A presentation on basic typography, a function of basic design focusing on print magazine and newspaper design.

1. FONT
BY BRADLEY WILSON, PH.D.
©2022
Getting the Right

2. Times
Helvetica
BORING
AND
=

3. JOHN BOARDLEY,TYPE DESIGNER
“HELVETICAISTHESWEATPANTS
OFTYPEFACES.”
BOOK: Helvetica :
Homage to a Typeface
MOVIE: Helvetica
(2007)

4. PostScript
Standard for print output; Mac standard; screen and printer versions
TrueType
PC standard; problematic on some output devices
OpenType
More expensive but contains more characters; becoming international standard under
ISO; a collaboration between Microsoft
and Adobe in 1996

5. CHEAP

6. STANDARD

7. OPENTYPE

8. OPENTYPE
OpenType Advantages
Character encoding is based on Unicode
Can have up to 65,536 glyphs
Allows for advanced typographic features
Font files are cross platform and can be used without
modification on Macintosh,Windows and some Unix systems

9. HERMANN ZAPF,TYPOGRAPHER
“TYPOGRAPHYISTWO-
DIMENSIONALARCHITECTURE,
BASEDONEXPERIENCEAND
IMAGINATIONANDGUIDEDBY
RULESANDREADABILITY.”

10. EXTRAS
Ligatures
flight ff fl fi
flight ff fl fi

11. EXTRAS
Accents
É é ú ø î ç ö å á ë å ô õ ò è É é ú ø
î ç ö å á ë å ô õ ò è

12. EXTRAS
Special
¡™£¢∞§¶•ªº–≠øπˆ¨¥†®
´∑œß∂çƒ√©∫˙˜µ˚≤¬≥…÷æ

13. JAMES FELICI,TYPOGRAPHER
“THEBEAUTYOFTYPELIESINITS
UTILITY;PRETTINESSWITHOUT
READABILITYSERVESNEITHER
AUTHORNORREADER.”

14. TERMINOLOGY
Serif
Body copy is generally set in serif fonts.
The serifs give the eye something to follow.
Readable at text sizes and large sizes.
This is a serif.

15. Serif
Headlines and captions
are most often sent in sans serif fonts.
There are
no serifs. Sans
TERMINOLOGY

16. TERMINOLOGY
Script fonts
•Informal; often used to simulate hand-writing
•Formal; used to give a formal look to a
publication
•NEVER used in all caps
•Samples: 44th President, Cursive Handwriting, Santa Fe,
Hand of Sean, Inola Handlettered

17. TERMINOLOGY
Decorative
•Used to accent other fonts
•Samples: Santa Fe, Brandon Printed,
Phosphate, Papyrus

18. TERMINOLOGY
Typography
Typography
BASELINE
DESCENDER
ASCENDER
X-HEIGHT
POINT SIZE
LEADING
}
{

19. Brush
Typewriter
Vitesse
Gill Sans
Cochin
QUIZ

20. IMPACT
Baskerville
FreightText
Hoefler Text
HERCULANUM
QUIZ
Optima

21. • Underline
• ALL CAPS
• SMALL CAPS
• Reverse
TERMINOLOGY
• Roman
• Bold
• Italic
• Outline
STYLE

22. WEIGHTS
Avenir Next Condensed Ultra Light
Avenir Next Condensed Ultra Light Italic
Avenir Next Condensed Regular
Avenir Next Condensed Regular Italic
Avenir Next Condensed Medium
Avenir Next Condensed Medium Italic
Avenir Next Condensed Demi Bold
Avenir Next Condensed Demi Bold Italic
Avenir Next Condensed Bold
Avenir Next Condensed Bold Italic
Avenir Next Condensed Heavy
Avenir Next Condensed Heavy Italic

23. • Font sizes are measured in points.
• There are 72 points in an inch.
TERMINOLOGY
MEASUREMENT

24. • The space between the lines is called
leading.
• Leading is also measured in points.
• More leading = more space.
TERMINOLOGY
LEADING

25. We’ve crunched it, stretched it,
smooshed it and whooshed it. We’ve
trampled it, filled it, curved it and
twisted it. We’ve shattered it,
splattered it, squashed it and twirled
it. We’ve even been very creative
with it, but in doing so, we have
sometimes caused it to be totally
unreadable. Along the way, we seem
to have forgotten that type was
designed to be read with ease.
We’ve crunched it, stretched it,
smooshed it and whooshed it. We’ve
trampled it, filled it, curved it and
twisted it. We’ve shattered it,
splattered it, squashed it and twirled
it. We’ve even been very creative
with it, but in doing so, we have
sometimes caused it to be totally
unreadable. Along the way, we seem
to have forgotten that type was
designed to be read with ease.
18/22 pt.
18/30 pt.
TERMINOLOGY
LEADING

26. • Type can be set
• Flush left (ragged on the right)
• Flush right (ragged on the left)
• Centered (ragged on both sides)
• Justified (straight on both sides)
TERMINOLOGY
ALIGNMENT

27. TERMINOLOGY
ALIGNLEFT
We’ve crunched it, stretched it,
smooshed it and whooshed it. We’ve
trampled it, filled it, curved it and
twisted it. We’ve shattered it,
splattered it, squashed it and twirled
it. We’ve even been very creative with
it, but in doing so, we have
sometimes caused it to be totally
unreadable. Along the way, we seem
to have forgotten that type was
designed to be read with ease.

28. We’ve crunched it, stretched it,
smooshed it and whooshed it. We’ve
trampled it, filled it, curved it and
twisted it. We’ve shattered it,
splattered it, squashed it and twirled
it. We’ve even been very creative with
it, but in doing so, we have
sometimes caused it to be totally
unreadable. Along the way, we seem
to have forgotten that type was
designed to be read with ease.
TERMINOLOGY
ALIGNCENTER

29. We’ve crunched it, stretched it,
smooshed it and whooshed it. We’ve
trampled it, filled it, curved it and
twisted it. We’ve shattered it,
splattered it, squashed it and twirled
it. We’ve even been very creative with
it, but in doing so, we have
sometimes caused it to be totally
unreadable. Along the way, we seem
to have forgotten that type was
designed to be read with ease.
TERMINOLOGY
ALIGNRIGHT

30. We’ve crunched it, stretched it,
smooshed it and whooshed it. We’ve
trampled it, filled it, curved it and
twisted it. We’ve shattered it,
splattered it, squashed it and twirled
it. We’ve even been very creative with
it, but in doing so, we have
sometimes caused it to be totally
unreadable. Along the way, we seem
to have forgotten that type was
designed to be read with ease.
TERMINOLOGY
ALIGNJUSTIFIED

31. • Body copy and captions are
usually set justified.
• Headlines are usually set
flush left.
TERMINOLOGY
ALIGNMENT

32. }
TERMINOLOGY
MEASUREMENT
1 inch
1 pica 2 picas 3 picas 4 picas 5 picas 6 picas
1 point
12 points
1 inch
= 6 picas
= 72 points
1 pica
= 12 points

33. TERMINOLOGY
• There are six picas in an inch.
• Column widths are measured in picas.
• There are 72 points in an inch.
• Body copy is generally 10/12 pt.
(Read: 10-point type on 12-point
leading)
• Headlines are at least 18 pt.
• The wider the column, the greater the
leading.
TIPS

34. 1. What did you like/not like about previous editions?
2. Pick a font family.
3. Try different sizes.
4. Try different column widths.
5. Try different leading.
6. Try different letter spacing.
7. See how it mixes with other fonts on page.
PROCESS

35. 1. Pick a body copy font largely based on readability.
2. Pick a headline/caption font based on contrast
with body copy font and readability.
3. Pick an accent font to convey a tone or feel.
PROCESS
Inola Handlettered

36. Berkeley was originally designed under the name of Californian by Frederic W.
Goudy in 1938 for the University of California Press in Berkeley. The UC Press
still owns the original typeface, and the 1983 ITC version is a careful redrawing
by Tony Stan.
It has the flavor of several other Goudy designs, including Kennerley, Goudy
Oldstyle, and Deepdene. This is a typeface designed for text applications,
therefore, close attention was paid to the relationships of the weights. Book and
Medium are close to each other in weight, with larger jumps to the Bold and the
Black, used for emphasis and contrast.
myfonts.com: $40.50/each for 8 fonts; $40.50/style

37. myfonts.com: $40.50/each for 8 fonts; $40.50/style

39. SWIMMING/DIVING
The men’s and women’s swimming teams each put together a series of
impressive victories and had some outstanding individual performances in
what coach Brooks Teal called “a season of ups and downs.”
The men’s team included sensational freshman diver Vitor Assuncao,
sophomore swimming phenom Cullen Jones and last year’s returning MVP,
sophomore swimmer Steve Cowling.
“Vitor and Cullen were both highlights,” said Teal, as Assuncao notched an
impressive 22 diving victories and took second place in the three-meter at the
ACC Championships, while Jones won the 50m and 100m freestyle events at
the ACC Championships, earning a berth in the NCAA Championships.
Unfortunately, the team suffered a number of setbacks as well. Not only
was Cowling, whom Teal called “our best returning swimmer,” beset by
injuries throughout the year, but junior swimmer Kevin Barkley and diver T.J.
Ferguson also struggled with injuries.
Teal said of Ferguson, “when you only have three [divers], that’s a big
loss.”
“We were going to be a thin team, anyway,” said Teal. “And then we were
hit with injuries and setbacks.”
Nonetheless, the team certainly enjoyed a successful year.
One of the highlights of the year was the mid-season victory over Virginia
Tech.
“That was a combined win [both the men’s and women’s] over a team that
came in ranked a little higher than we were,” said Teal.
The women’s team included sophomore diver Molly Culberson and
freshman swimmer Rebecca Perry.
“One of the high points this year was Rebecca’s performance [at the ACC
Championships],” said Teal.
Culberson also captured 8 first-place finishes on each of the one and
three-meter boards during the season.
Both teams had high potential.
“A lot of the strength in the men’s team is in our sophomores and juniors,”
Teal said. “A lot of the strength on our women’s side is in our freshmen and
sophomores. The teams are a year away from reaching their potential. We feel
we’re poised.” Black
CROSSING THE FINISH LINE
2003 Scores
198-199 Swimming.indd 198-199 6/3/08 8:55:05 AM

41. fontbureau.com, $450/complete; from myfonts.com: $40/each for 15 fonts
In 1938, Frederic Goudy designed California Oldstyle for University of
California Press.
In 1958, Lanston issued it as Californian.
Carol Twombly digitized the Roman version 30 years later.
David Berlow revised it for Font Bureau with italic and small caps. Jane
Patterson designed the bold. In 1999, assisted by Richard Lipton & Jill Pichotta,
Berlow designed the black and the text and display series.

42. myfonts.com, $359.40 for 12 fonts, $29.95/style

43. GOTHAM AND BERKELEY • 2004 AGROMECK

44. typography.com, $3,208/complete 66 styles, $885/basic set
The inspiration for HTF’s Gotham isn’t the work of a single iconic architect, but
the lettering style common on buildings and signs throughout mid-
century Manhattan. Tobias Frere-Jones celebrated his return to his native
New York by designing a typeface based on the unnoticed everyday signage
around him, starting with the lettering that labels the Port Authority Bus
Terminal, the city's central hub for long-distance buses, a block west of Times
Square.
The actual letterforms have rounded, generous proportions; uniform thickness of
strokes; extreme simplicity of form; and the suggestion that they were drawn by
an engineer. The ends of curved strokes are cut off diagonally, straight
across the stroke, rather than horizontally or vertically; but diagonal straight
strokes all end horizontally.

45. Typography.com, $3,208/complete 66 styles, $885/basic set

46. Typography.com, $3,208/complete 66 styles, $885/basic set

51. Ultralight
Ultralight Italic
Light
Light Italic
Regular
Bold
Bold Italic
Condensed Bold
Condensed Black
Helvetica Neue
myfonts.com: $399/59 fonts; $6.75/style

52. Hoefler Text
typography.com: $299/complete set
Steeped in the virtues of classical book typography, Hoefler Text is a
comprehensive family of typeface designs which was originally developed for
Apple Computer.
Hoefler Text was designed with the healthy conceit that such an extensive family
of typefaces might anticipate every need of a demanding typographer. It is for
this reason that the family includes 27 designs: aside from the three weights
with small caps and swashes are a few additions, packed into the alternate fonts,
hopefully of service to attentive designers.

53. Hoefler Text
Typography.com: $299/complete set

55. Designer Robert Slimbach, 1992, created this font, inspired by fonts of the late
Renaissance.
Minion was created primarily as a traditional text font but adapts well to today’s
digital technology, presenting the richness of the late baroque forms within
modern text formats.
Minion
fonts.com: $598/family

56. Regular
Italic
Medium
Medium Italic
Semibold
Semibold Italic
Bold
Bold Italic
Bold Condensed
Bold Condensed
Italic
Minion
fonts.com: $598/family

58. W
hen it came to leader-
ship, both the men’s
and women’s soccer
teams looked beyond
seniors to younger
members of the team.
Women’s team
forward Lindsay Vera,
a sophomore in First
Year College and a for-
mer ACC All-Fresh-
man selection, fin-
ished second on the
team with five goals
and a total of 11 points
on the season. During
ACC play, Vera led the
Pack with three goals,
and she earned her a
spot on the All-ACC
Second Team.
Vera’s vocal inten-
sity on the field also placed her in a leadership role for
the women’s team.
“I will speak up if there is something I think needs
to be done,”Vera said.“I’ve never had to hold the cap-
tain position to speak up.”
Vera said four seniors also contributed leadership
skills to the team.
“Michelle Massey and Amy Graul lead a lot through
example,” Vera said. “Nicole Mayo and Megan Con-
nors stepped up vocally and gave direction on the
field. We used them as a good line of communication
to the coaches when we had something we wanted to
discuss.”
The women finished the season with a record of 9-
9-2 after an first-round exit in the ACC tournament to
top-ranked, and eventual champion, North Carolina.
Head coach Laura Kerrigan.“It was a tough game;
we fought hard, and
tried to keep it a low
scoring game, but
Carolina is a really
good team.”
Younger men’s
team members were
also stand-outs. Ju-
nior El Hadj Cisse,
majoring in science,
technology and soci-
ety, and sophomore
defender Ronnie Bo-
uemboue, majoring
in business man-
agement were both
named to the ACC
all-tournamentteam.
The pair are the first
Wolfpack duo to be
honored from the
same tournament
since N.C. State had two members on the 1992 team.
“Cisse has been a great (team) captain all year,”
Bouemboue said. “He provides that mouth when we
are on that field and coach can’t be there to talk to us.”
The team ended the season 6-10-1, but rather than
focusing on the overall record, team members focused
on two wins in the ACC Tournament. The Pack won
its first round game against Virginia Tech before fall-
ing to No. 4 Duke in the second round. Bouemboue
recorded a hat trick for the Wolfpack to lead the first
round comeback victory. Cisse said the tournament
changed the way team members played.
“I saw a change in confidence and determination to
win,” Cisse said.“I made all the team work harder and
they were all giving me the balls I needed to put them
in the back of the net.”
198-199_Soccer.indd 198-199 6/3/08 8:16:00 AM

60. myfont.com: $113/4 font family; $28.25/style

62. Mrs. Eaves is an historical revival based on the design of Baskerville. “In
translating this classic to today’s digital font technology, I focused on capturing
the warmth and softness of letterpress printing that often occurs due to the ‘gain’
of impression and ink spread.” — Zuzana Licko, 1996
Sample of Baskerville
Mrs. Eaves
emigre.com: $299/family

63. emigre.com: $299/family
Mrs. Eaves

65. myfonts.com: $220/seven-font family, $31.43/style
An extremely versatile, intelligently restrained design by Robin
Nicholas for Monotype in 1980. Nimrod works well at small sizes thanks to its
large x-height, sturdy serifs, and lack of ornament; yet it is not characterless.
Nimrod has been used successfully in national newspapers and books. (The
Guardian, London, from its late-1980s redesign until it was replaced by
a Carter interpretation of Miller in 1998; the Concise Oxford English Dictionary
in the typographically unsurpassed 1990 edition.

66. myfonts.com: $220/seven-font family, $31.43/style

69. myfonts.com: $240/10-font family, $24/style

70. myfonts.com: $240/10-font family, $24/style
Digitally engineered by Steve Jackaman.
Humanist sans serif with a calligraphic cut and tall ascenders.
Light, medium and extra bold designed by Nick Shinn in 1985 for Typsettra;
Jackaman added the book and bold weights and italic.

72. Noting that nineteenth century designs were based on the ellipse, and twentieth
century ones on the circle, we wondered what other geometries might prove
similarly fertile, and were inexorably drawn to the rounded rectangle.
Instead of using the rounded rectangle as a motif, the strategy we devised for
Vitesse was to use a more sophisticated shape as its central theme: a modified
rectangle with flat surfaces above and below, gently curved sides, and quick turns
at the corners. The complexity of these ingredients allows Vitesse to escape the
grid when necessary, helping to preserve both the natural poise of intricate
letters, and the typeface’s personality throughout its complete range of styles.
The design that emerged has many of the qualities of a beloved sports car: Vitesse
is agile, steady, suave, confident, and stylish.
http://www.typography.com
Vitesse
typography.com, $199/12 styles

73. Thin
Thin Italic
Light
Light Italic
Regular
Italic
Medium
Medium Italic
Bold
Bold Italic
Black
Black Italic
Vitesse
typography.com, $199/12 styles

75. DECORATIVE&SCRIPTFONTS

76. GOSHOPPING

77. 0
10
20
30
40
50
60
70
80
90
100
CORRELATION BETWEEN FONTS
AND SOCIAL ENGAGEMENT
Number
of
successful
dates
Number of fonts recognized
REALITYCHECK

78. FONT
BY BRADLEY WILSON, PH.D.
BRADLEYWILSON08@GMAIL.COM
@BRADLEYWILSON09
Getting the Right