APPENDIX B – Typography

Typeface
Typeface is a family of type, including all the weights, styles and sizes available.

Font
All the characters of a typeface that are the same weight and style.

Size
Type sizes are described in points. This goes back to the days when typesetting was done by printers, and printing was done by letterpress (pressing a sheet of paper against metal type to get an image on the sheet). Small blocks of lead with raised characters were arranged in trays, and the size of the block (not the character), measured with a pica ruler (12 points to one pica), described the size of that font. That's one reason why a 12 point typeface may appear smaller or larger than another 12 point typeface.

EM/EN
An EM designates the square of a given type size. For example, a 12 point EM is 12 points wide and 12 points high. An EM dash for a 12 point typeface would be 12 points wide (—).

An EN is one-half the width of an EM. For example, a 12 point EN is 6 points wide and 12 points high. An EN dash for a 12 point typeface would be 6 points wide (–).

Memory tip: a capital M is wider than a capital N

EM and EN dashes are used in a sentence to denote an abrupt change in thought or emphatic pause, or before an author’s or composer’s name at the end of a quotation. [Refer to the Associated Press Stylebook for additional applications.]

Weight
The weight of type refers to the thickness of the character's strokes. Many typefaces will come in at least three weights. Common ones are: Light, Book, Regular, Medium, Bold, Extra Bold

Linespacing/Leading
The distance between lines of type is called leading (pronounced ledding), referred to as linespace in most computer programs. It is also based on measurement using the printer's pica ruler. Blank blocks of lead of various sizes were used between the rows of type blocks. The measurement of the blank line was added to the measurement of the line of type above it, resulting in the measurement of the leading. So, if you had a row of type that measured 10 points, and added a row of lead blocks below it that measured four points, you would say that you had 10 point type on 14 point leading, or 10/14.

Lines too long for the point size are uninviting and tedious to read in large blocks.

10/12 in 6 1/2" lines:
The distance between lines of type is called leading (pronounced ledding), referred to as linespace in most computer programs. It is also based on measurement using the printer's pica ruler. Blank blocks of lead of various sizes were used between the rows of type blocks. The measurement of the blank line was added to the measurement of the line of type above it, resulting in the measurement of the leading. So, if you had a row of

The classic size and leading for body copy text is 10/12, for a line not more than 5" long.

10/12 in 5" lines:
The distance between lines of type is called leading (pronounced ledding), referred to as linespace in most computer programs. It is also based on measurement using the printer's pica ruler. Blank blocks of lead of various sizes were used between the rows of type blocks. The measurement of the blank line was added to the measurement of

Too little space between lines makes it difficult for the eye to scan the text, too much can overpower the eye with wide bands of white space.

10/14 in 5" lines:
The distance between lines of type is called leading (pronounced ledding), referred to as linespace in most computer programs. It is also based on measurement using the printer's pica ruler. Blank blocks of lead of various sizes were used between the rows of type blocks. The measurement of the blank line was added to the measurement of

Wordspace

This is the spacing between words. Generally sans serif and condensed typefaces require tighter word spacing than serif typefaces. Too much space can slow down reading. Optimal spacing is equal to the width of the lowercase "g" in the face being set, and is most easily implemented with flush left (ragged right) or flush right or centered copy.

Tracking/Letterspace

Letterspacing is the space between characters (individual type letters). This also affects the readability of the copy. Positive letterspacing is adding space, and negative letterspacing is reducing space between characters. Too much of either one can slow down the reading process. Tight spacing is recommended when using 14 point and larger sizes.

Kerning

Kerning is selective negative letterspacing between particular pairs of letters to achieve optimal balance with other letters in the same word.

Category

(all samples are set in 14 point type)

Oldstyle Roman
These serif typefaces are based on hand lettering forms, characterized by thick and thin strokes and angled serifs (resembling the strokes resulting from the angle of the quill pen). They are very readable and great for documents with large amounts of text.

Modern Roman
Horizontal, very thin serifs and a very strong contrast between the thick and thin strokes characterize these typefaces. Their mechanical feel, in contrast with typefaces based on the quill pen, reflects the development of more mechanical printing techniques in the 1700's. They tend to have a cold or elegant look, and are better for headlines than large amounts of copy.

Slab Serif
Reduced contrast between the thick and thin strokes, and horizontal, thick serifs, give these typefaces great readability at any size. They were created at the time of the industrial revolution in response to advertisers' needs for typefaces that could be easily read from a distance. A page of this type will have a darker tone than one with a non-slab face because of the thicker strokes.

Sans Serif These typefaces have no serifs on any character, and are normally structured with strokes of even thickness. The use of these typefaces became prevalent during the twentieth century. They tend to have a wide variety of weights, providing many options within one family.

There are a few sans serif faces with a slight thick and thin stroke. Because they have characteristics similar to serif as well as sans serif, they can be very difficult to combine with other typefaces.

Script
This group includes all typefaces that appear hand lettered. Some of these very fancy typefaces are very well suited to initial caps or large first letters. They are not meant for large blocks of text.

Display/Decorative
Typefaces designed for headlines and decorative purposes are usually very distinctive and often fun. They can be very powerful, but are very limited in their use. They are most often set at 18 points or larger.

Ornaments
Symbols and dingbats are ornamental designs that are used to attract attention to a specific area or item. They range from bullets to flourishes, and have a wide variety of uses.

Style
(all samples are set in 14 point type)

Roman or Plain
(straight up and down structure)

Italic
(slanted structure) Although you can create an italic looking version of a roman face by slanting it, a true italic is specially designed and will most likely have a better flow. It is actually a separate font within a given typeface family, not a slanted version of a roman font. Some italic characters may look very different from the roman characters in a given typeface, especially the a, f, g, and y.

Oblique
This is a slightly slanted version of a roman typeface, usually sans serif.

Condensed
Condensed typefaces or fonts are designed with a reduced width, but not a reduction in height.

Expanded
Expanded typefaces or fonts expand the width, but not the height.

Bold/ Extra Bold/Heavy/Ultra Bold
These fonts are designed with thicker strokes and are used for emphasis. A true bold is specially designed and will look better and work with the other fonts in the typeface family better than a plain or italic font that is bolded.

Outline
The hollow or outline type is difficult to read and should be used for only contrast or emphasis at larger point sizes.

Shadow
Shadow type is created by offsetting one typeface over another using the same font, such as an outline over a solid or a solid over a screen/shade. If not done well, this can be very difficult to read. Use sparingly.

All caps
Every character is set as an uppercase letter. This is normally quite difficult to read and is recommended for small amounts of copy or headlines only.

Small caps
Lowercase letters look like uppercase letters but are the size of a lowercase character. Typefaces designed with a small caps font are not simply reduced uppercase letters, but are specially designed to work at this size.

Tips

• If you're using more than one typeface, mixing a serif with a sans serif is safer than trying to mix two of the same category. *
• Avoid using two typefaces from the same category on the same page. (For example, two modern or two sans serif) *
• Use contrast to create visual interest: small with large, light with heavy, etc.

* These are rules of thumb to aid in developing a successful publication. It does not mean that two typefaces from the same category cannot be used together successfully or to achieve a particular effect, but it is quite difficult.