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TextText is the most essential is the most essential ingredient in design communication.ingredient in design communication.

With type you communicate in two distinct ways. 1. The first message your audience receives comes

from the way the type looks. 2. The second message is the meaning of the words –

your actual message.

The visual message must correspond with the written message.

Type is the basic building block of any printed page. ◦ Most people tend to “wing it” when working with

type. ◦ Learning more about type categories, type styles,

and some of the guidelines for text use will improve your projects.

Serif

This is a serif!

Serifs are small lines or strokes that appear at the end of characters.

Serif – OldstyleSerif – Oldstyle

Based on the hand lettering of scribes.

These are conservative and dignified. They are good for long passages of text as they guide the eye from letter to letter.

If you’re setting lots of type that you want people to actually read, choose an Oldstyle.

Serif - ModernSerif - Modern

Modern typefaces have serifs, but the serifs are now horizontal instead of slanted, and they are very thin causing an effect on the page called “dazzling.”

Modern typefaces have a striking appearance, especially when set very large. Because of their strong thick/thin transitions, most Moderns are not good choices for extended amounts of body copy. Moderns tend to have a cold, elegant look.

Serif – Slab SerifSerif – Slab Serif

Along with the Industrial Revolution came a new concept: advertising.

Many of the Slab Serifs that have a slight thick/thin contrast are very high on the readability scale.Slab serifs are often used in children’s books because of their clean, straightforward look.

Sans SerifWithout Serif

Sans SerifSans SerifSans translates to

“without” in French. This typeface is monoweight – meaning there is no thick/thin transition in the stroke of the letter.

These are good for headlines, captions, and reverse type.

Script

ScriptScript

Brush ScriptVladimir

ScriptMonotype

CorsivaFrench Script

MTLucida Handwriting

These appear to have been hand lettered in calligraphy pen or brush. Use sparingly. Never set long blocks of text in script and never use it in ALL CAPS.

Great for grabbing attention in a headline when larger sizes are used.Often used in drop caps.Depending on the font, the letters may be connected or not.

Often used for announcements and invitations.

Decorative

DecorativeDecorative

RavieOld English Text MT

ChillerJokermanSnap ITC

Fun, distinctive, and whimsical. Use is limited. Never use as body text for long publications.OK for headlines or to convey emphasis. Good for use at font size 24 and above.

Also known as display typefaces and

SymbolsSymbols

Wingdings2

Wingdings

Webdings

Symbol

They are collections of related symbols. Very limited use to accent material. Takes some exploration to discover the symbols you need. Also known as Dingbats, Glyphs, or Ornaments.

Good use for Bullets and Logos.

Type FamiliesType Families

Multiple fonts – very similar within one family that shares common letterform construction. The original font is still recognizable.

• Franklin Gothic Book• Franklin Gothic Demi• Franklin Gothic Demi Cond• Franklin Gothic Heavy• Franklin Gothic Medium• Franklin Gothic Medium Cond

Type StylesType Styles

VERDANAAll Caps

VerdanaBold

VerdanaBold/Italic

VerdanaItalic

VerdanaRegular

VERDANASmall Caps

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

Type TerminologyType Terminology

Font Size – The height of a typeface, measured in points.

Includes distance from the bottom of the descender to the clearance allowance above the ascender.

TYPOgraphy

Ascender

x-Height

Baseline

Descender

66

Poin

ts

KerningKerning

TYPECan vary greatly especially with CAPS

TrackingTracking

LeadingLeading

General guidelines allow for 120% leading

Baselin

e to

Baselin

e

Type AlignmentType Alignment

Justified text is stretched from margin to margin, adding extra spacing as needed

Left Alignment

Right Alignment

Center Alignment

Paragraph TextParagraph Text

Serif Font, 9-12 pts

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

Headings/Headings/SubheadingsSubheadings

Sans SerifHeadings - 24 pts. or largerSubheadings - 14-18 pts.