// Introduction to Type Styles

2. // Introduction to Type Styles

3. // typography // The art of printing with type. // The study of different type faces or fonts.

4. // type styles // Serif Serif Fonts have serifs or little feet at the end of the stroke (easiest to read) Times New Roman bookman

5. // type styles // Sans Serif Sans Serif Fonts do not have serifs (without) ARIAL Arial Narrow verdana

6. // type styles // Script Evolved from the hand lettered manuscript created by scribbles in medieval times in Monastery scriptoriums (can be difficult to read) Edwarian Script

7. // what type font am I? • Newspaper • Newspaper • Newspaper • Newspaper • Yearbook • Yearbook • Yearbook • Yearbook

8. // Choosing Type Face • Do not use two serif, two sans serif or two script fonts in combination. • You may use up to three different fonts on a page but for headlines, subheads and body. It is usually safer to use only one Serif and one Sans Serif in combination. • Use Script or Fancy Fonts for Design elements, Titles and Headlines only.

9. // Choosing Type Face • Select Serif, Sans Seirf or Script fotns in keeping with the intedned message of the theme. • Serif Fonts are often considered more traditional and are possibly more appropriate to suggest a formal or serious message.

10. // Choosing Type Face • Sans Serif fonts are more modern and can be more flexible in conveying many messages depending on the weight and style of the font. • Script fonts are fanciful and would typically convey a more festive mood suggesting elegance, entertainment and creativity. • Experiment with various fonts from serif and sans serif families to understand the weight and message of one font when compared to another.

11. // Alignment

12. // Alignment Justified setting, or flushed at left and right (also referred to as quad left and right) is the standard used in books, magazines and newspapers since time immemorial. This style is considered formal.

13. // Alignment Flush left, ragged right(sometimes also called staggered right) has become more popular lately since the early seventies. The experts claim this method is more readable.

14. // Alignment Ragged left, flush rightis the reverse of number two—not commonly used because the irregular lines at the left impedes fast reading. Short texts and photo captions often use this method.

15. // Alignment Centeredis the least desirable of the four arrangements. It is often used for text not meant to be read as a whole—menus, lists, lyrics and poetry—and needs plenty of space.

16. // Leading, letter spacing,word spacing and kerning

17. // Leading, letter spacing,word spacing and kerning • Leading —the space between lines— is important both for readability and the overall look of the page. Good practice is to put 2% of the font size of space between the lines—more if the lines are longer than average. This paragraph has a 2.5% leading. • Letter spacing—the space between letters—is adjusted normally at 0 to 3 % of the average letter width depending on the size of the letters. Less space for relatively large letters; more for the small size letters. Good letter spacing ensures quick recognition of words.

18. // Leading, letter spacing,word spacing and kerning • Word spacing—the space between words in a line of text—is very important to reading speed. When words are separated by wide spaces, the line is broken so the reader has to take a second look or even a third look at the line. • Kerningis the computer technique of automatically reducing or increasing spaces between letters. Before the computer, there was not such thing as kerning. The spaces were fixed and constant. This paragraph is leaded. Leading—the space between lines— is important both for readability and the overall look of the page. Good practice is to put 2% of the font size of space between the lines—more if the lines are longer than average.

19. // Types as Graphic Element The realization came to many of us in the early 50s that type was not just a mechanical means of setting words on a page, it was, rather, a creative and expressive instrument in the hands of imaginative designers. – Herb Lubalin