Graphics Reference
In-Depth Information
Capital and lowercase letters
If text is set entirely in capital letters, it suffers a loss of legibility and
the reader is placed at a significant disadvantage. Type set in this
manner severely retards reading—more so than any other legibility
factor. Figure
3-8
demonstrates that a word set in all capital letters
is characterized by a straight horizontal alignment, creating an
even word outline with letters of similar shape and size. A reader
is not provided with the necessary visual cues that make words
recognizable.
TEXT SET IN ALL CAPITAL LETTERS ALSO USES A
SIGNIFICANTLY GREATER AMOUNT OF SPACE THAN TEXT SET
IN LOWERCASE LETTERS OF THE SAME SIZE. AS MUCH AS 35
PERCENT MORE SPACE CAN BE CONSUMED WHEN USING ALL
CAPITAL LETTERS.
On the other hand, text set in lowercase letters forms words
that are distinct, based upon their irregular word shape and internal
pattern. A variety of letter shapes, ascenders, and descenders provides
rich contrasts that assure satisfactory perception. Once a specific word
shape is perceived, it is stored in the reader's memory until the eye
confronts it again while reading. A reader can become confused if a
word takes on an appearance that differs from the originally learned
word shape.
Typographic texture and tone are affected by the spacing of
letters, words, and lines. When the texture and the spatial intervals
between typographic elements are consistent, the result is an easily
readable text. Texture is also affected by qualities unique to the design
of specific typefaces. Sometimes designers arrange type for specific
spatial effects, sensitively balancing norms of legibility with graphic
impact. (See the type specimens in Chapter 13.)
Reading is disrupted by inappropriate wordspacing
Too much or too little space between letters and words destroys the
normal texture intended by the typeface designer. As you read this
sentence, notice that the narrow letter- and wordspacing causes words to merge
together visually. Likewise, the extremely wide letterspacing
of this sentence is also disruptive for the reader.
There is often a danger of misfit letter combinations, which,
in earlier typesetting systems such as Linotype, could not be easily
corrected. (If the type size is small and the type is evenly textured, this
is a minor problem.) With phototypesetting and digital typesetting,
these details can be corrected easily. The kerning of specific letter
combinations can be programmed into the typesetting system. As type
is set, appropriate letterspacing appears automatically (Fig.
3-10
).
Space between letters and words should be proportional to the
width of letters. This proportion is often open to personal judgment
(Fig.
3 -11
). With experience and practice comes an understanding of
the spacing that is suitable to a particular design project.
Interletter and interword spacing
The spacing of letterforms has a significant impact on legibility.
Most readers are unaware of the typographic designer's attention
to this detail. Minute spatial relationships are controlled to create
not only readable but beautiful and harmonious typographic
communication. It takes great skill to specify spaces between letters
and words, determining proper spatial relationships. Letters must flow
rhythmically and gracefully into words, and words into lines.
Edward
o
Johnston,
o
a
o
calligrapher,
o
advocated
a
o
word
o
space
o
equal
o
to
o
a
o
lowercase
o
o.
3 -11
Aaron
r
Burns,
r
an
r
inluential
r
typographer,
suggested
r
word
r
spacing
r
equal
r
to
r
a
r
lowercase
r
r.
