Typography-Task Exercise 1

October.1.2023

3/Oct/2023-31/Oct/2023-Week1-Week5

Lin Chenyi/0367008/Bachelor of Design (Honors) in Creative Media

Typography/Taylors University

Task

THE LECTURES

week 1

In the first week's class summary, some teachers explained the elements of typesetting, and I also learned about the existence of font design and printing. In addition, we can use the feedback to publish our homework to get the teacher's comments.

Introduction:

Design: the planning of the layout composition, including text, pattern and background color.

Typography: Put the designed single layout into a layout suitable for the printing and binding process according to the intention of the design, which is also commonly known as imposition.

Week 1 ：Typo_0_Introduction (Video):

1.Through video, we know that printing has been developed for more than 500 years, involving terminology, conventions and unwritten rules.

2.Typography's focus on composition involves other aspects of design science, such as animation, graphic design, and new media

3.Typography's focus on composition involves other aspects of design science, such as animation, graphic design, and new media

4.Typography can produce visual phenomena and is also a means of visual communication and expression in the form of animation, such as movie titles and gif animation openings.

5.Understand the attributes, characteristics, skills, thinking and other abilities developed in websites, title design, books, posters.

6.The timeline of the development of printing includes the evolution of letter forms from clay tablets to Roman letters.

7.Gutenberg's invention of the printing press revolutionized the production of books and led to the standardization of letter formats.

8.We learned that typesetting in different eras is divided into different categories, including black, old, transitional, modern, and sans-serif fonts.

9.There are no set rules for typography. Learn to know the rules before you break them.

10.The creation of symbols, font arrangement formatting and appearance, so the composition of the information presented all become typography.The right symbol is representative.

Font a font refers to the individual font or weight within the typeface; Georgia Italic and Georgia Bold.

                                                       Fig.1.1  Fonts

Typo_1_Development:

Through video, we know that printing has been developed for more than 500 years, involving terminology, conventions and unwritten rules.

Calligraphy > Lettering > Typography

   The forms of uppercase letterforms （for 2000 years the only letterforms）

   The only letter form seen evolving from these tools, the core capital letter form is a straight line combination of lines and circle.

Fig 1.2

   we can see a timeline:

Fig 1.3Phoenician Evolution Timeline 

On the steel there is a four-word inscription, after tanning it, in Arabic and Modern Latin forms.The Greek developed a style of writing called boustrophedon.

Fig.1.4Greek fragment, stone engraving. (Date unknown)

Fig 1.5Early Rome Inscription 

The Romans and Etruscan paint their letterforms before they inscribing them to avoid any waste of marble. This caused to form Roman letterforms based on the qualities of their strokes on which tool they used.

Fig.1.6

Then there's a lot hand scrips from 3rd to 10th century C.E. explain by Mr Vinod. 

Fig 1.7 4th-5th Century Square Capitals

A condensed version of square caps, where uppercase letters can be used. The pen or brush is held at an angle of approximately 30° deviation from the vertical line.

Fig 1.8 3rd-4th century Rustic Capitals 

Uncials combine many of the alphabetical abbreviation aspects of Roman Cursive.

Fig 1.9 4th-5th century Uncials

Semi-Uncelal is a further formalization of cursive script and marks the formal beginning of the lowercase letter form, filled with ascending letters.

Fig 1.10 Half uncials 

Charlemagne standardized all church texts.Rewriting text using capital letters (capitals), lowercase letters, he set the standard for calligraphy by bringing capitalization and punctuation.

Fig 1.11 Caroline miniscule 

In some parts of northern Europe, condensationStrongly vertical letter forms called blackletters or textura became popular. In the South, where the popularity increased greatly, it was called the "Rotunda."

Fig 1.12 Textura Blackletter in 1400s

1450 black letters

 

Fig 1.12

Is the earliest type of printing, based on the manual  reproduction style, then used for Nordic books.

1475 Oldstyle

Fig 1.13

based on the lowercase letters used by the Italian humanists when copying books (themselves based upon the ninth-century Caroline minisule) and capital letters found in Roman ruins, these forms slowly evolved from calligraphic origins over 200 years before migrating from Italy to England.

1500 in italics

Fig 1.14

To echo contemporary Italian handwriting, the original italics were Simple and compact. though Italics were initially considered to be their own class of typefaces, but soon became italics Supplement the Roman form. Since the 16th century, almost Text fonts have been designed with italics attached.

 The 1550 script

Fig 1.15

This is a form of calligraphy that was originally italic and tried to replicate engraving, a font that doesn't exactly fit into longer text Settings. At the same time, it is widely accepted in shorter applications.

1750 transition

Fig 1.15

This style is a major improvement over the old style. You can see advances in foundry and printing technology. From thick to thin Relationships are exaggerated, parentheses are simplified.

1775 modern day

Fig 1.16

This style represents a further rationalization of the old typeface. Serifs have no brackets, and the contrast between thick and thin strokes is very strong. The English version (such as Bell) is also known as Scottish-Roman and is closer to the transitional form.

1825 Square serif/Slab serif

Fig 1.17

Originally heavily bracketed serif, with little variation between thick

and thin strokes.

1990 Serif font/Sans serif font

Fig 1.18

As a recent development, this style expands the concept of font families to include serif and sans serif letters (usually somewhere in between.

Is the earliest type of printing, based on the manual  reproduction style, then used for Nordic books.

This is my understanding of typography:

Text typesetting skills: Text is an important part of human culture.

No matter what kind of visual media, text and pictures are its two major components. The quality of text arrangement and combination directly affects the visual communication effect of the layout. Therefore, text design is an important composition technology to enhance the visual communication effect, improve the appeal of the work, and give the aesthetic value of the layout.

week2: 

Typography: Text / Tracking: Kerning and Letterspacing

Kerning is often incorrectly referred to as "letterspacing". In fact, it's adjusting the spacing of the letters and spacing the letters means increasing the horizontal space between the letters.

Fig 2.1with and without kerning

Normal tracking, loose tracking and tight tracking.

Fig 2.2Tight

Setting the text type is easy for the reader to read.

 1. The font form of a field should take up half of the page.

 2. Font size: The font should be large enough to stand out.

 3. Line spacing: The text is set too tightly, which will make the vision tired.

 4. Exercise; It is easy for the reader to find the location of the reading at that time, and should be designed to have a memory point.

 5. Line length: The proper line spacing of text is also a function of line length, as it is a matter of word size and line spacing. Keep the line length roughly between 35 and 65 characters. Very long or very short.

The president will influence the reader to read.

     

Fig 2.3Anatomy of a typeface

Font selection and size The choice of font is crucial to the readability of the article. When choosing fonts, you should try to choose concise and clear fonts, and avoid using fonts that are too fancy or difficult to read. The size of the font.Line spacing and segment spacing The setting of line spacing and segment spacing will also affect the readability of the article. Appropriately increasing the line spacing and segment spacing can make the article clearer and easier to read.    

          

Fig2.4 Different leading of same typeface

Layout: Text/format text 

Designers are adept at setting fixed types based on factors such as each person's personal preferences, popular culture, and needs for expression. When the designer sets the spacing of the font fields, it is important to express the author's message clearly and appropriately. 

The text draws the reader's attention at a glance.

Type Specimen Book

Ten different fonts are introduced.

Fig 2.5Ten different fonts

The font sample book shows a range of font sizes in proportion to the picture. Whether in print or ebook, it serves as a template for reference to different aspects of typography, such as font, font size, line spacing, and line length.

Fig 2.6

Work with type expressions

Fig 2.7

week 3:

Typography: Text / Indicating Paragraphs

The paragraph option we see here is pilcrow '(¶), which is left over from the Middle Ages Manuscript.

Fig 3.1

 Below 'text shows line spacing '(lead *) The paragraph. We can see that if the line spacing is 12pt, then the paragraph spacing ，It's 12 pt. It can ensure that the text  layout is neat.

  

Fig 3.2

The reason may be that leading usually includes the space taken up by descenders; and because most characters do not have descenders, additional white space is created under the line. 

Fig.3.3

Typography: Text / Widows and Orphans

Typographic designers will take a large number of texts and print magazines, newspapers or some online journals for special treatment, must select the widows and orphans of the gaffe. 

• The word "widow" is a short line left alone at the end of a column Text. 
• An orphan word is a small line of words left behind at the beginning of a new word column.
  

                                     Fig 3.4 about explain of Widow and Orphan

In the text, we know that widows and orphans are a mistake for typographers and text typesetting. We can see that the small text on the right will be much thicker than the small text on the left, and the text paragraphs that break the line will not be cut or significantly shortened.

Fig 3.5 Correcting widows and orphans, breaking the rules

Typography: Text / Highlighting Text

We can see that the sans-serif fonts (Univers) have been reduced by 0.5 

To match the x height of the serif font. 8 indicates 7.5.

Fig 3.6 change of has

Fig 3.7

Quotes break the rules and create a clearer indent.

Fig 3.8 Use of quotation marks

Typography: Text / Headline within Text

Typographers need to make sure that the information they are trying to convey makes the reader aware of what is important in the text.

Headings vary in font size, type, and thickness. Show the following 4 examples.

Fig 3.9 four different titles

In the article, several sub-headings of different plates are combined in a screen, and we can see the hierarchy of the article layout.

Fig 3.10 Subheading structure

Typography: Text / Cross Alignment

With cross-aligned headings in the text, the full alignment of the left and right looks neat and structured. The font thickness and size are also different, and the text types are cross-aligned.

Fig 3.11 Cross styles, text types

Week 4

Typography: Basic / Describing letterforms

Since the development of printing, a lot of proprietary technical language has been used to allow us to understand the form of letters and identify the fonts of letters.

Baseline The imaginary line is the visual basis of a letter form.

Letters that are reasonably flush up and down can give readers a beautiful appearance.

Centerline An imaginary line that defines the height of the letter x.

X Height The height of the lowercase "x" in any font.

Fig 4.1 Height imaginary line

Use strokes to define any line of the basic glyph.

Fig 4.2 Definition of gesture

For the diagonals the vertices of the letters are produced.

Fig 4.3 Top of letters

We can see that some of the letters are closed and included in the lines.

Fig. 4.4 Closed letters lowercase

Bracket The transition between the serif and the stem.

Bracket The transition between the serif and the stem.

Fig 4.5 Transition

Cross Bar The horizontal stroke in a letterform that joins two stems.

Fig 4.6 Horizontal lines of letters

Typography: Basic / The font 

The complete font includes 26 letters and some numbers, punctuation, and symbols. When using fonts, we should ensure the integrity of the fonts.

Fig 4.7 26 letters in uppercase

Lowercase uppercase letterforms drawn to x-height font.

Fig 4.8 26 letters lowercase

Fig 4.9 Uppercase and lowercase of letter A

• Uppercase numbers are called serif numbers, and numbers can be set to the exact same height and width as uppercase letters.The width can be adjusted.
• Lowercase numbers, also known as old-style or literal numbers, can go up and down, and are used in tables.

Fig 4.10 Number

Common Punctuation Marks, Miscellaneous Characters Although all fonts contain standard punctuation marks, the type of characters available in the font is appropriate for the particular job before selecting it.

Fig 4.11 Punctuation, miscellaneous characters

Decorations Decorations used in invitations or certificates.

Entire font family (Adobe Caslon Pro).

Fig 4.12 Decorative characters

Typography: Basic/Descriptive font

If we can identify letter composition and font type, we can apply style combinations.

Roman The letterform is so called because the uppercase forms are derived from inscriptions of Roman monuments. A slightly lighter stroke in roman is known as ‘Book’.

Fig 4.13 ROMAN

Italic is named after the Italian script of the fifteenth century and is based on Roman form script.

Fig 4.14 Italics Oblique 

Fig 4.15 Font

Typography: Basic/Comparative Fonts

It’s not the similarities that are noteworthy, but the differences that are unique. There are differences in the height and thickness of these fonts, which requires us to observe them in detail.

Fig 4.16 

Week 5 

Typography: Letters / Understanding letterforms

The capital letter form shows symmetry and we can easily see the two different stroke thicknesses

Baskerville stroke form (below); including thickness,

Each bracket connecting the serif to the stem has subtle differences and a unique arc.

Fig 5.1 Stroke arc and thickness

Typography: Letters

The capital letter form looks relatively symmetrical, with the left slope being thinner than the width of the left slope. It shows the font designer's attention to detail when creating. The internal harmony and personalized font are full of expressiveness.

Fig 5.2 Subtle differences in symmetrical fonts

The complexity of each letter form is shown below,

By looking at the lowercase “a” of two seemingly similar sans serif fonts

Fonts – Helvetica and Univers. We can see a lot of differences in the joints, comparing the stems

The finish of the letter shape and how the bowl quickly meets the stem.

Fig 5.4 Lowercase letters in radians

Layout: Letter/Keep x-height

It is observed that the lowercase letters are basically on the same horizontal line.The x-height is usually described in lowercase letters.Curved strokes.

Fig 5.5 Lowercase letters flush horizontally

Typography: Letters / Form / Counterform

Connecting all the letters together allows for easy reading, the words formed when the letters are connected, and the space provided for design.

Fig 5.6 Monogram

Observing the enlarged lowercase letters and finding the balance between them can give us a unique understanding of the font.

What we need to note is that the meaning of "S" applies at every stage.

expands, and the "g" tends to lose its identity as an individual

Examines elements without taking into account the context of the entire letter form.

Fig 5.7 Helvetica and Baskerville

Typography: Letters / Contrast

The basic principles of graphic design apply directly to typography.

Dynamic design is applied to fonts, and the contrast of thickness, including size, tilt, brightness, color, pattern fonts and other differences produce many changes.

Fig 5.8 Dynamic design comparison

 INSTRUCTIONS

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Task 1 : Exercise - Type Expression 

RESEARCH:

Week 1 -Task

Compose and express the chosen 4 words using any of the 10 typefaces provided.

Font design can convey information and meaning through the form of text, and some font designs can leave a clear impression.

Sketches:

Through these, I choose three words which are shock, huge and dive.

Fig.1.1 huge

"huge" means huge and makes us feel that the word has a very strong presence.

1.The inspiration of this design comes from an animation, its cover H accounts for 1/3 of the position to express the huge feeling.

2.The letters continue like a ladder, huge also has a road to success.

3and4. This word is very large, I need to center the letters H and h, and reduce the other letters to reflect the meaning of the word.

Fig.1.2 dive

“dive”has several different meanings mainly to dive,  to dive. I feel that diving is a difficult challenge that requires overcoming fear. Fonts should be designed with this in mind.

1.I drew the letter "DIVE" decreasing from large to small.

2. I drew the letter I as a very high jumping platform, and the letter d v e is the person who jumped into the water.

3. I imagine that the letter v is the sea, the letter D is the submarine, and the letter I falls into the water from the submarine, and is constantly moving forward, driven by the sea.

Fig.1.3 shock

“shock”is a very shocking word, which is reflected in people's behavior such as sudden situations.

1. When people convey shock, there will be a large range of mood, and I imagine that this range is a wave-breaking shape.

2. Everyone's way of conveying emotions is different. It may be plain without any range. I use 2D form to express it.

3. I designed the font to be very crowded, and the letter S was enlarged to describe the shock I saw at a glance.

Fig.1.4 roar

“roar” has many similar meanings. It means an expression of emotion when you are angry, or the thrill of cheering someone on.

1. The letter O is maximized, the letter A is meant to form a small tongue, and the two letters R are eyes, which take up most of the space of the facial expression when the mouth growls.

2. When people express their emotions and are angry, they will shout and ROAR. The roar I drew represents the propagation of the sound wave from small to large during oral output. 

3. Think of the letter r as a pavilion. It can hold many emotions, but there are times when you can't keep it. roar will roar through the shelter of the pavilion.Week 2 -Task

4.The teacher asked us to use photoshop to create the letter design (the manuscript from the last lesson was converted into a full version).

Week 2 -We need to use ai to complete the font design (watch the video given by the lecturer to operate)

                                      Fig.1.5 About the font design of dive

For the design of Dive1.2, I chose a slim font. 1. The end of the letter is hooked, reflecting the state of slow decline. 

2. Using Bem Std Extra Bold gradual change, the diving depth is different to reflect the different color changes in the sea water.

3.Use close-to-far expressions to express penetration.

Fig.1.6 dive and huge process

For DIVE, I chose the Bembo Std Extra Bold and used the same design as the draft, with the letter I expanded to nearly 1/2 of the total, and the gradient font representing the depth of the dive. 

For Huge, I chose the same font as DIVE, expanding the letter H and including the letter uge, emphasizing the vastness of volume or volume.

Fig.1.7 roar process

In the process of designing ROAR, I adopted Gill sans font, The letter O is enlarged from the original font, adding a slant, adding richness and interest to the sound. and propagated.

                  

     

            Fig.1.8 About the font design of huge and shock

I chose Gill Sans for the font of p2. The color of the font varies from dark to light, emphasizing the visual recognition of the text and the uniqueness of the overall combination form of the font.

I chose Adobe Caslon Pro for the font of p3, the font design is compact and the overall design processing is carried out, which looks simple and clear.

I chose Adobe Caslon Pro for the font of p4.Three shock layer on top of each other, typesetting is diverse.

I chose Adobe Caslon Pro for the font of p5.Enlarge the letter O so that the whole font is in the shape of a mountain, focusing on the letter O.

I chose Gill Sans for the font of p6. Using the new draft design, elongate S on the basis of the original, extending into a path. 

                             

 Fig 1.9 4 word complete design

Week 3-For this week's homework we need to make an animated GIF, (choose one of the previous 4 words to complete).

Fig 1.10 HUGE GIF process

Fig 1.11 HUGE GIF

Design idea: Slowly enlarge the letter H, occupy the full screen, so as to squeeze the letter UGE, slowly disappear and appear in the middle of the letter H.

Fig 1.12 ROAR GIF process

Fig 1.12 ROAR GIF

For roar, in order to show the slow enlargement (the effect of people roaring), I slowly enlarged the glyphs on the letters and used the stretch tool. After completing the 12 font designs, I imported the 12 images into photoshop to draw each screen Set to 0.1 seconds.

Week 4-1.We design typography by watching typography videos and operating indesign.

On teams, Mr. Vinod gave us a summary of John Doe’s I Am Helvetica. We need to create a layout with the given text and give it a title. We design through our own knowledge of typography.

Fig 4.1 Text composition process 

Designing process：

• Start by typesetting the main article title in illustrator and choosing a suitable font.
• Place the text content for separate typesetting.

Fig 4.2

 I used paragraph alignment to the left for a nice, neat look. The text font size is 7 points.

Fig Text alignment display

I made corresponding corrections to the teacher's instructions in class.

The result is as follows:

After correction, simplify the font of the article text and align the horizontal lines.

Fig Text alignment display

Full image:

Fig 4.3 Text section（2 different export forms）

PDF:

2.Follow the font design given by the teacher and apply it to your name (10 different fonts).

Fig 4.5 About the font design of his name 

Week 5:

Conceive

I listed the number of columns and fonts that I thought would be appropriate for the design.

Use illustrator to typeset and select the font, adjust it to the appropriate size and insert it into In Design.

Fig 5.1 Font design

Adjust the font size, line spacing, and kerning of the text.

Fig 5.2 Text alignment

Fig 5.3 Typesetting

PDF 1:

The font design was messy and there was no prominent theme. After correcting the details, I reduced the individual fonts and placed the main text in the middle.

Fig 5.4 The role of Bauhaus thought on modern culture 

PDF 2:

Re-use a new theme in a document, A code to build on and live by, understand the meaning of the text, design and layout. I divided the A code into a group to flatten the font, and used a utility knife to cut the font in the middle to slightly distort the font.

Fig 5.5 A code to build on and live by

PDF 3:

FEEDBACK :

Week 1：

• After reading the student's blog, the lecturer made many comments, which told everyone to watch the video and indicate the date of the blog, the name of the class and other important information. 
• In the review of the assignment, the word "huge" does not make people see the shock of this word, because it is huge. The lecturer gave me a demonstration, trying to enlarge the letter "huge" and include other letters on the edge of "huge", so the theme will be more prominent.

Week 2： 

• The lecturer pointed out many problems with my fonts. I did not use the fonts prescribed by the lecturer to complete my homework, and the lecturer corrected my fonts. I started over my font design, trying to figure out a good solution. 
•  The lecturer commented on my homework and tried to enlarge one word with huge letters to fill one third of the picture, so I expanded the letters H and E to reflect the huge feeling.

Week 3: 

There are still many shortcomings in my text that the teacher pointed out.

• In terms of the text of the article, the 10 different fonts given by the teacher were not used.
• The font of the text box is not aligned with the horizontal lines.
• The main font design is too complex and needs to be simplified in typesetting.
• I made corresponding corrections to the teacher's instructions in class.

Week 4：

• After this week's study, the teacher helped me correct my font style. Because of my carelessness, I did not align the word spacing with the grid. Through the teacher's operation, I understood that the text can be scrolled. to change the paragraph.                    

Week 5 ：

• The teacher pointed out many shortcomings of mine. The main body design was not novel enough. I needed to understand the meaning of the theme before designing the layout. You need to read more books and websites about posters for reference and understand the meaning of layout.

 REFLECTIONS :

Experiences：

After class, I read the materials given by the lecturer and learned to pay attention to typesetting articles and texts. 

From the first week of class, we listened to Mr. Vinod’s explanation. I learned a lot about the origin and use of typography and font design, and the final renderings were presented. After several weeks of study, I discovered that fonts are not only different in appearance, but also involve text expression, typesetting method, neat layout, etc. In the class assignments of the past few weeks, I used 10 different fonts given by the teacher to design the fonts through my own practice. I tried many different styles of fonts, including font distortions and other forms. These few weeks of lessons taught me how to use In Design.

• Observations

In the assessment course, the teacher sent us Pinterest websites and related books to read. By reviewing the materials, I saw the creative works of good typography designers, text layout and other aspects that can help us learn. How to use spatial knowledge to stagger layouts.

• Finding

The underlying logic of text typesetting

• Group spacing>Paragraph spacing>Line spacing>Character spacing
• The relative ratio between spacing combinations
• Enable information to be conveyed more efficiently
• This will also give the layout a certain sense of rhythm.
• Reasonable intimacy can greatly improve reading efficiency

FURTHER READING 

In the website recommended by the instructor, I browsed several texts.

Weight & Proportion

I learned that the thickness, proportion and texture of text fonts are the three main characteristics. The width of strokes ranges from very light to very heavy; the shape of letters ranges from very compact to very wide, and many are very simple. Some texts use fonts with their own unique textures.

In terms of the 'weight' of fonts

People have tried many times to standardize the weight and proportion terms of font design. Other descriptive names include hairline and slimness to obesity, elephants and a huge range of growth.

typeface weights

Proportion

Font proportions refer to the relationship between the width and height of a character. The narrowest ratio is for ultra-compression. Descriptive width names typically develop into the five dimensions of ultra-compressed, compressed, condensed, regular, and expanded. Fonts can offer varying degrees of font compression and widening, but rarely extend to more than one width.

typeface proportions

Surface Texture

Surface texture is another variant of typeface design. Just a few of the almost limitless surface textures are outline designs, typestyles with the appearance of three dimensionality, incised, stenciled, and Inlined.

surface texture

First Alphabets

In the early days, people felt the need to find a way to record their lives, so there was a history of the development of the alphabet. At first, people used many methods, such as drawing on stones, to leave some symbols. Later, slowly, some marks and symbols evolved into a font. Marks were the beginning of written communication, with simple shapes. This way each one can be consistently identified for its unique meaning.

symbol letters

The first words were graphic images that represented tangible things. These have very simple shapes, and each different shape and mark represents a very simple word, such as man, woman, fire, food, tree, etc. Slowly over time, people realized they needed more symbols to express more words. Therefore, multiple "tree" symbols are combined into a "forest". There have been a lot of font evolutions.

Fig design progression of letterforms

record

The Egyptians were perhaps the first to break with the tradition of writing in simple symbols. At first they used "sound pictures" to represent words and syllables with the same or similar sounds. Over the millennia, they began using sound pictures to represent only the syllables of letters. These phonograms are paired together to create a new word. Eventually, Egyptian writing evolved into the monastic writing commonly known as hieroglyphics. Later this kind of writing was used in many fields.

alphabetic writing

The Phoenicians brought the next step in evolution, which we also saw on the video given by the teacher. The Phoenicians clearly needed an alphabet, but not the elegant, decorative alphabet of the Egyptians. The Phoenicians were concerned only with record keeping and little else. Therefore, Phoenician writing was simple, easy to read, and fast to write. Phoenician writing was also purely alphabetic - one character equals one sound. This is the first pinyin alphabet.

The emergence of the alphabet

In the process of doing business in Greece, the Phoenicians also passed on their alphabet. The Western alphabet began to change again. The Greeks added many vowels, new characters, and curved lines. The Latin alphabet began to appear. (Derived from the Greek alphabet by the Etruscans, the native people of the Italian peninsula).

Text v. Display

Readers get the best out of text because of the layout of the text, and are designed to perform best between 6 and 14 o'clock. Instead, display fonts are used to draw readers into text copy, create a mood or feeling, or announce important information.

Different designs in different sizes

Different fonts and typography have a big impact in visual media. For example, most of the metal fonts we can see have many slightly different proportions and differences in each style. Lowercase letters also typically have a larger x-height than the text size in display designs, and have more pronounced serifs.

It follows that Bembo's phototypesetting versions were developed from original text drawings or typesetting samples of specific sizes. This means that photographic fonts perform well at the size for which they were originally intended, but their performance is marginalized at other (usually larger) sizes. The first digital fonts were just copies of photographic fonts, so this problem still exists. Designed to specific sizes.

Three versions of Miller

Today’s metal fonts are easier to produce than before.It's also easy to use and is designed specifically for text or real-life applications. If you set each of these fonts to the same size, the overall design will be very similar, but the individual proportions will be different.

Subtle but noticeable different distinguish used for different sizes