defining type

Defining Type

Desktop Publishing

What type shall I use?

The gods refuse to answer.

They refuse because they do not know.

-W.A. Dwiggins

Dynamic Relationships

In Life, when there is more than one of anything, a dynamic relationship is established

In Type, there is usually more than one element on a page, thus a relationship is established

What type of relationship will you define

Three Dynamic Relationships

Concordant Same type family, not much variety, dull

Contrasting Different type families, variety, exciting

Conflicting Similar type families, neither the same or

different, distracting First, let’s define the elements in the

relationship

Type Divisions

Type Faces Complete set of characters of a given font

Type Families Collection of related type faces

Type Races Broad categories of fonts defined by

Type Race Categories

OldstyleModernSlab Serif

(Egyptian/Typewriter)

San Serif

ScriptDecorative

(Special)Pi -

Type Race – Oldstyle

Type Race – Oldstyle

Great for body text when you’re looking for: Nostalgic, Eloquent, Traditional, Sincere,

Informal, Simple, Trustworthy

Type faces/families include:

Type Race – Modern

Type Race – Modern

Use in body text when you’re looking for: Brilliant, Formal, Modern, Elegant, Technical

Type faces/families include:

Type Race – Slab Serif

Type Race – Slab Serif

Use for body text when you’re looking for: Elegant and refined

Type faces/families include:

Type Race – Sans Serif

Type Race – Sans Serif

Often not good for body text (optima is exception) Usually used in display text

Type faces/families include:

Type Race – Script

Type Race – Script

Used only as display text Use sparingly and never all caps

Type faces/families include:

Type Race – Decorative

Type Race – Decorative

Used mainly as display text Fun, distinctive, expresses whims Don’t try to find ways to use these – that’s

not your job – only use when necessary

Type Race – Pi

Type Race – Pi

No alphabetic characters Often called ornaments Type faces/families include:

Wingdings, Zapf Dingbats, Woodtype Ornaments

Quick Test – Name that Font

Font Families

Each family consists of variations Type Styles – weight and stroke variations

Bold and Italics or Oblique (san serif) ShadowShadow, outline, and underlinesSMALL CAPS

Type Weight – letter width and stroke thicknessSuper-bold or BlackLightCondensed

Choosing Body Text

What you shouldn’t use Bitmapped fonts San Serif Pi Decorative

What you should use Old style Modern Slab serif (transitional) Resident fonts

Times, Bookman, Schoolbook, Palatino

Choosing Display Text

Strive for contrast instead of conflict When you combine your display text with

your body text, how will you establish this? Vary your:

Size, Weight, Structure, Direction

Display Contrast – Size

Try varying the size of the fonts Don’t be afraid to use 100-point to make a point If the text is important make it big Don’t be a wimp – don’t contrast 24-point with 30-

point

Display Contrast – Weight

Try different weights of a font to add emphasis instead of using ALL CAPS

Use varying type weights to organize your information in a list – with the more important information bolder

Highlight key phrases with bolder type instead of underlining

Display Contrast – Weight

Display Contrast – Structure

Never put two type faces from the same race on the same page

But you can mix the races

Display Contrast – Structure

Do mix, but make sure there is the needed contrast – the difference must be emphasized

Display Contrast – Structure

You can use two serif fonts together! Make sure each face uses a different race Can you identify the two races here?

Display Contrast – Direction

More than just slanting it Use slanted text sparingly -

often overused Create columns or

place your headings sideways

Display Contrast – Direction

Quick TestContrast or Conflict

Quick TestContrast or Conflict

Quick TestContrast or Conflict

Quick TestContrast or Conflict

Quick TestContrast or Conflict

Credits

The Non-Designer’s Design Book by Robin Williams

Looking Good in Print by Roger C. Parker Design for DTPs by Tom Lichty