Designers often talk about typefaces as if they had personalities.
Times, for example, is thought to be conservative, traditional and for-
mal, while Biffo is funky, bizarre and unpredictable. Your computer is
likely to have a good sampling of some of the more popular typefaces.
These may include Times, Avant Garde, Helvetica and Palatino, to name
just a few.
In a particular typeface and size, a complete alphabet plus numbers
and punctuation marks is called a font. Figure 16.1 shows the font for
14-point Helvetica.
Most typefaces can be grouped into two main families: serif and sans
serif. Serif type (type “with feet”) has tiny strokes, or serifs, at the tips
of each letter. Inspired by the letters chiseled in granite by the ancient
Romans, type designers have used serif styles to create some of the
world’s most elegant type families, including Times and Palatino. Serif
type tends to create a feeling of tradition and conservatism. It seems to
say, “We’ve been here a long time; you can trust us.” Most newspaper
and magazine stories are set in serif styles.
Sans serif type (“type without feet”), on the other hand, has no
serifs. These typefaces tend to have a more modern feel. They say to the
reader, “Look at us: we’re fresh and new.” Helvetica is a popular sans
serif typeface with school publication staffs. It is most often used in
headlines, bylines and cutlines.
You won’t have to look very long in magazines or newspapers to find
an enormous number of typefaces. It’s easy to see from that intimidat-
ing variety that typography can be a complex subject. Practically speak-
ing, however, good design is a straightforward matter of judgment and
taste. Your artistic intuition, combined with knowledge and skill, makes
typography work. Like any other art or craft, you can master it through
practice and trial and error.
Here is one tip, though, that may make your life as a designer less
crazy. Stick to a few typefaces. Choose one for text (preferably a serif
typeface) and one for headlines and cutlines (preferably a sans serif
typeface). You can add a third typeface for the flag, standing heads,
column titles and other special uses. By limiting your type choices to a
reasonable few, you can spare yourself time for other design tasks and
avoid creating a publication that looks erratic.Changing Type to Fit Your Needs
Using type right out of your computer software is like wearing a shirt
right out of the dryer—it won’t look its best until you iron it a bit. By
modifying type, you can adjust your letters to particular design needs
and improve the readability of your publication in the process. As a
designer, you have the option of changing type in two different dimen-
sions: vertically and horizontally.Changing Type Vertically Changing the point size of
a typeface changes the height of the letters. The greater the number of
points, the taller the letters (see Figure 16.2). Small type sizes are used
for copy. Many schools use 12-point type for stories, although 10- or(^356) PRODUCING THE NEWS
FIGURE 16.
FONT FOR 14-POINT HELVETICA
font
a complete alphabet plus
numbers and punctuation
marks in a particular typeface
and style such as bold, italic
or bold italic
serif type
type with tiny strokes, or
serifs, at the tips of each letter
sans serif type
type without tiny strokes, or
serifs, at the tips of each letter