Type and Typography

ch01.
kleper 10/23/00 10:44 AM Page lii
Chapter 1 Type and Typography

Chapter 2 Typographic Procedures,
Rules, and Niceties
Chapter 3 Type on the Desktop

ch01.kleper 10/20/00 4:48 PM Page 1
One
Part One
TYPOGRAPHIC
METHODS AND
PROCEDURES
1
Chapter 1
Type and Typography
ype is the heart of most visually conveyed communication.
T Despite the rapid technological changes that occur on
an almost daily basis, our understanding of type and our com-
prehension of the information that it conveys remain constant.
Reading remains the one computer skill that is unlikely to
change.
The proper use of type can help to communicate a message

by attracting readers—making the reading experience more
enjoyable by making it more attractive, more organized, and
more comprehensible. Despite changes in technology, the use
of type and the representation of the alphabet have been a
constant element in the recorded history of mankind.
4 Part one • Typographic Methods and Procedures
Typewritten versus Typeset

As late as the mid-1980s, most computer installations that
provided some word-processing capability usually
offered two forms of printed output: dot-matrix and let-
ter-quality characters (Figure 1.1). Both varieties of printer
were engineered to produce output that conformed to
requirements for standard office documents. These docu-
ment types included such categories as work drafts,
reports, tabular matter, and, depending upon the quality
level of the character forms, correspondence.
Correspondence quality became a default standard for ▲
FIGURE 1.1
evaluating the quality of line-printer output during the Enlargements of dot-matrix and letter-quality characters.
early days of personal computing. This “standard,” which
has never been formally defined, is nothing more than an
objective measure of how well the line printer produced
characters similar to those of a typical office typewriter.
Thus, instead of computer technology providing better-
appearing output than had been available in the home
and office, the goal became the imitation of standard type-
writer output.
The idea for the typewriter, which continues to influ-
ence business communication today, was first stated in
1714 by Henry Mill. Mill, an Englishman, received a
patent for a machine that he described as “an artificial
machine or method for impressing or transcribing of let-
ters, singly or progressively, one after another as in writ-
ing, whereby all writings whatsoever may be engrossed
in paper or parchment so neat and exact as not to be dis-
tinguished from print.”1 Mill’s machine failed; however,
his idea obviously did not. In 1867, C. Sholes and Samuel
W. Soulé, printers in Milwaukee, and their associate, Car-
los Glidden, continued development of what would
become known as the type-writer. By 1873, they had com-
pleted a practical working model, which was manufac- ▲
tured shortly thereafter by E. Remington and Sons of Ilion, FIGURE 1.2
New York. The acceptance of the machine by business and The Sholes Typewriter, patented in 1871, was devised to bring
industry stimulated other inventors to produce similar printers’ typesetting capabilities into the office environment.
The keyboard arrangement has remained virtually unchanged
machines. By 1886 there were more than 50,000 typewrit-
for more than 100 years.
ers in use.2
Ironically, the typewriter was invented to imitate print-
ers’ type, and the earliest typewriters actually used pieces
of metal type mounted on the typebars. The typewriter, The Typewritten Legacy:
while providing only a coarse typographic image, did The Typewriter as a Typesetter
serve to automate the handwriting process, and by so
doing, to change the way in which offices conducted busi-
Soon after the typewriter became popular, it produced an
ness (Figure 1.2).
unexpected effect on the printing trade. It appeared that
typewritten correspondence commanded a great deal of
respect and, perhaps, curiosity. This interest was so over-
whelming that in 1884 the Central Type Foundry of
1. Blanchard N., Carroll H., Jr. “The Early Word Processors.” Research
Report 3. Lake George, NY: State University at Farmingdale, 1981. Boston introduced a typeface for printers called Type-
2. Ibid. Writer. This typeface reportedly had a larger sales volume
Chapter one • Type and Typography 5

still offer one or more typefaces that resemble typewritten
characters. It is for this reason that Courier is among the
most commonly used type designs in the world.
The coarse, misaligned, and handcrafted look of type-
writer fonts has influenced the “grunge type” move-
ment of the 1990s, which consists of designs that are
anti-establishment, anti-convention, and anti-unifor-
mity. Grunge types appear to represent a disregard for
tradition, order, and most of all, legibility. They have
been termed “subjective typography” since their forms
and designs convey a meaning beyond the words that
they represent:
Carnival
Typeface: Carnival
COMMONWORLD
Typeface: Commonworld
Free Dom Normal

Typeface: Free
Freakshow
Typeface: Freakshow
This curious interest in automating an older, manual
writing process is also seen today in the hundreds of fonts
that simulate handwriting. One company, Signature Soft-
▲ ware,4 not only offers large collections of handwritten
FIGURE 1.3 fonts, but also offers a service to convert a customer’s
Typewriter typefaces from the 1923 edition of the American Type
Founders (ATF) specimen book.
handwriting into a custom font. Their contextual hand-
writing fonts, available for Macintosh and Windows sys-
tems, use the exclusive SigSoft Handwriter, a utility that
than any other metal typeface previously issued. Accord-
varies the shapes of a letter on the basis of its surround-
ing to one account, the design was suggested by a sta-
ing letters, and smoothly connects letters in the same way
tioner from Huntingdon, Pennsylvania, named J. C. Blair,
an individual does when writing by hand:
who was reputedly a typographic expert. The typeface
was sold with the intention that “circulars could be made WáÑç iç táÑ c÷ÆëíÑ oü hîåÄç eïûçìí
to resemble genuine correspondence, and thus secure for
them the attention which it was previously so hard to Typeface: SigTsui
get.”3 By the turn of the century, nearly every type W°Ñç iç táÑ c÷ÆëíÑ oü hîåÄç eïûçìí
foundry had a similar design in its specimen book. Quite
ironically, the typewriter, which had been invented to sim- Typeface: SigLisa
ulate printing, was universally being simulated in print It was not until the 1930s that the typewriter became a
(Figure 1.3). Today, most typesetting machine vendors, legitimate device for the setting of type. At that time there
page-printer manufacturers, and type library publishers was a need for a compatible method for generating “type”
3. A good source of historic background information related to the 4. See Appendix A for contact information.
early typesetting process is Annenberg, Maurice. A Typographical
Journey through the Inland Printer, 1883–1900 Baltimore: Maran Press,
1977.
A close-up view of the Varityper

changeable type font.
▼
FIGURE 1.4
The VariTyper machine, although resembling a
typewriter, had many typographic capabilities,
including changeable typefaces in a range of
type sizes as well as justified output.
for use on the mimeograph machine. The major typeset- neously—to describe any typesetting method that does
ting alternatives of the day were the hot-metal linecast- not involve the casting of molten metal.
ing machines, such as the Linotype and Intertype, and the As the offset printing process replaced or augmented
more complicated character caster, the Monotype. These other forms of office reproduction, the strike-on method
machines were too large, sophisticated, and expensive to of typesetting grew in popularity. Unlike ordinary car-
meet the needs of an office reproduction department, so bon-ribbon typewriters, strike-on machines produced
the typewriter, having undergone considerable improve- sharp, dense (black), proportionally spaced characters
ments in construction and capabilities since its introduc- suitable for graphic reproduction.
tion, became an office typesetter. By the end of the 1980s, the long reliance on the type-
A number of machines were introduced that were writer to generate office documents resulted in the emer-
much more than ordinary typewriters, yet much less than gence of what was termed office-quality reproduction. This
typical typesetters. The IBM Executive Typewriter pro- level of quality can be defined as “monospaced typewrit-
vided proportionally spaced characters, while the Friden ten characters of a single style and size, appearing in sin-
Justowriter offered justified output (i.e., text aligned at gle- or double-spaced line format, in either justified or
both the left- and right-hand margins) and paper-tape unjustified mode, and usually occupying a standard 8.5 ×
storage. The VariTyper was one of the first typewriter-like 11-inch sheet.” Many of these attributes were virtually
machines specifically made for typesetting applications unchanged from those achieved on the earliest typewrit-
(Figure 1.4). It remained in a class by itself until 1967, ers, despite the computer-processing power and output
when the IBM Selectric Composer was introduced. options that were readily available and capable of sup-
These specialized machines, which provided limited porting much more sophisticated typographic treatment.
typographic capabilities, became known as direct impres- Today, some businesses remain tied to the typewritten tra-
sion, or strike-on, typesetters. Many people referred to their dition that can be broken easily with inexpensive desk-
output as cold type (as contrasted with hot-metal typeset- top publishing tools and some basic typesetting, design,
ting), and the term has been used loosely—and erro- and layout skills.
The Typewritten Legacy:

Why Typeset?
The outputting of typographic composition and page ele-
ments—commonly called imagesetting, in the professional
context, and desktop publishing, in the general context—
provides many more advantages than simply a better
appearance than typewritten output. Yet, appearance is,
perhaps, the major factor in opting for typesetting. There
are literally tens of thousands of typeface choices suited to
a wide variety of specialized uses and to convey almost
any feeling or mood. Consider the lightly flowing script
typeface on an elegant menu, or the bold, commanding
typeface in a truck advertisement. The selection of an
appropriate typeface is very important in communicat-
ing a message (Figure 1.5). (The process of making that
choice will be examined later.)
The use of appropriate typefaces, properly composed,
not only helps to communicate, but also adds an element
of prestige to printed material. The image that a company,
or an individual, projects is enhanced by good typogra-
phy, and this increased attractiveness helps to catch and
hold the reader’s eye. Getting and maintaining the
reader’s attention is critical for effective communication
because the message that will be read is the one which
▲
has more visual appeal (Figure 1.6). FIGURE 1.6
While a difference in type style helps to attract the This 1970s Varityper advertisement compares the effectiveness of
reader’s eye, it is the difference in type size that helps to phototypesetting over typewriting.
▼ FIGURE 1.5
The proper selection of a typeface reinforces a message by providing a visual structure for information content. To get an idea of how
important type selection is, imagine if we were to reverse the font selection on the specimens below.
You are cordially invited

to attend the world premiere
STP
Unauthorized Entry
of the revolutionary
Graphitel Lumiset
FORBIDDEN Laser Typesetter
t
Exceptional Resolution
Phenomenal Speed
Impressive Price
organize information in terms of its relative importance. use, less paper to convert (cut, fold, insert, etc.), less paper
Typewritten text is all the same size, despite the fact that to handle, less paper to distribute (mail), and less paper
all of the information it represents is not necessarily of the to store. Not only are significant dollar savings possible,
same factual value. While the content display for type- but the reduction in handling time means that informa-
written text has very little flexibility other than capital- tion can move faster and more efficiently. In addition, well-
ization, underlining, changing from double space to sin- designed and composed documents can be maintained in
gle space, or changing the margins, typeset output has electronic form, to be delivered and read on- or offline,
much flexibility in displaying pieces of information and printed on-demand when needed.
according to their relative importance. This capability Even when substituting a computer screen for paper,
makes it easier for the reader to locate the information there are several common advantages. Although designing
that the message’s originator considers most important. for the screen has its own design considerations, the use of
Some of the most compelling reasons for many busi- properly executed typographic elements increases both
nesses to choose typeset output are purely economic con- the aesthetic and communication value of the message.
siderations. Typesetting provides increased character den- The equipment used to produce typeset output does
sity. While typewritten characters are usually limited to 12 not need to be on-site or in-house in order to realize its
characters per linear inch, typeset characters can be from major benefits since typesetting and design services can be
50% to over 200% denser in terms of their compactness out-sourced. However, when the entire typesetting oper-
on the line. Combine this increased density with the capa- ation is captive within a company, it provides significant
bility of minutely controlling the vertical spacing of lines, additional benefits as compared with having typesetting
and typeset matter can easily transmit more information performed by an outside vendor, such as a service bureau.
in a given space than typewritten matter (Figure 1.7) and Attractively priced, high-resolution page printers make
without sacrificing readability. Estimates of this space- in-house output affordable for almost every business. The
saving factor range from 40% to about 60%, depending most immediate benefit of having the output equipment
upon the type sizes and styles involved. on-site is that of control. The typesetting personnel are
Just as microfilm dramatically reduces the bulk of paper now company personnel, and the production equipment
records, the process of converting information into typeset now serves only one client. Information is typeset accord-
form has a similar positive effect on reducing paper bulk. ing to company needs and priorities; and sensitive, con-
It is this reduction in the space that information needs to fidential, or valuable company data never leaves the
occupy which provides economic benefits for users of premises. With fewer, and only company, people involved
typesetting technology, such as digital publishers. Reduced in the process, company data is more secure.
space requirements mean less paper to buy, less paper to Having typesetting equipment located within a com-
pany also provides increased convenience. The problems
of communicating information over telephone lines or the
▼ FIGURE 1.7 Internet, or sending media to an outside source, are elim-
Compare the typewritten specimen on the top with the typeset inated. Turnaround time is reduced because there is no
specimen on the bottom. Not only is the typeset information
need to wait for messengers, spend time seeking sources
easier to read, but it also makes more efficient use of space.
of supply, or explain over the telephone how the job
Most contemporary typesetting keyboards are
should have looked. Last-minute changes are handled
highly reliable, with error rates not usually according to priorities set internally, without delay or
exceeding 1 in 30,000 keystrokes. People, financial penalty.
however, are usually less reliable. It is human
error which most directly affects the highest
attainable level of quality in any typesetting
system. Studies have shown that the average
human error rate is, at best, in the range of 1
to 10 errors per 6000 keystrokes.
Typography:
TYPEWRITTEN The Art of Typesetting
Most contemporary typesetting keyboards are highly reliable, with error
rates not usually exceeding 1 in 30,000 keystrokes. People, however, are Typography is the process of selecting typefaces, sizes, and
usually less reliable. It is human error which most directly affects the spacing requirements for the display and layout of a mes-
highest attainable level of quality in any typesetting system. Studies have
sage (printed piece, web page, multimedia screen, etc.).
shown that the average human error rate is, at best, in the range of 1 to
10 errors per 6000 keystrokes. It is a process that requires considerable care and attention
TYPESET because actual harm might be done to a message by care-
less and inappropriate typographic decisions.
▲ ▲
FIGURE 1.8 FIGURE 1.9
Gutenberg’s invention of the handheld mold was responsible for A piece of metal type, the building block responsible for popular
helping to spread literacy by creating the mass production of books. literacy, and the first form of mass communication.
Typesetting has its roots in metal. The earliest metal Em Measurement

type used in Western civilization was cast by Johannes
Gutenberg in the fifteenth century. Prior to that time entire Each typographic character is allotted a dimension pro-
book pages had been carved in wood, a very slow and portional to its width (Figure 1.9b). An m has a wider set
exacting craft that left no margin for error. Gutenberg’s width than an i, and an h is wider than an l.
invention of a handheld mold to cast identical character The set width of an alphabet is based upon em mea-
images made the mass production of type a reality. Not surement. Simply stated, the em is the square of the point
only could pages of type be assembled faster, but the type size. In the case of a 12-point em, each side of the face of
could be used again and again (Figure 1.8).5 the em is equal to 12 points (Figure 1.10a). A 30-point em
Much of the terminology used today in typesetting is measures 30 points on each of the four sides of its face
derived from the use of metal type. Many of the terms (Figure 1.10b).
used to describe each piece of metal are human descrip-
tors (face, feet, shoulder, body), as is type’s overall label
of “character” (Figure 1.9). Type has been given many ▼ FIGURE 1.10
human qualities over the centuries, both in prose and in The em is the square of the point size, regardless of whether the
poetry, to provide testimony to its contribution to type is three-dimensional (metal) or two-dimensional (laser
printer, imagesetter, etc.).
mankind.
Point Size
The point size of the type is determined by measuring the
height of the type body (Figure 1.9a). Since the typeface
design is limited to the physical dimensions of the type
surface, the point size appearing in print (be it a metal
impression, a phototypeset or page printer letter, or other)
is found by measuring the distance from the uppermost
limit of an upward-reaching letter (an ascender), such as
b, d, f, h, l, or t, to the lowermost limit of a downward-
projecting letter (a descender), such as g, j, p, q, or y.
5. For information about Gutenberg, see Updike, Daniel Berkeley.

Printing Types: Their History, Forms, and Use. New York: Dover,
1980.
ch01.kleper 10/20/00 4:50 PM Page 10
Relative Units assignment of 12. All other characters receive a unit

assignment directly related to their relative width. The G
When all of the characters in use have identical widths, is equal to 42, the v receives 27, and the f gets 18.
such as in typewriting, calculating the number of charac- Notice that each particular character listed in Figure
ters that will fill a line is easy. However, when characters 1.11. has the same unit value, regardless of its point size.
of various widths, various designs, and various sizes will In other words, a lowercase g has a unit value of 30 regard-
occupy a line, calculating characters per line is a much less of whether it is in reference to a 48-point em, a 72-
more difficult task. For this purpose, the em of each type- point em, or an em of any other size. Yet, comparing the
face design is divided into a number of vertical slices relative width of a 48-point g with that of a 72-point g, it
called relative units (RU). There are usually no fewer than is obvious that they are not the same size, which is where
18 relative units to the em, and on more sophisticated the relative part of the term relative unit assumes real mean-
typesetting machines, the number might surpass 100 ing. In 48-point type, the g’s relative unit value of 30 is
units. PostScript and TrueType technologies, which are 30/54 of 48, or about 27 linear points. In 72-point type,
current standards, are based on systems of 1,000 or more the g’s relative unit value remains 30, or 30/54 of the 72-
units to the em. point em. In this case the g has a value of approximately
When a 48-point em and a 72-point em have been 40 points.
divided into 54 relative units (Figure 1.11), we say that we These ideas should be kept in mind when reading the
are working with a 54-unit system. The widest characters— next section about the typographic measurement system.
such as the W, the fractions, and the copyright and trade- Knowledge of relative units and typographic measure-
mark symbols—are each assigned the full 54-unit value. ments will be combined to show how to determine the
The comma, the narrowest character, receives a unit number of characters that can fill each line.
▼ FIGURE 1.11
To determine numerical values for each character of a type style,
Typography:
the em space is divided into vertical divisions called relative units,
which are assigned to characters on the basis of their widths.
Typographic Measurement
72 point em space Although most people recognize that type is measured in
points, few actually know how large a point is. There are
72 points to the inch, each point being equal to 0.0138 inch.
Type sizes (Figure 1.12) in the 9- to 12-point range are typ-
ically used for reading matter and are classified as text
sizes. Type sizes of 14 points and larger are normally used
for headlines (heads) and subheadlines (subheads) and
are classified as display sizes.
gwi ▼ FIGURE 1.12

Size is an effective method for indicating relative importance and
organizing information for the reader.
48 point em space For the First Time in Our History!

100% American Made
With Full Manufacturer's Warranty
Top of the Line Models
Formerly Sold for Twice the Price
gwi Thousands Sold Nationwide
Available for the Next 2 Days Only
Over the Counter Replacement for 30 Days
ch01.kleper 10/20/00 4:50 PM Page 11
Pica Units Em Measurement

Page dimensions, column widths, and line lengths are When type was set using metal characters, the sizes of the
measured in larger units called picas. There are 6 picas in spaces were fixed fractional divisions of the em space. The
1 inch, and 12 points in 1 pica (resulting in 72 points in 1 em itself served as a spacing unit, usually for indention at
inch). The length of a line of type is called the measure, the beginning of paragraphs or to fill out short lines. The
and is sometimes indicated by a multiplication symbol em was divided in half vertically to form two en spaces,
meaning “by”, as in ×24, or a delta (∆24), and meaning a also used for indenting, and since it had the same width
line length of 24 picas. as the figures, for setting (aligning) columns of numbers
as well. In Figure 1.13, a line of metal type illustrates the
height relationship between the spaces and the charac-
Line Measurement ters. Spaces, which do not print, are considerably shorter
The typeset line measure is comparable to the typewritten than characters. The amount of indention is based upon
line width; the major difference is the difficulty in deter- tradition and is directly related to the length of the line
mining how many characters of a certain typeface will fill measure.
a typeset line. On a standard typewriter, there are either The en space is too wide to serve as a normal space
10 characters to the inch (pica) or 12 characters to the inch between words, so the em space is further divided into
(elite). In a typographic system, any one of thousands of three vertical divisions, the 3-to-em, or 3-em, spaces. The 3-
different type designs might be in place, in any one of em space is the normal space used between words. The
dozens, or possibly hundreds, of different sizes. To cope em space is further divided into increments of four (4-em)
with this problem of estimating how many characters will and five (5-em) to provide additional spacing options (Fig-
fit on one line—called copyfitting (see page 73)—and how ure 1.14).
many lines (or possibly pages) will be needed, typeset-
ters use a measurement called the character count.
Typography: The Use of Space

The Size of a Word
Copyfitting calculations always take into account an It is the control of space that determines, in many instances,
allowance for word spaces. As a general rule, the typical the quality of the typesetting. Take, for example, the prob-
word length is considered to be five characters. Because lem of justification. Justification is the process of adjusting
each word must be followed by a space, the copyfitting the space between words (and sometimes characters) to
estimate for the average word length is then six characters. force a line of type to completely fill its line measure.
If the total number of characters in a document is known, Accomplishing justification on an ordinary typewriter is
an approximation of the number of words can be derived quite simple. First, the copy is typed, with attention given
by dividing the total by 6. to the amount of space remaining at the end of each line.
▼
FIGURE 1.13
In hand composition, pieces of
metal type are assembled in a
shallow handheld tray called a
composing stick. After lines of
type are spaced either out or in
to fit snugly within the line mea-
sure, a thin (2-point) strip of lead
is inserted to separate the lines.
These strips are called leads, and
the space between the lines of
type is called leading. If no leads
are inserted, the lines are said to
be set solid. Thicker (6-point)
strips of metal, called slugs, are
used when 6 points or more of
leading are required.
ch01.kleper 10/20/00 4:50 PM Page 12
This is an example of howx

an ordinary office type-xx
writer can be used to com-
pose justified lines ofxxx
type.
em space
This is an example of how

an ordinary office type-
writer can be used to com-
pose justified lines of
en spaces
type.
▲
FIGURE 1.15
Typewriter justification.
compositor (the person setting the type) whether the last

word will leave the line short, will need to be hyphen-
3-em spaces
ated, will need to be carried to the next line, or would fit
if there were slightly more space. The decision then
becomes whether to expand (space out) the line to fill the
measure, in which case minute increments of space made
of slivers of copper, brass, and paper are added to the 3-
em spaces; or whether to contract (space in) the line to
make room for the last word, in which case some or all of
4-em spaces the 3-em spaces are replaced by smaller spaces, or multi-
ple pieces of spacing material.
Today this decision-making process is carried on in an
electronic form by desktop computers. Recall that each
character has a unit assignment based on its width, and
that the unit system is devised by the manufacturer of the
typesetting equipment (or the publisher of the digital
5-em spaces type) with X number of units to the em. Remember, too,
that the specific unit assignments vary from one typeface
▲
FIGURE 1.14 design to another.
The metal em space is divided into several vertical subdivisions, each The process can best be explained by describing how a
fulfilling a different typographic purpose. These designations remain traditional typesetting machine performs its calculations.
in most digital publishing software applications. The typesetting machine stores within its memory a table
of width values for each typeface it is using. When a line
measure is specified, the typesetter converts that number
In the example shown here (Figure 1.15), x’s have been into em units, for internal calculation. For example, the
used to indicate the amount of excess space remaining. line measure might be 18 picas and the type size might be
When the copy is retyped, the excess space is distributed 10-point. First, the machine determines how many 10-point
between words to space out the line and fill the measure. ems will fit in an 18-pica line measure. Remember that an
em is the square of the point size, so each 10-point em
requires 10 linear points. To divide the line measure by 10
Justification points, the line measure must first be converted from picas
Justifying metal type is also a two-step process. First the to points. There are 12 points in each pica; therefore, the 18-
line is assembled using 3-em spaces between words. As pica measure is equal to 216 points. Dividing the 216 points
the end of the line approaches, it becomes obvious to the by the 10-point em yields 21.6 ems per line. Second, the
ch01.kleper 10/20/00 4:50 PM Page 13

As each 10-point character is processed, its unit value is
B Line measure = 24 picas = 192 points subtracted from 777.6. The minimum and maximum word
spaces are assigned fixed unit values as well, with the min-
24 picas
imum unit value being used for initial calculations. As the
end of the line approaches (the justification or hot zone), the
C Point size = 10 points
machine’s logic determines if there is enough room for
Em = 10 points square
192 points / 10 points = 19.2 ems per line part or all of the next word. If the word or partial word
fits, its unit value is subtracted; if it does not, it is carried
D Unit system = 18 units/em to the next line. The excess units remaining at the end of
19.2 ems x 18 units/em = 345.6 units/line the line are equally divided among the word spaces, which
then expand to fill the line measure (Figure 1.16).
E Placement tests have been conclusive in providing
The process that takes place on a typewriter is consid-
erably more unrefined in its execution of interword space
P = 13 units allotment. In most cases the characters are monospaced,
l = 5 units
and the spaces used to justify lines are multiples of the
a = 10 units Total unit count for this line = 264 units
c = 8 units
fixed character width. Justifying spaces are therefore
e = 8 units either as wide as any character or two or more times as
wide. This process makes for loose-fitting lines.
F Line length of 345.6 units minus Returning to the justification example, what if the total
Character unit count of 264 = 81.6 units unit count of characters and spaces equals exactly 777.6?
If this were to happen, the line would be set with mini-
Placement tests have been conclusive in providing
↑ ↑ ↑ ↑ ↑ ↑ mum-width word spaces. This is perhaps the ideal situa-
tion, since tight (close-fitting) word spaces are preferable
81.6 units of remaining space / 6 spaces =
for increased ease in reading. However, what if the oppo-
an additional 13.6 units added to each word space
site were to happen, wherein there was either considerable
▲ space left at the end of the line, or so few spaces in the
FIGURE 1.16 line that they quickly reached their maximum allowable
The process of electronic machine justification involves (1) convert-
expansion? What would become of the remaining space?
ing the line measure into points; (2) calculating the number of ems
of the point size that will fit on the line; (3) calculating how many The usual solution is to add small increments of space
units of space the line measure represents; (4) subtracting the unit between characters in a process called letterspacing. Let-
width of each character and space that will fit on the line; and (5) terspacing is not considered good typographic practice
distributing the remaining units among the word spaces to expand because it pulls words apart, making them less recogniz-
the line to fill the measure. able as patterns for the reader’s eye (Figure 1.17). Let-
terspacing has no place in the typewriter environment
machine multiplies the ems per line by its units-per-em since the size of a space is usually no smaller than the
value. For this example, a 36-unit system is being used; width of the average character.
therefore, there are 36 units in one em, and there are 777.6 Although justification is a very common way of ori-
units (21.6 ems × 36 units/em) in a single line that is 18 enting lines of type, it is by no means the only way. Lines
picas wide and composed of 10-point characters. can be centered (quad center), wherein the remaining space
▼
FIGURE 1.17
She had little idea what he actually meant by his She had little idea what he actually Compare the properly spaced lines in the
casual remark, although she felt truly hurt. Did he meant by his casual remark, although
really mean that he considered her insensitive and she felt truly hurt. Did he really
paragraph on the left with the excessively
cold? His untimely departure put distance, as well mean that he considered her insensitive letter- and word-spaced lines in the para-
as space between them. Only Reilly was aware of and cold? His untimely departure graph on the right. The texture of the com-
what was on Randy's mind when he confronted put distance, as well as space between position is referred to as “color,” and a
Lisa, and he was the least able to adequately t h e m . O n ly Re i l ly w a s aw a r e o f w h at trained eye can easily discern the quality
explain any of it to her. Reilly, after all, had his own was on Randy's mind when he confronted
problems, and his devotion to his workers was of Lisa, and he was the least able to
of typography on the basis of its overall fit.
considerably less importance than his need to have a d e q u a t e l y e x p l a i n a n y o f i t t o h e r.
his business survive. Reilly, after all, had his own problems,
a n d h i s d e vo t i o n t o h i s w o r ke r s w a s
of consider ably less impor tance than
his need to have his business sur vive.
Normal letter and word spacing Excessive letter and word spacing
ch01.kleper 10/20/00 4:50 PM Page 14
talking to could duplicate the layout, what elements

Line Measure
Quad Left
would you choose to describe? Assuming that a standard
xxxxxx xxxxx xxxx x xxx xxx x xxx xx x xxxx x xxxxx xx xxxxxx x x xxxxxx xxx sheet of 8.5 × 11 inches will be used, it might be appro-
xxxxxxx xxxx xxxxx xxxxxx xxx xxxxx xx xxxxxxx xxx xxxxxx xxxxx xxxx xxxx xxxx x
xxxxx x xxxxxxxx xxxx xxxxx xxxxxx xxx xxxx xxxxxxxx xxxx xxxxxx xxxxx xxx xxx priate initially to specify the margins (their sizes and in the
xxx x xxx xx x xxxx x xxxxx xxxx xxxxxx x x xxxxxx xxx xxxxxxx xxxx xxxxx xxxxxx
xxx xxxxx xxx xxxxxxx xxx xxxxxx xxxxx xxxx xxxx xxxx x xxxxx x xxxxxxxx xxxx case of the right and left margins, whether they are flush
xxxxx xxxxxx xxx xxxx xxxxxxxx xxxx on one or both sides). Subtracting the values of the left
Quad Right
and the right margins yields the length of the line of char-
xxxxxx xxxxx xxxx x xxx xxx x xxx xx x xxxx x xxxxx xx xxxxxx x x xxxxxx xxx acters if justified, and an approximation of line length if
xxxxx x xxxxxxxx xxxx xxxxx xxxxxx xxx xxxx xxxxxxxx xxxx xxxxxx xxxxx xxx xxx not justified. The first descriptor then is the “line length”
xxx x xxx xx x xxxx x xxxxx xxxx xxxxxx x x xxxxxx xxx xxxxxxx xxxx xxxxx xxxxxx
xxx xxxxx xxx xxxxxxx xxx xxxxxx xxxxx xxxx xxxx xxxx x xxxxx x xxxxxxxx xxxx or “line measure.”
xxxxx xxxxxx xxx xxxx xxxxxxxx xxxx
Quad Center
xxxxxx xxxxx xxxx x xxx xxx x xxx xx x xxxx x xxxxx xx xxxxxx x x xxxxxx xxx
Character Size
xxxxx x xxxxxxxx xxxx xxxxx xxxxxx xxx xxxx xxxxxxxx xxxx xxxxxx xxxxx xxx xxx
xxx x xxx xx x xxxx x xxxxx xxxx xxxxxx x x xxxxxx xxx xxxxxxx xxxx xxxxx xxxxxx Measuring the number of characters per inch will deter-
xxx xxxxx xxx xxxxxxx xxx xxxxxx xxxxx xxxx xxxx xxxx x xxxxx x xxxxxxxx xxxx
xxxxx xxxxxx xxx xxxx xxxxxxxx xxxx mine the pitch—either pica or elite. This descriptor can
be labeled “character size.”
▲ Typeface
FIGURE 1.18
Quadding variations commonly applied to paragraph composition. Thousands of typeface designs are in use today. For sim-
plification, let’s say that the original page was composed
on a typewriter (how quaint). Despite the smaller number
at the end of the line is equally divided between the
of font choices on a typewriter, it might still be difficult, as
beginning and end of the line, or they can be either flush
it sometimes is in typesetting, to determine the exact iden-
left (quad left) or flush right (quad right), wherein all of
tity of the type style that was used. Assuming that both
the remaining space is placed either at the end or the
you and the person on the other end of the telephone have
beginning of the line, respectively (Figure 1.18).
a specimen sheet of common typewriter designs, you can
The composition of justified lines of text has a long tra-
then specify the “style.”
dition in the graphic arts. Prior to the invention of print-
ing, scribes laboriously copied manuscripts by hand.
Because paper was very expensive, they paid special
▼ FIGURE 1.19
attention to filling each line with as many characters as
The anatomy of a generic typewritten page.
possible. All of their lines were carefully written to be of
consistent length, regardless of how words were broken
Left Margin
(hyphenated). Early printers imitated this style in their
Top Margin Running Head
effort to make the new craft of printing approach the qual-
ity of the established art of hand inscription.
Typography:
The Typographic Basics
Four elements are common to every typeset job. These
elements are descriptors, which specify how typeset text
should appear on a page.
Line Length
Consider the typical typewritten document (Figure 1.19). Bottom Margin Folio
If it became necessary to communicate a description of Right Margin
this page over the telephone so that the person you were
ch01.kleper 10/20/00 4:51 PM Page 15
Interline Spacing specifications—is “type size.” Determining the size of pre-

viously typeset material is somewhat tricky because
The remaining physical attribute is quite easy to evalu- imagesetters (and page printers) can set in increments as
ate. It is the vertical spacing increment, generally called small as 1/10 point (and even smaller), and because the
“single or double spacing.” sample being measured might have passed through a
reproduction system (photo offset, photocopier, etc.) that
could have altered the size of the characters. There is no
Basic Parameters
way to determine how much change in type size might
If these four elements can be specified prior to producing have occurred without a careful comparison between the
a typewritten page, the appearance of the product will be printed sample and the original output from the image-
very predictable. The same concept applies in typesetting, setter. For most work, a minute difference in type size is
and similar descriptors, or parameters, must be specified. not significant; however, for some legal, business, and
governmental jobs, as well as lengthy jobs in which a
Line Measure small increment will result in a significant difference, type
Look now at the typeset job shown in Figure 1.20. From size specification can be critical.
your experience with the previous typewritten example, Measuring type size is usually performed with a clear
you should have a good idea of what values you must type gauge or a magnifier with a special reticle. The pur-
derive before producing such a job. In the typeset exam- chase of a few measuring tools is a good investment for
ple you must also have a line length or line measure. This anyone involved in the specification of typographic infor-
parameter indicates how wide your typeset lines will be. mation (Figure 1.21).
It is specified in picas. If the line measure consists of any A good approximation of the size of the type is the
fractional part of a pica, as in 27 1/2 picas, the fraction is measurement between the top of the ascender and the
expressed in points, in this case 6 points (6 points = 1/2 bottom of the descender (Figure 1.22).
pica). Some desktop publishing programs would express
this line length as 27p6. Font
The next parameter to be determined is the typeface or
Type Size type font. A font is the collection of all the letters, figures,
The next parameter—although the order of specification punctuation, and special characters of a particular type-
is usually of no consequence when you are writing the face design in a certain point size. In traditional terms, a
▼
FIGURE 1.20
A simple typeset job has
Typeface the four basic parameters.
Line Measure
↓
the
→
Point Size
(measured from top of →
ascender to bottom of
descender)
→
Line Space
(measured baseline →
to baseline)
ch01.kleper 10/20/00 4:51 PM Page 16
Line Spacing
The last of the basic typographic parameters is the space
between lines, the line spacing. While the typewriter nor-
mally provides only single or double spacing, the page-
layout software can specify line-spacing increments as
small as 1/10 of a point and even, in some cases, as little
as 1/1,000 of a point or smaller. As previously mentioned,
the line spacing is measured from the baseline of one line
to the baseline of the next (Figure 1.23) and is also referred
to as leading.
The similarities between the typewritten and typeset
pages are numerous, as well they should be since the type-
writer was invented as a typesetting machine for the office
and the home. Not surprisingly then, each of the four
basic typographic parameters has a parallel value in type-
writing:
▲
FIGURE 1.21 Typewriting Typesetting
Type and page measurement tools are still important in a digital world.
line length line measure
character size type size
10-point Bodoni Italic and an 18-point Bodoni Italic are style typeface
two different fonts. Today, most digital publishing appli- single/double spacing line spacing
cations refer to a typeface design as a “font,” without a
size being associated with it.
Determining the type font is probably the most diffi-
cult task in this exercise. Remember, however, that we are
working backwards in this example, trying to reconstruct Typographic Details
a previously typeset job. This is not the usual approach. In
most cases, the choice of typeface is selected from a spec- The earliest metal type was cast by Johannes Gutenberg
imen list, and this selection is based on criteria related to in the fifteenth century (Figure 1.24).7 Describing and
the purpose of the message or the function of the printed defining type was fairly easy when type was physically
or presentation piece. formed from metal: Type was a piece of metal—composed
If you know the particular typesetting environment of lead, tin, and antimony—0.918 inch high with a char-
from which the example was set, then the universe of acter or symbol in relief on one end. Since the introduction
type-style choices is significantly reduced, and the prob- of strike-on, phototypesetting, imagesetting, laser printing
lem becomes one of comparing the printed characters to and other forms of page printing, the word type has
a set of specimen sheets. However, if the environment is become somewhat abstract, because it now refers only to
not known, you must depend upon your knowledge of the resultant typographic image and not the image source
typefaces and their subtle differences in design.6 itself. Some people called type derived from nonrelief
6. FontExpert Typeface Recognition Software is an expert system that seconds it presents a list, in order of physical similarity, of the type-
does what even few typographic experts can do: accurately identify faces that are the closest matches, along with a bitmap image of the
type specimens from printed samples. It does not require any mea- character set that it has in its database. It is sufficiently accurate to be
suring or interpretation on the part of the user, thereby eliminating able to distinguish between character weights (light, regular, bold,
the possibility of input errors or misinterpretation. etc.). It can also provide listings of “similar to” typefaces from com-
Digital publishers need to identify typefaces on a regular basis. A peting font foundries.
customer will present a sample of work that was done elsewhere and The desktop publishing revolution has produced tens of thou-
ask that a similar design be used. The challenge of finding either the sands of PostScript and TrueType typeface designs, far more than
exact match or a similar one may represent a significant time invest- were available for phototypesetting or earlier technologies. In recog-
ment—one which cannot easily be billed to the customer. FontExpert nition of that fact, FontExpert provides an “Open Database” feature,
can reduce the time to seconds, and produce an unrivaled list of so that users can add their own font libraries. In this way, when a
matching fonts. match is made that lists a font which the user has on hand, he or she
The program works from scanned images of a small number of can begin production that much sooner.
characters. Although the scanned input is best at 300 dpi, the pro- FontExpert is available from Allied Compugraphics, Inc.; see
gram still does a remarkably accurate job using fax-quality (200 dpi) Appendix A for contact information. A demo version of the software
character input. It compares the data that it extracts from the sam- is available at the Allied Compugraphics Web site.
ples with its database of more than 20,000 fonts, each of which has 7. For information about Gutenberg, see Updike, Daniel Berkeley.
data for all upper- and lowercase characters and the numerals. In Printing Types: Their History, Forms, and Use. New York: Dover, 1980.
ch01.kleper 10/20/00 4:51 PM Page 17
Ascender Line
Tky x-height
Waist Line
Base Line
Descender Line
Point Size:
Top of ascender
to bottom of
descender.
▲
FIGURE 1.22
To find the point size of previously typeset material, locate an ascender and a descender in proximity with one another and measure the
distance between their outer limits.
▼ FIGURE 1.23 masters flat type, to emphasize the difference. Yet all type
Line spacing is space added between lines of type, either to that appears on paper (or other substrates, or on a com-
improve readability or to vertically justify lines to fill a page puter screen) is flat, regardless of its derivation, so what
depth. Type size and line spacing are usually specified together,
separated by a slash, as in “8/10.”
is needed is a definition of type as it appears to the reader
and not the creator of the graphic images.
8/8 Packing: In computer programming, grouping two
Does a typewriter create type? As mentioned earlier,
or more units of information into one unit to save some early designs of the typewriter actually used print-
storage space and reduce transmission time. The
unit can later be "unpacked" and the original units ers’ type on the typebars. Yet even today, after more than
reconstructed. 100 years of typewriter development, it is easy to differ-
entiate typewritten characters from typeset characters in
or more units of information into one unit to save most cases (Figure 1.25). To answer the above question,
unit can later be "unpacked" and the original units
typewriters do not create type. For that matter, traditional
reconstructed.

or more units of information into one unit to save
storage space and reduce transmission time. The ▼ FIGURE 1.24
unit can later be "unpacked" and the original units Johannes Gutenberg is considered the father of printing, having
reconstructed. devised workable procedures for composing and reusing type and
for mass-producing printed pages.
reconstructed.

reconstructed.

reconstructed.
ch01.kleper 10/20/00 4:51 PM Page 18
There are, then, a range of acceptable standards for

typeset output. The particular level chosen is most likely
based upon the purpose for which the type will be used
(utilitarian, glamour, business); the environment in which
it will be used (home, office, trade shop); the needs of the
user (space factors, sizes, typefaces); the size and needs
of the audience (short-lived information, archival storage,
promotional, entertainment); and the methods of repro-
ducing the message (copier, conventional printing, digital
printing, digital transmission, on-screen).
Determining if a sample of characters can be classified
as type is a fairly easy task when using the aforemen-
tioned attributes. What is difficult is evaluating how good
the characters are as specimens of the typographic form.
The answer to this question must be determined by the
user, who considers all of the factors that are significant in
a given situation. (Also see “What Distinguishes a Low-
cost Font from a High-priced Font?” on page 99.)
Typeface Geometry
Type can be found almost everywhere we look: on store
windows, buses, frozen food packages, tax forms, com-
puter screens, and even medicines and candies. The
proper use of type begins with some attention to the
▲ smallest parts of the letters, and some special terms used
FIGURE 1.25
by typographers (Figure 1.26):
Enlarged characters from a dot-matrix printer, daisy-wheel printer,
laser printer, and phototypesetter.
• The arm of a character is a horizontal projection or
short, upward-sloping stroke.
typesetting machines, such as strike-on devices, photo- • A bar is an enclosed horizontal stroke.
typesetters, and imagesetters, are only a segment of a grow- • The stem is the main part of the letter.
ing population of devices with typesetting capability. • A cross stroke or crossbar is that part of the letter
There are qualities associated with typeset characters which cuts across the stem.
that make them unique and immediately identifiable. A • The tail or leg is a downward projection.
list of such attributes would include • The apex is the uppermost point at which the
stems come together.
• Sharp, clean character edges • The vertex is the lowermost joint at which the
• Proportional spacing stems join.
• Range of point sizes • The ear is the projection found on certain lower-
• Variations in character strokes (thick and thin) case g’s.
• Variety of typeface designs • The spur is the finishing stroke on certain upper-
• Design variations of a single style (italic, bold, con- case G’s.
densed, expanded, etc.) • The counter is the enclosed space within certain
characters such as o, e, and a.
The first two attributes are the most useful (and per- • The bowl is the rounded boundary found on letters
haps critical) in determining the quality level obtainable such as p, q, d, and b.
from a typesetting device. Often, evaluating them is based • The loop is the closed round stroke found on cer-
solely on subjective judgments. At graphic arts trade tain lowercase g’s.
shows, the typeset output from competing devices is fre-
quently compared under a magnifying glass, by experts When describing any of the thousands of typeface designs
and tradespeople alike. Usually, the result is that there is in use, typographers frequently speak of the characteris-
little agreement over which is best and why. tics of specific styles using these terms.
ch01.kleper 10/20/00 4:51 PM Page 19
Arms Vertex
Bars Ear
Stems Spur
Cross
strokes Counter
Tails Bowl
Apex Loop
▲
FIGURE 1.26
Anatomy of type.
The collection of all of the various characters and sym- are used by typeface designers to determine such things
bols of a particular type design in a particular size is called as the relative height of the lowercase characters to the
the font. Fonts vary in size, from the basic alphabet to well uppercase characters (the x-height) and the amount of dip
over 200 characters (Figure 1.27). Unicode fonts (see page (below the baseline) that rounded lowercase characters
111) may contain over 30,000 characters. such as e and o will require. In Figure 1.22, notice that all
of the characters rest on the baseline. Directly above it is the
upper limit of the main part of all lowercase characters,
Typographic Lines
which is called the mean line. The distance between the
of Reference baseline and the mean line is called the x-height, because
The relationship of characters to one another within a font it is the height of the lowercase x. Typefaces that have
is assessed most easily by viewing the characters in rela- large (in relation to the point size) x-heights are usually
tion to the four typographic lines of reference. These lines easier to read (Figure 1.28).
ch01.kleper 10/20/00 4:51 PM Page 20
A Font of Type
uppercase ABCDEFGHIJKLMNOPQRSTUVWXYZ
lower case abcdefghijklmnopqrstuvwxyz
SMALL CAPITALS abcdefghijklmnopqrstuvwxyz
Ligatures ſfffiflffiffl
Figures 1234567890 1234567890
Fractions ⅜¼⅓⅝½⅔⅞
Punctuation , . / <> ; : ' " [ ]{ } \ | = + - _ ~ ! @ % ^ & * ( ) `
Commercial/Monetary $#£%¢
Superior Figures A₁₂₃₄₅
Special Characters ©™•®
Mathematical Signs +-∞≈√∫µ≤≥÷ ≠∑⁄±
Swash ABCDEFGHIJKLMNOPQRSTUVWXYZ
Reference Marks §¶†‡
Ornaments

!"#$%&'
▲
FIGURE 1.27
A standard font of type.
ch01.kleper 10/20/00 4:51 PM Page 21
Tyx Tyx Tyx ✽ Tyx

A selection of 36 point typefaces.
x 72 point
x
▲
FIGURE 1.28
All of the specimens in the top row of this example have the same point size but different x-heights. The larger the size
of the x-height, the more legible the typeface.
The two remaining lines are the extreme limits of the more to say about the readability of type later on.) All-
lowercase character shapes. Lowercase characters that lowercase composition is easier to read, yet robs the reader
descend below the baseline (g, j, p, q, y) are called descen- of important information that capital letters provide. Like
ders. The lowermost point of a descender is the descender all-capital composition, it should be used with discretion.
line. Conversely, lowercase characters that ascend or pro-
ject upward (b, d, f, h, k, l, t) are called ascenders. The upper- Italic and Boldface Variations
most point of an ascender is the ascender line, or as it is Traditionally, printers have used the italic and boldface
sometimes called, the cap line. forms to emphasize text and to organize information for
easier reading. Most desktop computers have families of
type available, which are standard variations of a basic
Single Typeface Variations typographic design. The traditional family usually
When type is being set, it is common practice to deal with includes an italic, boldface, lightface, condensed, and
different elements of a page layout in different ways. expanded version, although it might also include designs
Although the same statement could be made about type- formed from a mix of these versions, such as a condensed
writing, there is considerably more flexibility in typeset- lightface or an expanded boldface. Type family members
ting, even when limited typographic resources are being all have physical attributes that make them design-com-
used. Headlines or other forms of composition that sepa- patible and therefore good choices for composing work
rate text should be set so that they stand out. Words in involving multiple typefaces (Figure 1.29). In the realm
text that are to be emphasized also require special atten- of desktop publishing there is sometimes a distinction
tion. It is possible to meet these needs by using variations made between a simple and a complex family. A simple
of a single type design. family consists of the basic members: regular, italic, bold,
and bold italic, although it may consist of fewer members.
All-Capital Composition A complex family is extended and includes most of the
Routine typesetting and typewriting involves the use of additional variations.
capital (uppercase) and lowercase letters. Two obvious Desktop computers usually have the capability to pro-
variations are all-capital composition and all-lowercase duce a slanted variation of the normal character weight.
composition. NOTICE THAT ALL-CAPITAL COMPOSI- This variation is an oblique (or pseudo-italic) that is
TION CAN BE USED FOR EMPHASIS AND ALSO slanted from 7 to 15 degrees to the right, although the sys-
THAT IT IS MORE DIFFICULT TO READ.8 (There will be tem may identify it as italic. A true italic variation is one
that is produced by the typeface designer, not one that is
derived from another form. Type that is slanted beyond 15
8. All-capital composition should also be avoided within e-mail mes- degrees, either to the right or to the left, is said to be skewed
sages, where it has become the functional equivalent of shouting. (Figure 1.30).
ch01.kleper 10/20/00 4:51 PM Page 22
Thin
Extra Light
Book
Medium
Demi Bold
Bold
Heavy
Black
▲
FIGURE 1.31
The range of type weights of URW Nimbus Sans Novus Display
24 point.
the native Macintosh and Windows operating systems

support a variety of options. The operating systems can
generate variations (bold, italic, bold italic, etc.) from the
regular typeface, although it is inadvisable to do so. In
addition, with third-party utilities, such as TypeTamer
(Figure 1.32) or Adobe Type Reunion for Macintosh, the
user can gather all family members within an applica-
tion’s font menu in a hierarchical order.
Simulated Outline and Shadow Styles

▲ True outline and shadow variations are drawn by the
FIGURE 1.29 typeface designer; however, similar, although less com-
The Goudy type family members all bear a close family resemblance. pelling, effects can be simulated by word processing,
desktop publishing, and other categories of programs on
both Macintosh and Windows computers. Simulated vari-
t t t t t t t
ations often do not print well on high-resolution output
devices, although they may suffice on laser and inkjet
printers. In almost all cases, outline and shadow fonts
Normal 5% 10% 15% 20% 25% 30% should be used only in display sizes since they are inap-
propriate for body copy and their narrow opening and
▲ tinted shadows have a tendency to fill-in in small sizes.
FIGURE 1.30
Slanted type variations.
Reverse Type
Text that must appear against a solid background, or be
Type Weight used in call-outs on a dark area of a photograph or illus-
In addition to the bold weight, the typeface design may tration, is set in white. Reverse type (see Figure 2.65 on
have been drawn within a range of relative line thick- page 70) provides contrast with a black or dark back-
nesses ranging from thin to black. The complete range of ground. White type set on a graphic or photograph is said
type weights is shown in Figure 1.31. to be dropped out. Reverse type can also be used to align
type by repeating the line above, but setting the portion
Typeface Family Management that is used as a spacer in reverse (Figure 1.33). This tech-
There is a rich field of choices—for both character weights nique makes it possible to align bullets, or other listed
and widths—in PostScript Type 1 and TrueType fonts, and items, without setting tabs.
ch01.kleper 10/23/00 4:20 PM Page 23
▼
FIGURE 1.32
The TypeTamer utility provides
the capability to list all installed
fonts alphabetically and grouped
by family. The user can see the
actual font characters and select
an individual character to insert
directly in the text. (Impossible
Software, Inc.; see Appendix A
for contact information.)
▼ FIGURE 1.33 options usually provide controls over the relative width
Reverse type can be used as a simple method for aligning text. of the font, typically altering it in fixed 10% steps, but
also allowing for single percent increments. The charac-
1. The first part of line one is repeated on each line... ter width of type is usually altered to make a line of type
Each Acme hardwood floor features: —A full 10-year warranty
fit precisely within a given line measure. Changing the
Each Acme hardwood floor features: —Wet-mop clean-up
Each Acme hardwood floor features: —No-wax surface width of a font should be done with care, however, since
Each Acme hardwood floor features: —Built-in scratch resistence
2. The unneeded text is highlighted and set in reverse... ▼ FIGURE 1.34

Any character can be used as a fixed space by composing it in the
same color as the page background.
Each Acme hardwood floor features: —No-wax surface
Each Acme hardwood floor features: —Built-in scratch resistence
1. The headline is set using a "j" in place of each space.
3. The reversed text provides precise spacing...

ElegancejBeginsjat
Each Acme hardwood floor features: —No-wax surface
Each Acme hardwood floor features: —Built-in scratch resistence HamiltonjManor
2. Each "j" is set as a reverse character.
Reverse characters are also used as fixed spaces. ElegancejBeginsjat

Designers may specify that they want to use the width of
a lower case j between words in a headline. An actual j HamiltonjManor
character, set in reverse, will produce a space equal to its
width (Figure 1.34). 3. The result is wordspacing equal to the width of the "j" character.
Character Width
Standard characters are designed in proportion to our
ElegancejBeginsjat
expectations, neither condensed nor expanded (see
“Anamorphic Reshaping,” page 39). Desktop publishing
HamiltonjManor
ch01.kleper 10/23/00 4:20 PM Page 24
Normal
The Common Cold has an Uncommon Cure
90%
80%
70%
30%
110%
120%
130%
150%
▲
FIGURE 1.35
A range of character width settings.
extremes in either direction are unattractive and often look were capable of reproducing. The ranges were in discrete
unnatural. Generally, it is better to modify the letterspac- steps, such as twelve sizes between 6-point and 72-point,
ing value of a given block of text than to tinker with the or a continuous range, such as every half-point size
set width of characters (Figure 1.35). between 5-point and 96-point. Regardless of the extent of
the range, it usually embodied two categories of type size:
Small Caps text size and display size. Typically, the text range is con-
A less common single-face variation is the use of small sidered to be sizes between 9-point and 12-point. These
capitals. Small capitals, or small caps, as they generally are sizes are used for the body matter of books, newspapers,
known, are capital letters that have a lower cap line than magazines, and the like. The display range includes all
the normal capital version of the same size. The small cap sizes larger than 14-point. These sizes are used for head-
letters are, in fact, as high as the x-height of the lowercase lines and subheads in combination with body matter. A
characters. Because small caps have limited function, they portion of a size range is shown in Figure 1.36.
were not usually part of the repertoire of characters available
on a typesetting machine, although they are common within Orientation or Rotation
desktop publishing programs in a pseudo form. They can be After type has been composed, there are various orienta-
composed from virtually any book typeface by setting them tions that can be applied to it. For example, it can be
at approximately 80% of the cap height, and increasing the rotated, clockwise or counterclockwise, to any prescribed
set width to 105–110%. The preferred method for setting angle. Type may be set at an angle to conform with the
small caps is to purchase the expert set of the font in ques- orientation of a graphic element, such as a street name
tion, which contains the properly designed characters. appearing on a map (Figure 1.37) or a photo that has been
rotated for graphic effect (Figure 1.38). Text may also be
Type-Size Variations rotated to set it apart from other elements on the page, in
Varying type size is probably the most common method order to draw the reader’s interest. Additionally, text may
of producing variety in the appearance of typeset matter. be mirrored, to present a three-dimensional effect, or mod-
The typesetting machines produced up to the early 1980s ified in some other way (Figure 1.39). (See “Special Effects
were manufactured with a built-in range of sizes that they Typography,” page 78.)
ch01.kleper 10/20/00 4:52 PM Page 25
ABCDEabcde123
6 point
ABCDEabcde123
8 point
ABCDEabcde123
10 point
ABCDEabcde123
12 point
ABCDEabcde123
14 point
ABCDEabcde123
18 point
ABCDEabcde123
24 point
ABCDEabcde123
▼
FIGURE 1.36
36 point A specimen of a point-size range for a
single typeface. In general, the larger
ABCDEabcde123
48 point
the point size, the more attention it gets
from the reader. The selection of point
sizes is normally based upon the relative
importance of the information that is
being displayed.
▼ FIGURE 1.37 ▼ FIGURE 1.38

Identification of map features, such as roads, is much easier when Text is normally easiest to read when it conforms with the angle
the associated names are properly aligned. of the object that it identifies.
Courtesy of DeLorme Mapping, Lower

Main St., POB 298, Freeport, ME 04032,
207 865-1234.
ch01.kleper 10/20/00 4:52 PM Page 26
Anng
Anggleedd
An
A
An
An
Mirror Angg d
A ng dd
Angg d
glee d
gl d
gl
Angled
le
eedd Angled
ll
ee
e d
Mirror Anng d d
l
g
Anng d
g
Ang
A
n
An
A
A
▼
FIGURE 1.39
Text can be composed to suggest
a third dimension or to create a
graphic image.
The Extended Character Set Characters

Macintosh Key
Combination
PC Key
Combination
m Key alone Key alone
A complete font of type includes much more than the
characters in the alphabet, the figures, and the punctua- M Key + shift Key + shift
tion. Exactly which additional characters are included is µ Key + option Alt + 0181
based primarily on the Extended ASCII Directory, which Â Key + shift + option Alt + 0194
defines the complement of characters that are considered
to be standard, and those for which the font was designed. Specialized fonts—such as symbols, dingbats, icons, logos,
The variation in both the number of characters, and their ornaments, and other non-alphabet designs, as well as
identities, requires that the user be aware of the character foreign language, scientific, mathematical, musical, and
mapping of his or her keyboard. The character map shows other special-purpose fonts—depend upon a software aid
where each character in the font is located, and includes or printed keyboard layout for locating characters. The
specification of the modifier key or keys necessary to Macintosh has a desk accessory called Key Caps that pro-
access each character. A single key can produce up to four vides a visual display of the keyboard based on the mod-
different characters, depending upon the modifiers used ifier key(s) that are in use (Figure 1.40).
with it. For example, using the Palatino typeface, the M The extended characters that are available on a Win-
key can produce four variations on a Macintosh. A PC dows computer can be viewed by using the Character
keyboard requires the use of the Alt key and a number Map accessory. It shows the Alt-key combinations (press-
sequence to generate two of these characters: ing Alt+0+character number) which are necessary to pro-
▼
FIGURE 1.40
The Apple Key Caps desk
accessory is useful for locating
unusual or special characters.
ch01.kleper 10/20/00 4:52 PM Page 27
▼
FIGURE 1.41
Characters that are a part of
the font complement, but are
not represented on the normal
keyboard, can be located by using
the Windows Character Map
accessory program.
duce characters that do not have either a dedicated key serif typeface. Typefaces that slant to the right, be they
or a common key sequence (Figure 1.41) serif or sans serif, are called italic variations. Almost all
The Macintosh and Windows operating systems do not type families include an italic member, and usually a bold-
map all character positions uniformly, so files that are face member as well (Figure 1.43).
shared between the two systems may show anomalies.
Care should always be taken when transferring files that ▼ FIGURE 1.42
contain members of the extended character set. The use of These eight categories of type comprise a simple scheme
Unicode fonts (see page 111) will not only overcome this of typeface classification.
problem, but will provide a universal solution for cor-
rectly specifying and displaying virtually any character
shape.
Blackletter
Typeface Classification Roman
One of the most perplexing problems confronting someone
new to typesetting is the overwhelming variety of type-
face designs from which to choose. There are literally tens
of thousands of styles available, many of which have fam-
Modern
ilies drawn as well. Printers have devised many methods
for classifying typefaces on the basis of either the physical
attributes of the designs or their historical development.
Square Serif
The complexities of organizing such a vast population of
designs, coupled with the subtle design differences of sim-
ilar typefaces, make identification of particular typefaces
difficult, even, in some cases, for experienced typogra-
Sans Serif
phers. For this reason, only a basic scheme of typeface clas-
sification will be offered here (Figure 1.42). Script
Serif versus Sans Serif
A typeface either has, or does not have, serifs. Serifs are
ending strokes on the arms, stems, and tails of some type-
Decorative
face designs. If a typeface has serifs, it is termed a roman
typeface. If the typeface is without serifs, it is called a sans
Cursive
ch01.kleper 10/20/00 4:52 PM Page 28
S S
Scenic Greeting Cards Scenic Greeting Cards
▼
FIGURE 1.43
Scenic Greeting Cards Scenic Greeting Cards (a) A serif typeface with italic and
Scenic Greeting Cards Scenic Greeting Cards bold variations. (b) A sans serif
typeface, also with italic and bold
variations. A sans serif typeface
that slants to the right may also
(a) (b) be referred to as an “oblique.”
Roman Sans Serif

The designation of serifed typefaces as roman is compli- In 1816, William Caslon IV designed a typeface with no
cated by the fact that any typeface which stands upright serifs. This design was in itself an innovation of major
in comparison to an italic form is also called roman. This proportions. It was the first sans serif typeface, the first of
system of designation is somewhat confusing since both many and the beginning of a major classification. Sans
roman and sans serif typefaces have italic forms. serif typefaces usually require more line spacing since
their simpler design does not provide readers with the
advantage of horizontal serifs to lead their eyes across the
Blackletter page.
The earliest typefaces—those from the Gutenberg work-
shop—were copies of the letterforms found in handwrit-
ten manuscripts. As a group they are called Blackletter, a
Scripts and Cursives
version of which is referred to as Old English. These letters Typefaces that imitate handwriting were first used in the
appear heavy and ornate, and have angular serifs. sixteenth century. They appear to be drawn with pen and
ink, and are classified as scripts and cursives. The letters
of a script typeface are joined; the letters of a cursive type-
Old Style face are not.
Printing from movable type spread from Germany south-
ward to Italy, and there the classical letterforms of
Humanist manuscripts became the model for the roman
Decorative and Display
typefaces. The earliest roman forms were called old style. Typefaces that do not fit into any of the previous classifi-
cations can be grouped into a category called decorative
and display.
Modern
The roman forms underwent many changes during the
period from approximately 1470 to 1775. In 1775,
Giambattista Bodoni introduced a type design of mechan- Typeface Recognition
ical structure, with heavy stems and light serifs. His
design is classified as a modern typeface.9 The recognition of a particular face is usually accomplished
by identifying a distinctive character, often a g or an a; or
by noting certain design characteristics, such as the fin-
Square Serifs ishing stroke on Q, or the spur on the G (Figure 1.44).
Around the turn of the nineteenth century, a new com-
mercial interest in type design began. One significant
result of that attention was the formation of a group of
type designs called the square serifs. Square serifs have Making Type Easier to Read
squared-off serifs at the extremities of each character.
Two measures are used to assess how easily a typeface
9. For information about the history of type design see Updike, Daniel
Berkeley. Printing Types: Their History, Forms, and Use. New York:
can be comprehended by a reader. The first is the legibil-
Dover, 1980. ity of the typeface, i.e., how well each character design
ch01.kleper 10/20/00 4:52 PM Page 29

other words, too long a line length, little or no line spac-
g g g g ing, and the wrong choice of point size can ruin the legi-
bility of a typeface by altering the criteria under which it
was designed. Conversely, an illegible, poorly designed,
Bell Bold Bodoni Bold Centaur Bold Cooper Black
or extremely ornate or complex typeface cannot easily be
g g g g Times New
improved by the variables of readability. Since legibility
and readability are so intimately related in their influence
on the effectiveness of graphic communication, the term
Helvetica Bold Myriad Bold Palatino Bold Roman Bold legibility of print has been devised to refer to both.
▲
FIGURE 1.44
Certain characters, such as the lower case g, have definite, defining The Measurement of Work
characteristics that provide clues as to the identity of the typeface.
Numerous studies have been conducted to determine the
typographic factors that are most significant in increas-
conveys its symbolic form to the reader. It is obvious that ing the legibility of print. Although most of these have
the various letter R’s in Figure 1.45 are not all equally iden- been conducted in relation to print media, the results can
tifiable as that character. The degree of legibility that a be applied, with caution and judgment, to text displayed
typeface possesses is controlled by the typeface designer. in electronic media formats. Most of the print research has
Although the legibility is designed into the typeface, and used the measurement of work as the method of assessment.
its features cannot be changed by the user, the manner in Since 1896, this measurement has been defined as the
which the typeface is used can directly affect how easy speed, in time, at which subjects are able to read and to
the type is to read. The use of type in its position in a lay- locate answers to problems.
out, in its relation to other graphic elements, and in its Reading has been defined by Smith and Decant as “the
specific form (type size, line length, line spacing) on the perception of graphic symbols. It is the process of relating
page are all aspects of readability—the second measure of graphic symbols to the reader’s fund of experience.”10
typeface comprehension—and are all under the control This definition is valid regardless of whether the reader is
of the page designer. viewing a printed page or a computer monitor. Reading
has, therefore, three main variables: the graphic symbols,
The Legibility of Print the form of presentation (printed material, screen display,
etc.), and the reader.
Within typographic circles, the question has arisen of how To the mix of variables associated with the legibility of
it is possible, within a printed piece, to divorce the legi- print we can add those that the reader touches, such as
bility of the typeface from the readability of the printed or the tactile feel of the paper surface, and those that the
displayed material. The consensus is that, realistically, it printer has chosen and the reader sees, such as the color
cannot be done. The legibility of a typeface—roman or of the paper and ink, and the overall color or contrast of
sans serif, italic or bold—is just as much a factor in read- the page. In an electronic media environment, the legibil-
ability as are line length, line spacing, and point size. In ity of print can be influenced by the size, brightness, and
glare of the screen, as well as the background and fore-
▼ FIGURE 1.45 ground colors used on the screen display.
Eight examples of the letter R. How would you rank them in The reader presents his or her own mix of variables: his
terms of their legibility? or her personality, age, sex, IQ, maturity, willingness to
learn, frustration tolerance, and reading skills, including
eyesight. Other factors are the textual intent, whether
R R R R pleasure-oriented or work-oriented, the length of text

matter, the degree of interest, and the rate of speed and
fatigue.
Asphalt-Black Avalon Caflisch Script Carnival There is one other fundamental difference between
reading print and reading from a Web site. The print mate-
R R R R
rial, in a physical form such as a book, can be evaluated
quickly in terms of its length and content. The reader forms
10. Zachrisson, Bror. Studies in the Legibility of Printed Text. Stockholm:

Civilite Critter Lilith Initials Old English Text Almqvist and Wiksell, 1965.
ch01.kleper 10/20/00 4:53 PM Page 30
an opinion (and perhaps an attitude) related to how long

it will take to read, how much effort it will require, and
how enjoyable the experience may be. The reader who is
SPECIAL SHAPES
presented with a Web site can make no such assessment.
The amount of material at the site is impossible to deter-
mine. You can’t judge a Web site by its home page, any
more than you can judge a book by its cover. Additionally,
Special Shapes
the book can be read anywhere; at a desk, in a lounge chair, ▲
under a tree—Web pages, generally, must be read while FIGURE 1.46
Words that appear in uppercase and lowercase form are easier for the
sitting in front of a computer.11 Finally, printed text retains
eyes to perceive as “pictures.”
its physical location on the page, which sometimes acts as
a memory cue in the retention process. Scrolling displays
of Web text generally do not offer such physical landmarks.
Character Differentiation
The composition of all capitals has been proven to
Eye Movements decrease the legibility of print. In extensive studies, G. W.
As early as 1907, Ruediger, a reading researcher, con- Ovink found that differentiating characteristics of capi-
cluded that the eyes can easily process ten times the num- tals must be clearly discernible. For example, the cross
ber of words that they actually do. The main impediments stroke at the bottom of the Q, which differentiates it from
to speed, he found, were the comprehension and the qual- the O, must be obvious. He also found that the middle
ity of the text. He found that fluency of comprehension arm of the E and F should be shorter than the top arm and
was directly related to smooth, rhythmical eye move- should not be too narrow, and that hairline stems and ser-
ments.12 The eye tends to divide a line of text into even ifs and heavy or long serifs should be avoided.15
units, and fixates upon these delineations in even jumps.
This phenomenon is called point vision. E. W. Dolch has
concluded that “the good reader is not fixating words or
Character Shapes
phrases of sentences. He is actually and literally fixating Lowercase letters having more variation in shape have a
parts of the line.”13 greater legibility in print.16 Investigations by Ovink,
These facts have had a direct and quite meaningful Roethlein, Sanford, and Tinker all reached this same con-
impact on the use of type. Since the fewer fixations the eye clusion. Among their findings was that the relative width
must make causes greater speed of reading, it makes sense of the lowercase letter is a factor in legibility.17 Compare
to use a minimum of space between words (word spaces) how easily an e or an i is read as opposed to an m or a w.
and to avoid wide or extended typefaces, which are now They also found that the more simple the outline of the let-
known to reduce reading speed and to cause eye fatigue. ter, the more legible the letter; that the serifs affect legi-
bility; that shading, or variation of stress, affects legibility;
and that the white space, or spaces within the outline of
Block Outlines a letter, is a strong influence on that letter’s legibility—
In 1910, Bertram Goodhue, the designer of the typeface the greater the space, the greater the legibility.18
Cheltenham, wrote that reading speed is dependent upon Much research has been conducted into the mechani-
a reader’s ability to make “pictures” out of words.14 cal aspects of type design. Some of the earliest interest
Almost 25 years earlier, Cattell had shown by experi- was expressed by Benjamin Franklin in a letter to Noah
mentation that the eye is capable of perceiving a whole Webster concerning type contour, in which he wrote “[it]
word as quickly as a single letter. The block outlines of makes the line more even, but renders it less immediately
lowercase words provide a distinctive form, one not to be legible; as the paring of all men’s noses might smooth and
found in all-capital composition (Figure 1.46). level their faces, but would render their physiognomies
11. That need not be the case. This topic is addressed in Chapter 19 15. Zachrisson, Bror. Studies in the Legibility of Printed Text. Stockholm:
of Volume II of this work. Almqvist and Wiksell, 1965.
12. Ruediger, William C. “Field of Distinct Vision.” Columbia 16. According to Miles A. Tinker, Schwarz in 1775 was the first to
Contributions to Philosophy and Psychology 16.1 (1907). notice that the lower case is more legible than the upper case.
13. Dolch, Edward William. Psychology and Teaching of Reading. 17. Zachrisson, Bror. Studies in the Legibility of Printed Text. Stockholm:
Westport, CT: Greenwood Press, 1970, c1951. Almqvist and Wiksell, 1965.
14. Zachrisson, Bror. Studies in the Legibility of Printed Text. Stockholm: 18. Ibid.
Almqvist and Wiksell, 1965.
ch01.kleper 10/20/00 4:53 PM Page 31
The upper half of a line of type provides

Bottom half covered
The upper half of a line of type provides

Top half covered
▲
FIGURE 1.47
The upper half of a line of type provides more visual clues as to its
identity than the bottom half.
less distinguishable.”19 In the early 1880s, Javal suggested

the reconstruction of letter forms and the shortening of
descenders. He based his recommendations on his obser-
vations from first covering the top half of a line of text,
then the bottom. He concluded that it was much easier to ▲
read the top half with the bottom half covered than vice FIGURE 1.48
The effect of weight on the Spartan typeface (light, book, medium,
versa (Figure 1.47).20 The eye does seem to define word
heavy, and black weights).
forms in terms of their upper structural components.
In addition to the consideration of legibility of print, dig-
ital media designers, especially, must be concerned with
the legibility of color. The ready availability, at no cost, of Typographic Guidelines
on-screen color requires some degree of attention to the Generally speaking, the typefaces in common use are
choice of colors to be used in any particular job. Research equally legible, so even the inexperienced user runs little
suggests that the best color combinations for displaying risk of selecting a text typeface that is terribly inappro-
text is black type against a white or yellow background.21 priate. Readers seem to prefer a typeface that is neither
light nor bold, but approaches boldness. Readers also
prefer a serif to a sans serif typeface, although there is no
Type Size difference in reading speed between the two. Italic type-
The size of the text type that is used does not seem to have faces tend to slow the reader and should therefore only
a significant effect on the legibility of print. Studies by be used for emphasis. As Ovink has stated, “The typog-
Paterson and Tinker, as well as by Luckiesh and Moss, rapher . . . , who did not hit upon the specially appropri-
have found that sizes between 9 and 12 points do not dif- ate type, will not have done actual harm to the transmis-
fer appreciably in this regard. Among older readers, how- sion of the meaning of the text, but he has missed an
ever, larger sizes are preferred for obvious reasons.22 opportunity to intensify the force of impression of the
text in a considerable degree.”24
There are a number of fairly simple guidelines that even
Type Weight the novice typesetter can follow that will improve the
Surprisingly, the weight of a typeface—that is, its degree appearance of his or her typeset output. The first relates to
of boldness—does not have much effect on reading speed line length. The manuscript writers and scribes of an age
(Figure 1.48). A study by Paterson and Tinker revealed, long past started the practice of consistently ending their
however, that 70% of those taking part in the investigation handwritten lines at the same point. Early printers imi-
(320 subjects) had a definite preference for the normal tated this style. The uniformity of line length has influ-
weight of type as opposed to the bold.23 enced the printer so significantly that he sacrifices, in some
instances, normal word spacing to achieve it. As the late
19. Williams, Lawrence E. “It’s Nice, but Can You Read It?” Typo- Eric Gill wrote in his Essay on Typography, “We have
graphic Composition 39.8 (Aug. 1958). become accustomed to wide gaps between words, not so
20. Zachrisson, Bror. Studies in the Legibility of Printed Text. Stockholm: much because wide spacing makes for legibility as because
21. Tinker, Miles A. Legibility of Print. Ames, IA: Iowa State University the Procrustean Bed called the Composing Stick has made
Press, 1963. wide spacing the easiest way out of the difficulty caused
22. Zachrisson, Bror. Studies in the Legibility of Printed Text. Stockholm:
23. Tinker, Miles A. Legibility of Print. Ames, IA: Iowa State University 24. Ovink, G. W. Legibility, Atmosphere-value and Forms of Printing
Press, 1963. Types. Leiden: A. W. Sijthoff, 1938.
ch01.kleper 10/20/00 4:53 PM Page 32
simply the absence of an exposure of light to photographic

OPTIMUM LINE LENGTH material. Quadding becomes a machine command con-
Single Column: 25-26 picas
trolling the position of less than a full line of type. The last
Double Column: 17-18 picas
line of a paragraph is pushed to the left, and therefore is
Type Size Line Length called quad left (QL or flush left). A line pushed to the right
12 pt. s ...................................... 17-37 pi is designated as quad right (QR or flush right). Centered
12 pt. l ....................................... 17-33 pi lines are designated as quad center (QC or centered).
10 pt. s ...................................... 17-27 pi
When lines are quadded, they gain the benefit of uni-
10 pt. l ....................................... 14-31 pi
form word spacing. Because all excess space in a line is
8 pt. s ........................................ 13-25 pi
8 pt. l ......................................... 14-38 pi placed to the left, the right, or divided between the two,
6 pt. s .......................................... 9-25 pi the fit of words in quadded lines is usually easier to read.
6 pt. l ......................................... 14-38 pi Many publications have adopted the practice of setting
(set solid [s], with line space [l]) all lines quad left, in a style known as ragged right or flush
left, ragged right. This style of line orientation has been
▲ shown to be easier to read. It also helps to avoid what
FIGURE 1.49
George Bernard Shaw described as “rivers of white
The optimum line lengths for various sizes of text type, based on
research conducted by Miles Tinker. [which] trickle down between words like raindrops on
the window pane.”27
Most readers are not aware of whether the text they are
by the tyrannical insistence upon equal length of lines.”25 reading is ragged or justified. Do you know which style
Generally speaking, readers dislike line lengths that are your daily newspaper uses? Check it the next time you
too short or too long (Figure 1.49). pick up a copy.
Paragraph Indentions Line Spacing

Even subtleties in text arrangement, such as paragraph The vertical space from the baseline of one line of type to
indention, can significantly affect the legibility of print. the baseline of the following line of type is called line spac-
An indention is a space that sets the paragraph apart from ing or leading. The term leading is derived from the prac-
other lines of type. It helps the reader’s eye to identify tice of setting type by hand and separating each line of
and organize blocks of text. Only the first paragraph of a metal type with a thin 2-point strip of metal called a lead
chapter or major subdivision does not require the inden- (Figure 1.50).
tion, since the reader has no difficulty determining the A block of type is specced, or marked-up, by indicating
beginning of a series of paragraphs. Studies conducted in the size of the type followed by the line spacing. If the type
the 1960s by Miles Tinker found that indention can is 10-point, and the line spacing is 12-point, then the mark-
improve legibility significantly.26 As a general rule, para- up would be “10/12,” which is read “ten on twelve.” As a
graphs with line lengths up to 18 picas should be indented rule of thumb, line spacing is usually 120% of the point
1 em space; those with line lengths from 19 to 23 picas size (Figure 1.51).
should be indented 11/2 em spaces; and those with line
lengths between 24 and 30 picas should be indented 2 em Letterspacing
spaces. Editorial style, or design designation, however, Sometimes the justification of lines of text is attempted
might dictate otherwise. under the worst of conditions. The line measure might be
too short, or the words might be too long and unhyphen-
Quadding ated, the minimum word space might be too wide, or the
The last line of a paragraph does not usually fill the line text might be wrapped around an irregular graphic. The
measure. In hand composition, large metal spaces two or result is copy that is poorly spaced and difficult to read
three times as large as an em were used to fill the space to (Figure 1.52).
the right of the final line. These spaces were called quads, Words can be spaced only so far apart before they lose
and the process of using them was called quadding. In type- their cohesiveness and become difficult to read. For this
set output from a phototypesetter or imagesetter, space is reason, most professional typesetting software has typo-
graphic spacing controls, which allow the user to set min-
imum and maximum expansion limits for word spaces.
25. Lawson, Alexander. “It’s Time to Re-examine some Composing
Room Procedures.” Inland Printer/American Lithographer. 155.3
(June 1965).
26. Tinker, Miles A. Legibility of Print. Ames, IA: Iowa State University 27. Currier, Everett Raymond. Type Spacing. New York: M. J. Bowles,
Press, 1963. 1912.
ch01.kleper 10/20/00 4:53 PM Page 33
Elevators have become indispensible in all large printing offices,

Wo r d s c a n b e s p a c e d o n l y
both for the conveyance of passengers and of freight....While so far apart before they
necessary, certain grave dangers attend their use, as they may cause lose their cohesiveness
injuries to the person and loss of life, and they are the means by and become difficult to
which fires very frequently spread with rapidity. 1894 Edition of the read. For this reason most
American Dictionary of Printing and Bookmaking. professional typesetting
software has typographic
▲ spacing controls, which
allow the user to set mini-
FIGURE 1.50
mum and maximum ex-
Lines of handset metal type were separated with thin strips of metal pansion limits for word
called leads, hence the term leading. spaces. When the maxi-
mum word space value is
surpassed, and if the user
has specified the option,
10 point type small increments of space
are added between indi-
vidual characters in the
Elevators have become indispe line. This letterspacing
10/12 both for the conveyance of p

necessary, certain grave dangers
degrades the word shapes
on which the reader ’s eye
depends for quick recogni-
injuries to the person and loss tion. Letterspacing should
2 point lead which fires very frequently sprea be avoided if possible.
American Dictionary of Printing
▲ ▲
FIGURE 1.51 FIGURE 1.53
Basic typographic specification refers to the type size and line Excessively letterspaced lines slow the reading rate since the reader
spacing, with the values, in points, separated by a slash. must determine where one word ends and the other begins.
The typographic implications of

optimum. Designers typically increase the side-bearing
Information about manufacturer’s
this capability are enormous. Not products and prices is believed to spacing for typefaces that will be viewed on-screen.
only can customers’ input be b e a c c u ra t e a s o f t h e t i m e o f
received over the telephone publication. Be advised
( i m m e d i a t e l y, a n d f r o m a n y that vendors’ product descriptions
Kerning
distance), but, by using a dedicated and specifications are subject to The opposite of letterspacing is kerning. Instead of adding
computer which offers electronic change without notice. When
mail, customers may leave files for
space between letters to fill a line, minute increments of
available, complete addresses and
pick-up at the convenience of the t e l e p h o n e n u m b e rs h a v e b e e n space are subtracted from between certain character pairs
typesetter operator (usually at listed. The publisher maintains no in order to improve their fit and therefore make them
night when the telephone rates liability or responsibility for the
are lowest). Completed accuracy of claims, nor the more eye-appealing. Kerning is most common in display
typesetting can then be mailed performance of capabilities stated advertising, where differences in character fit are most
back to the customer. Even with b y m a n u f a c t u re r s o r t h e i r
the speed of the Postal Service, representatives. obvious and aesthetically unacceptable (Figure 1.54).
this method of doing business can
be more efficient than current
practices.
▼ FIGURE 1.54
▲ Kerning helps to compensate for the placement of irregular char-
FIGURE 1.52 acter shapes in proximity to one another. Kerning is generally
Examples of poorly justified text. applied to specific character pairs that are known to result in
inappropriate character fit, such as “T” and “o”.
When the maximum word-space value is surpassed, and

if the user has specified the option, small increments of
space are added between individual characters in the line.
The unTrival Pursuit
This letterspacing degrades the word shapes on which the
reader’s eyes depend for quick recognition (Figure 1.53). of Excellence
Letterspacing should be avoided if possible.
A certain amount of letterspace is designed into each
character, so that it does not touch the character that pre-
cedes or follows it. This minute space, located on both the
The unTrival Pursuit
left and right sides of each character, is called the left and
right side bearing. The side bearings establish the inter-
character space that the designer has determined to be
of Excellence
ch01.kleper 10/20/00 4:53 PM Page 34
Tracking an unjustified tape and output a justified tape, all without

Some typesetting systems and page-layout programs have the aid of a human monitor.
an additional character-spacing option, usually referred to Today, typesetting machines (imagesetters, plain-paper
as character compensation or tracking. This option permits typesetters, page printers, etc.) receive rasterized page
the user to specify a small increment of space that is to be information which is derived from data that has been
uniformly removed—or less commonly, added—between composed in the computer, where all of the hyphenation
all characters. The result of using negative tracking (reduc- and justification (popularly known as H & J) calculations
ing intercharacter space) is tighter-fitting—although not have occurred.
necessarily more readable or more eye-pleasing—typog-
raphy. Negative character compensation can be used effec-
▼ FIGURE 1.55
tively to save space by squeezing characters closer
Tracking serves to change the space between characters uniformly,
together. The addition of space between characters can be without consideration for individual character shapes.
used to lighten the “color,” or overall pattern of density
(the balance of black and white), that a particular font cre- No Tracking
ates on a page or screen (Figure 1.55). No well conducted printing-office can be carried on
without rules, yet it is generally a mistake to formulate
Hyphenation
a vast number of regulations and post them up in dif-
The hyphenation process is linked intimately with the
ferent parts of the establishment. Some of those which
process of justification. The objective of line justification,
are to be found in particular offices are unnecessary,
as we have already discussed, is to pack as many charac-
for an acquaintance with them is presupposed when
ters on one line as will reasonably fit, while maintaining
a workman is engaged, as he must have served an
optimum word spacing and avoiding letterspacing.
apprenticeship. It is unnecessary, for instance, to estab-
Hyphenation becomes necessary when a word falling at
lish a rule that men must pick up the type they drop.
the end of a line causes that line to exceed the point at
(American Dictionary of Printing and Bookmaking, 1894)
which it should be ended (the justification range).
Early phototypesetting machines required the use of
Loose Tracking
perforated tapes with all end-of-line information included;
No well conducted printing-office can be car-
in other words, the lines had to be justified prior to type-
ried on without rules, yet it is generally a mis-
setting. These justified tapes could be prepared on a count-
take to formulate a vast number of regulations
ing keyboard, which calculated the unit width of each typed
and post them up in different parts of the estab-
character and indicated to the operator when the justifi-
lishment. Some of those which are to be found
cation zone was reached. Another method involved run-
in particular offices are unnecessary, for an
ning an unjustified tape through a reader on a special
acquaintance with them is presupposed when
computer so that a new justified tape could be prepared.
a workman is engaged, as he must have served
The first use of a digital computer in the typesetting
an apprenticeship. It is unnecessary, for
field occurred during the early 1960s, when a general-pur-
instance, to establish a rule that men must pick
pose computer, used for accounting and payroll functions,
up the type they drop. (American Dictionary of
was programmed for typesetting. Removing the end-of-
Printing and Bookmaking, 1894)
line, decision-making function from the perforator oper-
ator resulted in two major benefits. It increased the Tight Tracking
through-put speed and also allowed the operator to pro- No well conducted printing-office can be carried on without
duce a tape from a less-sophisticated and less-expensive rules, yet it is generally a mistake to formulate a vast num-
keyboard. ber of regulations and post them up in different parts of the
One of the first computers built to perform a specific establishment. Some of those which are to be found in par-
(special-purpose) typesetting task was the Compugraphic ticular offices are unnecessary, for an acquaintance with them
Linasec. It was used to justify tape, but lacked the stor- is presupposed when a workman is engaged, as he must
age capacity necessary for hyphenation, thereby requir- have served an apprenticeship. It is unnecessary, for instance,
ing a human monitor to respond to word breaks appear- to establish a rule that men must pick up the type they drop.
ing on a CRT screen. The Linasec was followed by the (American Dictionary of Printing and Bookmaking, 1894)
Compugraphic Justape, which had the ability to accept
ch01.kleper 10/20/00 4:53 PM Page 35

The H & J algorithms used in most desktop publish- differentiate between certain words, such as pre-sent and
ing, design, and screen-presentation applications use a pres-ent, or be able to handle the hyphenation of certain
line-at-a-time method to determine end-of-line decisions.28 technical terms or unusual names. In such cases, the oper-
This is less elegant that other methods, such as those used ator would insert a code called a discretionary hyphen (or
by the TeX typesetting language,29 which applies a set of soft hyphen) at the proper points, to make the correct break
expert rules to the entire paragraph in order to determine points obvious to the computer, should that particular
the optimum line-break points. word exceed the justification zone. If such words did not
fall at the end of the line, the discretionary hyphenation
Hyphenless Justification codes were ignored during processing.
When the last word in a line exceeds the line measure,
one option is to carry the entire word over to the next line The Rules of English
and make up the space by using interword and intraword The second hyphenation method relied on the rules of
spacing. If all such hyphenation decisions are made in this English language logic. The typesetter computer was pro-
manner, the result is hyphenless justification, which gives grammed with information based upon grammatical
the appearance of very loose lines. Hyphenless justifica- usage. Such instructions included not breaking a word
tion is a poor typographic style and should be avoided. (a) after fewer than two letters, (b) so that three or fewer
The alternative is to hyphenate the word and carry only letters were carried to the next line, (c) after a consonant
part of it to the next line. Most traditional typesetting followed by a vowel, and (d) before a punctuation mark,
machines accomplished this process by using one or a as well as many others. Logic programs were not perfect
combination of three different methods: discretionary because there are many exceptions to accepted rules of
hyphenation, the rules of English, or dictionary look-up. English usage. At best, such programs were about 98%
accurate.
Discretionary Hyphenation
The first method of hyphenation relied totally on the Dictionary Look-up
judgment of the keyboard operator. The operator might The third and most precise method of hyphenation was by
anticipate that the typesetter’s computer logic could not dictionary look-up. In this method, an entire dictionary was
stored on hard disk and consulted as needed. Although
this method was very effective, it was also more expensive
28. A notable exception is the Adobe Multi-Line Composer introduced
in the InDesign program in 1999.
and required continuous updating for new words. A vari-
29. TeX is a sophisticated program that facilitates the setting of com- ation of this method was an exception-word dictionary, a
plex typographic matter, most notably of a mathematical nature. It special collection of words that a particular user or com-
was written by Donald Knuth of Stanford University. TeX uses what
Knuth refers to as “control sequences” to communicate the form in pany frequently encountered. The exception-word dic-
which a specified portion of text is to be processed. There are about tionary was used in conjunction with a logic program and
900 control sequences that TeX is capable of processing, and the user
retains the option of respecifying commands so that he or she can
with discretionary hyphenation, as well as in cases of con-
remember them more easily. fusing word pairs.

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ch01.

kleper 10/23/00 10:44 AM Page lii

Chapter 1 Type and Typography

Chapter 3 Type on the Desktop

The proper use of type can help to communicate a message

4 Part one • Typographic Methods and Procedures

Typewritten versus Typeset

Chapter one • Type and Typography 5

Free Dom Normal

6 Part one • Typographic Methods and Procedures

A close-up view of the Varityper

Chapter one • Type and Typography 7

The Typewritten Legacy:

You are cordially invited

8 Part one • Typographic Methods and Procedures

Chapter one • Type and Typography 9

Typesetting has its roots in metal. The earliest metal Em Measurement

5. For information about Gutenberg, see Updike, Daniel Berkeley.

10 Part one • Typographic Methods and Procedures

Relative Units assignment of 12. All other characters receive a unit

gwi ▼ FIGURE 1.12

48 point em space For the First Time in Our History!

Chapter one • Type and Typography 11

Pica Units Em Measurement

Typography: The Use of Space

12 Part one • Typographic Methods and Procedures

This is an example of howx

This is an example of how

compositor (the person setting the type) whether the last

Chapter one • Type and Typography 13

14 Part one • Typographic Methods and Procedures

talking to could duplicate the layout, what elements

Chapter one • Type and Typography 15

Interline Spacing specifications—is “type size.” Determining the size of pre-

16 Part one • Typographic Methods and Procedures

Chapter one • Type and Typography 17

8/10 Packing: In computer programming, grouping two

8/12 Packing: In computer programming, grouping two

8/13 Packing: In computer programming, grouping two

18 Part one • Typographic Methods and Procedures

There are, then, a range of acceptable standards for

Chapter one • Type and Typography 19

20 Part one • Typographic Methods and Procedures

lower case abcdefghijklmnopqrstuvwxyz

SMALL CAPITALS abcdefghijklmnopqrstuvwxyz

Figures 1234567890 1234567890

Punctuation , . / <> ; : ' " [ ]{ } \ | = + - _ ~ ! @ % ^ & * ( ) `

Superior Figures A₁₂₃₄₅

Special Characters ©™•®

Mathematical Signs +-∞≈√∫µ≤≥÷ ≠∑⁄±

Reference Marks §¶†‡

Ornaments  

Chapter one • Type and Typography 21

Tyx Tyx Tyx ✽ Tyx

22 Part one • Typographic Methods and Procedures

the native Macintosh and Windows operating systems

Simulated Outline and Shadow Styles

Chapter one • Type and Typography 23

2. The unneeded text is highlighted and set in reverse... ▼ FIGURE 1.34

Ornaments