Design School: Type: A Practical Guide For Students And Designers

243 Pages·2017·30.44 MB·English

by  Richard Poulin

Design School
type
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© 2017 Quarto Publishing Group USA, Inc.

First Published in 2017 by Rockport Publishers, an imprint of
The Quarto Group,
100 Cummings Center, Suite 265-D,
Beverly, MA 01915, USA.
T [phone]
F [phone]
QuartoKnows.com

All rights reserved. No part of this book may be reproduced in any form without written
permission of the copyright owners. All images in this book have been reproduced with the
knowledge and prior consent of the artists concerned, and no responsibility is accepted by
DDeessiiggnn SScchhooooll
producer, publisher, or printer for any infringement of copyright or otherwise, arising from
the contents of this publication. Every effort has been made to ensure that credits accurately
comply with information supplied. We apologize for any inaccuracies that may have occurred ttyyppee
and will resolve inaccurate or missing information in a subsequent reprinting of the book.
Rockport Publishers titles are also available at discount for retail, wholesale, promotional,
and bulk purchase. For details, contact the Special Sales Manager by email at specialsales@
quarto.com or by mail at The Quarto Group, Attn: Special Sales Manager, 401 Second Avenue
North, Suite 310, Minneapolis, MN 55401, USA.

10 9 8 7 6 5 4 3 2 1

ISBN: 978 –1–63159–320-8

AA PPrraaccttiiccaall GGuuiiddee Richard Poulin
Digital edition published in 2017
eISBN: 978–1–63159–439–7
ffoorr SSttuuddeennttss aanndd DDeessiiggnneerrss

Library of Congress Cataloging-in-Publication Data available

Design: Poulin + Morris Inc.

Printed in China
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© 2017 Quarto Publishing Group USA, Inc.

First Published in 2017 by Rockport Publishers, an imprint of
The Quarto Group,
100 Cummings Center, Suite 265-D,
Beverly, MA 01915, USA.
T [phone]
F [phone]
QuartoKnows.com

All rights reserved. No part of this book may be reproduced in any form without written
permission of the copyright owners. All images in this book have been reproduced with the
knowledge and prior consent of the artists concerned, and no responsibility is accepted by
DDeessiiggnn SScchhooooll
producer, publisher, or printer for any infringement of copyright or otherwise, arising from
the contents of this publication. Every effort has been made to ensure that credits accurately
comply with information supplied. We apologize for any inaccuracies that may have occurred ttyyppee
and will resolve inaccurate or missing information in a subsequent reprinting of the book.
Rockport Publishers titles are also available at discount for retail, wholesale, promotional,
and bulk purchase. For details, contact the Special Sales Manager by email at specialsales@
quarto.com or by mail at The Quarto Group, Attn: Special Sales Manager, 401 Second Avenue
North, Suite 310, Minneapolis, MN 55401, USA.

10 9 8 7 6 5 4 3 2 1

ISBN: 978 –1–63159–320-8

AA PPrraaccttiiccaall GGuuiiddee Richard Poulin
Digital edition published in 2017
eISBN: 978–1–63159–439–7
ffoorr SSttuuddeennttss aanndd DDeessiiggnneerrss

Library of Congress Cataloging-in-Publication Data available

Design: Poulin + Morris Inc.

Printed in China
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Table of Contents
Introduction 7

1. Type Classifications 13 3. CChhaarraacctteerrss aanndd GGllyypphhss 113311 44.. Typographic Principles 159 Test your Knowledge 228
Answers
Descriptions and Classifications 14 VVaarriiaattiioonnss iinn TTyyppooggrraapphhiicc FFoorrmmss 113333 Measurement 160
Humanist 16 CChhaarraacctteerr aanndd GGllyypphh TTyyppeess 113388 Spacing 165 Resources 231
Old Style 23 SSmmaallll CCaappss 113388 Letter Spacing 166
Transitional 29 FFiigguurreess 113388 Kerning 166 Bibliography 232
Modern 35 LLiiggaattuurreess 114400 Word Spacing 167
Slab Serif 40 F Frraaccttiioonnss 114411 Line Spacing 167 Index 234
Sans Serif 45 SSwwaasshh CChhaarraacctteerrss 114411 Alignment 169
Grotesque 46 NNoonn--TTyyppooggrraapphhiicc GGllyypphhss 114433 Readability and Legibility 173 Credits 240
Neo-Grotesque 51 PPuunnccttuuaattiioonn MMaarrkkss 114444 Emphasis and Hierarchy 176
Geometric 57 QQuueessttiioonn MMaarrkkss,, AAppoossttrroopphheess,, 114455 Test your Knowledge 181
Humanist 63 aanndd PPrriimmee SSyymmbboollss
Glyphic 69 PPaarreenntthheesseess aanndd BBrraacckkeettss 114477
Script (Formal, Casual, 74 DDaasshheess aanndd HHyypphheennss 114488 55.. Selecting Typefaces 183
Calligraphic) TTyyppooggrraapphhiicc GGllyypphhss 114499
Decorative 78 IInntteelllleeccttuuaall PPrrooppeerrttyy GGllyypphhss 115500 By Context 184
Blackletter (Textura, Bastarda, 82 CCuurrrreennccyy GGllyypphhss 115511 For Visual Harmony 189
Fraktur, Rotunda) MMaatthheemmaattiiccaall GGllyypphhss 115511 Test your Knowledge 201
Test your Knowledge 87 OOtthheerr TTyyppooggrraapphhiicc CChhaarraacctteerrss 115511
BBuulllleettss 115522
DDiiaaccrriittiiccaall MMaarrkkss 115533 66.. Typography in 203
2. Terminology 89 EEnndd MMaarrkkss 115533 Practice
IInniittiiaall LLeetttteerrss 115555
Type Anatomy 90 PPaarraaggrraapphh aanndd SSeeccttiioonn MMaarrkkss 115555
Serif Anatomy 98 SSttaannddaarrdd KKeeyybbooaarrdd FFuunnccttiioonnss 115555
Terminal Anatomy 100 TTeesstt yyoouurr KKnnoowwlleeddggee 115577
Key Typographic Terms 102
Test your Knowledge 128

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Table of Contents
Introduction 7

1. Type Classifications 13 3. CChhaarraacctteerrss aanndd GGllyypphhss 113311 44.. Typographic Principles 159 Test your Knowledge 228
Answers
Descriptions and Classifications 14 VVaarriiaattiioonnss iinn TTyyppooggrraapphhiicc FFoorrmmss 113333 Measurement 160
Humanist 16 CChhaarraacctteerr aanndd GGllyypphh TTyyppeess 113388 Spacing 165 Resources 231
Old Style 23 SSmmaallll CCaappss 113388 Letter Spacing 166
Transitional 29 FFiigguurreess 113388 Kerning 166 Bibliography 232
Modern 35 LLiiggaattuurreess 114400 Word Spacing 167
Slab Serif 40 F Frraaccttiioonnss 114411 Line Spacing 167 Index 234
Sans Serif 45 SSwwaasshh CChhaarraacctteerrss 114411 Alignment 169
Grotesque 46 NNoonn--TTyyppooggrraapphhiicc GGllyypphhss 114433 Readability and Legibility 173 Credits 240
Neo-Grotesque 51 PPuunnccttuuaattiioonn MMaarrkkss 114444 Emphasis and Hierarchy 176
Geometric 57 QQuueessttiioonn MMaarrkkss,, AAppoossttrroopphheess,, 114455 Test your Knowledge 181
Humanist 63 aanndd PPrriimmee SSyymmbboollss
Glyphic 69 PPaarreenntthheesseess aanndd BBrraacckkeettss 114477
Script (Formal, Casual, 74 DDaasshheess aanndd HHyypphheennss 114488 55.. Selecting Typefaces 183
Calligraphic) TTyyppooggrraapphhiicc GGllyypphhss 114499
Decorative 78 IInntteelllleeccttuuaall PPrrooppeerrttyy GGllyypphhss 115500 By Context 184
Blackletter (Textura, Bastarda, 82 CCuurrrreennccyy GGllyypphhss 115511 For Visual Harmony 189
Fraktur, Rotunda) MMaatthheemmaattiiccaall GGllyypphhss 115511 Test your Knowledge 201
Test your Knowledge 87 OOtthheerr TTyyppooggrraapphhiicc CChhaarraacctteerrss 115511
BBuulllleettss 115522
DDiiaaccrriittiiccaall MMaarrkkss 115533 66.. Typography in 203
2. Terminology 89 EEnndd MMaarrkkss 115533 Practice
IInniittiiaall LLeetttteerrss 115555
Type Anatomy 90 PPaarraaggrraapphh aanndd SSeeccttiioonn MMaarrkkss 115555
Serif Anatomy 98 SSttaannddaarrdd KKeeyybbooaarrdd FFuunnccttiioonnss 115555
Terminal Anatomy 100 TTeesstt yyoouurr KKnnoowwlleeddggee 115577
Key Typographic Terms 102
Test your Knowledge 128

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IInnttrroodduuccttiioonn
TTyyppooggrraapphhyy iiss tthhee ccrraafftt ooff eennddoowwiinngg
hhuummaann llaanngguuaaggee wwiitthh aa dduurraabbllee,, vviissiibbllee ffoorrmm..
— Robert Bringhurst, The Elements of Typographic Style
ype is the descriptive term used
for letterforms—alphabet, numbers,
and punctuation—that, when used
together, create words, sentences,
and narrative form. The term typeface
refers to the design of all the characters referenced
above, unified by common visual elements and
characteristics. Typography is designing with type.
Type is a unique element in the graphic
designer’s vocabulary because it has dual functions.
It can function on its purest level as any fundamental
Type Foundry Catalog
Title Page, 1935
visual element such as point, line, form, shape,
J. M. Bundscho, Inc.
Chicago, Il, USA
and texture in a composition. However, its primary
7
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IInnttrroodduuccttiioonn
TTyyppooggrraapphhyy iiss tthhee ccrraafftt ooff eennddoowwiinngg
hhuummaann llaanngguuaaggee wwiitthh aa dduurraabbllee,, vviissiibbllee ffoorrmm..
— Robert Bringhurst, The Elements of Typographic Style
ype is the descriptive term used
for letterforms—alphabet, numbers,
and punctuation—that, when used
together, create words, sentences,
and narrative form. The term typeface
refers to the design of all the characters referenced
above, unified by common visual elements and
characteristics. Typography is designing with type.
Type is a unique element in the graphic
designer’s vocabulary because it has dual functions.
It can function on its purest level as any fundamental
Type Foundry Catalog
Title Page, 1935
visual element such as point, line, form, shape,
J. M. Bundscho, Inc.
Chicago, Il, USA
and texture in a composition. However, its primary
7
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Introduction continued
ffuunnccttiioonn iiss vveerrbbaall aanndd vviissuuaall——iitt iiss ttoo bbee rreeaadd.. WWhheenn telling our stories at any given time. As our world has
ttyyppee hhaass aa rreellaattiioonnsshhiipp oonnllyy ttoo iittss vveerrbbaall mmeeaanniinngg,, iittss become more complex, so has the means by which we
ccoommmmuunniiccaattiivvee cchhaarraacctteerr llaacckkss vviissuuaall iimmppaacctt.. WWhheenn communicate those stories in their many forms and
ttyyppee rreefflleeccttss aa vviissuuaall ttrreeaattmmeenntt tthhaatt eennhhaanncceess bbootthh iittss media. The most universal means throughout history
vveerrbbaall aanndd vviissuuaall mmeeaanniinngg,, iitt iiss ppeerrcceeiivveedd oonn mmuullttiippllee has been, and will continue to be, type.
lleevveellss,, nnoott oonnllyy iinntteelllleeccttuuaallllyy bbuutt aallssoo sseennssuuaallllyy aanndd,, For more than five hundred years, type has been
mmoorree iimmppoorrttaannttllyy,, eemmoottiioonnaallllyy.. an essential visual communicator that continues to
TTyyppee,, ooff ccoouurrssee,, iiss aallll aarroouunndd uuss.. TThhee ggooaall ooff aannyy reflect civilization, culture, technology, and the human
ggrraapphhiicc ddeessiiggnneerr iiss nnoott ttoo jjuusstt ppllaaccee ttyyppee oonn aa pprriinntteedd condition at any given time period. Its evolution follows
oorr ddiiggiittaall ppaaggee,, bbuutt rraatthheerr ttoo uunnddeerrssttaanndd iitt aanndd uussee iitt the parallel developments of human communication
eeffffeeccttiivveellyy iinn aallll aarreeaass ooff ggrraapphhiicc ddeessiiggnn.. TThhee sseelleeccttiioonn needs, print technologies from the rudimentary hand
aanndd cchhooiiccee ooff ttyyppee,, aass wweellll aass iittss ssiizzee,, aalliiggnnmmeenntt,, ssttyyllee,, to mechanical printing, to the invention of typesetting
ccoolloorr,, aanndd ssppaacciinngg aallll aarree ccrriittiiccaall ccoonnssiiddeerraattiioonnss ffoorr such as the Linotype and Monotype systems, to the
tthhee ggrraapphhiicc ddeessiiggnneerr.. twentieth-century developments of phototypesetting
SSiinnccee tthhee bbeeggiinnnniinngg ooff mmaannkkiinndd,, wwee hhaavvee nneeeeddeedd and digital typesetting methodologies.
ttoo ccoommmmuunniiccaattee oouurr lliivveess ttoo oonnee aannootthheerr.. AAfftteerr wwee Graphic design provides a means for you to
lleeaarrnneedd ttoo ssppeeaakk vveerrbbaallllyy,, wwee tthheenn ssppookkee vviissuuaallllyy bbyy express your own imagination in ways that do not rely
lleeaavviinngg ccrruuddee mmaarrkkss oonn wwaallllss aanndd ssuurrffaacceess.. FFrroomm ccaavvee solely upon spoken or written language. Every element
ppaaiinnttiinnggss aanndd hhiieerrooggllyypphhiiccss ttoo RRoommaann iinnssccrriippttiioonnss aanndd used in graphic design, such as type, has the potential
mmeeddiieevvaall ssccrriippttss,, ccoommmmuunniiccaattiinngg eexxppeerriieenncceess ttoo oonnee to express something specific. Although
aannootthheerr hhaass bbeeeenn aa ccoommmmoonn hhuummaann ddeennoommiinnaattoorr ffoorr the explanation and ultimate use of design elements
8 INTRODUCTION 9
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