these Which among the following are the aspects of appropriateness? Design Intent Aesthetics Mood All of these ‘One can break the rules to break the cliche. Tne. False type families commonly have serif and sans serif versions, with multiple weights. a. Pictograms b. Ideograms ©. Phonograms d. Extended ‘An abundant supply of options for evaluation makes choosing a typeface tricky. a. True. b. FalseAnswers to Exercise 1 2 3 4 5 Onlinevarsity |. Legibilty All of these. True Extended . True INDUSTRY BEST PRACTICESOnlinevarsity INDUSTRY BEST PRACTICES SYNC WITH THE INDUSTRYSession 3 An Introduction to Type Learning Outcomes In this session, you will earn to Explain family classifications of type Explain type design Type anatomy 3.1 Family Classifications of Type The fiteenth century brought considerable changes ii Written communication. Manuseripts were treasured possessions that rarely appeared outside monasteries or the courts of royalty. Only the privileged few had access to the writen werd. The course of wiritten word was changed in 1445, in Mainz, Germany, by Johann Gutenberg, Johann Gutenberg perfected the workable system of moveable type. He developed an ingenious process employing a Separate matrix, of mould, for each alphabet character, from which metal types could be hand-cast in great quantities ‘The typographic form has evolved with technology, philosophy, and culture since the time of Gutenberg, To analyze this typographic evolution effectively, the design of type characters is broken down into classifications of common visual characteristics, called families of type. Refer to Figure 3.1 Oldstyle (a5oa7 cerry) Transitional (een cortry) Modern (ae 390 caer) Slab Serif (9 entry) Sans Serif (aer200h cary) Decorative (30h et) Script-Cursive Figure 3.1: Expressive typography Image Courtesy: http://graphiedesign. spokanefalls.edul tutorials/processitype_basies/type_families.htm It represents more than 500 years of development where every family displays distinct visual characteristics, These characteristies are basic to visual communication with type. ‘The featured examples are for most part, contemporary derivations of period type designs. Commonly available versions of pre-twentieth century typefaces have been refined according to the dictates of technology and popular taste. Although these may vary, sometimes substantially, from the original versions, they nonetheless preserve predominate characteristics. ‘Though they are widely available today, its relevant in helping the contemporary designer identify typographic forms,3.2 Type Design “The concept of typographic form has evolved into a seeming endless variety of designs. Type design variations ean be bifurcated in various categories. 3.2.1 Typeface Typeface is the basic category of type design. Its the specific letterform design of an alphabet, including the serif shape, x-height, length of ascenders and descenders, variation of stroke weight, and such other characteristics that differentiate it from any other design. Every typeface is given a name such as Helvetica, Bodoni, Times Roman, etc. There ‘are several interpretations of typeface such as Century Schoolbook, New Century Schoolbook, and Century Oldstyle The term typeface, like most of the contemporary type terminology, originates with movable type blocks of wood or ‘metal containing a relief image of a character on ane surface called face. Refer to Figure 3.2. Times Helvetica Benguiat Optima Lubalin Graph Figure 3.2: Typeface Image Courtesy: http:/graphicdesign.spokanetalls.edurtutorials/process/type_ basics/type_families.htm 3.2.2 Typestyle ‘Several design variations included by a typeface are called styles. The available number of typestyles varies among typefaces. Itis based on certain visual characteristics, Refer to Figure 3.3. Roman /talic Bold Bold Italic Figure 3.3: Typestyle Image Courtesy: http://graphicdesign. spokanefalls.edu/tutorials/process/type_basics/type_families.htm ‘The basic typestyles are Roman, italic that is angled, and the standard vertical style. italic typestyles are cursive, sole letterform variations based on handwriting or oblique, angled versions of the Roman style. Cursive italics are typically limited to serif design. The visual characteristics for typestyle are as follows Character angle: Roman are the fundamental typestyles, the standard vertical style, and italic that are angles. Italic typestyles are cursive, unique letierform variations based on oblique, or handwriting, angled versions of the Roman style, Cursive Ralics are generally imited to serif designs. Refer to Figure 3.4 Cursive Italic Oblique Italic Figure 3.4: Italie typestyles Character weight: Typefaces are generally bold and bold italic typestyles thet are much heavier in stroke weight than the Roman, Several typefaces have a border range of weights in addition to Roman, including light, ‘and medium. In adition to bold there are semi bold, extra bold and black typefaces. Refer to Figure 3.5. Light Bold Heavy Biack Figure 3.5: Character weight Character width: Condensed are those typefaces which include typestyles with character widths that are narrower than Roman. Weight variations were generally included in these typestyles. Refer to Figure 3.6.Gil Sans Light Gill Sans Light Italic Gill Sans Regular Gill Sans ttl Gill Sans Bold Gill Sans Bold Italic Gill Sans Extra Bold Gill Sans Viera Bold Gil Sans Condensed Gill Sans Bold Condensed Gill Sans Uitra Bold Condensed Figure 3.6: Character width 3.2.3 Font Fort is a collection of all the characters of a typeface in one size and one style. It includes lowercase and Caps, punctuation marks, and special characters contained in the typeface like symbols or ligatures. The definition of the term ‘Font’ is changing with the time, Initially a font was a collection of pieces of wood or metal type. They had a defined size ‘and hence could print only one size character, Using digital font modern typesetting technology can reproduce almost any size character. So, though the terms font and typeface, while distinct from one another, are often used interchangeably. 3.2.4 Type Family Itis a complete assembly of all the styles and sizes of a typeface from a type family, bearing the name of its typeface For instance, all the styles and sizes of Helvetica form the Helvetica family. A type family may contain several variations, but they retain a strong visual continuity because all the variations are based on common design characteristics. This allows the designer to present visual variety on a page retaining a strong unified appearance. Refer to Figure 3.7. | U UU Ul uu UUUU uuu uw uuu u Figure 3.7: Type family Image Courtesy: http://graphicdesign. spokanefalls.edulutorials{processiype_basicslype families.htm The concept of family is explored by Sumner Stone in his unique family of typefaces. It was designed in 1980's for the contemporary designer using personal computer technology. The stone family contains the typeface variations based on strong design characteristics. It also includes complete groups af styles in three different typeface categories. They are as follows: Stone Serif: itis a traditional thick and thin serif face. > Stone Sans: Its a contemporary uniform sirike sans serif face. > Stone Informal: tis a graceful, contemporary rounded serif typeface. ‘While running the gamut in typestyle variations, the Stone family has @ strong visual consistency based on common typographic design characteristics. Thus, one can more safely combine several different typefaces and styles without worrying about visually incompatible images. Refer to Figure 3.8Stone Serif Regular Stone Sans pepier ‘Stone Informal Regular Stone Serif Italic Stone Sans it ‘Stone Informal Italic Stone Serif Semibold Stone Sans Semibold Stone Informal Semibold Stone Serif Semibold Italic Stone Sans Semiboid Italic Stone Informal Semibold Italic Stone Serif Bold Stone Sans Bold ‘Stone Informal Bold Stone Serif Bold Italic Stone Sans Bold Italic __Stone Informal Bold Italic Figure 3.8: Stone family Image Courtesy: http://graphicdesign. spokanefalls.edu/tutorials/processitype_basics/type_families.htm 3.2.5 Type Measurements ‘The demand of good design, legibilty and readability, especially with large amount of text, needs altention to the size of type, the length of typeface line (or column width) and the space between paragraphs, lines, words and characters, and so on, ‘The three basic units of measurement used in working with type are as follows: > Points They are used to measure height, essentially the type size (height of the character) and the space between lines and paragraphs. Refer to Figure 3.9. Ahg Figure 3.9: Points Image Courtesy: http://graphicdesign. spokanefalls.edultutorials/processitype_basies/type_families.htm > Picas <_72pis.—»| They are used to measure width, like the width of a typeset column (length of line) or the space between columns. Picas are more convenient in comparison to inches because smaller spaces can be measured in whole units instead of fractions, v Ems and ens The em space is based on the em quad that is the square of the type size. For instance, the em quad of 48 points, Futura is 48 points high by 48 points wide. The em space measures 48 points. I is specifically useful type measurement because instead of being static like points and picas, it changes in proportion to size of type: used. It is mainly used (o control space between characters, words, and special characters such as the long dash or om dash. Refer to Figure 3.10. 48 pis. 7M: a: oo ak n space 48 pt. 48 48pLM — Emauad Emspece Enspice 48 pt 48.pt 43 pt Figure 3.10: Ems and ens Image Courtesy: http://graphicdesign. spokanefalls.edu/tutorials/processitype_basics/type_families.htm 3.3 Type Anatomy 3.3.1 Characters A character is the fundamental typographic element. It is any individual number, letter or punctuation mark. The capital letters are called caps or uppercase characters and small letters are called lowercase characters. Similarly, numbersare called numerals or figures, Lining or modem numerals are cap height while old style numerals have ascenders and 1234567890 Modern numersie 1234567890 Old numerals Figure 3.11: Characters Image Courtesy: http://graphicdesign. spokanefalls. edu/tutorials/process/type_basicsitype_families.htm + Special characters Pi characters are special characters used for math signs, punctuation marks, accented characters, and reference marks. Refer to Figure 3.12. +-+=% ple” “() Math signs Punctuation marks aAéeGiA T®@OSti Accented characters Reference marks Figure 3.12: Special character Image Courtesy: http:/[graphicdesign. spokanefalls.edu/tutorialsiprocessitype_basicsitype families.htm ‘On Macintosh systems, special characters can be viewed for any font with the Key Caps ulity under the apple menu, Ligatures are character pairs that are re-designed as optional single characters, Refer to Figure 3.13. fi ffl ct fi fa & Standard characters set in Adobe Ligature characters set in Adobe Garamond Garamond. Expert and Adobe Garamond Alternative. Figure 3.13: Ligature Image Courtesy: http:/igraphiedesign. spokanefalls.edu/tutorials/processitype_basicsitype_families.htm 3.3.2 Character Components Typographic characters have fundamental component parts, The easiest way to distinguish characteristics of type designs is by comparing the structure of these components, ‘As shawn in Figure 3.14, the structure of the character components are classified as follows: Base line: The imaginary horizontal ine to which the body or main component of characters are aligned, Bar: The horizontal stroke on the characters ‘A’, H','T',e,'f, Bowl: The curved stroke which surrounds a counter. X-height: The height of the body, minus ascenders and descenders, which is equal to the height of the lowercase, Is called 'x-height ‘Shoulder: The part of a curved stroke coming from the stem, Ascender: The lowercase character stroke which extends above the x-height. ‘Stem: A stroke which is vertical or diagonal. Counter: The empty space inside the body stroke. Loop: The bottom part of the lowercase roman ‘gDescender: The lowercase character stroke which extends below the baseline, Bracket: A curved line connecting the serif to the stroke. ta charge Cap) =typobaphy Figure 3.14: Character components 3.4 Summary In this session, An Introduction to Type, you learned that: Typeface is the basic category of type design, The design variations included by a typeface are called styles. Font is a collection of all the characters of a typeface in one size and one style. Type family is an assembly of all the styles and sizes of a typeface from a type family, bearing the name of its typeface, Points, picas, and ems are the three basic units of measurement, A character is the fundamental typographic element. Onlinevarsity GET SKILLED TO BECOME A PROFESSIONAL3.5 Exercise 1 is the basic category of type design ‘Typeface Typestyle Type families None of these 2 is a traditional thick and thin serif face. Stone Informal Stone Serif Stone Sans. None of these 3 are used to measure width of typeset column a. Points b. Ens cc. Ems d. Picas 4. The em space is based on the em quad that is the square of the type size. a. True b. False 5. Stone Sans is a graceful, contemporary rounded serif typeface. a, True b. False Onlinevarsity pe it = Mae ar LyAnswers to Exercise 1, Typeface 2, Stone Serif 3. Picas 4, True 5. False OnlinevarsityOnlinevarsity JOIN GROUPS FOR COLLABORATIVE LEARNING SLeaRhHBAaSession 4 Typography for Industries Learning Outcomes In this session, you will learn to: > Explain the Industry Requirement for Typography 4.1 Usage of Typography for Various Industries Between the years of 1760 and 1940 Europe and in particular Britain, went through a period of rapid social and economic changes. As the general population increased in both number and educational standing, and the economy boomed Under the so-called industrial revolution, the demand for the printed word increased rapidly. This gave rise to the printing press and typography was born. People started using @ hard-carved woaden type block to mass-produce text. Wood was a popular medium for this purpose, being later on replaced with curved steel, With the power to now mass produce: Quicker and cheaper than ever before, articles could now be designed, combining type and images to dramatic effect Refer to Figure 4.1 Figure 4.1: 16% Century Printing press in Germany Image Courtesy: Wikipedia ‘With the arrival of the printing press in the West in 140, typography became a specialized occupation. With subsequent technologies, typography was put into motion - in film, television and online broadcasts - to add context to mass ‘communication. However, with the advent of the digital age, typography moved from a professional art into the realm of {graphic designers and lay users, which caused the birth of the practical fonts of vaditional typography. Earlier typography was performed by specialized people, However, with the advent of the digital age, anyone and everyone can work with typography and has given rise to a new breed of visual designers. In modern times. typography thas been put to use in film, television, and online broadcasts to add emotion to communication. Typography is performed by typesetters, compositors, typographers, graphic designers, art directors, comic book artists, graffiti artists, clerical workers, and everyone else who arranges type for a product. ‘The practice and study of typography is very broad and covers all aspects of letter design and application. It not only covers mechanical, typesetting and type design but also manual, handwriting, and calligraphy. Refer to Figure 4.2Figure 4.2: Calligraphy Image Courtesy: thisiscolossal.com ‘Typography is observed in a wide range of products and situations, Some of them are documents, presentations, display typography, Clothing, Maps and labels, and Vehicle instrument panels. It is also seen as a component of industrial design; for example type on household appliances, pens and wristwatches. ‘Amostall industries use typography in some form or fashion. Any industry that has the need to communicate its products or ideas uses typography. It is the design and use of typefaces as a means of communication. It begun with the development of moveable type but has its roots in handwritten letterforms. Typography encompasses everything from calligraphy through digital type and type on Web pages. It also includes type designers who create new lotierforms as well as designers and calligraphers who use the letters as part of their designs. Since digitization, typography has spread to a wider range of applications, appearing on web pages, LCD mobile phone screens, and hand-held video games. 4.1.1 How to Choose Typography for Industries? Today there is a wide range of fonts available, it can quite a task to select the right one with the right impact There is an endless choice of fonts - from normal, conventionablooking fonts to novelty candy cane fonts, and bunny fonts, Choosing the wrong font, could result in the impact you envisaged, reduced. Or stil worse, could totally ater the response you need Choose a font that accurately defines your thought process. ‘There are many aspects you need to keep in mind when selecting the typeface. Some of them are: > Purpose: clearly the most important aspect of selecting the type. The type you choose should form a strong lasting impression in your mind about what you want to convey and what your audience will perceive it. > Legibility: itrefers to the design of the typeface, as in the width of the strokes, whether or not it has serifs, the presence of novel type design elements and so en. It is easy to tell one letterform from another in a legible typeface. For instance, decorative typefaces have low legibility because they are primarily meant to be seen at a glance, rather than read at length. Conversely, typefaces designed for novels or newspapers have very high legibilty. You need to design a specific, overall legibility based on the function of the text. > Suitable for the accasion: same typefaces are more suitable for a design task than others. For example when you are designing for a bank, you would want a more serious and responsible looking font like Bembo rather than a more light hearted one like Souvenir, The second one would be more appropriate for a children's bookstore or a health club. Refer to Figure 4.3,JANK OF NEW VERMONT! CERTIFICA FEATURED: 18-M¢ Choose Your Term CD: Guaranteed rate of retul term of your choice. Minimum deposit of $500 reqt annual percentage yield (APY) imposed for early withdrawal Certificat Featured: 18-Mont! Choose Your Term CDs- Guaranteed rate of return term of your choice. Minimum deposit of $500 require annual percentage yield (APY) she for early withdrawal from a CD. ? Figure 4.3: Suitable for the occasion Image Courtesy: smashingmagazine.com Using the right type in your communication is important in representing your brand right. Knowing which typefaces are ‘most engaging for online visitors can mean the difference between engaging your customers and losing their attention, ‘Your aim is to engage your customers in the most appealing way possible. Some fonts have a pleasant aura around them whereas some are rough. Stil some others have a mean streak to them. You need to select the type based an the industry, product, service or brand that you are promoting. In addition, be aware that types that are unpleasant and hard to read may put off your customers, Therefore, investing time and effort in selecting the right font and presentation type is critical Fonts are a wonderful medium to convey emation. Some fonts can help you dramatize a message and quickly get your customers attention while some are more subtle. When picking a font style to evoke certain emotions, be sure to ensure that you match these emotional triggers with your overall brand. For instance, you might confuse your customer if you use 2 font that brings about a sense of danger if your business’ brand is inspiring and uplifting. The emotional response your fonts should be complementary to your brand, 4.1.2 Most Regularly Used Fonts for Industrial Typography “The font you choose has a strong impact on the impression you make and the message you convey. When selecting the right font for your brand, itis important for you to first decide if you would like serif fonts or fonts without serif. Fonts classification is as shown in Table 4.1, Seni Sans Serf Fonts that have srokes Fonts that don't have suokes Eg Georgia Eg Helvetica ot “4 Georgie Helvetica ‘advantages Tavankages + Seriffonts ate sutable for in showcasing the brand's | + Sans serif fonts are easier on the eye personality + They convey messages in a simple and + Seriffonts are memorable and stylish clear manner. Table 4.1: Fonts Classification‘There are innumerable fonts available these days with more and more being added each day. However, there are some classic, tried and tested fonts that will never go out of style. Some of them are shown in Table 4.2. Helvetica Wiost frequently used font. Helvetica Trajan Tis an old siyle seri typeface, The design is based on Roman square capitals, as used for the inscription at the base of Trajan's Column from Which the typeface takes its name. Garamond Tes a great font for magazines, aramon textbooks, Websites, and long bodies of text Futura Tis trequenlly used in large Futura displays. logos. corporate typefaces, and in books where small text is needed, Futura has an appearance of efficiency and forwardness. odoni [ave Pes = Bickham Script Pro Bickheon Ae ig Pro This used mainly for formal occasion, Frutiger Tis usually used in signages since . the forms are designed so that each individual character is quickly and easily recognized. Table 4.2: Classical Fonts4.2 Usage of Typography, Including Color Scheme/Fonts in Concept Design 4.2.1 What is the role of typography in concept design? Today more and more people are aware of typography and the impact it has on designing. When working on a digital Project, it is important to be prepared to discuss fonts curing the creative process. There are various elements of a design that go into planning and executing a project. Each one of these elements complements one another. One element out of place Would render the entire project unbalanced. A balance of them all is important to have a final ‘seamless project which serves the intended goal it was made for. 4.2.2 Various Design Elements Some of the elements of design are > Tilles/Headings > Logos 4.2.3 Color Elements Color is one of the most powerful communication tools in typography. Lack of itis what we notice fist. ‘Typography is the art of arranging the typed letters to make the written text readable and amazing looking at the same. time. A great type, with poor usage of colors could go all wrong. Not using the correct color combination, the text may not be visible enough to read, Using color thoughtfully, helps clarify the communication in any document or material. Color and type together bring about dynamical effects in a multitude of applications: logotypes, book and editorial design, packaging and product, design, brochures, greeting cards, book covers, as well as CDs, and posters. Color also adds interest in headlines, ‘subheads, bulleted lists, pull quotes, initial letters, and other typographic elements. Refer to Figure 4.4 Some pointers to keep in mind when using color: Create contrasts to make sure that the material is readable. Use optimum number of colors. Using to many can ditte the impact Be consistent ‘Some typefaces are color-fiendly typefaces. Avoid those with haitlines, thin serifs or other fine deta Be cautious about special-effect colors: metallcireflective. luminescent, fluorescent or briliant, glowing colors (certain yellows, oranges, pinks, and so on.). Perception of color and contrast is affected by the viewing surface and its reflective qualities. It also affects the readability,Figure 4.4: Colored backgrounds behind black text serve to divide the different story elements in this: ‘complicated yet stylish editorial spread from Ualc Image Courtesy: fonts.com 4.2.4 Relation to Brand Fonts connect with customers. People consciously or sub-consciously are influenced by the fonts being used. A sudden change may or may not appeal to them. Using a well thought out font makes a huge difference to the way the customers perceive and accept the brand. For example in 2009, PepsiCo's popular orange Juice brand, Tropicana Pure Florida Orange Juice, underwent a major rebranding. The name “Tropicana” changed from its classic font look to a hip, sans serif looking font and within two months, sales dropped @ whopping 20%, costing the brand tens of millions of dollars. The font on the classic carton of ‘orange juice was Tropicana, The font felt and had a visual message that was meant to be forever with Tropicana, Refer to Figure 45. ast Figure 4.5: PepsiCo Rebranding Image Courtesy: vtldesign.com4.2.5 Creativity To sell products, concepts and ideas, companies use different advertising methods to reach out to customers. Companies use attractive typography designs in various marketing materials such as flyers, brochures, visiting cards, ‘and So on, Marketing personnel, especially graphic designers play a huge role in this perception management, Typography is 2 very critical tool to achieve this result, There is no end to the creativity one can showcase using typography. Figures 4.6 to 4.8 give some examples of creativity in designing using typography. Figure 4.6: Creative Typography Image Courtesy: webneel.com Figure 4.7: Expression Through Typography Image Courtesy: speckyboy.com Figure 4.8: Typography in Poster Image Courtesy: speckyboy.com4.2.6 Spacing Spacing plays a key role in establishing the color, texture, and readability of a typographic communication. Different fonts have different characteristics. Some fonts have letters that are nicely spaced out while some have letters that are more hurdled together. Both have their own appeal to the readers. However, itis important to pay attention to that aspect when choosing fonts. ‘Some tips for understanding spacing in fonts are: > Too less line spacing can make the sentences laok cramped. It will also affect the readability of the averall ‘material, It is important to remember that different fonts need different line spacing. Varying heights in lottorforms may demand more or less. Tight word spacing cause words to run into each other whereas words that are too open create oversized blocks of white space between words. Word spacing will be affected by the proportions of a typestyle, letter fit, and point size ofthe setting. A basic uideline for text is for the word spacing to approximate the character width of the lowercase ‘n’ or ‘0’, Display seitings should have narrower word spacing than text designs. A condensed type design requires less space between words than a regular or expanded typeface. A typeface with tight letter spacing needs less word space than a more openly fitting design. Selting type at larger sizes calls for slightly less word space than smaller sizes, 4.2.7 Sizing The font size that one uses impacts the readability of the material, People read to find the information that they need or to increase their knowledge. There are many ways that people read - they either skim through an article or scan it reading only key words of read it being engrossed in it. Therefore, its important to maintain a comfortable font size. All typefaces are not created equally. Some are fat and wide; some are thin and narrow. So words set in different typefaces can take up a very different amount of space on the page. ‘The height of each character is known as its 'x-height’. When pairing typefaces - such as when using a different face to denote an area of attention - it's generally wise to use those that share a similar x-height. The wicth of each character is known as the ‘set width’ - which spans the body of the letter plus a space that acts as a buffer with other letter. The most common method used to measure type is the point system, which dates back to the eighteenth contury. One point is 1/72 inch. 12 paints make one pica, a unit used to measure column widths. Type sizes can also be measured in inches, millimeters, or pixels, 4.3 Usage of Typography in Promotional Material 4.3.1 Principles of typography + Know the difference between font and typeface {A font is a grouping of typefaces that have similar characteristics. A typeface is referring to an individual family member of that font. For example, Gotham has many typeface variations, but each falls within the parent font Gotham. Specifically, Gotham Italic is a typeface: it resembles all things Gotham, but looks slightly different. Knowing the kinds of typefaces you have to work with or want to use will give you a good foundation as you develop your digital presence.+ Know the important types of fonts ‘As discussed, there are numerous fonts available today. However, they all fall under these major categories, with each one having its distinctive flavor. Knowing this, will help you decide what font will uit you best. Serif: allows the eye to flow through the sentences with ease. Sans-serif. are often modern, trendy and streamlined, however they tend to be harder to read at ‘smaller sizes, Script: is known for its elegant, ight and professional appeal. However, itis not designed to be used as body copy or used in small spaces Display: often seen on movie posters, banners, newspapers etc. designed to grab attention and emphasize. Hand lettering: look lke they have been written by hand and are designed such to give a human aspect to the design. + Fonts speak louder than words Different fonts and typefaces carry different meanings. The font you use can completely alter the message you intentto convey, Refer to Figure 4.9. The first hello comes across as enthusiastic, friendly and confident whereas the second comes across as being distant and shy, Similarly, Figure 4.10 displays a STOP signage. The first cone is hard to miss whereas the second one looks timid and can be easily overlooked by most people. hell HELLO Figure 4.9: fonts conveying meaning Image Courtesy: smashingmagazine.com TOP Figure 4.10: Impact of the right font Image Courtesy: vtidesgn.com4.3.2 Importance of Typography in Advertising Design Typography plays a lead role in the creation 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. The combination of the right type, size and color is offen used to draw attention to a particular advertisement Today, typography in advertising often reflects a company's brand, Fonts used in advertisements convey different messages tothe customer; 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. ‘Typography is important in both print and the eb mecia. With all the advertising placed in front of consumers on a daily basis, i's important to design and use type in such a way that it attracts the reader's attention and gives them a clear Understanding of the message. Font, point size. colar, and line length are some of the things to consider when arranging typography in advertising, Type must be readable and visually appealing, It also influences how readers process information, and the most successful typography also engages the consumer. Typography is important in advertising because ittells the consumer What they're reading and why i's important to them. 4.3.3 Typography in Other Promotional Materials The one most important difference in designing for signages and billboards is the scale. A standard billboard Is 14 feet high and 48 feet wide. Billboards are much larger than any other form of advertising media. Since customers will need to read the hoarding from a distance, the design and font being used should be large and simple. Another aspect to keep in mind is the location of the signage. The design will he influenced by the placement of the signage, for example on the highway, or on a high street. The color would vary depending on the surrounding environment like greenery oF will the billboard be mounted high above the ground. Color should be chosen keeping the brand identity and visibility in view. Maintain a simple typeface. Optfor a sans serif with uniform and medium to wide stroke widths. Make t big, Think about lettering in terms of 10 to 100, That is 10 inches of letter height for every 100 feet of visibility. Consider the total number of words. The message should be as simple as the typography. For the greatest impact, signs should not contain more than 15 words, The industry formula is typically referred to as the 3 by § rule which means three lines of text, up te five words each, oF five lines of text, up to three words each, Contrast is another aspect to be considered, especially when we have just a few seconds to catch the consumers eye There are some tried and tested contrasts that work well in all situations, Refer to Figure 4.11 to see them, Orrmt felaigiurs orrmt iaigiurs Orrmt felaigiuEs Figure 4.11: Contrasts Image Courtesy: designshack.net4.3.4 Display Typography Display type is used to describe those forms of typographical work that typically uses fewer words at large scale. Here the focus is on attstic skills and less on readability. Type is combined with negative space, graphic elements and pictures, forming relationships and dialog between words and images. In display, more emphasis is given to color and size of the type element. Most display typography exploits type at larger sizes, where the details of letter design are magnified, Color is used for ts emotional effect in conveying the tone and nature of subject matter. Display typography is usually used for Book covers, Typographic logos, Packaging and labeling, Graff, Inscriptional ‘and architectural lettering, Poster design and other large scale lettering signage such as signage and billboards and so 4.4 Summary In this session, Typography for Industries, you learned that: Today typography is used in film, television and online broadcasts to add emotion to communication, The practice and study of typography is very broad and covers all aspects of letter design and application, Almost all industries use typography in some form or fashion, ‘Some of the aspects you need to keep in mind when selecting the typeface are purpose, legibility and suitability. Fonts are classified into serfs and sans serifs, Color is one of the most powerful tools in typography. A type helps customers relate to a brand, ‘Spacing plays a key role in establishing the color, texture and readability of a typographic communication. “The font size that one uses impacts the readability of the material ‘Typography plays a lead role in the creation of promotional material and advertisingAS 1 Exercise ‘Since typography has spread to a wider range of applications, a). Mechanization b) Digitalzation c) Industrial revolution d) Advancement in Technology refers to the design of the typeface, as in the width of the strokes, whether or not it has Sens, the presence of novel type design elements ete. a) Purpose ») Legibity ©) Sultablty 4) Readability Serifs have strokes, State whether true or false? a) True b) False ‘Atypeface with tight letter spacing needs _word space than a more openly fiting design. a) Less b) More ©) Equal 4) None of the above ‘When pairing typefaces such as when using a different face to denote an area of attention, i's generally wise to use those that do not share the same x-height. State whether true or false. a) True b) False Answers to Exercise Digitalization Legibilty True Less False