Finer Points Final.rev1.pdf

Hello.

Please get out a pen and some paper for taking notes.

Some “finer points” of type. or, paying attention to the typographic details.

Let’s review some basics Typography is the art of arranging letter forms on a 2-d surface and requires careful consideration of both letter forms and the spaces in and around them. Space between letters is referred to as “letter space” or “tracking.” Space between words is referred to as “word space.” Space between lines is called leading. Spaces inside letters are called counterforms.

tracking / letterspace

Typography is the art of a r r a n g i n g le leading is baseline to baseline surface and requires careful consideratio wordspace forms and the spaces in and around the letters is referred to as “letter space” or i “tracking.” Space between words is refer

What is the measurement used in Typography?

Measurements 0

1

2

1 inch = 72 points

1 pica = 12 points

1 inch = 6 picas

0

1

2

3

4

5

6

7

8

9

10

11

12

How to spec type:

Caslon roman, 16 points with 4 points of leading, upper and lower case, flush left rag right.

Considering sizes

The most important step to take when starting out on a textheavy project, is to determine the visual ramifications of your font choice, point size, line-spacing (or leading), your dimensions, and the overall proportional relationships among text and space and margins and trim size and grid modules. Resolve these first. An aside: when you specify type, you write it like this: 8/14. This refers to 8 point type plus 6 points of leading (8+6=14). Leading is a term derived from hand-set metal type where inter-line spacing usually came in 1, 2, or 6 pt strips of lead. The specs for the type you see here would be written thusly: 16/20 adobe caslon roman u/lc (upper&lowercase), fl/rr (flush left, ragged right).

Leading + typeface + point size Unlike jewelry made with traditional granulation,

Unlike jewelry made with traditional granulation,

mica and then heating them so that the small orbs

created by placing the tiny gold balls on a piece of

Unlike jewelry made with traditional granulation, where tiny gold balls are secured to a gold substrate by diffusion bonding or with solder, this pendant lacks a metal backing and was probably created by placing the tiny gold balls on a piece of nonreactive mica and then heating them so that the small orbs formed a bond along their sides.

where tiny gold balls are secured to a gold substrate

where tiny gold balls are secured to a gold

formed a bond along their sides.

nonreactive mica and then heating them so that

Gotham 8/12

by diffusion bonding or with solder, this pendant

substrate by diffusion bonding or with solder, this

lacks a metal backing and was probably created by placing the tiny gold balls on a piece of nonreactive

Gotham 8/15

pendant lacks a metal backing and was probably

the small orbs formed a bond along their sides.

Gotham 8/18

Leading + typeface + point size Unlike jewelry made with traditional granulation, where tiny gold balls are secured to a gold substrate by diffusion bonding or with solder, this pendant lacks a metal backing and was probably created by placing the tiny gold balls on a piece of nonreactive mica and then heating them so that the small orbs formed a bond along their sides. Sentinel 9/12

Unlike jewelry made with traditional granulation, where tiny gold balls are secured to a gold substrate by diffusion bonding or with solder, this pendant lacks a metal backing and was probably created by placing the tiny gold balls on a piece of nonreactive mica and then heating them so that the small orbs formed a bond along their sides. Sentinel 9/15

Unlike jewelry made with traditional granulation, where tiny gold balls are secured to a gold substrate by diffusion bonding or with solder, this pendant lacks a metal backing and was probably created by placing the tiny gold balls on a piece of nonreactive mica and then heating them so that the small orbs formed a bond along their sides. Sentinel 9/9

Leading + typeface + point size Unlike jewelry made with traditional granulation, where tiny gold balls are secured to a gold substrate by diffusion bonding or with solder, this pendant lacks a metal backing and was probably created by placing the tiny gold balls on a piece of nonreactive mica and then heating them so that the small orbs formed a bond along their sides. Sentinel 9/12

Unlike jewelry made with traditional granulation, where tiny gold balls are secured to a gold substrate by diffusion bonding or with solder, this pendant lacks a metal backing and was probably created by placing the tiny gold balls on a piece of nonreactive mica and then heating them so that the small orbs

Unlike jewelry made with traditional granulation, where tiny gold balls are secured to a gold substrate by diffusion bonding or with solder, this pendant lacks a metal backing and was probably created by placing the tiny gold balls on a piece of nonreactive mica and then heating them so that the small orbs formed a bond along their sides. Sentinel 9/9

formed a bond along their sides. Sentinel 9/15

Your consideration of leading + typeface + type weight + type’s x-height + point size + line length + hyphenation & justfication settings + margin sizes + page size... = legibility/tone/texture

Above all

your job is to create ease of reading. Loose/open/sloppy word spacing should be avoided.

Above all

your job is to create ease of reading. Loose/open/sloppy word spacing should be avoided. We hold these truths to be self-evident, that all men are created equal, that they are endowed by their Creator with certain unalienable Rights, that among these are Life, Liberty and the pursuit of Happiness. That to secure these rights, Governments are instituted among Men, deriving their just powers from the consent of the governed; That whenever any Form of Government becomes destructive of these ends, it is the Right of the People to alter or to abolish it, and to institute tight loose

loose loose

We hold these truths to be self-evident, that all men are created equal, that they are endowed by their Creator with certain unalienable Rights, that among these are Life, Liberty and the pursuit of Happiness. — That to secure these rights, Governments are instituted among Men, deriving their just powers from the consent of the governed, — That whenever any Form of Government becomes destructive of these ends, it is the Right of the People to alter or to abolish it, and to institute new Government, laying its foundation on such principles and organizing its powers in such form, as to them shall seem most likely to effect their Safety and Happiness.

ideal: flush left/ rag right (FL / RR)

less ideal: justified ( Just)

tight loose

loose loose

We hold these truths to be self-evident, that all men are created equal, that they are endowed by their Creator with certain unalienable Rights, that among these are Life, Liberty and the pursuit of Happiness. — That to secure these rights, Governments are instituted among Men, deriving their just powers from the consent of the governed, — That whenever any Form of Government becomes destructive of these ends, it is the Right of the People to alter or to abolish it, and to institute new Government, laying its foundation on such principles and organizing its powers in such form, as to them shall seem most likely to effect their Safety and Happiness.

The question of two spaces... The Bliss Madonna, a glazed terracotta known in one other example (see below), is a quintessential Luca della Robbia work. Seen in half-length, the Virgin occupies a niche defined by gold-painted ribs against a turquoise ground. The frame is embellished with a floral design, and its upper corners are emblazoned with the Bartorelli and Baldi coats of arms, likely denoting a marriage between those Florentine families.1 Turquoise is signally rare as a ground color but encountered in other Della Robbia floral reliefs. As if shying from an onlooker, the Christ Child stands on the edge of the niche and leans in toward his mother, embracing her neck, while she supports him with one hand on a foot and the other on his hip. Their heads touch, but their blue gray eyes look out at the viewer. The Virgin’s thick mantle and robe and

The Bliss Madonna, a glazed terracotta known in one other example (see below), is a quintessential Luca della Robbia work. Seen in half-length, the Virgin occupies a niche defined by gold-painted ribs against a turquoise ground. The frame is embellished with a floral design, and its upper corners are emblazoned with the Bartorelli and Baldi coats of arms, likely denoting a marriage between those Florentine families.1 Turquoise is signally rare as a ground color but encountered in other Della Robbia floral reliefs. As if shying from an onlooker, the Christ Child stands on the edge of the niche and leans in toward his mother, embracing her neck, while she supports him with one hand on a foot and the other on his hip. Their heads touch, but their blue gray eyes look out at the viewer. The Virgin’s thick mantle and robe and

Don’t put 2 spaces after a period. (no matter what they told you in high school.) The Bliss Madonna, a glazed terracotta known in one other example (see below), is a quintessential Luca della Robbia work. Seen in half-length, the Virgin occupies a niche defined by gold-painted ribs against a turquoise ground. The frame is embellished with a floral design, and its upper corners are emblazoned with the Bartorelli and Baldi coats of arms, likely denoting a marriage between those Florentine families.1 Turquoise is signally rare as a ground color but encountered in other Della Robbia floral reliefs. As if shying from an onlooker, the Christ Child stands on the edge of the niche and leans in toward his mother, embracing her neck, while she supports him with one hand on a foot and the other on his hip. Their heads touch, but their blue gray eyes look out at the viewer. The Virgin’s thick mantle and robe and

The Bliss Madonna, a glazed terracotta known in one other example (see below), is a quintessential Luca della Robbia work. Seen in half-length, the Virgin occupies a niche defined by gold-painted ribs against a turquoise ground. The frame is embellished with a floral design, and its upper corners are emblazoned with the Bartorelli and Baldi coats of arms, likely denoting a marriage between those Florentine families.1 Turquoise is signally rare as a ground color but encountered in other Della Robbia floral reliefs. As if shying from an onlooker, the Christ Child stands on the edge of the niche and leans in toward his mother, embracing her neck, while she supports him with one hand on a foot and the other on his hip. Their heads touch, but their blue gray eyes look out at the viewer. The Virgin’s thick mantle and robe and

Well-justified text is not wrong. Ragged right is often better. We hold these truths to be self-evident, that all men are created equal, that they are endowed by their Creator with certain unalienable Rights, that among these are Life, Liberty and the pursuit of Happiness. That to secure these rights, Governments are instituted among Men, deriving their just powers from the consent of the governed; That whenever any Form of Government becomes destructive of these ends, it is the Right of the People to alter or to abolish it, and to institute new Government, laying its foundation on such principles and organizing its powers in such form, as to them shall seem most likely to effect their Safety and Happiness.

(badly Justified, with less than ideal word spacing)

We hold these truths to be self-evident, that all men are created equal, that they are endowed by their Creator with certain unalienable Rights, that among these are Life, Liberty and the pursuit of Happiness. That to secure these rights, Governments are instituted among Men, deriving their just powers from the consent of the governed; That whenever any Form of Government becomes destructive of these ends, it is the Right of the People to alter or to abolish it, and to institute new Government, laying its foundation on such principles and organizing its powers in such form, as to them shall seem most likely to effect their Safety and Happiness.

(Flush left, ragged right, with an orphan)

Well-justified text is not wrong. Ragged right setting can be better. We hold these truths to be self-evident, that all men are created equal, that they are endowed by their Creator with certain unalienable Rights, that among these are Life, Liberty and the pursuit of Happiness. That to secure these rights, Governments are instituted among Men, deriving their just powers from the consent of the governed; That whenever any Form of Government becomes destructive of these ends, it is the Right of the People to alter or to abolish it, and to institute new Government, laying its foundation on such principles and organizing its powers in such form, as to them shall seem most likely to effect their Safety and Happiness.

We hold these truths to be self-evident, that all men are created equal, that they are endowed by their Creator with certain unalienable Rights, that among these are Life, Liberty and the pursuit of Happiness. That to secure these rights, Governments are instituted among Men, deriving their just powers from the consent of the governed; That whenever any Form of Government becomes destructive of these ends, it is the Right of the People to alter or to abolish it, and to institute new Government, laying its foundation on such principles and organizing its powers in such form, as to them shall seem most likely to effect their Safety and Happiness.

( Justified, with loose word spacing)

(Flush left, ragged right, but with an orphan)

We hold these truths to be self-evident, that all men are created equal, that they are endowed by their Creator with certain unalienable Rights, that among these are Life, Liberty and the pursuit of Happiness. That to secure these rights, Governments are instituted among Men, deriving their just powers from the consent of the governed; That whenever any Form of Government becomes destructive of these ends, it is the Right of the People to alter or to abolish it, and to institute new Government, laying its foundation on such principles and organizing its powers in such form, as to them shall seem most likely to effect their Safety and Happiness. (Flush left, ragged right, no hyphens, but with an orphan)

We hold these truths to be self-evident, that all men are created equal, that they are endowed by their Creator with certain unalienable Rights, that among these are Life, Liberty and the pursuit of Happiness. That to secure these rights, Governments are instituted among Men, deriving their just powers from the consent of the governed; That whenever any Form of Government becomes destructive of these ends, it is the Right of the People to alter or to abolish it, and to institute new Government, laying its foundation on such principles and organizing its powers in such form, as to them shall seem most likely to effect their Safety and Happiness. ( Justified, with loose word spacing, and hyphens)

We hold these truths to be self-evident, that all men are created equal, that they are endowed by their Creator with certain unalienable Rights, that among these are Life, Liberty and the pursuit of Happiness. That to secure these rights, Governments are instituted among Men, deriving their just powers from the consent of the governed; That whenever any Form of Government becomes destructive of these ends, it is the Right of the People to alter or to abolish it, and to institute new Government, laying its foundation on such principles and organizing its powers in such form, as to them shall seem most likely to effect their Safety and Happiness. (F/L, lines broken for phrasing)

What makes a rag successful?

We hold these truths to be self-evident, that all men are created equal, that they are endowed by their Creator with certain unalienable Rights, that among these are Life, Liberty and the pursuit of Happiness. That to secure these rights, Governments are instituted among Men, deriving their just powers from the consent of the governed; That whenever any Form of Government becomes destructive of these ends, it is the Right of the People to alter or to abolish it, and to institute new Government, laying its foundation on such principles and organizing its powers in such form, as to them shall seem most likely to effect their Safety and Happiness. (F/L, pleasantly uneven)

What makes a paragraph decently justified?

We hold these truths to be self-evident, that all men are created equal, that they are endowed by their Creator with certain unalienable Rights, that among these are Life, Liberty and the pursuit of Happiness. That to secure these rights, Governments are instituted among Men, deriving their just powers from the consent of the governed; That whenever any Form of Government becomes destructive of these ends, it is the Right of the People to alter or to abolish it, and to institute new Government, laying its foundation on such principles and organizing its powers in such form, as to them shall seem most likely to effect their Safety and Happiness. (decently justified)

Avoid this if you can The Invention of Printing, though ingenious, compared with the invention of Letters, is no great matter. But who was the first that found the use of Letters, is not known. He that first brought them into Greece, men say was Cadmus, the sonne of Agenor, King of Phaenicia. A profitable Invention for continuing the memory of time past, and the conjunction of mankind, dispersed into so many, and distant regions of the Earth; and with all difficult, as proceeding from a watchfull observation of the divers motions of the Tongue, Palat, Lips, and other organs of Speech; whereby to make as many differences of characters, to remember them. But the most noble and profitable invention of all other, was that of Speech, consisting of Names or Apellations, and their Connexion; whereby men register their Thoughts; recall them when they are past; and also declare them one to another for mutuall utility and conversation; without which, there

had been amongst men, neither Common-wealth, nor Society, nor Contract, nor Peace, no more than amongst Lyons, Bears, and Wolves. The first author of Speech was GOD himselfe, that instructed Adam how to name such creatures as he presented to his sight; For the Scripture goeth no further in this matter. But this was sufficient to direct him to adde more names, as the experience and use of the creatures should give him occasion; and to joyn them in such manner by degrees, as to make himselfe understood; and so by succession of time, so much language might be gotten, as he had found use for; though not so copious, as an Orator or Philosopher has need of. For I do not find any thing in the Scripture, out of which, directly or by consequence can be gathered, that Adam was taught the names of all Figures, Numbers, Measures, Colours, Sounds, Fancies, Relations; much less the names of Words and Speech, as Generall, Spe-

ciall, Affirmative, Negative, Interrogative, Optative, Infinitive, all which are usefull; and least of all, of Entity, Intentionality, Quiddity, and other significant words of the School. But all this language gotten, and augmented by Adam and his posterity, was again lost at the tower of Babel, when by the hand of God, every man was stricken for his rebellion, with an oblivion of his former language. And being hereby forced to disperse themselves into severall parts of the world, it must needs be, that the diversity of Tongues that now is, proceeded by degrees from them, in such manner, as need (the mother of all inventions) taught them; and in tract of time grew every where more copious.

When we start a new book project in InDesign what settings need to be established?

hyphenation / justification 85% 95% 105% are good values to begin with when adjusting your minimum, desired, and maximum word space within the justification table in InDesign’s paragraph panel, however this might change based on the type you are using. When setting your hyphenation tables, adjust the setting to avoid hyphens when setting ragged right text; and try to minimize hyphens in justified text. (But don’t sacrifice good word spacing). If you must hyphenate, don’t hyphenate a word shorter than eight letters, and try not to have fewer than three letters (ideally four) letters preceding or following a hyphen.

hyphenation settings

adjust your settings

justification settings

a good place to start

85 / 95 / 105

Each time you start a project adjust your hyphenation and justification options. Use them.

Avoid hyphens where you can. But occasional hyphens are better than loose word spaces.

In a good rag, the lines are short, long, short, long, and so on, in an evenly uneven but organic way.

like this:

Imagine that you have before you a flagon of wine. You may choose your own favourite vintage for this imaginary demonstration, so that it be a deep shimmering crimson in colour. You have two goblets before you. One is of solid gold, wrought in the most exquisite patterns. The other is of crystal-clear glass, thin as a bubble, and as transparent. Pour and drink; and according to your choice of goblet, I shall know whether or not you are a connoisseur of wine. For if you have no feelings about wine one way or the other, you will want the sensation of drinking the stuff out of a vessel that may have cost thousands of pounds; but if you are a member of that vanishing tribe, the amateurs of fine vintages, you will choose the crystal, because everything about it is calculated to reveal rather than hide the beautiful thing which it was meant to contain. . . . You will find that almost all the virtues of the perfect wine-glass have a parallel in typography. Printing demands a humility of mind, for the lack of which many of the fine arts are even now floundering in self-conscious and maudlin experiments. There is nothing simple or dull in achieving the transparent page. Vulgar ostentation is twice as easy as discipline. When you realise that ugly typography never effaces itself; you will be able to capture beauty as the wise men capture happiness by aiming at something else. The ‘stunt typographer’ learns the fickleness of rich men who hate to read. Not for them are long breaths held over serif and kern, they will not appreciate your splitting of hair-spaces. Nobody (save the other craftsmen) will appreciate half your skill. But you may spend endless years of happy experiment in devising that crystalline goblet which is worthy to hold the vintage of the human mind. b e a t r i c e wa r d e

like this:

Imagine that you have before you a flagon of wine. You may choose your own favourite vintage for this imaginary demonstration, so that it be a deep shimmering crimson in colour. You have two goblets before you. One is of solid gold, wrought in the most exquisite patterns. The other is of crystal-clear glass, thin as a bubble, and as transparent. Pour and drink; and according to your choice of goblet, I shall know whether or not you are a connoisseur of wine. For if you have no feelings about wine one way or the other, you will want the sensation of drinking the stuff out of a vessel that may have cost thousands of pounds; but if you are a member of that vanishing tribe, the amateurs of fine vintages, you will choose the crystal, because everything about it is calculated to reveal rather than hide the beautiful thing which it was meant to contain. . . . You will find that almost all the virtues of the perfect wine-glass have a parallel in typography. Printing demands a humility of mind, for the lack of which many of the fine arts are even now floundering in self-conscious and maudlin experiments. There is nothing simple or dull in achieving the transparent page. Vulgar ostentation is twice as easy as discipline. When you realise that ugly typography never effaces itself; you will be able to capture beauty as the wise men capture happiness by aiming at something else. The ‘stunt typographer’ learns the fickleness of rich men who hate to read. Not for them are long breaths held over serif and kern, they will not appreciate your splitting of hair-spaces. Nobody (save the other craftsmen) will appreciate half your skill. But you may spend endless years of happy experiment in devising that crystalline goblet which is worthy to hold the vintage of the human mind. b e a t r i c e wa r d e

or this:

Imagine that you have before you a flagon of wine. You may choose your own favourite vintage for this imaginary demonstration, so that it be a deep shimmering crimson in colour. You have two goblets before you. One is of solid gold, wrought in the most exquisite patterns. The other is of crystal-clear glass, thin as a bubble, and as transparent. Pour and drink; and according to your choice of goblet, I shall know whether or not you are a connoisseur of wine. For if you have no feelings about wine one way or the other, you will want the sensation of drinking the stuff out of a vessel that may have cost thousands of pounds; but if you are a member of that vanishing tribe, the amateurs of fine vintages, you will choose the crystal, because everything about it is calculated to reveal rather than hide the beautiful thing which it was meant to contain. . . . You will find that almost all the virtues of the perfect wine-glass have a parallel in typography. Printing demands a humility of mind, for the lack of which many of the fine arts are even now floundering in self-conscious and maudlin experiments. There is nothing simple or dull in achieving the transparent page. Vulgar ostentation is twice as easy as discipline. When you realise that ugly typography never effaces itself; you will be able to capture beauty as the wise men capture happiness by aiming at something else. The ‘stunt typographer’ learns the fickleness of rich men who hate to read. Not for them are long breaths held over serif and kern, they will not appreciate your splitting of hair-spaces. Nobody (save the other craftsmen) will appreciate half your skill. But you may spend endless years of happy experiment in devising that crystalline goblet which is worthy to hold the vintage of the human mind. b e a t r i c e wa r d e

but not this:

Imagine that you have before you a flagon of wine. You may choose your own favourite vintage for this imaginary demonstration, so that it be a deep shimmering crimson in colour. You have two goblets before you. One is of solid gold, wrought in the most exquisite patterns. The other is of crystal-clear glass, thin as a bubble, and as transparent. Pour and drink; and according to your choice of goblet, I shall know whether or not you are a connoisseur of wine. For if you have no feelings about wine one way or the other, you will want the sensation of drinking the stuff out of a vessel that may have cost thousands of pounds; but if you are a member of that vanishing tribe, the amateurs of fine vintages, you will choose the crystal, because everything about it is calculated to reveal rather than hide the beautiful thing which it was meant to contain. . . . You will find that almost all the virtues of the perfect wine-glass have a parallel in typography. Printing demands a humility of mind, for the lack of which many of the fine arts are even now floundering in self-conscious and maudlin experiments. There is nothing simple or dull in achieving the transparent page. Vulgar ostentation is twice as easy as discipline. When you realise that ugly typography never effaces itself; you will be able to capture beauty as the wise men capture happiness by aiming at something else. The ‘stunt typographer’ learns the fickleness of rich men who hate to read. Not for them are long breaths held over serif and kern, they will not appreciate your splitting of hair-spaces. Nobody (save the other craftsmen) will appreciate half your skill. But you may spend endless years of happy experiment in devising that crystalline goblet which is worthy to hold the vintage of the human mind. b e a t r i c e wa r d e

but not this:

Imagine that you have before you a flagon of wine. You may choose your own favourite vintage for this imaginary demonstration, so that it be a deep shimmering crimson in colour. You have two goblets before you. One is of solid gold, wrought in the most exquisite patterns. The other is of crystal-clear glass, thin as a bubble, and as transparent. Pour and drink; and according to your choice of goblet, I shall know whether or not you are a connoisseur of wine. For if you have no feelings about wine one way or the other, you will want the sensation of drinking the stuff out of a vessel that may have cost thousands of pounds; but if you are a member of that vanishing tribe, the amateurs of fine vintages, you will choose the crystal, because everything about it is calculated to reveal rather than hide the beautiful thing which it was meant to contain. . . . You will find that almost all the virtues of the perfect wine-glass have a parallel in typography. Printing demands a humility of mind, for the lack of which many of the fine arts are even now floundering in self-conscious and maudlin experiments. There is nothing simple or dull in achieving the transparent page. Vulgar ostentation is twice as easy as discipline. When you realise that ugly typography never effaces itself; you will be able to capture beauty as the wise men capture happiness by aiming at something else. The ‘stunt typographer’ learns the fickleness of rich men who hate to read. Not for them are long breaths held over serif and kern, they will not appreciate your splitting of hair-spaces. Nobody (save the other craftsmen) will appreciate half your skill. But you may spend endless years of happy experiment in devising that crystalline goblet which is worthy to hold the vintage of the human mind. b e a t r i c e wa r d e

In InDesign where and how can we modify the rag? Which of these settings are best for: a) justified, b) rag right ?

single line or paragraph composer Make a choice about which you want to use. In my experience Single-line is best for setting FL/RR text, and Paragraph Composer is best for justified type. But explore the settings, figure it out yourself.

When setting type you wantleft W h e anparagraph s e t t i n goft ype flush to be sure to check your hyphenation and ragged is ideal to have justification valuesright, and setitthem to an not appropriate setting. This will affect the way words to hy p h e n ate at all. You can are allowed to hyphenate, the rag of your paragraphs, and density theion text.in t he paraturn o fthe f hy p h e of nat a l e t te i nofI nDesign. g ra p ha pparagraph When setting type you This want to be sure to check your hyphendep e n d s u l t ivalues mately ation and justification andon sett he lengt h them to( m ane aappropriate This willt he s u re) o f setting. t he line and affect the way words are allowed to hyphenate,s ithe rag of uyour paragraphs, and ze o f yo r t y pe. Occasionally big the density of the text. wo rd s m u st b e hy phenated to

When setting a paragraph of type you want to be sure to check avoand i djustification l a rg e values woand rdsetspaces your hyphenation them to an t hat appropriate setting. This will affect the way words are allowed to hyphenate, the u the r. density of the i n rag evofi tyour a bparagraphs, l y o ccand text. When setting a paragraph of type you want to be sure to check your hyphenation and justification values and set them to an appropriate setting. This will affect the way words are allowed to hyphenate, the rag of your paragraphs, and the density of the text. When setting a paragraph of type you want to be sure to check your hyphenation and justification values and set them to an appropriate setting. This will affect the way words are allowed to hyphenate, the rag of your paragraphs, and the density of text.

w ill

When paragraph type you to Whensetting set taing t ype of flush l e fwant t be sure to check your hyphenation and justifiragged right, ideal not to have cation values and it setisthem to an appropriate setting. This will affect the way words are to hyphenate at all. You c an allowed to hyphenate, the rag of your paragraphs, andhyphenat the density ofion the text. tu rn off in the p a ra -

Garamond 12/14 x 17 picas Justification: 50/80/100 Hyphenation on

graph paletateparagraph in InDesig n. Thi When setting of type yous Garamond 12/14 x 17 picas want to be sure to check your hyphendepends ult imately on t he l e ng th Justification: 100/200/250 ation and justification values and set them to an appropriate setting. (m easure) of t he line an d This the will affect the way words are allowed to hyphenate, ragt ype. of your paragraphs, s ize of the your Occas i o nal land y big the density of the text. wo rds must be hyphenate d to

When setting a paragraph of type you want to be sure to check avoid large word values spaces that your hyphenation and justification and set them to an w i l l appropriate setting. This will affect the way words are allowed to hyphenate, rag of your paragraphs, and the density of the in evit the ably occur. text. When setting a paragraph of type you want to be sure to check your hyphenation and justification values and set them to an appropriate setting. This will affect the way words are allowed to hyphenate, the rag of your paragraphs, and the density of the text. When setting a paragraph of type you want to be sure to check your hyphenation and justification values and set them to an appropriate setting. This will affect the way words are allowed to hyphenate, the rag of your paragraphs, and the density of text.

Garamond 8/11 x 17 picas Justification: 75/95/105 Hyphenation off

When setting type flush left ragged right,

No matter how hard you try, if you justify

it is ideal not to have to hyphenate at all. You

text in a narrow column and you turn

can turn off hyphenation in the paragraph

off

palette in InDesign. This depends ultimately

word spacing. Students often ask how

on the length (measure) of the line and the

to fix this and the simple answer if you

size of your type. Occasionally big words must

can’t. So make it flush left/rag right and

be hyphenated in order to avoid large word

do your self and your readers a favor.

hyphenation

you

will

get

terrible

spaces that will inevitably occur.

Gotham 11/24 FL/RR Justification: 50/80/100 Adobe single line composer

Gotham 11/24 JUSTIFIED w/ hyphens Adobe paragraph composer

orphan

Text consists of letters built into words, which are strung into sentences sequenced into paragraphs. There are probably about 90 words in a typical paragraph. That means in a manuscript of 75,000 words you will be dealing with over 800 paragraphs and 5,000 line endings. Because there are so many paragraphs, there’s a kind of random distribution that happens in books. If you get to the bottom of a page and there’s only room for one more line, and that line is the first line of a paragraph, you will have an odd look at the bottom of that page. This is a widow. Text consists of letters built into words, which are strung into sentences sequenced into paragraphs. There are probably about 90 words in a typical paragraph. That means in a manuscript of 75,000 words you will be dealing with over 800 paragraphs and 5,000 line endings. Because there are so many paragraphs, there’s a kind of random distribution that happens in books. Because there are so many paragraphs, there’s a kind of random distribution that happens in books. Text consists of letters built into words, which are strung into sentences sequenced into paragraphs. There are probably about 90 words in a typical paragraph. So of 75,000 words you will be dealing with over 800 paragraphs and 5,000 line endings. Because there are so many paragraphs, there’s a kind of random distribution that happens in books. If you get to the bottom of a page and there’s only room for one more line, and that line is the first line of a paragraph, you will have an odd look at the bottom of that page. Pages should align at bottom. This is a widow. 12  book title

widow

and this is an orphan. Text consists of letters built into words, which are strung into sentences sequenced into paragraphs. There are probably about 90 words in a typical paragraph. That means in a manuscript of 75,000 words you will be dealing with over 800 paragraphs and 5,000 line endings. Because there are so many paragraphs, there’s a kind of random distribution that happens in books. If you get to the bottom of a page and there’s only room for one more line, and that line is the first line of a paragraph, you will have an odd look at the bottom of that page. This is a widow. Text consists of letters built into words, which are strung into sentences sequenced into paragraphs. There are probably about 90 words in a typical paragraph. That means in a manuscript of 75,000 words you will be dealing with over 800 paragraphs and 5,000 line endings. Because there are so many paragraphs, there’s a kind of random distribution that happens in books. Text consists of letters built into words, which are strung into sentences sequenced into paragraphs. There are probably about 90 words in a typical paragraph. So of 75,000 words you will be dealing with over 800 paragraphs and 5,000 line endings. Because there are so many paragraphs, there’s a kind of random distribution that happens in books. If you get to the bottom of a page and there’s only room for one more line, and that line is the first line of a paragraph, you will have an odd look at the bottom of that page. Pages should align at bottom. This is a widow.

13  author name

baselines align across the spread

Text consists of letters built into words, which are strung into sentences sequenced into paragraphs. There are probably about 90 words in a typical paragraph. That means in a manuscript of 75,000 words you will be dealing with over 800 paragraphs and 5,000 line endings. Because there are so many paragraphs, there’s a kind of random distribution that happens in books. If you get to the bottom of a page and there’s only room for one more line, and that line is the first line of a paragraph, you will have an odd look at the bottom of that page. This is a widow. Text consists of letters built into words, which are strung into sentences sequenced into paragraphs. There are probably about 90 words in a typical paragraph. That means in a manuscript of 75,000 words you will be dealing with over 800 paragraphs and 5,000 line endings. Because there are so many paragraphs, there’s a kind of random distribution that happens in books. Because there are so many paragraphs, there’s a kind of random distribution that happens in books. Text consists of letters built into words, which are strung into sentences sequenced into paragraphs. There are probably about 90 words in a typical paragraph. That means in a manuscript of 75,000 words you will be dealing with over 800 paragraphs and 5,000 line endings. Because there are

so many paragraphs, there’s a kind of random distribution that happens in books. If you get to the bottom of a page and there’s only room for one more line, and that line is the first line of a paragraph, you will have an odd look at the bottom of that page. This is a widow. It is incomplete.Text consists of letters built into words, which are strung into sentences sequenced into paragraphs. There are probably about 90 words in a typical paragraph. That means in a manuscript of 75,000 words you will be dealing with over 800 paragraphs and 5,000 line endings. Because there are so many paragraphs, there’s a kind of random distribution that happens in books. If you get to the bottom of a page and there’s only room for one more line, and that line is the first line of a paragraph, you will have an odd look at the bottom of that page. This is a widow. Text consists of letters built into words, which are strung into sentences sequenced into paragraphs. There are probably about 90 words in a typical paragraph. That means in a manuscript of 75,000 words you will be dealing with over 800 paragraphs and 5,000 line endings. Because there are so many paragraphs, there’s a kind of random distribution that happens in books. Text consists of letters built into words, which are strung into sentences sequenced into paragraphs. There are probably

12  book title

13  author name

put your running feet to work!

how can they be most useful

baselines align across the spread

Text consists of letters built into words, which are strung into sentences sequenced into paragraphs. There are probably about 90 words in a typical paragraph. That means in a manuscript of 75,000 words you will be dealing with over 800 paragraphs and 5,000 line endings. Because there are so many paragraphs, there’s a kind of random distribution that happens in books. If you get to the bottom of a page and there’s only room for one more line, and that line is the first line of a paragraph, you will have an odd look at the bottom of that page. This is a widow. Text consists of letters built into words, which are strung into sentences sequenced into paragraphs. There are probably about 90 words in a typical paragraph. That means in a manuscript of 75,000 words you will be dealing with over 800 paragraphs and 5,000 line endings. Because there are so many paragraphs, there’s a kind of random distribution that happens in books. Because there are so many paragraphs, there’s a kind of random distribution that happens in books. Text consists of letters built into words, which are strung into sentences sequenced into paragraphs. There are probably about 90 words in a typical paragraph. That means in a manuscript of 75,000 words you will be dealing with over 800 paragraphs and 5,000 line endings. Because there are so many paragraphs, there’s a kind of random distribution that happens in books. If you get to the bottom of a page and there’s only room for one more line, and that line is the first line of a paragraph, you will have an odd look at the bottom of that page. This is called a widow. It is incomplete.Text consists of

letters built into words, which are strung into sentences sequenced into paragraphs. There are probably about 90 words in a typical paragraph. That means in a manuscript of 75,000 words you will be dealing with over 800 paragraphs and 5,000 line endings. Because there are so many paragraphs, there’s a kind of random distribution that happens in books. If you get to the bottom of a page and there’s only room for one more line, and that line is the first line of a paragraph, you will have an odd look at the bottom of that page. This is a widow. Text consists of letters built into words, which are strung into sentences sequenced into paragraphs. There are probably about 90 words in a typical paragraph. That means in a manuscript of 75,000 words you will be dealing with over 800 paragraphs and 5,000 line endings. Because there are so many paragraphs, there’s a kind of random distribution that happens in books. Text consists of letters built into words, which are strung into sentences sequenced into paragraphs. There are probably about 90 words in a typical paragraph. That means in a manuscript of 75,000 words you will be dealing with over 800 paragraphs and 5,000 line endings. Because there are so many paragraphs, there’s a kind of random distribution that happens in books. If you get to the bottom of a page and there’s only room for one more line, and that line is the first line of a paragraph, you will have an odd look at the bottom of that page. This is a widow. Because there are so many paragraphs, there’s a kind of random distribution that happens in books. Text consists of letters built into words, which are strung into

12  book title

13  author name

Put your running heads to work!

How can they be most useful?

What do small caps and old style figures look like? When are small caps and old style figures used?

The difference between caps and small caps: These are small caps which fit nicely with lowercase letters. These are old style figures: 123456. To use small caps properly you must be working with a typeface that includes small caps as part of its family. AdobePro Open Fonts often include small caps and old style figures.

xheight de 123 abcfg abc 1256 full caps

lining or cap figures

old style or text figures small caps

If you need to use numbers (aka figures) and caps within a paragraph of text, use oldstyle figures 0123 and small caps so as not to make too jarring an interruption to the overall color and texture of a page. Examples: Because of the ascenders and descenders, 1683 looks better than 1683 when set in the midst of a text paragraph. And 500 bce is nicer when set in small caps with old style (os) figs. It’s slightly more elegant than: 50 0 BCE. If you have to mention an acronym, such as YMCA or USSR in the middle of a page, the use of small caps is more harmonious and less abrupt, for example: “He stayed at the ymca when he went on a trip to the ussr in 1989.” This is less disruptive to the page.

When in doubt about rules of punctuation and grammar where do we get the answer from?

Also, please note the quotation marks here: “He stayed at the ymca when he went on a trip to the ussr in 1989.” The period goes inside the quotation mark, and the first quotation mark in a short paragraph of text ought to “hang”in the left margin. When in doubt about rules of punctiation and grammar, please check the Chicago Manual of Style:

Some fonts don’t include true small caps within the family.

Many sans serifs don’t have small caps. When you use the “small cap” styling option in InDesign for a font without true small caps, it just shrinks the letters and you can create some not-so-pleasing visual irregularities:

Helvetica, for example doesn’t have true small caps. When you use the “fake” small caps, the weights don’t look quite right. You need to be very conscious of these details.

Some fonts don’t include true small caps within the family.

Many sans serifs don’t have small caps. When you use the “small cap” styling option in InDesign for a font without true small caps, you can create some not-so-pleasing visual irregularities:

Helvetica, for example doesn’t have true small caps. When you use the styled small caps, the weights don’t look quite right. You need to be very conscious of these details.

mple

doe

These are FULL or LINING CAPS and these are lining figures: 01 23 456789 Lining figures align nicely with lining caps LIKE THIS 1234 Check your Open Type options in InDesign’s Character panel to see if you have old style figures and small caps available. also check out: http://fontfeed.com/archives/figuring-out-numerals/

What is the term for adding equal space between letters of an entire word or entire text? What is the term for adding or subtracting space between some pairs of letters of a word?

letterspacing (tracking)

Please note, when using caps or small caps, you should probably add a bit of letterspace (tracking) since the caps can look squeezed, and require a bit of breathing room. This is especially true in serif faces. SERIF FACES SER IF FACES serif faces serif faces

Full caps tracked 0 Full caps tracked 75 Small caps tracked 0 Small tracked 75

A letterspace (tracking) example:

THIS IS RATHER TIGHT THIS IS A BIT BET TER

Another example: gothamlight smallcaps

without and with

l e t t e r s pac i n g

BODONI CAPS without and with TRACKING (tracked 100)

kerning (which is not the same as tracking) Kerning refers to the action of adjusting space between a pair of letters, particularly necessary when setting display type. Certain letter pairs require more consideration.

Washington In Turmoil After Yesterday’s Hurricane Washington In Turmoil After Yesterday’s Hurricane

no kerning

CRACKLING

tracked 0, “Optical” kerning

kerned

CRACKLING

tracked 100, “Optical” kerning

with kerning adjusted

Te Wo V.

without kerning adjusted

Te   Wo   V.

drop caps and redundant caps ther e is a tr a dition in t y pese t ting of using Full Caps And Small Caps together occasionally, often to designate the beginning of a paragraph. This is a stylistic choice reminiscent of early ornamental initial caps. However, it can look clunky and redundant so please use this style with the greatest discretion.

L

ikewise, drop caps can (rarely) be an elegant choice, but as above, they are not really necessary. Be careful how you use them and avoid this sort of inelegant solution which creates awkward spacing.

know your M and N spaces This  is an M space­. It is an empty space the size of the point size squared. (In metal type it would be a slug of lead.) So here it would be 14 x 14 points. However a 14 point letter is never actually 14 points in any dimension. The point size includes the empty buffer space above and below the letterform. An N space  is half an M space. An N space is perfect when you want a space slightly bigger than a word space to express division, like, say in an address on a business card or letterhead: p r o v i d e n c e   r i   02906

Space can often be used instead of punctuation. t y p e a n m s pa c e b y h i t t i n g c o m m a n d + s h i f t + m t y p e a n n s pa c e b y h i t t i n g c o m m a n d + s h i f t + n

many of these measurements such as M and N space derive from the size of the face of a piece of lead type.

the entire body of this 14 pt capital is 14 points tall

M + N dashes This is an M dash­—it is as wide as an M space. We use it to indicate a pause—in speech. t y p e a n m da s h by h it ti n g o ­ ption

+

shift

+

hyphen

An M dash often looks better — with a “thin” space on either side. This can be done in two ways: 1. InDesign has an option to “insert thin space.” go to t ype

>

i n s e r t w h i t e s pa c e

>

t h i n s pa c e .

2. Or you can simply adjust the kerning value on either side.

Type > Insert White Space

Sometimes an M-dash — feels too long and interrupts the overall tone of the line too much. It might look better if it were a tad shorter, closer to an N-dash, but adjusted for aesthetic reasons – I decided to use an N-dash scaled 150% horizontally. An N-dash is used between dates and numbers, like this: Gertrude Stein, 1874 – 1946 or to indicate a range of numbers: pages 123 – 187 t y p e a n n - da s h by h it ti n g o p ti o n

+ - (h y p h e n)

This is a hyphen: It is the shortest “dash” we use. It is used at the end of a line when a word is breaking and “turning over.” Or for a compound-word. Or when two words merge to become an adjective like “mid-century modern.”

Please be extra careful w h e n l e t t e r s p a c i n g l o w e r c a s e l e t t e r s h

a

r

d

a s e

r

i t

m a k e s t

o

t y p e r

e

a

d

ligatures Always use ligatures (when available) especially when setting type in old-style or serif faces. This is mostly automatic in InDesign, but check the ligatures option in the character panel. Or look at Glyphs under the Type menu

fi ffi fl ffl Here are some ligatures from Z. Licko’s Mrs Eaves Just Ligatures font.

abcdefghijkmnopqrstuvwxyz t i p : g o t o c h a r a c t e r pa n e l tip: go to t ype

>

g ly p h s

>

>

options

>

entire font

check

“ l i g at u r e s ”

'' ''

hanging quotes “ This is called a hanging quote because it hangs in the margin leaving the flush left edge nice and smooth.

“ ”

These marks are “ ” referred to as typographer’s quotes, or smart quotes  – Do not use ''prime marks by mistake.'' This is an error people often make when just starting out. This knowledge and correct use separates the typographers from the amateurs. t i p : t o g e t p r o p e r q u o tat i o n m a r k s , g o t o i n d e s i g n preferences

>

type

>

and check

to hang quotes , go to t ype m a r g i n a l i g n m e n t .”

>

“typographers

story

>

check

>

q u o t e s .”

“optical

prime mark

quotation mark

And another thing

’

’

Lucy’s book; Jane s book; the 1990s; abbreviated it’s the 90s.

An ellipsis is three dots . . . and all the spaces on all sides of all the dots should be the same, and nicely spaced out. Give them a little air to breathe . . . don’t use the computer’s ellipsis … as they are poorly spaced. Some ellipses follow a complete sentence and a period and looks like this. . . . These dots also need equal space on all sides, but of course the period stays where the period always stays. At the end of the sentence.

http://www.chicagomanualofstyle.org

indentation, etc. You do not need to indent a new paragraph if it begins at the top of a page or column and is preceeded by a line space. As here. Also, do not use tabs or spaces for indenting. Use the “first line indent” option in the control bar in InDesign. Learn to love the control bar. Use it. Automate where you can. And use character and paragraph styles when ever you can.

vertical type Think about the relationship of each letter to the next, and the manner in which the baseline organizes letters. Stacking type like a hotel sign is usually a path toward illegibility. If you must have vertical type, turn it on its side thereby changing the orientation of the baseline.

t y p e o n l y w o r k s i n p a r i s

but book spines do this all the time

h o t e l

be cautious about using bold old-style serif typefaces. It is a better practice to find an appropriate bold or heavy weight sans serif font to accompany a serif face. Most old style faces, such as Garamond, or Caslon, were not originally designed with accompanying bold faces. If it is boldness you ned, find a face whose families include boldness, like most sans serifs, or slab serifs such as Clarendon or Serifa black, or contemporary revivals like Whitman or Sentinel.

Try to avoid: Unnecessary Shading. Drop Shadows. Gradients. Outlines. These stylistic treatments have a bad rap, but for good reason. If you must, then use them with awareness of context and use.

IMPORTANT: Horizontally scaling (stretching or squeezing) type is icky.

pls , don’t

really just

srsly

be k in d to you r r eders. avoid set t ing a lot of t y pe in a ll ca ps. i t is h a r d to r ea d a n d h u rt s t he ey es. u n less you a r e pl a n n ing to ca rv e i t in to t he side of a m a r ble mon um en t using a h a m m er a n d a chisel . ca pi ta l s a r e gr a n d bu t t hey a r e v ery h a r d to r ea d qu ick ly a n d so not a v ery usef u l a pproach. Also avoid setting type in long lines. The most comfortable line length is about 60 characters or 15 or so words. This is just a ball park figure, bu t t his is som et hing to bea r in m in d a long w i t h a ll t he ot her m in u t i a of t y pe set t ing. be k in d to you r r eders. avoid set t ing a lot of t y pe in a ll ca ps. i t is h a r d to r ea d a n d h u rt s t he ey es. u n less you a r e pl a n n ing to ca rv e i t in to t he side of a m a r ble mon um en t using a h a m m er a n d a chisel . ca pi ta l s a r e gr a n d bu t t hey a r e v ery h a r d to r ea d qu ick ly a n d so not a v ery usef u l a pproach. A l so avoid set t ing t y pe in long lin es. t he most com forta ble lin e lengt h is a bou t 60 ch a r act ers or 15 or so wor ds. This is j ust a ba ll pa r k f igu r e , bu t t his is som et hing to bea r in m in d a long w i t h a ll t he ot her m in u t i a of t y pe set t ing. a ba ll pa r k bu t i t is som et hing to bea r in m in d a long w i t h a ll t he ot her m in u t i a of t y pe set t ing. be k in d to you r r eders. avoid set t ing a lot of t y pe in a ll ca ps. i t is h a r d to r ea d a n d h u rt s t he ey es. u n less you a r e pl a n n ing to ca rv e i t in to t he side of a m a r ble mon um en t using a h a m m er a n d a chisel . ca pi ta l s a r e gr a n d bu t t hey a r e v ery h a r d to r ea d qu ick ly a n d so not a v ery usef u l a pproach. So y ea h, avoid set t ing t y pe in long lin es. com forta ble lin e lengt h is a bou t 60 ch a r act ers or 15 or so wor ds. T his is j ust a ba ll pa r k f igu r e , bu t t his is som et hing to bea r in m in d a long w i t h a ll t he ot her m in u t i a of t y pe set t ing. be k in d to you r r eders. avoid set t ing a lot of t y pe in a ll ca ps. be k in d to you r r eders.

a few reminders • Pay attention to x-height relationships when combining font. • Look at stroke weight and structure to determine good comfortable pairings. • Pay attention to the negative shapes above and below lines of type to determine leading values, spacing, harmony, and coherence. • Avoid minor contrast. Be confident and deliberate about any and all contrasting elements.

When pairing fonts, look at weight weight and xheight and architectural characteristics. Harmony (and/or) contrast should help you govern the decision.

contrastharmony

some things to go over with your instructors or teaching assistants • • • • • •

building a grid automatic page numbering using baseline grid (lock or unlock) make sure you understand about linking text boxes using master pages prperly using paragraph and character styles properly

Some Herb Lubalin love.

20 min break.