3. This book is a very short summary of a course
I took this year at Oregon State University,Art 227
Typography: Structures with John Nettleton.
What I have learned about letterforms and typography is
that letters have a life and dignity of their own,
as Robert Bringhurst said.“Letterforms that honor and
elucidate what humans see and say deserve to be honored
in their turn.
Well-chosen words deserve well-chosen letters; these in
turn deserve to be set with affection, intelligence,
knowledge, and skill.Typography is a link, and it ought,
as a matter of honor, courtesy, and pure delight, to be as
strong as the others in the chain.”
I am impressed with the way the textbooks I have read
for this class talk about letters and typography.
I feel like I am approaching almost a sacred subject, and
if nothing else, I should regard it with respect.
SMP
“Typography is concerned with the structuring
and arranging of visual language. Both typeform and
typography are designed to convey a message.
The question of how typography is used to convey
a message can be divided into two parts, typography
as appearance or style, and the practicalities
of working with typography, such as legibi-
lity, scale and formatting.”
Phil Baines & Andrew Haslam
“In all stages of the historical development of the world, the
written word and typography have [sic] been a fundame-
ntal ingredient in human culture.
Only a few specialists are, however, familiar with their
background and effect.Whereas the names of the innovators
in the “classical disciplines”, [sic] such as painting, music and
literature, are common knowledge, those of type designers
and typographers of all historical periods are largely unknown;
only a few appreciate the significance of their work.
Yet the effects of text and typography on all spheres of human
activity are constantly present.They influence the
fields of aesthetics and technology, of the arts and economics.
Without them the rapid exchange of information we take for
granted in our contemporary world would be inconceivable.”
Typography–An Encyclopedic Survey of Type Design and Techniques
Foreword
5. “As with any craft that has evolved over 500 years, typogra-
phy employs a number of technical terms.
These mostly describe specific part of letterforms.
It is a good idea to familiarize yourself with this lexicon.
Knowing a letterform’s component parts makes it much
easier to identify specific typefaces.”
John Kane
The design and use of typefaces as a means of visual
communication from calligraphy to the ever-developing
use of digital type is the broad use of the term typography.
However, the art and practice of typography began
with the invention of moveable type and the printing press.
Typography is sometimes seen as encompassing many
separate fields from the type designer who creates
letterforms to the graphic designer who selects typefaces
and arranges them on the page.
“Typography is the craft of endowing human language
with a durable visual form, and thus with an independent
existence.Typography is concerned with the structuring
and arranging of visual language.”
Robert Bringhurst
Letters
Typography exists to honor content.
Letters have a life and dignity of their own.
Read the text before designing it.
Give full typographic attention even to
incidental details.
Make the visible relationship between the
text and other elements.
Choose a typeface or a group of faces that
will honor and elucidate the character
of the text.
Important to remember
Mphx x-height
ascender height
descender height
median
baseline
cap height
Baseline
The imaginary line defining the visual
base of letterforms.
Median
the imaginary line defining the
x-height of letterforms.
x-height
The height in any typeface of the
lowercase ‘x.’
Descender
That portion of the stem of a lower-
case letterform that projects below
the baseline
Ascender
The portion of the stem of a lower-
case letterform that projects above
the median.
Bembo Typography
Caslon Typography
Baskerville Typography
Bodoni Typography
Helvetica Typography
Univers Typography
2
Comparing typefaces
6. “The space between letters is integral to all typography.
A particular letterspace may enhance or destroy the aesthetic
quality of a typeface or the legibility of text.‘A man who
would letterspace lower case would steal sheep,’
Fredirec Goudy liked to say. If this wisdom needs updating,
it is chiefly to add that a woman who would letterspace lower
case would steal sheep as well.
Normal letterspace is related to the counterforms of lower
case letters.Typefaces with large counterforms require more
letterspace than typefaces with small counterforms.
Letterspace must be decisive, either in harmony with
or in strong contrast to the counterforms of lower case letters.
For text, most typefaces set with the default set width appear
too tight.Additional letterspace improves legibility and
aesthetic quality. Unprofessional typesetting is generally cause
not by the choice of typeface, but by too much, too
little, or irregular letterspacing.Nevertheless, like every rule, this
one extends only as far as its rationale.The reason for not let-
terspacing lower case is that it hampers legibility. But, there are
some lowercase alphabets to which this principle doesn’t apply.
(Robert Bringhurst)
‘Don’t letterspace the lower case without a reason.’
Robert Bringhurst
4
When letterspacing is too tight, the type appears patchy,
disrupted by clusters;when too open, it looks scattered and framented.
In both instances,the type is irritating and tiresome to read.
The correct letterspacing in continuous text is a subtle question
of balance: what is the optimum space that sufficiently separa-
tes the letters without creating a string of disconnected elements
that are difficult to grasp? The answer depends on the typeface and
size, and the visual result intended by the typographic designer.
For both serif and sans serif type the optimum letterspace for text
is determined by the counterforms of the lower case letters.
Typefaces with small counterforms require less space between let-
ters that those with large counterforms. If the letterspace is visually
larger than the median counterforms of the lower case letter, the
type appears too open. On the computer, most design applications
adopt an average set width intended to work with all type sizes.
For most typefaces, however, text composed with this setting appears
too tight, requiring the letterspace to be increase for optimum legi-
bility and aesthetic quality. In sizes larger than 24 point, most
typefaces composed with an average set width appear too open.
Display sizes generally require a decrease in letterspacing.
In large type sizes, individual letterforms are visually more distinct,
making it important to pay special attention to the letterforms in re-
lation to each other.”
Willi Kunz, Macro-and Microaesthetic
Letterspacing
Normal tracking
Ideas
Everything is connected to everything else and searching for solutions often
requires being alert to spot the unlikely connections...
In Critique magazine Marty Neumeier writes:“If idea-making can’t be reduced
to a system, perhaps it can be expressed in a formula.
Like the workings of the internal combustion engine, the conceptual process
can be seen as a series of controlled explosions that drive ideas forward.
In a car engine, when fuel is mixed with fresh air and ignited by a spark,
the wheels turn and the car accelerates. In the human mind,when a problem
is mixed with a new perspective and exposed to intuition, the wheels turn and we
arrive at a new concept. Problem + fresh perspective x intuition = concept.
Tight tracking
Ideas
Everything is connected to everything else and searching for solutions often requires being
alerttospottheunlikelyconnections...
InCritiquemagazineMartyNeumeierwrites:“Ifidea-makingcan’tbereducedtoasystem,
perhapsitcanbeexpressedinaformula.Liketheworkingsoftheinternalcombustionengine,the
conceptual process can be seen as a series of controlled explosions that drive ideas forward.
In a car engine,when fuel is mixed with fresh air and ignited by a spark,the wheels turn and the
caraccelerates.Inthehumanmind,whenaproblemismixedwithanewperspectiveandexposed
tointuition,thewheelsturnandwearriveatanewconcept.Problem+fresh
perspectivexintuition=concept.
Loose tracking
Ideas
Everything is connected to everything else and searching for
solutions often requires being alert to spot the unlikely connections...
In Critique magazine Marty Neumeier writes:“ If idea-making
can’t be reduced to a system, perhaps it can be expressed in a formula.
Like the workings of the internal combustion engine, the concep-
tual process can be seen as a series of controlled explosions that drive
ideas forward. In a car engine, when fuel is mixed with fresh air and
ignited by a spark, the wheels turn and the car accelerates.
In the human mind, when a problem is mixed with a new perspective
and exposed to intuition, the wheels turn and we arrive at a new
concept. Problem + fresh perspective x intuition = concept.
7. “Kern consistently and modestly or not at all.
Don’t stretch the space until it breaks.”
Robert Bringhurst
“The term ‘kerning’ describes the automatic adjustment
of space between letters. Because kerning removes space
between letters, it is often mistakenly referred to as
‘letterspacing.’ In fact, letterspacing means adding space
between letters, not removing it. For our purposes,the
term ‘tracking,’ used in most computer program that
incorporate typesetting, best describes the addition or
removal of space between letters. Keep in mind that even
the best tracking table sometimes requires minor adjust
ments, especially at larger point sizes.”
John Kane
Kerning can increase consistency of spacing in word like
Washington or Toronto, where the combinations Wa and To
are kerned, But names likeWisconsin,Tübingen,Tbilisi and
Los Alamos, as well as common words like The and
This, remain more or less immune to alteration. Hand com-
positors rarely kern text sizes, because their kerning pairs
must be manually fitted, one at a time. Computerized
typesetting makes extensive kerning easy, but judgment is still
required, and the computer does not make gook judgment
any easier to come by.Too little kerning is preferable
to too much, and inconsistent kering is worse than none.
Type design is an art practiced by few and mastered by fewer,
but font-editing softwaremakes it possible for anyone to
alter in a moment the widths and shapes of letters to which
as artist may have devoted decades of study, years of inspira-
tion and a rare concentration of skill.The power to destroy
such a type designer’s work should be used with caution.
And arbitrarily condensing or expanding letterforms is the
poorest of all methods for fitting un-editable copy into
unalterable space.”
Robert Bringhurst
Kerning
YeYe Without kerningWith kerning
Originally, the term ‘kern’ described
the portion of a letterform that
extended beyond the body of the type
slug. Today the term ‘kerning’
describes the automatic adjustment of
space between letters.
Because kerning removes space
between letters, it is often mistakenly
referred to as ‘letterspacing.’ In fact,
letterspacing means adding
space between letters, not removing it.
6
Visually awkward combinations, such as Ke, LT,ey, vo,
are improved by reducing the space between the individual
letters. Adjusting the letterspace between two letters is
known as kerning.Words set in all capital letters also require
attention to the space between individual letters.
The particular combinations of letterforms determine whether
space needs to be added or subtracted to achieve a visually
even composition.The optimum letterspace for a word set
in all capital letters is determined by letters with large
counterforms, such as C, D, G, O, Q, or with large surroun-
ding space, such as L,T, V, Q,Y. if any of these letters stand
apart, the space between the other letters needs to be
increased. Ultimately, every letter should unobtrusively inte-
grate itself into the visual form of the word.Unprofessional
typesetting is generally cause not by the choice of type-
face, but by too much, too little, or irregular letterspacing.”
Willi Kunz, Macro-and Microaesthetic
“
“
8. 8
The question of column width is not merely one of design
or format; the question of legibilityis of equal importance.
The reader should be able to read the message of a text easily
and comfortably.This depends to a not inconsiderable extent
on the size of the type, the length of the lines, and the
leading.Printed matter in normal format is generally read with
the eye at a distance of 30-35 cm.The size of the type should be
calculated with this distance in mind. Both too small and
too large a type costs the reader an effort. He tires more rapidly.
According to a well-known empirical rule there should
be 7-10 words per line, for a text of any length of the line can
be readily calculated. So as to keep the type area light and
open in appearance, we have to determine the leading, i.e. the
vertical distance from line to line, so that it suits the size
of type. Photo- typesetting has brought an additional problem;
namely, that of the spacing between letters. In lead type the dis-
tance between the letters was determined by the body size
an equalized. In photo-typesetting the distance between letters
has to be adjusted a new every time in the photosetting machine.
Hence the irregularity of the typeface and the, unfortunately,
usually too closely set letters.The designer is well advised
when ordering photo-typesetting to insist on normal spacing
between the letters.
Practical experience has shown that the column width
of most printed matter (magazines, brochures) contain from 5
to 8 words, averaging 40 to 60 characters. Even though there
are no standards for the number of characters per line, we can
take the average number of 40 to 60 characters as being
an easily readable quantity.Type sizes for continuous text matter
are between 8 and 12 points. Well-leaded lines emphasize the
horizontal and make reading easier. In each kind of work (e.g.
book or display pane), the dimensions of the page size or format
are an important factor in determining the arrangement
of columns.Where display lines are placed on above another,
the space between lines has to be judged optically. In some cases
equal line-spaces (leading) has an unequal optical effect.
Such “errors” are overcome by different variations of linespacing.”
Ruedi Rüegg
Every difficulty standing in the reader’s way means loss
of quality in communication and memorability.
Just as overlong lines tire, so do overshot ones.The eye find
the long line strenuous to read because too much energy must
be spent keeping the horizontal line in sight over a long
distance. In the case of the too short line, the eye is copelled
to change lines too often and this again wastes energy.
The right width of column is essential for an even and
pleasant rhythm of reading which enables the reader to relax
and concentrate wholly on the content.”
Grid Systems in Graphic Design
Column width
Column width long
Column width short
Column width medium
“ “
“
“Choose a comfortable measure.”
Robert Bringhurst
9. Leading calls for just as close attention as the width of the lines.
For, like lines which are too long or too short, leading can
also affect the type area and hence the readability of the text.
Lines that are too narrowly set impair reading speed because
the upper and lower lines are both taken in by the eye at the
same time.The eye cannot focus on excesi-vely close so accu-
rately that one line alone is read without the immediate
surrounding area also entering the visual field.The eye is distrac-
tires more easily.The same also holds true in respect of lines
that are too widely space.The reader has trouble in linking up
with the next line, his uncertainty grows, and fatigue sets in
earlier. Good leading can carry the eye optically form one
line to the next, giving it confidence and stability, and enabling it
to absorb and remember more easily what has been read.
Where reading is smooth and easy, the meaning content of the
words is gra-sped more clearly; they acquire more character
and expression and etch themselves more sharply on the mind.
Proper leading is one of the most important factors in obta-
ining a harmonious and functional type area which is aestheti
cally pleasing and will stand the test of the time.Another point
calling for attention concerns the type area containing 3, 4
or more different type sizes.To ensure a regular and attractive
typographic design the leads for the various type sizes must be
adjusted to one another.The size of the leads determines the
number of lines that can be accommodated on a printed page.
The larger the leads, the smaller the number of lines that can
be placed on a page.”
From Grid Systems in Graphic Design
Leading
10
Ideas
Everything is connected to everything else and
searching for solutions often requires being alert to spot the
unlikely connections…
In Critique magazine Marty Neumeier writes:“If idea
making can’t be reduced to a system, perhaps it can be
expressed in a formula. Like the workings of the internal
combustion engine, the conceptual process can be seen
as a series of controlled explosions that drive ideas forward.
In a car engine, when fuel is mixed with fresh air and
ignited by a spark, the wheels turn and the car accelerates.
In the human mind, when a problem is mixed with a new
perspective and exposed to intuition, the wheels turn
and we arrive at a new concept. Problem + fresh perspec-
tive x intuition = concept. An example of this formula
in practice is the invention of the printing press. Gutenberg
could not figure out how to press a large number of letter
seals onto a single sheet of paper at the same time.
One day at a wine festival (after sampling a glass or two), he
began to look carefully at a wine press. Suddenly he reali-
zed that the wine press, with minor alterations, might
be transformed into a printing press. Mein Gott! The simple
mixture of two ideas, the letter seal and the wine press,
sparked by a little imagination, produced one of the greatest
inventions of the Renaissance.”
9/9 Bembo
Idea
Everything is connected to everything else and
searching for solutions often requires being alert to spot
the unlikely connections…
In Critique magazine Marty Neumeier writes:“If idea
making can’t be reduced to a system, perhaps it can be expre-
ssed in a formula. Like the workings of the internal combustion
engine, the conceptual process can be seen as a series
of controlled explosions that drive ideas forward. In a car engine,
when fuel is mixed with fresh air and ignited by a spark, the
wheels turn and the car accelerates. In the human mind,
when a problem is mixed with a new perspective and expo-
sed to intuition, the wheels turn and we arrive at a new concept.
Problem + fresh perspective x intuition = concept.
An example of this formula in practice is the invention of the
printing press. Gutenberg could not figure out how to
press a large number of letter seals onto a single sheet of paper
at the same time. One day at a wine festival (after sampling
a glass or two), he began to look carefully at a wine press.
Suddenly he realized that the wine press, with minor alterations,
light be transformed into a printing press. Mein Gott!
The simple mixture of two ideas, the letter seal and the wine
press, sparked by a little imagination, produced one of the
greatest inventions of the Renaissance.”
9/14 Bembo
“
“Choose a basic leading that suits the typeface, text and measure.”
Robert Bringhurst
10. 12
Traditionally, it was common practice to set type in a
justified alignment.This was done for reasons of efficiency;
in addition it was more familiar and was considered to be
more refined. In the 1920s, designer began to question
this typographic convention and experiment with alterna-
tive text setting styles. Unjustified and asymmetrical
typography began to find widespread acceptance.Among
experimental typographic designers was Herbert Bayer,
who said,“I have long believed that our conventional
way of writing and setting type could be improved for easier
I started to abandon the flush-left-and-right system for short
lines of text and have introduced the flush-left system,
leaving a ragged-right outline.
There are appropriate reasons for setting either justified
or unjustified typography, but type set flush left and ragged
right promotes greater legibility. If properly used, flush-left,
ragged-right typography provides visual points of refe-
rence that guide the eye smoothly down the page from line
to line. Because each line is either shorter or longer than the
next, the eye is cued from one to another. Lacking are
visual cues that promote easy reading.With the use of unju-
stified typography, wordspacing is even, creating a smooth
rhythm and a consistent texture.The indiscriminate
placement of additional space between works in order to
justify lines causes awkward gaps or “rivers” in paragraphs,
which are disruptive to reading. Hyphenations at the
end of lines should be used whenever possible to
keep wordspacing consistent.”
Typographic Design
Alignment Flush left
This format most closely mirrors the
asymmetrical experience of handwriting.
Each line starts at the same point but
ends wherever the last word on the line
ends. Spaces between words are consis-
tent throughout the text, allowing the
type to create an even gray value.
Centered
This format imposes symmetry
upon the text, assigning equal value
and weight to both ends of any line.
It transforms fields of text into shapes,
thereby adding a pictorial quality to
material that is non-pictorial by nature.
Because centered type creates such a
strong shape on the page,it’s important
to amend line breaks so that the text
does not appear too jagged.
Flush right
This format places emphasis on
the end of a line as opposed to
its start. It can be useful in situations
(like captions) where the relationship
between text and image might be
ambiguous without a strong orien-
tation to the right.
Justified
Like centering, this format imposes a
symmetrical shape on the text. It is
achieved by expanding or reducing
spaces between words and, sometimes
between letters. The resulting openness
of lines can occasionally produce ‘rivers
of space running vertically trough the
text. Careful attention to line breaks and
hyphenation is required to amend this
problem whenever possible.
,
,
“
“Shape the page and frame the textblock so that it honors and reveals every element, every relationship between elements, and every logical nuance of the text.”
Robert Bringhurst
11. When setting ragged text with a computer, take a moment
to refine your software’s understanding of what constitutes
an honest rag. Many programs are predisposed to invoke
a minimum as well as a maximum line. If permitted to do so,
whether they are ragging or justifying the text. Ragged
setting under these conditions produces an orderly ripple
down the righthand side, making the text look like a neatly
pinched piecrust.This approach combines the worst fea-
tures of justification with the worst features of ragged set-
ting, while eliminating the principal virtues of both. Unless
the measure is excruciatingly narrow, it is usually better to
set a hard rag.This means a fixed word space, no minimum
line, and no hyphenated linebreaks.”
Robert Bringhurst
In justified text, there is always a trade-off between evenness
of word spacing and frequency of hyphenation.The best
available compromise will depend on the nature of the text
as well as on the specifics of the design. Good compositors
like to avoid consecutive hyphenated line-ends, but frequent
hyphens are better that sloppy spacing, and ragged setting is
better yet. Narrow measures – which prevent good justifi-
cation are commonly used when the text is set in multiple
columns. Setting ragged right under these conditions will
lighten the page and decrease its stiffness, as well as prevent-
ing an outbreak of hyphenation. Many unserifed faces look
best when set ragged no matter what the length of the measure.
And monospaced fonts, which are common on typewriters,
always look better-set ragged, in standard typewriter style.
A typewriter (or a computer-driven printer of similar quality)
that justifies its lines in imitation of typesetting is a presump-
tuous machine, mimicking the outer form instead of the
inner truth of typography.
“Set ragged if ragged setting suits the text and the page.”
Robert Bringhurst
Rags
When setting ragged-right test, care should be
taken not to rag the type too much. Uncontrolled line breaks
of erratic rhythm can create awkward spaces that inhibit
reading. In ragged-right type, care should be given to the
selection of interline spacing, for it influences
legibility and appearance. Spatial consistency and rhythmic
line breaks result from careful typographical decisions.
The breaking of lines can be determined by the author’s
meaning rather tan by appearance.This method, sometimes
referred to as ”thought-unit” typography, arranges lines
into discrete parts related to the meaning of the text. Ragged
right lines may be of any length, with line breaks that are
logical and focus on the intended message of the writer.”
Typographic Design
14
example of soft rag
example of medium rag
example of hard rag
“
“
12. “Ligatures combine two or three letters into a single
character.They are available on in expert fonts, and are cru-
cial for the refined setting of serf type.The ligatures fi an fl
are, because of their frequency, the most important.
Letterspaced text precludes the use of ligatures.”
Willi Kunz
Ligature
16
Bembo, set without ligatures (above) and with ligature (below)
Use the ligatures required by the font, and the characters
required by the language, in which you are setting type.
In most roman faces the letter f reaches into the space beyond it.
In most Italics, the f reaches into the space on both sides.
Typographers call these overlaps kerns. Only a few kerns, like
those in the arm of the f and the tail of the j, are implicit
in a normal typefont.
Robert Bringhurst
ff fi fl ffi ffl
ff fi fl ffi ffl
“If you wish to avoid ligatures altogether, restrict yourself to faces that don’t require them.
Willi Kunz
AE ae
Æ æ
13. Hanging Punctuation Attention to typographic detail is
one aspect of design that separates the
amateurs from the pros.Today's software
makes some of these details of typog-
raphy easier than ever to accomplish.
Hanging punctuation, commonly used
for pull-quotes, creates the illusion of
a uniform edge for the text, with
the punctuation outside the margins.
It's also called optical alignment.
Beyond punctuation, optical margin
adjustments may be used to make
subtle shifts to allow for the shapes of
letters and serifs, such as exten-
ding the edge of initial caps outside the
outer margin.
“
Compare these two examples
of a pull-quote without and with
hanging punctuation:
Attention to typo-
graphic detail is one
aspect of design that
separates the amate-
“
“Attention to typo-
graphic detail is one
aspect of design that
separates the amate-
The eye craves order and alignment. However, techni-
cally aligned text doesn't always look as if it is perfectly
aligned because of the shape and size of characters in text,
especially punctuation. Optical alignment makes text
edges look more orderly and balanced.At typical body copy
sizes, optical misalignment is rarely noticeable. However,
at the larger text sizes used for pull-quotes and headlines the
use of hanging punctuation adds a touch of refinement
to the layout. It may take extra time to hang your punctua-
tion, especially if your software has no automatic alignment
options, but the results are noticeable.
http://desktoppub.about.com
Designing with Hanging Punctuation
In some programs, such as Adobe Illustrator and Adobe InDesign, hanging
punctuation is an automated function. For other programs it requires some manual
manipulation of the text. For programs that don't have automatic options to hang
punctuation you can use kerning or invisible characters to create the
hanging punctuation effect.To manually hang the initial (left) quotation mark
in a pull-quote:
Method 1
Add a space in front of the left quotation mark
Kern the space to the left (negative kern value) until it moves outside the margin
Note:The quotation mark may not show up on screen once kerned but it will print.
Method 2
Apply a hanging indent to the paragraph so that the quotation mark extends to
the left of the optical margin for the remainder of the text.
Or, create a paragraph style or style sheet with a hanging indent.
1.
2.
•
•
18
Examples of Hanging Punctuation
14. In most circumstances, a designer’s first goal is to make material
comprehensible to a reader. In other words, you should understand the
material well enough to know how someone else needs to read it to
make the best sense out of it.This understanding happens on two
levels: content and form.The recipe opposite is a fairly straightforward
presentation of the making of an apple tart.With the exception of one
or two terms specific to cooking, its content does not require any
special knowledge. However, in its form–the manner in which informa-
tion is set and place on a page–the process it describes can be made
clearer than it appears as plain typescript.To understand the form, you
must first understand the kinds of information the recipe contains and
then rank it according to levels of importance, thereby creating
a hierarchy. In this recipe there are the following levels of information:
title (1)
subtitles (2)
text (3).
Within the text there are
ingredient lists (3A)
oven temperature instructions (3B)
directions (3C).
Successfully setting this recipe in type requires that you make
each of these distinctions clear to the reader.
Expressing Hierarchy
Establishing a format
After analyzing and organizing the content, devise a format
that expresses differences within the text. Because the line
length required for easy reading of directions is more or less
twice the line length required for a list of ingredients, the area
within the margins of the sheet is divided vertically into
three intervals, or columns. Ingredients cross-align with the
directions that refer to them. Single line spaces indicate breaks
between paragraphs. Double line spaces indicate breaks
between sections of text.
John Kane
20
15. Optimum of study two
Normative Studies phase 2
Optimun of study one
Optimum of study three
22
16. Colophon
Computer programs used: QuarkXPress Passport
Adobe Illustrator 10
Adobe Photoshop 7.0
Fonts: Bembo – Bembo Bold
Helvetica Neue – 75 Helvetica Bold
Fonts & size: Headings - 75 Helvetica Bold - 24 pt. type
SubHeadings - Bembo Bold - 12 pt. type
Text - Bembo 9/11.5
Bibliography
Carter, Rob, Day, Ben, and Meggs, Philip.
Typographic Design: Form and Communication.
John Wiley & Sons, Inc.Third Edition.
Kane, John.A type primer. Prentice Hall, Inc. 2003
Bringhurst, Robert.The Elements of Typographic Style.
2nd rev. ed. Point Roberts,WA: Hartley & Marks, 1996.
Kunz,Willi.Typography: Macro-and Microaesthetics.
Conclusion
My intent for this book was to keep
it simple even because the time available
to me was very limited. I also wanted to
create a sense of dynamicity and this
is the best I could think about for the
time on hand.
I hope the result is not too bad.
SMP
