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ARTD 222 F A ll 2022
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Pocket Bringhurst
Copyright © by Sydney Collins ARTD 222 Typographic Practice
Molly C. Briggs, Instructor, and Natalie F. Smith, Course Advisor Fall 2022 School of Art & Design University of Illinois at Urbana-Champaign
Robert Bringhurst is a Canadian typographer, poet and translator. He is the author of The Elements of Typographic Style which is recognized as the authoritative book on typography. The Elements of Typographic Style was originally published in 1992 by Hartley & Marks, Publishers. It has been revised and updated many times over since the original publication.
Pocket Bringhurst is a compilation of the author’s notes after reading Bringhurst’s The Elements of Typographic Style during the Fall 2022 semester. This project was designed by the course advisor, book designer and scholar Natalie F. Smith, not only to provide a handy reference for future use and to help teach other students, but also to put the principles of the text into practice. The course was ARTD 222, Typographic Practice and was taught by Molly Catherine Briggs, based on original research by Natalie F. Smith, in the School of Art & Design at the University of Illinois at Urbana-Champaign.
This book is dedicated to Molly Briggs and Natalie F. Smith for teaching me the art of typography and helping me to become a better designer.
And also to my parents who have supported me through every step of my life. I love them so much.
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Foreword
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The Grand Design Rhythm & Proportion Harmony & Counterpoint Structural Forms & Devices Analphabetic Symbols Choosing & Combining Type Shaping the Page The State of the Art Grooming the Font Prowling the Specimen Books Glossary
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Contents title
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The purpose of this Pocket Bringhurst is to provide knowledge when it is most needed. It is a collection of all of the most im portant points that Bringhurst made in his book, The Elements of Typographic Style. Having so much information in one book can make it difficult to find specific examples and many details go unnoticed, which is why this Pocket Bringhurst is so helpful. In this book you will find information about a multitude of topics in relation to typography and how it is to be set and used prop erly. There are principles of design that must be followed, along with elements that should be utilized in order to make a visually pleasing page of type.
The common individual does not understand just how much effort goes into making a page, or a book for that matter. There are many steps that need to be taken to typeset successfully and it is my hope that this book will help you along in that journey.
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Body text Scala pro regular, 10/14 × 22p Start on line 17 Avg char per line: 69 characters
Running Feet
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Typography exists to clarify the words written by an author and to bring them to life. It must look interesting and intriguing in order to be read. That is the job of the typographer, to make it look desirable.
Another goal of typography is durability. For a text to be durable it must be able to stand the tests of time and continue to be able to be read for centuries. In durability comes legibility. Legibility allows the text to be easy to read, however it is more than that, in that it also is what gives the text a sense of energy and liveliness.
“Well chosen words deserve well chosen letters; these in their turn deserve to be set with affection, intelligence, knowledge, and skill.”
Typography is just one step in the process of creating a piece of text. It must fully portray what is being said and be as strong as all other aspects in the creation.
Some visions that may not be obvious in the content of the text must be made obvious by the typographer, but the typog
Chapter Number
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A-Heads
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rapher must work as a team with other members of the pro cess in order to have the best possible outcome.
Typography is worthy of the same appreciation as any perform ing art in that it can invoke similar emotions and pleasure. It is full of opportunity and there is much room for interpretation.
tactics
“The typographer’s one essential task is to interpret and com municate the text.”
It is essential to understand the text in order to be able to set it properly and effectively on a page. There are many things in a text that help decide how it should be set like the tempo, tone, structure, etc.
After reading the text, the typographer must analyze and map it. Texts with many layers may need more than a simple layout with simple typefaces. There are many more elements that con tribute to a text with more sections like heads, sub heads, and running heads to help keep it more organized and easier for the reader.
There are many options for ways to distinguish voice or separate parts of a text like using different typefaces, italic, bold, different size type, and different margins. These ele ments must help reveal the inner order of the text, not over power it.
If there are other elements, like images, it can be hard to decide where to include the text, if any at all. These decisions happen on a case by case basis and are up to interpretation of the typographer. There are many options when working with images and text. Some examples include, but are not limited to, putting images in a separate section, having the text next to, underneath, on top of, the image.
“The alphabet is a system of interchangeable parts.” It is im portant to remember that letters come together in many different ways and that a typeface can help emphasize these relationships.
When type is poorly chosen, it is recognizable and causes the relationship between the text, letters, and information to be out of sync with each other. They should help each other instead.
Placing text on a page is like framing a painting. It must be done precisely in order to get a desired outcome. Understanding the relationship between the text and blank space is also import ant because the full page shouldn’t be filled with only text.
Multiple columns may also be required if the text doesn’t fit as well with just one. Again, this is up to the interpretation of the typographer.
Color: the density of texture in a written or typeset page and refers to the darkness or blackness of the letterforms. Typogra phers tend to aim for an evenness of color.
Color depends on 4 things: 1. Design of the type 2. Spacing between the letters 3. Spacing between the words 4. Spacing between the lines Horizontal spacing is measured in ems. One em is a dis tance equal to the size of the type.
Text set ragged right can have word space that is fit and unchang ing, unlike justified text that usually has an elastic word spacing.
M/4 is average word space for justified text. M/3 is average word space for loosely fitted faces. M/2 is average word space for letterspaced capitals. 45-75 characters is a good line length for a page using a serif typeface however 66 characters is the ideal length.
When using shorter lines, the text should be set ragged right, as opposed to justified. Most sans serif fonts are better off being set ragged right.
Extra letter spacing is usually good to have in titles and head ings.
Changing the width of a character should only be done to make the set of the type look better.
Vertical Motion
Add more leading to longer measures, dark faces, faces large on the body, sans serif faces.
Headings, subheads, block quotations, footnotes, illustra tions, and captions create variations among the regularly leaded lines.
Average books carry from 30-45 lines per page.
Blocks and Paragra P hs
There are many ways to distinguish a new paragraph starting: — Indents — Outdents — Ornaments — Drop Lines — Pilcrows — Boxes — Bullets
The most common paragraph indent is 1 em or 1 lead.
Block paragraphs don’t have an indent, but instead are flush left and separated by an extra lead space.
Block quotations can be distinguished as separate from the main text by a change of face or change in size. Ch
e tiquette of hy P henation
Leave at least 2 characters behind and bring 3 forward at hy phenated line ends. Avoid more than 3 consecutive hyphenated line ends. Avoid beginning more than 2 consecutive lines with the same word.
Never begin a page with the last line of a multi line para graph.
There was a common set of text sizes that typographers used that was created in the sixteenth century. This is still used today even though there are many more options for text sizes. These are the default text sizes that show up when the drop down menu of sizes pops up.
Small caps should be used for abbreviations and acronyms, except for acronyms for names.
There are also certain words that are acronyms, but are not pronounced letter by letter and should not be put in small caps because that is not how they are to be spoken.
Genuine smAll CAps aren’t just shrunken versions of the caps, they are weighted and fit differently with their proportions Bold and condensed faces became popular in the 19th centu ry and less people were using italics and small caps.
In more modern text faces, they contain a combination of roman, italic, and titling figures with light, medium, bold, and black options.
It is possible to distort text in many different ways, — Condensing — Expanding — Outlining — Shadowing — Sloping
Typically you don’t want to use too many features at once. It is redundant to use bold and italics at the same time.
oP enings
Title pages should have blank/white space and the title doesn’t have to take up a lot of space on the page for it to be effective. Less can be more in this sense.
There are two extremes in titling, and the least successful ones fall somewhere in the middle. You should aim for either perfectly balanced text size and weight, or something far more extreme, innovative, and in your face.
Titles should be set so that they contribute to the overall de sign. Something that may work well in one book may not work at all in another, and it is up to the designer to discover these discrepancies.
If the opening text contains anything extra like a photograph or captions, or if it just looks really busy it will need something extra to draw the eye to it. Something commonly used to do this are fleurons. Another way to draw attention is to set the open ing phrase or first line in small caps or bold. You can also start the text with a large initial capital: a versal or lettrine.
h eadings & s u B heads
Symmetrical Heads: centered on the measure, also known as crossheads.
Asymmetrical Heads: flush left or right, can take form as left sideheads or right sideheads respectively.
Notes should be set in a smaller size than the rest of the text and can be along the margin wherever they are being used instead of on the bottom of the page. Long footnotes cause a distraction and are tedious to read. They also take up a lot of space. A footnote should never extend along two pages.
Footnotes never need to be larger than 8 or 9 pt, endnotes 9 or 10 pt, and sidenotes anything up to the size of the main text.
When using superscripts for notes, use the superscript num ber in the text but the full-size number in the notes themselves.
It is better to place all endnotes together at the end of the book instead of at the end of each chapter in order to keep them more organized. They should also be labeled by page numbers or chapters.
t a B les & l ists
For tables, all text should be set horizontally and condensing or making letters smaller is not the answer to making the table more successful.
For lists, you shouldn’t add more punctuation than is need ed. If you are making the lists easily visible (by hanging the numbers in the margin) for example, you shouldn’t need extra punctuation.
s tarting & s to PP ing
Let the book breathe and leave space where space is needed. This can mean having empty pages at the beginning and end of a book, or allowing a dedication page to only include the dedication. The front matter and back matter should also be
Ch A p T e R 4
balanced for both long and short books. No recto page should ever be left blank. Recto means front, and verso means turned, so you should not leave the “front” blank.
The different analphabetic symbols in different fonts are not in terchangeable because of how different they can look, even just a period.
Ampersands are useful for making titles and display text more interesting. Using italic ampersands is preferred because they are a bit more elegant.
Hyphens used to be written at an angle - not flat how they are now - but a designer can make the choice to edit the font and change the hyphen. In fact, the hyphen is a good place to start when redesigning a font. Hyphens also already exist at angles in certain fonts, such as monotype poliphilus.
d ashes, s lashes, and dots
Use spaced en dashes - like this - but dont space em dashes—like this. To make an em dash use [Option + Shift + Dash(-)]. Use close-set en dashes to indicate a range such as a date or
time. November 3-5, 7:00-10:00, however when typing a sentence such as, “The printer will be available December 20 to December 23” it is better to use the word “to” instead of the hyphen.
You can use em dashes to replace quotations when marking dialogue.
—Hey, how are you?
“Hey, how are you?”
Use dimension sign instead of letter x when writing dimen sions
Ellipses are the three dots (...) that can end a sentence. You should use these in accordance with your font and space them ac cordingly as well.
Parentheses
Upright parentheses are better than sloped ones even if the words inside are italic.
q uotation M arks & o ther intrusions
There are three forms of “common quotations”.
1. Inverted and raised commas, commonly used in Britain and North America. Ex. “Quote” and ‘Quote’
2. Baseline and inverted commas, commonly used in Germa ny. Ex. “Quote”
3. Guillemets, duck-foot quotation marks, chevron, or angle quotes, commonly used in France, Italy and the rest of Eu rope. Ex. >>Quote<< and <<Quote>>
Place punctuation inside the quotation if it belongs to the quotation and outside if it does not.
t echnical c onsiderations
Typefaces designed for offset printing are weighted and fin ished differently than typefaces designed for letterpress print ing. Translating these into digital fonts is even harder. They can sometimes be poorly translated because of uneven strokes, weights, or proportions.
The paper you choose should suit the type that is going to live on it.
Practical t y P ogra P hy
The type you choose should suit the subject matter. For example, in a book about bikes, the type should be thin and swift and easy to read. “Matching the subject matter” doesn’t mean choosing an ornamental typeface that includes elements that make it harder to read.
If you are going to have a lot of numbers or special symbols in your text, choose a typeface that has well designed numbers and
elements that you are going to be using. Also, make sure if you are using small caps that the font you choose has this available.
When you are limited on options for typefaces, just make the composition look as clean as possible to take attention away from the individual letterforms.
h istorical c onsiderations
The history of the type should match the content. If writing about a specific time period, the type should reflect that and could be from that era.
Not only should the typeface match the era, but so should the typesetting and page design. The margins and spacing on the page should match that of its historical reference.
c ultural & Personal c onsiderations
Faces should not be chosen by coincidence or convenience, rather by their character, spirit, and personality. For example, if setting type from a woman author, you may want to use a type face designer by a woman, or if you are setting type by a French author you may want to use a French typeface.
t he Multicultural Page
Consistency and contrast are both forms of beauty if used wise ly and correctly. Use serifs and sans serifs to create contrast. Use boldfaces. Use roman, italics, and small caps.
n ew and o ld o rthogra P hies
Have a couple good and reliable typefaces, you don’t need to use all the ones provided on your computer. Especially if they don’t include elements like small caps and ligatures.
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o rganic, Mechanical, and Musical Pro P ortion
The page and textblock form a relationship with geometry that can cause many reactions such as drawing the reader to the book, putting the reader to sleep or on edge, or driving them away.
Pro P ortions of the eMP ty Page
Proportions of a page provide different structures that each have a different presence. There is no ideal proportion however there are some more desirable than others.
A narrower page needs a soft or open spine so that the book will lie flat when open. A narrow page is more adaptable at a larger size. Illustrations or images can decide the size of the page if they are very important.
Choose page and column proportions whose historical associa tions suit your intended design so if writing about a specific culture or historical period, you should think about their writing propor tions when designing the pages.
Columns should be taller than they are wide if they are meant for continuous reading. This helps with readability.
If the size of the text block and the size of the page are going to differ, then they should differ for a purpose that benefits the overall design. Also, when using text blocks that are propor tional to the page, you should consider making them placed asymmetrically and not in the center of the page. Margins & s atellites
Margins must do 3 things: 1. Lock the textblock to the page and lock the facing pages to each other 2. Frame the text block in a manner that suits its design 3. Protect the textblock, leaving it easy for the reader to see and convenient to handle
Folios should be used in documents longer than two pages. Some possibilities for placement of folios is: at the head of the page, aligned with the outside edge of the text block, at the foot of the page, aligned or slightly indented from the outside edge of the text, in the upper quarter of the outside margin, at the foot of the page, horizontally centered beneath the text block. Running heads should be distinguishable, otherwise they are redundant.
Page grids & Modular scales
Grids provide organization and are commonly used in magazine design.
Modular scales serve the same purpose as grids, however they are more flexible and are not of a uniform size.
Postscript fonts use cubic splines. A spline is a flexible strip that will bend under tension. Splines are used in furniture making to make curved surfaces. In typography a spline is what makes the shape of a letter. A simple spline contains four points; two at the endpoints and two at the end of the levers that come off of the endpoints. These levers are what control the shape of the spline. Since Postscript uses cubic splines, they can be more intricate and contain more than four points.
In the transition from hand cut metal to digital type two things were lost; the impression of the text upon the paper, and the detail, weight and proportion that could be achieved in hand cut metal.
Although these elements were initially lost, through more advancements in typography there are ways to make these hap
pen digitally. Manipulation of the font can create a two-dimen sional substitute for the three-dimensionality that used to be. In terms of the detail of digital fonts, this is constantly getting better.
If the text is supposed to be read on a screen, design it for a screen, and if it is going to be read on a printed medium, design it for that.
The margins of a book cannot be decided until the binding method has been decided.
There are many different hues of black. Redder blacks should be used on ivory paper while a more blue-black should be used on gray or white paper.
l egal c onsiderations
Most of the time fonts cannot be altered by the user in any way, and must be used the way that they were originally de signed. Some fonts however can be altered but only for the purpose of business or personal use, not for resale. Some fonts cannot be changed at all.
When using a font, it is best to understand the legal obliga tions and what you can and cannot use it for before you begin to use it.
e thical & a esthetic c onsiderations
If a typeface doesn’t need to be altered, don't alter it, you're bet ter off making a brand new one at that point.
If a font has a specific problem, fix it at its root instead of trying to fix each individual character one by one.
Refinement using kerning can be most important, and a lot of the time the only type of refinement that should be done to a typeface. It is common to use kerning to fix the spacing of anal phabetic symbols such as question marks, colons, exclamation marks, etc.
You should check the sidebearings before you alter the kern ing table and you can do this by disabling kerning and setting characters in pairs. If the spacing varies or appears cramped or loose, change the sidebearings. h inting
Hints are important for understanding how a font will look on screen. There are generic hints that encompass the entirety of the font and specific hints that may apply to only some charac ters. Many fonts are sold unhinted and some are sold with hints that cannot be improved.
Call type by its name and understand that every typeface has a name that should be used to distinguish it from others.
Typefaces can be, and are commonly plagiarized. Even the most famous and well known typefaces have wannabe counter parts that try to get their time in the spotlight. Use the original version, not the copy.
Courts have not learned how to distinguish between artistry and plagiarism which makes copying easier. However, font names have the ability to be trademarked so that they cannot be reused.
Typefaces were designed for many different mediums, which change their context and ability to look good in certain situa tions. Some faces were originally designed as metal type for hand composition, some for machine composition in metal. Some were designed for photosetting, and some for a digital format. These differences impact how you should go about choosing what typeface to use.
Sans Serif typefaces of the nineteenth century were dark, coarse, and tightly closed, which is still how some are today, such as Helvetic and Franklin Gothic. Most however, have evolved to a much greater subtlety.
Blackletter is the typographic counterpart of Gothic style archi tecture in that they are a prominent part of European heritage.
There are four major families within blackletter: textura, frak tur, bastarda, and rotunda. They exist and have stood the test of time just like roman and italic.
t y P eface s P ecifics
Interestingly enough, certain typefaces become synonymous with different brands, companies, or groups of people. There are two specific typefaces, Neuland and Lithos, that have come to signify Africans and African Americans, although that was not their intention from the start. Many typefaces have a lifespan that twist and turn and become something they may not have been originally intended for just as these two have, but that’s the interesting thing about them.
Asymmetrical Heads: flush left or right, can take form as left side heads or right side heads respectively
Color: the density of texture in a written or typeset page and refers to the darkness or blackness of the letterforms
Counter: white space contained by a letterform—either full or enclosed
Dingbat: a glyph that is not a letter, number or punctuation mark but a typographic widget. An example would be an emot icon.
Fleurons: (typographic ornaments) often used to flag text open ings
Gutter: the blank column between two columns of type or the margins at the spine between two facing textblocks
Kern: an overlap where one letter extends into another letters space
Leading: the distance from 1 baseline to the next, vertical spac ing
Ligature: two or more letters tied into a single character
Negative Leading: the vertical increment is less than the size of the type (not very common)
Pica: a unit of measure equaling 12 points
Glossary title
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Glossary Contents
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Glossary definitions
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Recto: means front, refers to the right page
Symmetrical Heads: centered on the measure, also known as crossheads
Typography: the style and appearance of printed matter
Verso: means turned, refers to the left page
Colophon contents
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This book was designed and typeset by Sydney Collins at the University of Illinois at Urbana-Champaign in Fall 2022. It is set in Scala Pro regular, bold, italic and small caps, and Scala Sans Pro regular and small caps. It is set in 10/14 × 22p with an average line measure of 65 characters.
The Scala Pro type family was designed by Martin Majoor (b. 1960) for Monotype, a type design and engineering studio.
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