Graphics Reference
In-Depth Information
Optical relationships within a font
Mechanical and mathematical letterform construction can result in
serious spatial problems, because diverse forms within an alphabet
appear optically incorrect. These letterform combinations show the
optical adjustment necessary to achieve visual harmony within a font.
Pointed and curved letters (Fig.
2-18
) have little weight at the top
and/or bottom guidelines; this can make them appear too short. To
make them appear the same height as letters that terminate squarely
with the guidelines, the apexes of pointed letters extend beyond the
baseline and capline. Curved letterforms are drawn slightly above and
below these lines to prevent them from appearing too small.
In two-storied capitals and figures (Fig.
2-19
), the top half
appears too large if the form is divided in the mathematical center.
To balance these letters optically, the center is slightly above the
mathematical center, and the top halves are drawn slightly narrower
than the bottom half.
Horizontal strokes (Fig.
2-20
) are drawn slightly thinner than
vertical strokes in both curved and straight letterforms. Otherwise,
the horizontals would appear too thick.
Tight junctions where strokes meet (Fig.
2-21
) are often opened
slightly to prevent the appearance of thickening at the joint.
Letters combining diagonal and vertical strokes (Fig.
2-22
)
must be designed to achieve a balance between the top and bottom
counterforms.
Strokes can be tapered slightly to open up the spaces, and
adjustments in the amount of stroke overlap can achieve a harmony
of parts. Letters whose vertical strokes determine their height (Fig.
2-23
) are drawn slightly taller than letters whose height is determined
by a horizontal stroke. Optically, they will appear to be the same height.
The stroke weight of compact letterforms (Fig.
2-24
), such as
those with closed counterforms, are drawn slightly smaller than the
stroke weight of letterforms having open counterforms. This balances
the weight optically.
Curved strokes are usually thicker at their midsection than
vertical strokes, to achieve an even appearance (Fig.
2-25
).
These adjustments are very subtle and are often imperceptible
to the reader. However, their overall effect is a more ordered and
harmonious appearance.
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