5. Type Families
• All licensed, commercial fonts are available in
a number of styles and weights: usually roman
(sometimes known as plain or book), italic
(sometimes called oblique), bold and bold
italic.
• For flexible working, it's best to choose a
broad type family rather than use many
different fonts.
6. A Sans-Serif Fonts
• It contains many
intermediary weights: light,
book, medium, bold, and
extra bold. It also contains
several condensed versions
for more slender type
• Gothic
Serif
7. A Serif Fonts
• The serif font below,
New Bodoni DT, also
has many weight
variants.
9. Decorative Fonts
• Decorative fonts include highly decorated and
really eccentric fonts, often with very specific
uses and rarely appropriate for more than
three words at a time.
10. Script Fonts
• Script fonts, which resemble handwriting, can be
subdivided into traditional scripts that look as
though they were produced by a quill pen and
those that mimic modern styles of handwriting.
11. Symbol Fonts
• Symbol fonts are composed of graphic icons to
provide embellishments to text. These are
sometimes created to complement a specific
font
12. Non-Commercial Fonts
• A problem with non-
commercial fonts, such as
those decorative fonts that
have free usage or are Internet
downloads, is that they often
have only one weight and are
therefore of limited use.
• Another problem is that font
sizes may not be standardized.
For example, a 12 point version
of a display font may be much
smaller than 12 points for
traditional fonts
17. Type Size
• A point (pt) is the usual measurement for type
and is equal to 1/72 of an inch.
• Type that is smaller than 7pt is difficult to read
and type that is smaller than 3pt is utterly
illegible.
18. Serif or Sans Serif?
• A serif font is easier to read over long
passages (blocks of text) than a sans serif font.
It is therefore often chosen for designs
incorporating high quantities of body copy,
such as novels and newspapers. However, a
sans serif font is frequently perceived as being
more modern.
19. Leading
• Leading is the vertical space separating
baselines in text and is traditionally
measured in points. The term is derived
from the days of setting type in hot metal,
when strips of lead were used to add space
between lines.
20. Leading
Font size: 14pt; leading: 18pt.
Font size: 14pt; leading: 16pt.
Font size: 14pt; leading: 14pt
(set solid).
Font size: 14pt; leading: 12pt.
23. Measure
• Measure means t he width of the text column.
It is also a critical factor in the legibility of
type. A wide measure can be tiring to read
because the eye cannot easily scan from the
end of one line to the start of the next.
• A short measure can also disrupt readability
and can lead to unsightly line breaks. The
optimum line length for body copy is 60-70
characters.
25. Alignment
• Alignment refers to the arrangement of lines
of text in relation to the page margins.
• Ranged left (ragged right), in which the text is
aligned to the left-hand margin, is most
common, legible and aesthetically pleasing.
The majority of your text should be aligned
left unless you have a sound reason to do
otherwise.
26. Alignment
• Ranged right (ragged left) is hard to read at
speed because the eye struggles to find the
start of each new line. However, it can be
stylish for short blocks of text.
27. Alignment
• Centered text, in which text is centered on
each line, should be used sparingly. While
appropriate for display type and headings, it
should not be used for body copy.
28. Alignment
• Justified text, ranging to both left and right
margins, can be a neat solution. However, it
can create excessive spaces between words
and may require hyphenation.
29. Paragraph Formatting
• Text styles are not simply defined by font and
weight; paragraph styling or "formatting" also
has a part to play. For example, you will also
have to decide whether to include a line space
before each new paragraph or whether to
simply indent the first line of each.
30. Heading Hierarchies
• The titles and headings are your display text
and you may elect to treat them entirely
different from body text, although all headings
within a piece should belong to a single type
family, with depth and contrast arising from
changes in size and weight.
The size range for body copy in a book or magazine article should be between 8pt and 14pt. In general, 9pt and 10pt are the most practical choices
Body copy should always be set in upper- and lower-case because the irregular shapes are rich with cues that improve legibility. Upper case (capital) letters are uniform in height and lack diversity of form, which impairs reading. upper-case text also consumes about a third more space than the equivalent in lower-case.
Where leading is set to the same point size of the copy, it is referred to as "set solid." Although text set solid is often entirely legible, large blocks of copy set solid are tiring to read. Where possible, you should add at least 2 points of leading to your body copy. For example, for 9pt type choose 11pt leading. Leading of more than this amount is often aesthetically pleasing if your design can accommodate it.If leading is set below the type size, ascenders and descenders crash, which looks unsightly and affects legibility
Some other formatting considerations are color, shade, space above and/or below paragraph headings and the use of graphic elements within the typographic structure.
