Typography Dos & Don'ts

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CG Design Technologist Josh Hester recently gave this presentation to fellow co-workers as a primer for typography (the study of type) and its role in graphic design.

Published in: Design

Typography Dos & Don'ts

  1. 1. TYPOGRAPHYDOS AND DONTSTYPE RULES (AND WHEN TO BREAK THEM)
  2. 2. TYPOGRAPHYDOS AND DONTSTYPE RULES (AND WHEN TO BREAK THEM)×
  3. 3. TYPOGRAPHYDOS AND DON’TSTYPE RULES (AND WHEN TO BREAK THEM)
  4. 4. SMART QUOTES:‘TOY STORY 3’“HUH?”
  5. 5. SMART QUOTES:‘TOY STORY 3’“HUH?”DUMB QUOTES:64"
  6. 6. THE BASICS
  7. 7. WIDE LOADTIGHTWAD
  8. 8. WIDE LOADTIGHTWAD
  9. 9. WIDE LOADTIGHTWADWIDE LOADInterstate BlackTIGHT WADInterstate Black Compressed
  10. 10. There’s that. And this.But then... there’s that.
  11. 11. There’s that. And this.But then... there’s that.
  12. 12. There’s that. And this.But then... there’s that.There’s that. And this.But then… there’s that.ELLIPSIS
  13. 13. There’s that. And this.But then… there’s that.LIGATURE
  14. 14. fidgetwaffleflufffidgetwafflefluff
  15. 15. “Emphasizing a word or phrase within a bodyof text usually requires only one symbol.Italic is the standard form of emphasis. Thereare many alternatives, however, includingboldface, small caps or a change in color.”–Thinking with Type, Ellen Lupton
  16. 16. BOLD, ITALIC,UNDERLINED CAPS!IN COLOR!
  17. 17. HYPHENVS.EN DASHVS.EM DASH
  18. 18. -–—HYPHENEN DASHEM DASH
  19. 19. -–—HYPHENEM: Equal to the point size, or width of the ‘M’EN: Half the width of EM, or width of the ‘n’EN DASHEM DASH
  20. 20. “Three-em rule”“6:00–9:35 pm”“It happened — trust me.”Minion Pro
  21. 21. “It happened -- trust me.”“It happened – trust me.”“It happened — trust me.”“It happened—trust me.”
  22. 22. ‘MESSAGING’ TYPE
  23. 23. May Reilly Parker-Jameson, commonly known asAunt May, is a supporting character in Marvel Comics’Spider-Man series. Created by writer Stan Lee andartist Steve Ditko, she first appeared as May Parkerin Amazing Fantasy #15 (August 1962). She hasappeared in most other media adaptations of thecharacter as an important part of the Spider-Manseries.
  24. 24. May Reilly Parker-Jameson, commonly known asAunt May, is a supporting character in Marvel Comics’Spider-Man series. Created by writer Stan Lee andartist Steve Ditko, she first appeared as May Parkerin Amazing Fantasy #15 (August 1962). She hasappeared in most other media adaptations of thecharacter as an important part of the Spider-Manseries.
  25. 25. May Reilly Parker-Jameson, commonly known asAunt May, is a supporting character in Marvel Comics’Spider-Man series. Created by writer Stan Lee andartist Steve Ditko, she first appeared as May Parkerin Amazing Fantasy #15 (August 1962). She hasappeared in most other media adaptations of thecharacter as an important part of the Spider-Manseries.WIDOW
  26. 26. May Reilly Parker-Jameson, commonly known asAunt May, is a supporting character in Marvel Comics’Spider-Man series. Created by writer Stan Lee andartist Steve Ditko, she first appeared as May Parkerin Amazing Fantasy #15 (August 1962). She hasappeared in most other media adaptations of thecharacter as an important part of the Spider-Manseries.
  27. 27. May Reilly Parker-Jameson, commonly known asAunt May, is a supporting character in Marvel Comics’Spider-Man series. Created by writer Stan Lee andartist Steve Ditko, she first appeared as May Parker inAmazing Fantasy #15 (August 1962). She has appearedin most other media adaptations of the character as animportant part of the Spider-Man series.
  28. 28. May Reilly Parker-Jameson, commonly known asAunt May, is a supporting character in Marvel Comics’Spider-Man series. Created by writer Stan Lee andartist Steve Ditko, she first appeared as May Parkerin Amazing Fantasy #15 (August 1962). She hasappeared in most other media adaptations of thecharacter as an important part of the Spider-Manseries.
  29. 29. May Reilly Parker-Jameson, commonly known asAunt May, is a supporting character in Marvel Comics’Spider-Man series. Created by writer Stan Lee andartist Steve Ditko, she first appeared as May Parker inAmazing Fantasy #15 (August 1962). She has appearedin most other media adaptations of the character as animportant part of the Spider-Man series.
  30. 30. SMALL CAPSVS.TEXT FIGURESVS.UPPERCASE
  31. 31. “6:00–9:35 PM”“6:00–9:35 pm”SMALL CAPSTEXT FIGURESOLD-STYLE FIGURESHANGING FIGURES
  32. 32. “So the date is 23 August 1832; it could be 3:00 amin Apartment 6-b, 213-a Beacon Street; it is 27°cor 81°f; the price is $47,000 usd or £28,000; thepostal codes are nl 1034 wr Amsterdam, sf 00170Helsinki 17, Honolulu 96814, London wci 2nn,New Delhi 100 033, Toronto m5s 2g5, and Dublin 2.”“but it is 1832 and 81° IN FULL CAPS.”–The Elements of Typographic Style, Robert Bringhurst
  33. 33. “Thus: 3:00 am, 3:00 pm, the ninth century ce,450 bc to ad 450, the oas and nato; WorldWar ii or wwii; but JFK and Fr J.A.S. O’Brien,omi; hms Hypothesis and uss Ticonderoga;Washington, DC, and Mexico, DF; J.S. Bach’sPrelude and Fugue in B" minor, bwv 867.”–The Elements of Typographic Style, Robert Bringhurst
  34. 34. “Thus: 3:00 am, 3:00 pm, the ninth century ce,450 bc to ad 450, the oas and nato; WorldWar ii or wwii; but JFK and Fr J.A.S. O’Brien,omi; hms Hypothesis and uss Ticonderoga;Washington, DC, and Mexico, DF; J.S. Bach’sPrelude and Fugue in B" minor, bwv 867.”–The Elements of Typographic Style, Robert BringhurstHANGING QUOTES
  35. 35. UPPERCASEVS.LOWERCASE
  36. 36. TypographyTYPOGRAPHYT Y POGR A PH YTy pography
  37. 37. TypographyTYPOGRAPHYT Y POGR A PH YTy pography
  38. 38. TYPESETTING
  39. 39. “Being a famous designer is like being a famous dentist.”
  40. 40. Being a famous designeris like being a famous dentist.Archer
  41. 41. Being a famousdesigneris like being a famousdentist.
  42. 42. B e i n g a f a m o u sd e s i g n e ris like being a famousd e n t i s t .
  43. 43. Being a famousis like being a famousdentist.designer
  44. 44. Being a famousdesignerdentist.is like being a famous
  45. 45. FLUSH LEFT, RAGGED RIGHTVS.FLUSH RIGHT, RAGGED LEFTVS.JUSTIFIEDVS.CENTERED
  46. 46. Lorem ipsum dolor sitamet, consectetuer zzriladipiscing elit, sed lobortisnonummy nibh doloremagna erat volutpat.Ut wisi enim ad minimveniam, quis nostrudexerci tation ullamcorpersuscipit lobortis nisl utcommodo consequat.
  47. 47. Lorem ipsum dolor sitamet, consectetuer zzriladipiscing elit, sed lobortisnonummy nibh doloremagna erat volutpat.Ut wisi enim ad minimveniam, quis nostrudexerci tation ullamcorpersuscipit lobortis nisl utcommodo consequat.IRREGULARSHAPE:PREFERREDREGULARSHAPE:NOT PREFERRED
  48. 48. Lorem ipsum dolor sitamet, consectetuer zzriladipiscing elit, sed lobortisnonummy nibh doloremagna erat volutpat.Ut wisi enim ad minimveniam, quis nostrudexerci tation ullamcorpersuscipit lobortis nisl utcommodo consequat.
  49. 49. Lorem ipsum dolor sitamet, consectetuer zzriladipiscing elit, sed lobortisnonummy nibh doloremagna erat volutpat.Ut wisi enim ad minimveniam, quis nostrudexerci tation ullamcorpersuscipit lobortis nisl utcommodo consequat.FLUSH RIGHT,RAGGED LEFTNOT PREFERRED
  50. 50. Lorem ipsum dolor sitamet, consectetuer zzriladipiscing elit, sed lobortisnonummy nibh doloremagna erat volutpat.Ut wisi enim ad minimveniam, quis nostrudexerci tation ullamcorpersuscipit lobortis nisl utcommodo consequat.
  51. 51. Lorem ipsum dolor sitamet, consectetuer zzriladipiscing elit, sed lobortisnonummy nibh doloremagna erat volutpat.Ut wisi enim ad minimveniam, quis nostrudexerci tation ullamcorpersuscipit lobortis nisl utcommodo consequat.NOT GREAT
  52. 52. Lorem ipsum dolor sitamet, consectetuer zzriladipiscing elit, sed lobor-tis nonummy nibh dolo-re magna erat volutpat.Ut wisi enim ad minimveniam, quis nostrud ex-erci tation ullamcorpersuscipit lobortis nisl utcommodo consequat.NOT MUCHBETTER
  53. 53. Lorem ipsum dolor sitamet, consectetuer zzriladipiscing elit, sed lobortisnonummy nibh doloremagna erat volutpat.Ut wisi enim ad minimveniam, quis nostrudexerci tation ullamcorpersuscipit lobortis nisl utcommodo consequat.
  54. 54. Lorem ipsum dolor sitamet, consectetuer zzriladipiscing elit, sed lobortisnonummy nibh doloremagna erat volutpat.Ut wisi enim ad minimveniam, quis nostrudexerci tation ullamcorpersuscipit lobortis nisl utcommodo consequat.USE SPARINGLYWHEN SETTINGPARAGRAPHS
  55. 55. HANDWRITTEN FONTSVS.SCRIPTS
  56. 56. Dear John,
  57. 57. Dear John,This handwritten letter isfor you to tell you how Ireally feel about you...
  58. 58. Dear John,This handwritten letter isfor you to tell you how Ireally feel about you...
  59. 59. Hello!Hello!Hello!Hello!Hello!Hello!Hello!Hello!Hello!hello!hello!hello!
  60. 60. Hello!Hello!Hello!Hello!Hello!Hello!Hello!Hello!Hello!hello!hello!hello!
  61. 61. BUT WAIT…
  62. 62. HEY,what’sthis…LiebeErikaStrangelove NextSalmiakthisisn’tsobad……andneither is this!
  63. 63. HEYwhat’sthis?Strangelove Next
  64. 64. Strangelove NextCUSTOM MADE
  65. 65. Fenway ParkBusiness PenmanshipCarpenterMetroScriptCompendium
  66. 66. PAIRING TYPEFACES
  67. 67. SUPERFAMILIES
  68. 68. EXAMPLES OF SUPERFAMILIESFF META (Sans, Serif, Headline)FF QUADRAAT (Sans, Serif, Display, Headliner)FF SCALA (Sans, Serif)FF TISA (Sans, Serif)HTF KNOCKOUT (32 Sans weights)ITC OFFICINA (Sans, Serif, Display)PENUMBRA (Sans, Serif, Half Serif, Flare)NEUTRAFACE (Neutraface1, Neutraface2, Slab)STONE (Sans, Serif, Informal)THESIS (TheSans, TheSerif, TheMix, TheAntiqua)
  69. 69. LOOK ALIKESSIMILAR CAN BE NICE…
  70. 70. LOOK ALIKES…BUT NOT TOO SIMILAR!
  71. 71. INCREASED CONTRAST
  72. 72. INCREASED CONTRAST
  73. 73. HISTORICAL SIMILARITIES
  74. 74. SAME FOUNDRY OR TYPOGRAPHERMorris Fuller Bentonmatthew carterHOEFLER & FRERE-JONESHOUSE INDUSTRIESRobert Slimbacherik spiekermannTYPE TOGETHER
  75. 75. BREAKING THE RULES
  76. 76. DavidCarson
  77. 77. DavidCarson
  78. 78. DavidCarson
  79. 79. DavidCarson
  80. 80. WRDBNR.COM
  81. 81. WRDBNR.COM
  82. 82. ShahirZag
  83. 83. CraigWard
  84. 84. CraigWard
  85. 85. CraigWard
  86. 86. VaughnHockey
  87. 87. MarianBantjes
  88. 88. AlexTrochut
  89. 89. ShaunFlynn
  90. 90. KELLERHOUSE
  91. 91. JanuzziSmith
  92. 92. EdFella
  93. 93. KyleKargov
  94. 94. THANK YOU

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