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The Elements of Typography
The Anatomy of Type
The Anatomy of Type
• Baseline: The invisible line where letters sit
The Anatomy of Type
• X-height: the height of the main body of a lower case letter
The Anatomy of Type
• Cap height: the height from the baseline to the top of the upper case letters
The Anatomy of Type
• Ascenders: an upward vertical stroke of lower case letters that extends above the x-height
• Descenders: the portion of lower case letters that extends below the base line
The Anatomy of Type
• Ascender line: the invisible line marking the height of ascenders in the font
The Anatomy of Type
• Descender Line: the invisible line marking the lowest point of the descenders within a font
The Anatomy of Type
• Crossbar: A horizontal stroke in letters such as A or H
The Anatomy of Type
• Tittle: a small round mark used with a lower case i or j
The Anatomy of Type
• Stem: the vertical, full-length stroke in upright characters
• Stroke: a straight or curved diagonal line
The Anatomy of Type
• Counter: the enclosed or partially enclosed circular or curved negative space of some letters such as d, o, and s
• Eye: specific to the letter e
The Anatomy of Type
• Serif: a slight projection finishing off a stroke of a letter such as T compared with T
• Sans Serif: a style of type without serifs
Testing 1, 2, 3
Is this font considered a serif or sans-serif font?
How about this one?
And this one?
…And this one?
The Optics of Type
• The spacing of letters in words, sentences, and paragraphs is vital to create a uniform reading experience with minimal distractions
• Remember, type must always be LEGIBLE!
S pa c i n g
• Each typeface has a distinct rhythm of strokes and spacing
• You don’t want your spacing to be too condensed, otherwise it is extremely difficult to read!
• This typeface is too loose, and can also become a distracti on to readers.
• This spacing is just right. It is logical and easy to read
Types of typefaces
• All licensed, commercial typefaces are available in a number of styles and weights: usually roman (aka plain or book), italic (sometimes called oblique), bold, and bold italic
• This is known as a type family • Remember that these fonts are different from
using the bold and italic controls on word processing programs
Why Type Matters
• Typography sets the mood of a piece• Flowing, curved type gives off a softer feeling
than angular, hard edged type• Elegant type gives off a sense of sophistication
Why Type Matters
• Which typeface is the most appropriate for each word below?
Things to Consider when Choosing Type
• Which font will best communicate the message of your design? Does your font harmonize with the other pieces of the design, or does it detract from them?
• Would using two or more different fonts be more effective in conveying your message than one? (i.e. sans-serif and serif)
• How large should your font be to best convey the idea of your design?
Things to Consider when Choosing Type
• Is the type placed properly in the design so as to have the most impact on the viewer? Are the shapes of the letters pleasing or unattractive?
• Should your font be one that will hold up over time (classic) or should it be more current and trendy?