The Declassified Type Survival Guide by Lauren Ryan

the declassified type

III

CONTENTS 006

rules of type

077

leading

011

special characters

079

kerning

015

type rules defined

083

aligning text

028

grids

090

hyphenation

038

quotes and apostrophes

094

justification

044

types and dashes

103

combining typefaces

048

small caps

111

paragraph break

053

oldstyle figures

123

text headers

057 x-height

131

captions & notes

071

139

font specs

column width

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TWO

................................................................. TYPOGRAPHIC

•

RULES

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RULES

•

Use only one space between sentences.

•

Use real quotation marks.

•

Use real apostrophes.

•

Make sure the apostrophes are where they belong.

•

Hang the punctuation off the aligned edge.

•

Use en or em dashes, use consistently.

•

Kern all headlines where necessary.

•

Never use the spacebar to align text, always set tabs and use the tab

RULES •

Leave no widows or orphans.

•

Avoid more than 3 hyphenations in a row.

•

Avoid too many hyphenations in any paragraph.

•

Avoid hyphenating or line brakes of names and proper nouns.

•

Leave a least 2 characters on the line and 3 following.

•

Avoid beginning consecutive lines with the same word.

•

Avoid ending consecutive lines with the same word.

•

Avoid ending lines with the words: the, of, at, a, by..

SHEET

RULES

•

Never hyphenate a words in a headline and avoid hyphenation in a callout.

•

Never justify the text on a short line.

•

Keep the word spacing consistent.

•

Tighten up the leading in lines with all caps or with few ascenders and descenders.

•

Use a one-em first-line indent on all indented paragraphs.

•

Adjust the spacing between paragraphs.

•

Either indent the first line of paragraphs or add extra space between them – not both.

•

Use a decimal or right-aligned tab for the numbers in numbered paragraphs.

•

Never have one line in a paragraph in the column or following.

•

Never combine two serif fonts on one page.

•

Rarely combine two sans serif fonts on one page.

•

Rarely combine more than three typefaces on one page.

•

Use the special characters whenever necessary, including super- and subscript.

•

Spend the time to create nice fraction or chose a font that has fractions.

•

If a correctly spelled word needs an accent mark, use it.

•

Use your best judgement!

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RA HA C AL

I EC

THREE

“ ” ‘ ’ … • – — Option [

Option Shift [

Option ]

opening double quote

closing double quote

opening single quote

Option Hyphen

Option Shift Hyphen

Option ;

en dash

em dash

elipses

Option Shift ]

closing single quote; apostrophe

Option 8

bullet (easy way to remember as it’s the

SPECIAL CHARACTERS

ﬂ ™ © ﬁ

Option Shift 6

Option 2

Option Shift g

Option Shift 5

ligature of f and l

trademark

ligature of f and i

Option r

Option Shift 8

registered

degree symbol (e.g. 102°)

⁄ Option Shift 1 fraction bar

¿ Option Shift ? inverted question mark

Option $

cent symbol

€ Option Shift 2 euro symbol

ç £ Option 3

Option c

Use copyright, register, and trademark marks properly

Ellipsis Character

…………………………………………………………

The copyright, register, and trademark characters need to be reduced

Use the ellipsis character and NOT three periods. You can access the el-

to work with body text. At times, depending on the typeface, you may

lipsis by typing Option + : (colon). Allow a small amount of space before

need to reduce the mark between 50% and 70%. The goal is to match

and after. However if it is not crowding the text, leave no space at all.

the x-height. The copyright mark should be approximately 70% of the surrounding text. Unlike the ™ symbol, the © should NOT be superscripted and should remain on the baseline. ™ is usually superscripted for the chosen font. ™ and ® are normally set higher then other marks. If you choose to superscript ®, reduce it to about 60% of the size.

Accent Marks

………………………………………………………

Remember to set an accent mark over a letter, press the Option key and the letter, then press the letter you want under it. ´

Option e

Option ~ (upper-left or next to the Spacebar)

Option u

Option n

Option i

RULES DEFINED

FOUR

Insert only a single space after all punctuation.

Use proper ‘em’ dashes, ‘en’ dashes, and hyphens

An em is a unit of measure equal to the point size being used. An em dash is a type of punctuation used to offset clauses in sentences or to indicate an abrupt change in thought. An en dash is equal to half the length of an em dash. En dashes are used to denote duration time.

Inserting two spaces after a period was common when using a typewriter. Monospace typefaces were designed to occupy the same amount of space no matter the width of the character. Therefore, two spaces were needed to identify the end of a sentence and the beginning of another sentence. With the introduction of the Mac and digital type, characters are designed proportionately, which allows for the correct practice of using one space after all punctuation.

Use proper quote and apostrophe marks

Use true quotation marks and apostrophes instead of using inch marks and feet marks. Place all punctuations inside the quotation marks.

Use true small caps

When setting text that contains acronyms, select a typeface with small caps as a family. Selecting small caps from the style menus is a poor choice because the computer reduces the size of the type by 80%. This changes the stroke weight and the feel of the font. Expert sets in the Adobe Type Library have small caps options that are available.

RULES DEFINED

TYPOGRAPHY RULES Add spacing to capitalized text and small caps

Use caps properly

With options given to you by almost any type family Letterspacing is the amount of space between characters in a word. Some software programs caller letterspacing tracking. Use positive number values (to about 2 or 3) to open up letterspacing to capitalized text and small caps, except when periods are used between characters.

Use old style figures when appropriate

(bold, point size, etc) you will seldom need to use all caps to draw attention to your text. Not all typefaces are legible when set in all caps; esp. true for script and decorative typefaces. Short headlines may be the once exception to this rule.

The copyright, register, and trademark characters need to be reduced to work with body text. At times, depending on the typeface, you may need to reduce the mark between 50% and 70%. The goal is to match the x-height. The copyright mark should be approximately 70% of the surrounding text. Unlike the ™ symbol, the © should NOT be superscripted and should remain on the baseline. ™ is usually superscripted for the chosen font. ™ and ® are normally set higher then other marks. If you choose to superscript ®, reduce it to about 60% of the size

Old style figures, also known as non-lining figures do not line up on the baseline as regular or lining numerals do. They can be found in various fonts. If the body text has a significant amount of numbers, research a font family where they are included. If non-lining numerals are not available, use a slightly smaller point size for the lining numbers. Think of lining numbers as upper case numbers and non-lining numbers as lower case numbers.

Ellipsis Character

Use the ellipsis character and NOT three periods. You can access the ellipsis by typing Option + : (colon). Allow a small amount of space before and after. However if it is not crowding the text, leave no space at all.

Use copyright and trademark marks properly

Avoid underlined text

This was useful back in the days of the typewriter to draw attention to the text. With digital type and their families, you should not need to use underlined text.

Increase line spacing to improve readability in body text

Line spacing (aka leading) refers to the space between lines of text. It is important for readability and appearance. Leading is measured from baseline to baseline. As a rule of thumb, allow leading that is 120% of the point size. For sans serif, you may need 130% or more. When setting headlines, solid leading (leading = point size, 12/12) or negative leading (leading =< point size, 12/10) may be appropriate.

Body copy size

Sans serif typefaces work well for headlines and to set text that is aligned to vertical/horizontal lines. Certain sans serif typefaces which are not very geometrical work well for body copy (i.e. Frutiger, Meta, Scala Sans,)

Body text is set anywhere from 9-12 points. When you print text, it is usually larger than what it looked like on the screen. So, print out your text before finalizing your layout. Type studies will help you determine the proper size before you proceed with your layout.

Altering fonts

Donâ&#x20AC;&#x2122;t alter the original typeface by stretching or condensing the letters improperly. Certain type families provide you with a lot of flexibility, so you should not need to destroy/alter text.

Legibility of fonts

Decrease line length and increase margins

Line length is a measure of text on one line. Any measure between 45 and 75 characters is comfortable for single column widths. The ideal measure for body text length is 66 characters (counting both letters, punctuation, and spaces.) For multiple columns, a measure between 40 and 50 characters is ideal.

Avoid letterspacing lower case body copy

Donâ&#x20AC;&#x2122;t letterspace body copy as it really hampers legibility. Use letterspacing when working with caps. small caps, numbers and display text where looser type spacing may increase legibility.

RULES DEFINED

Word spacing should be fairly close

For text meant for extended reading, the amount of space between words in a paragraph should be fairly close–about the width of a lowercase “i.” If the word spacing is too close, it appears as one giant word and legibility is decreased. Keep the spaces between words fairly thin, consistent and even!

Ideal column width

Make sure the alignment chosen for all areas of text are legible and consistent with the design and guidelines. Left-aligned text is easier to read and set. Justified text is harder to set w/o inevitable word spacing problems. Right-aligned and centered are generally not used for body copy.

For single-column pages, 4.25 inches is ideal. For two-column width, columns can be as narrow as 2 inches. Turning on the hyphenation feature can improve word spacing.

Justification of text

Justification can be appropriate in certain places. However, it can create certain problems such as rivers and word spacing. Adjusting size of margins, decreasing body copy size, turning on auto hyphenatation and manually hyphenating the text are all examples of possible solutions.

Choose the alignment that fits

Rules of hyphenation

Don’t rely on the software to judge where hyphens should be placed. At the end of lines, leave at least two characters behind and take at least three forward. For example, “ele-gantly” is acceptable, but “elegant-ly” is not because it takes too little of the word to the next line. Avoid leaving the stub end of a hyphenated word or any word shorter then four letters as the last line of a paragraph. Avoid more then 3 consecutive hyphenated lines. Avoid hyphenating or breaking proper names and titles. Creating a nonbreaking space before and after the name will ensure that the name will not cause a break.

Avoid beginning three consecutive lines with the same word

Since software programs deal with line breaks automatically based upon a number of variables, it is possible to have paragraphs with consecutive lines beginning with the same word. When this happens simply adjust the text to avoid/fix the initial problem.

Always spell check!

Once you are finished with your design, spell check the text using both of the following:

Kerning in headlines

Adjust the space between two particular letters to allow for more consistent negative space.

a. Use spell=check option that comes with the software you are using for the project.

26 b. Print the document and read it. The monitor and design of the document will make text look perfect when it may not be. Even if text is given to you by a client, check it. Never ever assume that it is correct. Keep a dictionary close as well.

Avoid widows and orphans

Widows are either single words alone on a line or single sentences alone on a new page. Orphans are single lines of copy alone at the end of a page.

Indents

In continuous text, mark all paragraphs after the first with an indent of at least one “em” (3 spaces). Do NOT use three spaces but rather use the tabs or indents option in your software.

Items in a series

Items in a series do not use a comma before the word “and.” (i.e., ‘peaches, apples and oranges.’)

FIVE

GR I D

GRIDS

Jan Tschicholdâ&#x20AC;&#x2122;s grid

The grid provides a framework were text, image and space can be combined into a cohesive manner.

A grid subdivides a page vertically and horizontally into margins, columns, inter-column spaces, lines of type, and spaces between blocks of type and images. These subdivisions form the basis of a modular and systematic approach to the layout, particularly for multipage documents, making the design process quicker, and ensuring visual consistency between related pages. At its most basic, the sizes of a grid’s component parts are determined by ease of reading and handling. From the sizes of type to the overall page or sheet size, decision-making is derived from physiology and the psychology of perception as much as by

aesthetics. Type sizes are generally determined by hierarchy— captions smaller than body text and so on—column widths by optimum word counts of eight to ten words to the line, and overall layout by the need to group related items. This all sounds rather formulaic, and easy. But designers whose grids produce dynamic or very subtle results take these rules as a starting point only, developing flexible structures in which their sensibility can flourish. Grids often need to be designed to give more flexibility than the single column of text per page (Jan Tschichold’s grid). This is due to to a change in our reading patterns. Grid structures have to accommodate a greater variety of material such as photographs, illustrations, headings, captions, references, charts; they need to be more complicated than a grid using only text and may utilize more modules. The design of the grid had to be relevant to the purpose.

GRIDS

BASELINE GRIDS Modular grids are created by positioning horizontal guidelines in relation to a baseline grid that governs the whole document.

Baseline grids serve to anchor all (or nearly all) layout elements to a common rhythm. Create a baseline grid by choosing the type size and leading of your text, such as 10-pt Scala Pro with 12 pts leading (10/12). Avoid auto leading so that you can work with whole numbers that multiply and divide cleanly. Use this line space increment to set the baseline grid in your document preferences.

Adjust the top or bottom page margin to absorb any space left over by the baseline grid. Determine the number of horizontal page units in relation to the number of lines in your baseline grid. Count how many lines fit in a full column of text and then choose a number that divides evenly into the line count to create horizontal page divisions. A column with forty-two lines of text divides neatly into seven horizontal modules with six lines each. If your line count is not neatly divisible, adjust the top and/or bottom page margins to absorb the leftover lines.

GRIDS

SIMPLE TYPOGRAPHIC GRIDS

These may consist of simply of a number of vertical columns used to position text and image matter and may include the space between columns- the gutters- and the margins of the page, which must be given consideration. It may be necessary to produce grids with narrower sub columns to enable a greater degree of

flexibility in the design and layout of pages. Text widths can be set to multiples of the narrower columns, allowing the design to accommodate different matter thus allowing for a change of pace, rhythm and style from one page or section to the next, while still relating the content.

Golden Section Rectangles & Spiral

GRIDS

GOLDEN SECTION

This example shows a grid where the proportions of the text area are established from the shape of the page, i.e. the height of the text area is the same as the width of the full page. Note that the text are will always remain the same, regardless of the scale of the page. Grids often need to be designed to give more flexibility than the single column of text per peg This is due to a change in our reading patterns. Although we still read consecutively , our attention is drawn to both magazines and coffee table boos which are often larger in format and highly illustrated. The grid structures for these formats have to accommodate a greater variety of material such as photographs, illustrations, headings, captions, references, charts; they need to be more complicated

than those for a grid using only text and may utilize more modules. Therefore, the design of the rid has to be relevant to its purpose. The golden section has been used for centuries. The Greeks used the golden section to establish balance in the design for architecture, for example the Parthenon, and it was re-discovered by artists and architects during the Renaissance period. The golden section is constructed through mathematical calculations : the ration being 1:1:61803. The Fibonacci sequence is a mathematical series discovered in the 12th century by Leonardo Fibonacci and is used to establish proportion. The sequence of numbers demonstrate that the sum of two numbers establishes the next number.

GRIDS

MODULAR GRIDS

Modular Grids are associated with Swiss typography or the 'International style' of the 1950's and 60s. As well as a vertical division of space, modular grids divide space hormonally too, creating units or cells. The depth of the cell may depend upon the size of the text type and leading being used. Multiples of the line depth (leading size) form a good basis on which to construct the cells.

GRIDS

ASYMMETRICAL GRID This type of grid is known for asymmetrically organizing the design elements in a mathematically-constructed way to create visual unity in a composition, but in a more expressive light. This is opposite of the symmetrical grid style.

SYMMETRICAL GRID The type of grid shown is characterized by or exhibiting symmetry; well-proportioned, as a body or whole; regular in form or arrangement of corresponding parts. The grid has a structure that exhibits a regular repeated pattern of the component parts, which organizes information in a congruent form and context.

SIX

O U

S E T

A &

O P

T S

P O R

S E H

QUOTES & APOSTROPHES

QUOTES Use true quotation marks and apostrophes instead of using inch marks and feet marks. Place all punctuations inside all the quotation marks.

Use real quotation marks – never those grotesque generic marks that actually symbolize ditto/inch or foot marks: use “and” – not “and”. Most software applications will convert the typewriter quotes to the real quotes for you automatically as you type. Check the preferences for your application – you’ll find a check box to tell your application to automatically set something like “typographer’s quotes,” “smart quotes,” or “curly quotes.” Then as you type using the standard ditto key (“), the software will set the correct quotation marks for you.

“ ” ‘ ’ Option [

Option Shift [

opening double quote

closing double quote

Option ]

Option Shift ]

opening single quote

closing single quote; apostrophe

APOSTROPHES People often are confused about where the apostrophe belongs. There are a couple of rules that work very well.

For possessives: Turn the phrase around. The apostrophe will be placed after whatever word you end up with. For example, in the phrase the boys’ camp, to know where to place the apostrophe say to yourself, “The camp belongs to the boys.” The phrase the boy’s camp says “The camp belongs to the boy.” “The big exception to this is “its.” “Its” used as a possessive never has an apostrophe! The word it only has an apostrophe as a contraction — “it’s” always means “it is” or “it has.” Always. It may be easier to remember if you recall that yours, hers, and his don’t use apostrophes — and neither should its.

QUOTES & APOSTROPHES

For contractions:

The apostrophe replaces the missing letter. For example: your’re always means you are; the apostrophe is replacing the a from are. That’s an easy way to distinguish it from your as in your house and to make sure you don’t say: Your going to the store. As previously noted, it’s means “it is”; the apostrophe is indicating where the i is left out. Don’t means “do not”; the apostrophe is indicating where the o is left out.

For omission of letters:

In a phrase such as Rock ’n’ Roll, there should be an apostrophe before and after the n, because the a and the d are both left out. And don’t turn the first apostrophe around — just because it appears in front of the letter does not mean you need to use the opposite single quote. An apostrophe is still and always will be the appropriate mark (not ‘n’).

In a phrase such as House o’ Fashion, the apostrophe takes the place of the f. There is not earthly reason for an apostrophe to be set before the o. In a phrase such as Gone Fishin’ the same pattern is followed — the g is missing. In a date when part of the year is left out, an apostrophe needs to indicate the missing year. In the 80s would mean the temperature; In the ’80s would mean the decade. (Notice there is no apostrophe before the s! Why would there be? It is not possessive, nor is it a contraction — it is simply plural.

DASHES hyphen

SEVEN 41

en dash

em dash

DASHES

DASHES Use proper ‘em’ dashes, ‘en’ dashes, and hyphens. Never use two hyphens instead of a dash.

Everyone knows what a hyphens is —that tiny little dash that belongs in some words, like mother-in-law, or in phone numbers. It’s also used to break a word at the end of a line, of course. You might have been taught to use or given text that uses a double hyphen -- to indicate a dash. This is a typewriter convention because typewriters didn’t have the real dash used in professional typesetting. On a Mac, no one needs to use the double hyphen— we have a professional em dash, the long one, such as you see in this sentence. We also have an en dash, which is a little shorter than the em dash. An em is a unit of measure equal to the point size that you are using. An em dash is a type of punctuation used to offset clauses in a sentence or to indicate an abrupt change in thought. An en dash is equal to half the length of an em dash. En dashes are used to

HYPHEN

A hyphen is one third of the em rule and is used to link words. It serves as a compound modifier where two words become one, such as x-height. A hyphen is also used to break works at syllables in text blocks.

EN DASH

–

EM DASH

—

en dash : Option + Hyphen hold the Option key down, then tap the hyphen key

em dash : Shift + Option + Hyphen hold the Shift and Option keys down, then tap the hyphen key.

An en dash is half of the em rule (the width of a capital N) and is used between words that indicate a duration, such as time, months, or years. Use it where you might otherwise you could use the word “to.”

The em dash is twice as long as the en dash—it’s about the size of a capital letter M in whatever size and typeface you’re using at the moment. This dash is often used in place of a colon or parentheses, or it might indicate an abrupt change in thought, or it’s used in a spot where a period is too strong and a comma is too weak. It is also used for attribution of text. —Mac is not a Typewriter

In a page layout application, the en dash can be used with a thin space on either side of it. If you want you can kern it so it is not a full space.

Our equivalent on the typewriter was the double hyphen, but now we have a real em dash. Using two hyphens(or worse, one) where there should be an em dash makes your look very unprofessional. When using an—no space is used on either side.

AL L CA PS

EIGHT

SMALL CAPS

small caps

Small caps are uppercase (capital) letters that are about the size of normal lowercase letters in any given typeface.

Small caps are less intrusive when all uppercase appears within normal text or can be used for special emphasis.

Dont forget to keep in mind:

Computer programs can generate small caps for a any typeface, but those are not the same as true small caps. True small caps have line weights that are proportionally correct for the typeface, which me and that they can be used within a body of copy without looking noticeably wrong.

• When setting text that contains acronyms, select a typeface with small caps as a family. Selecting small caps from the style menus is a poor choice because the compute reduces the overall size of the type by 80%. This changes the stroke weight and the feel of the font. Expert sets in the Adobe Type Library have small caps options. Use small caps for acronyms. Set acronyms such as NASA or NASDAQ in small caps when they appear in body text or headlines. • Use small caps for common abbreviations. Set common abbreviations such as AM or PM in small caps so they don’t overpower the accompanying text. Use small caps for A.M. and P.M.; space once after the number, and use periods. (if the font does not have small caps reduce the font size slightly) • Use true small caps fonts. Avoid simply resizing capital letters or using the small caps feature in some programs. Instead use typefaces that have been specifically created as small caps.

A bc d A b c d Walbaum True Small Caps (Regular)

Interstate Fake Small Caps (Regular)

A bc d

Abcd

Mrs Eaves True Small Caps (Regular)

Memphis Fake Small Caps (Medium)

A bc d A b c d Palatino True Small Caps (Regular)

Clarendon Fake Small Caps (Regular)

A bc d A b c d

New Baskerville True Small Caps (Regular)

Univers Fake Small Caps (Roman)

A bcd 49

Granjon True Small Caps (Regular)

Abcd Gill Sans Fake Small Caps (Regular)

A bc d A b c d Sabon True Small Caps (Regular)

Akzidenz Grotesk Fake Small Caps (Regular)

A bcd A b c d Goudy True Small Caps (Regular)

Abcd Bodoni True Small Caps (Roman)

Bell Gothic Fake Small Caps (Bold)

Abcd Belizio Fake Small Caps (Medium)

FIG

NINE

Oldstyle figures, also known as non-lining figures do not line up on the baseline as regular or lining numerals do.

Oldstyle figures have more of a traditional, classic look and are very useful and quite beautiful when set within text.

They can be found in various fonts. Oldstyle figures are a style of numeral which approximate lowercase letterforms by having an x-height and varying ascenders and descenders. They are considerably different from the more common “lining” (or “aligning”) figures which are all-cap height and typically monospaced in text faces so that they line up vertically on charts.

They are only available for certain typefaces, sometimes as the regular numerals in a font, but more often within a supplementary or expert font. The figures are proportionately spaced, eliminating the white spaces that result from monospaced lining figures, especially around the numeral one. Unlike lining figures, Oldstyle figures blend in without disturbing the color of the body copy. They also work well in headlines since they’re not as intrusive as lining figures. In fact, many people prefer them overall for most uses except charts and tables. It’s well worth the extra effort to track down and obtain typefaces with oldstyle figures; the fonts that contain them might well become some of your favorites. If the body text has a significant amount of numbers, research a font family where they are included. If non-lining numerals are not available, use a slightly smaller point size for the lining numbers. Think of lining numbers as upper case numbers and non-lining numbers as lower case numbers.

FIGURES

134

1023

323

BAUER BODONI

BOOKMAN OLD STYLE

LINOTYPE DIDOT

Old Style Figures

134.0

17.8

1023.4

323.0

134

1023

323

SABON

PALATINO

GOUDY

Old Style Figures

134.0

17.8

1023.4

323.0

X-

TEN

Readability and legibility are two key elements of printed text that typographers strive to maximize.

Readability extended amount of text – such as an article, book, or annual report – is easy to read. Legibility refers to whether an refers to whether a short burst of text – such as a headline catalog listing, or stop sign – is instantly recognizable.

There are several factors that determine whether a text is readable. When deciding what typeface should be used for a job, consideration should be given to the typeface and its x-height. It is important to understand how a block of text can express a message through its texture/color, therefore suiting a particular design solution. Fonts set in the same size, same leading and column width will produce varying degrees of “color”.

X-HEIGHT

x-height

refers to the distance between the baseline and the mean line in a typeface.

In typography, color can also describe the balance between black and white on the page of text.

A typeface’s color is determined by stroke width, x-height, character width and serif styles. As a designer, if you are only asked to make the text readable on the page the following questions should be asked ...Readability and legibility are two key elements of printed text that typographer strive to maximize. Readability extended amount of text – such as an article, book, or annual report – is easy to read. Legibility refers to whether an refers to whether a short burst of text – such as a headline catalog listing, or a stop sign – is instantly recognizable. There are several factors that determine whether a text is readable. When deciding what typeface should be used for a job,

consideration should be given to the typeface and its x-height. It is important to understand how a block of text can express a message through its texture/color, therefore suiting a particular design solution. Fonts set in the same size, same leading and column width will produce varying degrees of “color”. In typography, color can also describe the balance between black and white on the page of text. A typeface’s color is determined by stroke width, x-height, character width and serif styles. As a designer, if you are only asked to make the text readable on the page the following questions should be asked... Who is to read it? Someone that wants to read it? Someone that has to read it? How will it be read? Quickly? In passing? Focused? Near? Far?

X-HEIGHT

X x hg X xhg

mrs eaves Zuzana Licko

univers Adrian Frutiger