Graphics Reference
In-Depth Information
If you find it necessary to present
large amounts of text type in color,
try increasing slightly the amount
of space between lines. Even
an additional point of space can
make a significant difference, and
a reader might be encouraged to
continue rather than stop.
If you find it necessary to present
large amounts of text type in color,
try increasing slightly the amount
of space between lines. Even
an additional point of space can
make a significant difference, and
a reader might be encouraged to
continue rather than stop.
3-22
The illusion of
lighter or darker text
is achieved with the
introduction of additional
interline spacing; in some
situations, legibility is
improved.
Whether type is printed on paper or
appears on screen, an optical effect referred
to as
typographic color
occurs. Not to
be confused with the particular hue of a
typographic element, this effect is the result
of the visual qualities inherent in individual
typefaces and the spacing of letters, words,
and lines of type (Fig.
3-21
). Typographic
color is an important tool, for it is an effective
means by which hierarchical order and
emphasis are achieved between different
typographic elements. Also, if a large amount
of text is set in an elaborate or unusual color
setting, an increase in the space between lines
can significantly improve legibility (Fig.
3-22
).
The reading process can be severely
retarded when reading type on textured or
photographic backgrounds, for they potentially
interfere with the internal patterns of words
and their distinctive word shapes. This
problem is further exacerbated when such
backgrounds and the type appearing on them
are incompatible in color for reasons stated
earlier in this discussion.
Compare the legibility of the justified and unjustified columns.
justified
unjustified (flush-left, ragged right)
Justified and unjustified typography
Traditionally, it was common practice to set
type in a justified alignment. This was done for
reasons of efficiency; in addition, it was more
familiar and was considered more refined.
In the 1920s, designers began to question this
typographic convention and experiment with
alternative text-setting styles. Unjustified and
asymmetrical typography began to find wide-
spread acceptance. Among experimental typo-
graphic designers was Herbert Bayer, who said,
“I have long believed that our conventional way
of writing and setting type could be improved
for easier reading. In my first typographic works
in the early twenties, I started to abandon the
flush-left-and-right system for short lines of text
and have introduced the flush-left system, leav-
ing a ragged-right outline.”
There are appropriate reasons for setting
either justified or unjustified typography, but
type set flush left and ragged right promotes
greater legibility. If properly used, flush-left,
ragged-right typography provides visual points
of reference that guide the eye smoothly down
the page from line to line. Because each line is
either shorter or longer than the next, the eye
is cued from one line to another. In a justified
setting, all lines are of equal length. Lacking are
visual cues that promote easy reading.
With the use of unjustified typography,
wordspacing is even, creating a smooth rhythm
and a consistent texture. The indiscriminate
placement of additional space between words
in order to justify lines causes awkward gaps
or “rivers” in paragraphs, which are disruptive
to reading. Hyphenations at the end of lines
should be used—but not overused—whenever
possible to keep wordspacing consistent.
When setting ragged-right text, care
should be taken not to rag the type too much.
Uncontrolled line breaks of erratic rhythm can
create awkward spaces that inhibit reading. In
ragged-right type, care should be given to the
selection of interline spacing, for it influences
legibility and appearance. Spatial consistency
and rhythmic line breaks result from careful
typographical decisions.
The breaking of lines can be determined
by the author's meaning rather than by
appearance. This method, sometimes referred
to as thought-unit typography, arranges lines
into discrete parts related to the meaning of the
text. Ragged-right lines may be of any length,
with line breaks that are logical and focus on
the intended message of the writer (Fig.
3-23
).
Paragraphs and indentions
An important goal for a designer is to
distinguish typographically one thought
from another, clarify content, and increase
reader comprehension. Clear separation of
paragraphs in a body of text is one way to
accomplish this goal.
It is common practice in the design
of books, magazines, and newspapers
to indent each paragraph, usually with
moderate indention of one to three ems. It
is also typographic practice not to indent
the first paragraph in an article, chapter, or
advertisement so that the square corner of the
first column can be maintained.
Paragraphs can also be separated by
inserting additional space between them. This
space should be proportional to the amount
of interline spacing, which corresponds to
the vertical measurement of the typographic
grid. Paragraphs are often separated by one
line space. This method should be avoided
if the original copy is full of short, choppy
paragraphs. Spaces between such paragraphs
could be very disturbing, consuming too much
space. Indentions and additional line spaces
are also used to establish order within complex
tabular matter, such as financial charts and
scientific data.
color
color
color
color
color
color
3-21
Words set in various
typefaces appear different
in typographic color.
As interletter spacing
increases, the words also
appear lighter in tone.
