Text and Display

The pages of a book and the type under a headline are usually composed of type designed for easy reading called TEXT TYPE or BODY COPY.

When designing lines of text, the styles and size of the type , the length of the lines, and spacing of the letters and words, and between the lines must be determined. Text type is usually 14 points or smaller.

The type used for headlines in ads and headings on pages of a book is called DISPLAY. These types are larger and can be bolder and more decorative than text type.

A much greater number of type faces have been designed for display than for the text. Display types are usually 14 points or larger sometimes much larger.

DESIGN OF TEXT

When designing text, the following guidelines will help make your text most readable.

Caps vs. Lowercase: Large areas of text set in all caps take more time to read than text text set in lowercase.

Roman vs. Italic: Readers prefer roman to italic type in large areas.
It is better to save italics for emphasis.

Serif vs. Sans Serif: Serif faces are less tiring to the eye, but sanserif or square serifs acceptable if copy is not too long.

Black on White vs. White on Black: Type printed in reverse slows reading considerably. Of course reading one or two words on a billboards is different from reading a full page advertisement in a magazine. One should avoid thin-line styles for reverse
printing.

Bold vs. Regular: Although bold type can be very effective when used for emphasis or in small quantities, the heavy strokes of the letters cause the counters and the white spaces between the letters to fill in, and it becomes very hard to read when it is used in large quantities.

Margins: Margins of white space around your copy do not affect the speed of reading text, but surrounding text with spaces is good, because it invites reading.

Paper: Dull coated or antique finish on paper is better than glossy coated paper, which may interfere with reading. Also old style text styles look better on a antique- finished paper, where as modern styles are on glossy coated paper.

Length of line: Very long very short text lines are hard to read. Sixty to seventy characters, or seven to ten words, per line are ideal
for books.


Size of Type: When a very small type is required, it is better to choose one with a large x-height.

Leading:

The space between lines of type is called leading.
Word spacing should never be greater than leading. Just when to use leading, and how much depends on a number of factors:
. Letters wit large x-heights require more leading than the ones with small x-height.
. Letters with strong vertical stress also need more leading ( like Bodoni).
. Sans Serif faces also require more leading (like Helvetica).
. Size of typeface is another factor that affects the amount of leading.
. Length of the line, the longer the line, the more leading is necessary.
.Bold type needs more leading.

Spacing: A narrow text type needs less word space, where as a wide type needs more
word space.

Paragraphs: Keeping paragraphs short, especially the first one improves legibility. Paragraph of varied lengths sustain a reader’s interest.

Brackets and Parenthesis: Brackets and Parenthesis were designed to center on
lowercase letters. They will have to be repositioned if used with caps.

Hyphenating: One should avoid having more than two end-of-line hyphens in a row.
Hyphenating words should be avoided.



Paragraph spacing:

• To mark the beginning of paragraphs either use line spacing (i.e. one blank line between each paragraph), or, indent.

• The indent measurement is up to the designer’s decision. Conventionally, it can be suggested to use 1em. Another conventional measurement for the indent is 1 lead. I.e. If the leading of the text is 14pts. the indent width can be also 14pts.

• An ‘Em’ is a slippery measurement. It equals to the point size of the text. E.g. If the body text is 12pts., then the ‘em distance’ for that page is also 12pts.
Em depends on the text size.

• As a rule, indent is not used in the first paragraph!

Project 5: Desiging with Text. (Page layout Principles)

Project 4: Visual Hiearchy (Organizing information)

Project 3:Negative Postive Joinary

Project 2: Typeface Design

The orgins of abc

http://ilovetypography.com/2010/08/07/where-does-the-alphabet-come-from/#more-8906

Project 1: Bitmap Font Making

Careful observation of letterforms is an essential part of the projects remember no curves or diagonals. We will only exercise on capital letters.
bitmap fonts are built out of the pixels (picture elements) that structure a screen display. Whereas a postScript letter consists of a vectorized outline, a bitmap character contains a fixed number of rectilinear units that are either “on” or ”of”. Outline fonts are scalable, meaning they can be reproduced in a high- resolution medium such as print at nearly any size. Outline fonts are hard to read on screen at small sizes, however, where all characters are translated into pixels. Pixel fonts are widely used in both print and digital media. Begin sketching at school, complete design is due to following week. Develop a concept for a new font whose forms relate to an 9/9 square grid. Each box in the grid must be either ‘on' or ‘of'. You have no curves or true diagonals. Represent the letters A, B, C, P, Q, R, in capitals only.

Draw your letterforms on a sheet of graphic paper. Consider proportion, weight, and structural features such as height of crossbars, how elements end, how to accommodate curves and diagonals within the grid of squares, etc. Give your typeface a name.

About the course

Suggested books:

Carter, Rob; Day, Ban; Meggs, Philip. Typographic Design: Form and Communication
New York: Van Nostrand Reinhold Company Inc.
.Kane, john. A type primer. London: Laurence King publishing Ltd.
.Baudin, Fernard. How Typography Works.Trans. Fernard Baudin.
London: Design Press,1989.
.Beaumond, Micheal.Type & Color Oxford: Phaidon Press, 1987.
.Craig, James. Designing with Type. Ed. Susan E. Meyer. New York:
Watson.Gutill, 1980.
.Gottschall, Edward M. Typographic Communications Today. Ed. Aaron Burns,
London:The MIT press, 1989
.Gray, Bill. Tips on Type. Lund Humphries,1989.
.McLean, Ruari. Thames and Hudson Manual of Typography. New York: Thames and
Hudson, 1988
.Lupton, Ellen. Thinking with type: a critical guide for drsigners, writers, editrors & students.New YorkPrinton Architectural
Press, 2004

Projects:
Each class you are expected to bring necessary material to work. I am expecting you to use class time effectively.
Projects will be evaluated on the basis of concept, design, use of tools, and craftsmanship.

Due Dates:
All work is expected to be completed by the due dates. Late projects will not be accepted.

Class Participation:
Class participation is important in learning process. Classroom interaction is very helpful to everybody.
Students will be expected to participate in all class activities. Lectures, discussions and critiques will take place regularly. I am expecting you to speak up.

Attendance:
Attendance to all class meetings is required. There will be something new taught every class meeting.
So you will come to class and be prepared to work! According to department policy students who miss more than 20% the classes (3 classes) be failed. Attendance will be taken in each class. Missed classes will lower your
final grade.

Grading :
Grading will be based on assigned projects, craft, concept, exploration, sketching, class participation and involvement.

Projects: % 70
Participation: %10
Final Exam:% 20

Course Syllabus

This course will introduce you to principles/evolution of typography with concentration on drawing letterforms, typeface identification, layout formulation. Assignments investigate principles
of lettering.
Week: Subjects Covered
1. (September 28.) Introduction/Getting to know typographic elements.
Project 1: Type Prototype
2. (October 05.) Work in process/ Lecture on anatomy and evolution of letterforms.
3. (October 12.) Presenting Project 1/ Project 2: Designing Letterforms.
Understanding contrasting visual characteristics of letterforms. Lecture on type specimens.
4. (October 19.) Work in process
5. (October 26.) Presenting Project 2 / Lecture on selecting and using type.
Project 3: Positive Negative Joinary.
6. (November 02.) Work in process
7. (November 09.) Holiday
8. (November 16.) Presenting Project 3/ Project 4: Establishing visual hierarchy
in the composition.
9. (November 23.) Work in process
10. (November 30.) Work in process
11. (December 05.) Presenting Project 4/Project 5: Typesetting issues, legibility,
readability
12. (December 12.) Work in process
13. (December 21.) Work in process
14. (December 28.) EXAM
15. (January 04) Work in process