Before&After

Selecting text type 0269 Continued

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text?
Whats the right
typeface for
How to
choose a typeface for
clear, easy reading over
long distances. Continued iStockphoto.com
2 of 8
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Selecting text type 0269
T
Text type is more common than any
other. Text makes up the acres of gray
in books, magazines, reports, and
hundreds of other documents. When
reading is the primary goal, its the
designers job to ensure that the text
is smooth, owing and pleasant to
read. The hallmarks of good text type
are legibility and readability. Legibility
refers to clarity; its how readily one
letter can be distinguished from all
others. Readability refers to how well
letters interact to compose words,
sentences and paragraphs. When
evaluating the choices, the operative
word is medium.
Whats the right typeface for text?
For text thats smooth, clear and readable, the operative word is medium
An example of medium is Utopia.
Text
Medium x-height
Medium height-to-width ratio
Medium counters
Medium stroke
width variation
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3 of 8 Selecting text type 0269
1. Pick a typeface with similar character widths
For the smoothest appearance, an alphabets charac-
ters should have similar widths. Reading has a nat-
ural rhythm; an alphabet such as Futura (below, top)
with widely varying character widths disrupts it.
aefjsrm
Widely varying widths Futura Light
aef jsrm
Similar widths Times New Roman
2. Medium height-to-width ratio
We identify letters by their physical characteristics
stems, bars, loops, curves and so on; the clearer
they are the more legible the letter. As letters are
compressed (or expanded), these features get dis-
torteddiagonal strokes, for example, become quite
verticaland so are harder to identify.
Medium height-
to-width ratio
ITC Stone Serif
Compressed
height-to-width
ratio Racer
5
3 1
S
S
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4 of 8 Selecting text type 0269
nnnn
Vectora Utopia Adobe
Caslon
CG Bernhard
Fashion
Be Be
4. Look for small variations in stroke weight
The best text faces have stroke weights that vary
somewhat, which make converging lines that help
the eye ow smoothly. But avoid extremes. Modern
styles (below, left) vary too much; at high resolu-
tion their beautiful, superthin strokes disappear in
a dazzle. Sleek geometric styles (below, right) vary
little or not at all, so are too uniform.
Medium difference
Times New Roman
No difference
Futura Medium
Bauer Bodoni | Texture and
asp net exating end mist of it
snooling. Spaff forl isnt cub-
ular but quastic, leam restart
that cant prast. Its tope, this
uant chasible. Silk, shast, lape
and behast the thin chack. I
have lot to say. Why? Elesara
Futura Medium | Texture the
net exating end mist of it snool-
ing. Spaff forl isnt cubular but
quastic, leam restart that cant
prebast. Its tope, this uant
chasible. Silk, shast, lape and
behast the thin chack. I have lot
to say. Why? Elesara and order
3. Medium x-height
The x-height of a typestyle is the height of its
lowercase characters. The larger the x-height, the
denser the type will appear. You want medium;
unusually tall or short x-heights are better suited
for specialty projects.
x-height
Cochin Times New Roman
x-height variations Incredibly, all four typefaces below are the
same size: 112 points. For text, avoid the extreme on each end.
PPP
Medium x-heights
Too different
Bauer Bodoni
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5 of 8 Selecting text type 0269
abg
5. Watch out for mirrors
Geometric typestyles are so uniform that their
letters are often mirror images. For text, this is not
idealthe more distinct each letter is, the more
legible whole words will be. Look for typestyles
that dont mirror.
bb
bb
6. Avoid overlarge counters
Counters are the enclosed spaces inside letters.
Avoid typestyles whose counters are very large in
relation to the stroke weight. In the case of Avant
Garde (below), note how much greater the space
inside the letters is than the space outside! This will
slow the reader; set in text (bottom), Avant Garde
looks like Swiss cheese!
Texture and asp net exating end mist of it snooling.
Spaff forl isnt cubular but quastic, leam restart that cant
prebast. Its tope, this uant chasible. Silk, shast, lape
and behast the thin chack. It has larch to say fan. Why?
Elesara and order is fay of alm. A card whint not oogum
or bont. Pretty simple, glead and tarm. Texture and asp
net exating end mist of it. Forl isnt cubular but quastic,
leam restart that cant prebast. Whint not oogum or
bont! Pretty simple, glead and tarm. Texture asp. Silk,
shast, lape and behast the thin chack. It has larch
q b
Mirrored Helvetica Neue Roman
Not mirrored Gill Sans
Overlarge counters
ITC Avant Garde Gothic
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6 of 8 Selecting text type 0269
7. Avoid quirkiness
Typographic sprites are fun to look at and great
for heads, but in text they wear out their welcome
fast. Why? The extra swashiness gives the eye too
much to follow and is very tiring.
Favorite text faces
While many typefaces meet the requirements
of legibility, readability and beauty, the following
four are the ones we turn to most often:
Texture and asp net exating end mist of it
snooling. Spaff forl isnt cubular but quastic;
leam restart that cant preast. Its tope, this
uant chasible. Silk, chast, lape and behast
the thin chack. It has larch to say fan. Why?
Elesara and order is fay of alm. A card whint
not ooum or bont. Pretty simple, glead and
tarm. Texture and asp end mist of it sno-
oling. Silk, shast, lape and behast the thin
chack. It has larch to say fan. Why? Elesara
Texture and asp net exating end
mist of it snooling. Spaff forl isnt
cubular but quastic, leam restart that
cant prebast. Its tope, this uant
chasible. Silk, shast, lape and behast
the thin chack. It has larch to say
fan. Why? Elesara and order is fay
of alm. A card whint not oogum or
Texture and asp net ating end
mist of it snooling. Spaff forl
Adobe Caslon (11/12.75 pt)
First choice for books, Caslon may be the
Roman alphabets most readable typeface.
Its letters arent beautiful, but strung into
sentences and paragraphs they have t,
texture, bite, and can be read comfortably
for hours. Caslon will withstand even the
tightest leading.
gkrv
Fun, but too quirky for text Belwe
Before&After Selecting text type 7 of 8 X i
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7 of 8 Selecting text type 0269
Favorite text faces
Texture and asp net exating end
mist of it snooling. Spaff forl isnt
cubular but quastic, leam restart that
cant prebast. Its tope, this uantible.
Silk, shast, lape and behast the thin
chack. It has larch to say fan. Whara
and order is fay of alm. A card whit
not oogum or bont. Pretty simple
Texture and asp net ating end
mist of it snooling. Spaff forl isnt
Adobe Garamond (11.5/12.75 pt)
If we could have only one typeface, this
would be it; Garamond is easy to read and
elegant, too. A little on the dressy side,
Garamond is a ne display facerare in
this classand as a result can carry a doc-
ument all by itself. Garamond sets small;
set text in ten-point minimum with about
ten percent extra leading.
ITC Stone Serif (9.5/12.75 pt)
Stone is boring to look at but buttery to
read. Characterized by its stubby, lower-
case r that tucks snugly to its neighbors,
Stone is designed for outstanding t. It
sets large; nine-point is as big as you
should go. Use at least thirty-ve percent
extra leading.
Janson Text 55 Roman (10.5/12.75 pt)
Janson holds the middle ground between
the earthy, workmanlike nature of Caslon
and the high classiness of Garamond.
Rounder and denser, it has a chiseled,
resolute appearance. Janson sets about
average size; give it about twenty percent
extra leading.
Texture and asp net exating end mist
of it snooling. Spaff forl isnt cubular
but quastic, leam restart that cant
prebast. Its tope, this uant chasible.
Silk, shast, lape and behast the thin
chack. It has larch to say fan. Why?
Elesara and order is fay of alm. A card
whint not oogum or bont. Pretty sim-
Texture and asp net ating end mist
of it snooling. Spaff forl isnt cubular
Texture and asp net exating end
mist of it snooling. Spaff forl isnt
cubular but quastic, leam restart that
cant prebast. Its tope, this uant
chasible. Silk, shast, lape and behast
the thin chack. It has larch to say
fan. Why? Elesara and order is fay
of alm. A card whint not oogum or
Texture and asp net ating end mist
of it snooling. Spaff forl isnt cubu-
Youll nd this article and
many others in our new, 194-
page book, Before & After
Graphics for Business
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Selecting text type 8 of 8
Before & After magazine
Before & After has been sharing its practical approach
to graphic design since 1990. Because our modern world
has made designers of us all (ready or not), Before &
After is dedicated to making graphic design understand-
able, useful and even fun for everyone.
John McWade Publisher and creative director
Gaye McWade Associate publisher
Vincent Pascual Staff designer
Dexter Mark Abellera Staff designer
Editorial board Gwen Amos, Carl Winther

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