Categories TYPE of Text is the most essential ingredient in design communication. With type you communicate in two distinct ways. The first message your audience receives comes from the way the type looks. The second message is the meaning of the words – your actual message. The visual message must correspond with the written message. Type is the basic building block of any printed page. Most people tend to “wing it” when working with type. Learning more about type categories, type styles, and some of the guidelines for text use will improve your projects.

Text is the most essential ingredient in design communication. With type you communicate in two distinct ways. The first message your audience receives comes from the way the type looks. The second message is the meaning of the words – your actual message. The visual message must correspond with the written message. Type is the basic building block of any printed page. Most people tend to “wing it” when working with type. Learning more about type categories, type styles, and some of the guidelines for text use will improve your projects.

Type Categories Serif Oldstyle Modern Slab Serifs Sans Serif Script Also known as typefaces – all the characters of a single type design. A font is one style and size of a particular typeface. Serif Oldstyle Modern Slab Serifs Sans Serif Script Decorative Symbol Also known as typefaces – all the characters of a single type design. A font is one style and size of a particular typeface.

Serif This is a serif! Serifs are small lines or strokes that appear at the end of characters.

Serif – Oldstyle Based on the hand lettering of scribes. These are conservative and dignified. They are good for long passages of text as they guide the eye from letter to letter. If you’re setting lots of type that you want people to actually read, choose an Oldstyle. These are based on the hand lettering of scribes. Serifs are small lines or strokes that appear at the end of characters. These are conservative and dignified. They are good for long passages of text as they guide the eye from letter to letter.

Serif - Modern Modern typefaces have serifs, but the serifs are now horizontal instead of slanted, and they are very thin causing an effect on the page called “dazzling.” Modern typefaces have a striking appearance, especially when set very large. Because of their strong thick/thin transitions, most Moderns are not good choices for extended amounts of body copy. Moderns tend to have a cold, elegant look.

Serif – Slab Serif Along with the Industrial Revolution came a new concept: advertising. Many of the Slab Serifs that have a slight thick/thin contrast are very high on the readability scale. Slab serifs are often used in children’s books because of their clean, straightforward look.

Sans Serif Without Serif

Sans Serif Sans translates to “without” in French. This typeface is monoweight – meaning there is no thick/thin transition in the stroke of the letter. These are good for headlines, captions, and reverse type. Means “without serif” in French. They are monoweight – meaning there is no thick/thin transition in the stroke of the letter. These are good for headlines, captions, and reverse type.

Script

Script Brush Script Vladimir Script Monotype Corsiva French Script MT These appear to have been hand lettered in calligraphy pen or brush. Use sparingly. Never set long blocks of text in script and never use it in all caps. Great for grabbing attention in a headline when larger sizes are used. Often used in drop caps. Depending on the font, the letters may be connected or not. Often used for announcements and invitations. Brush Script Vladimir Script Monotype Corsiva French Script MT Lucida Handwriting These appear to have been hand lettered in calligraphy pen or brush. Use sparingly. Never set long blocks of text in script and never use it in all caps. Great for grabbing attention in a headline when larger sizes are used. Often used in drop caps. Depending on the font, the letters may be connected or not. Often used for announcements and invitations.

Decorative

Decorative Chiller Ravie Old English Text MT Jokerman Snap ITC Fun, distinctive, and whimsical. Use is limited. Never use as body text for long publications. OK for headlines or to convey emphasis. Good for use at font size 24 and above. Also known as display typefaces and Ravie Old English Text MT Chiller Jokerman Snap ITC Fun, distinctive, and whimsical. Use is limited. Never use as body text for long publications. OK for headlines or to convey emphasis. Also known as display typefaces and good for use at font size 24 and above.

Symbols a b c d e f g hijklmo 1234567 abcdefg Wingdings They are collections of related symbols. Very limited use to accent material. Takes some exploration to discover the symbols you need. Also known as Dingbats, Glyphs, or Ornaments. Good use for Bullets and Logos. hijklmo Webdings 1234567 Wingdings2 They are collections of related symbols. Very limited use to accent material. Takes some exploration to discover the symbols you need. Also known as Pi, Logo, or ornaments. a b c d e f g Symbol

Type Families Multiple fonts – very similar within one family that shares common letterform construction. The original font is still recognizable. Franklin Gothic Book Franklin Gothic Demi Franklin Gothic Demi Cond Franklin Gothic Heavy Franklin Gothic Medium Franklin Gothic Medium Cond Multiple fonts – very similar within one family that shares common letterform construction. The original font is still recognizable.

Type Styles Verdana Verdana Verdana Verdana Verdana Verdana All Caps Style changes add emphasis or contrast. It can reduce readability – especially in body text. Never force a type style that isn’t offered in the drop downs (especially in InDesign). Use Italics for titles of books, movies, or other published works. Never use underline. Also good for emphasis in body text. Good for kickers and subheads. Bold is good for headlines, subheads, pull quotes, and captions. Helps text stand out. Bold Italic also is good for headlines, subheads, and pull quotes. Style changes the type to add emphasis or contrast. It can reduce readability – especially in body text. Never force a type style that isn’t offered in the drop downs (especially in InDesign). Use Italics for titles of books, movies, or other published works. Never underline in DTP. Also good for emphasis in body text. Good for kickers and subheads. Bold is good for headlines, subheads, pull quotes, and captions. Helps text stand out. Bold Italic also is good for headlines, subheads, and pull quotes. Verdana Bold Verdana Regular Verdana Small Caps Verdana Italic Verdana Bold/Italic Verdana All Caps

TYPOgraphy Type Terminology Font Size – The height of a typeface, measured in points. TYPOgraphy Ascender x-Height Baseline Descender 66 Points X-height: main body of lowercase letters Ascender: part of a letter that extends above the x-height Descender: part of a letter that extends below the x-height baseline Includes distance from the bottom of the descender to the clearance allowance above the ascender.

Can vary greatly especially with CAPS Kerning TYPE Can vary greatly especially with CAPS

Tracking

Leading General guidelines allow for 120% leading Baseline to Baseline

Type Alignment Left Alignment Right Alignment Center Alignment Left alignment has an informal look. It is good for body text, headlines, captions, and large type. Most common alignment. Right alignment should be used sparingly for special effects such as headings, captions, or pull quotes. Do not use for body text. Center alignment is hard to read for long blocks of copy. Best for invitations, captions, pull quotes and short headlines. Justified text has even left and right margins. It can be read more rapidly because of consistent column width so it is good for long columns of text. Justified text is stretched from margin to margin, adding extra spacing as needed

Paragraph Text Serif Font, 9-12 pts When measuring type, the point size is the distance from the tip of all ascenders to the bottom of all descenders plus a small amount of additional space above and below to keep one line of text separated from the next. Choosing the appropriate point size in a publication is extremely important. Serif Font, 9-12 pts

Headings/Subheadings Sans Serif Headings - 24 pts. or larger Subheadings - 14-18 pts.