Introduction to Type

Type

 As noted earlier, type refers to a letter, symbol, figure or other characters

cast in metal, wood or plastic for use in printing.
 But a typeface is a collection of letters or symbols with similar traits.
 A n/paper can use the same typeface for h/line and text or choose a h/line
type that complements the text.
 You can think of a typeface as a family. Like families, typefaces have names –
some descriptive, like wedding text, others quirky, like Hobo or Sphinx.
 Within a typeface are various styles that look a little different but still
resemble one another, just as members of a family do.
 Type Cont’d

 Every typeface family comprises both roman style (vertical letters) and italic
style in which letters are slanted.
 Every typeface is either serif or sans serif (sans is a French word, meaning
without).
 Serif type looks like typewriter type. Its letters have short perpendicular lines
(serifs) at their edges e.g. Garamond, Times Roman, Bodoni, Palatino etc.
 Conversely, sans serif type has no such lines e.g. Frutiger, Helvetica, Univers
etc.
 A letter in a serif typeface sometimes occupies more space, while all sans
serif type faces are of the same width.
 Type Width

 Type width refers to the horizontal space each letter occupies.

 Many typefaces are in regular or light (normal-width letters), expanded (wide
letters) or condensed (narrow letters).
 While expanded typeface occupies more horizontal space, condensed type
gains more height in the process.
 Computers can be used to tighten or loosen the vertical spacing between lines
or adjust the horizontal space between letters (kerning), with implications for
type’s readability.
 So there’s a limit to which editors can go in squeezing excess h/line or text
into a small space or spreading out a too-short h/line or text to fill available
space.
 Type Weight

 Typefaces also have weight – a measure of the thickness of the strokes of each
letter.
 A particular typeface may be available in light, medium, bold, extra bold and
ultra bold. But no n/paper uses every weight.
 Many n/papers combine weights in predetermined ways – running main
headings in bold and others in light typeface in tandem with layout contrast
principle.
 Type Sizes

 Even more variable than weight of type is its size. But printers measure type
in units called points.
 A point is approximately 1/72 of an inch i.e. a 72 point h/line is one inch tall.
 N/paper text or body type is usually 9 points or 10 points, while the amount
of space between lines of type is called leading – often one point for text.
 While leading enhances readability, its excess makes a story less like a
coherent whole.
 Editors and designers seek daily to make n/papers more reader-friendly.
 But h/lines, which require more leading because of their large type sizes,
range from 14 points for briefs; 18 points and above for others, depending on
how big the story is and the house style.
 Type Classification

 While thousands of different typefaces and type families abound, they are
grouped into five, with each of them having distinct characteristics.
 These traits help editors to determine how to combine typefaces in the
production process, while also enhancing general understanding and
knowledge of type usage.
 Hymes (1958: 80-81) grouped types into five – modern, old style, sans serif,
script and venetian.
a) Modern
 The modern type family, exemplified by Bodoni and Times Roman, is still in
vogue today.
 They are good for both display and text when set in the right measure and
properly leaded.
 Type Classification Cont’d

b) Old style
 A wedged-shaped serif, and a graceful curve from the body of the letter,
distinguishes old style from modern. Calson exemplifies this typeface family.
c) Sans serif
 Sans serif typeface emerged from the quest to modernise type forms. As its
name implies, it has no serif and it’s easy to identify.
 The even strokes of the letter, as in Futura, enables it to combine well with
other typeface or illustration.
 For text, sans serif typefaces come well in short paragraph format with
adequate leading between the lines.
 Type Classification Cont’d

d) Script
 Script enhances readability more than any other type style. Each letter’s
finishing stroke, picked up by the opening stroke of the next letter, should not
be broken by letter spacing.
 Ad copy writers employ it for the dignity, balance and freshness it adds to a
copy, a feat unrivalled by any other typeface.
 Bernhard cursive is a member of the script typeface family.
e) Venetian
 A slight curvature at the bottom of its descending serif hallmarks the venetian
old style.
 Spacing

 Every newspaper has spacing rules for section logos and heads, headlines,
photos, text, boxed stories/graphics and by-lines to enhance readability.
 Spacing is also required in three other ways – between letters, between words
and between lines.
a) Letter spacing
 To enhance readability and design, note the following:
 Avoid spacing between lower case letters to ensure text cohesion.
 Combination of caps and lower case letters in a line requires moderate letter
spacing to improve readability.
 Excess space between characters decreases legibility. To enhance legibility,
avoid all caps in a line and use lower case letters in a block of text. All caps
lines are harder to read than lower case lines.
b) Line Spacing

 Note these to enhance readability:

 Equal space between words and between lines improves legibility.
 Typefaces with short ascenders and descenders require less space between
lines.
 Large size lower case letters need more spacing between lines.
Leading
 Note that spacing between lines differs from letter spacing in terminology and
method.
 For spacing between lines, we use leads of slugs which are less than type-
high.
 Leads range in thickness from 1 point to 5 points.
c) Paragraph Spacing

 Paragraph spacing helps to give readers a fresh start at intervals in a long

reading text, while also breaking the monotony of type.
 Long printed matter without air or white space can put off readers.
 The correct amount of space between paragraphs can be determined by the
line leading, which can be raised from 2 points to 4 points.
 Book and n/paper typographers prefer indented paragraphs to flush
paragraphs for easier reading.
 Generally, paragraphs help to break monotony of text, sustain readers’
interest and adds to the decorative spirit of the thought.
 But always align each paragraph to the lines of the text.
 Readability and Type Selection

 Legibility and readability are important in selecting a particular typeface to

pass your idea, message or thought to your audience.
 So opt for a typeface that would be acceptable to your audience.
 Also ensure that the type harmonises the overall concept of the layout, art
work, idea or product to achieve unity with the paper on which it’s printed.
 Typefaces come either in light or heavy designs to connote femininity or
masculinity.
 Futura, Bodoni, Lydian etc., are regarded as feminine, while Futura display,
Cropper black stymie extra bold or Franklin gothic are masculine for their
strength, boldness and weight.