Terms of Typography:

Kanzah ahmed(57063) 1. ASCENDER: Parts of the character which ascend above its x-height- upper staff of a lower card b,d,t etc.

2. BASELINE: (the line accross the bottom of a font's x-height - discounting descenders.) 3. BLACKLETTER: Based on Gothic type and late medieval calligraphy, these styles range from those marking the beginning of Gothic printing to the ornate Gothic types of 19th century Germany. This category also includes faces with a Gothic look but created by modern type designers. Blackletter types include the character and ligatures (ch, sch, tz, etc.) and therefore have a narrower character width than roman style types. Our selection includes types in the Old English as well as blackletter styles.

4. BODY MATTER: It is the body of the paragraph. 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. 5. BOLD: Bold typography is all about creating impact, but its important to remember to direct that impact appropriately. Large, bold fonts can really grab your visitors attention. For example:

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6. 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 compute reduces the overall size of the type by 80%. This changes the stroke weight and the feel of the font. Small caps are uppercase letterforms that are shorter in height than the capitals in a given typeface e.g

7. COUNTER: is the area of typeface anatomy that is entirely or partially enclosed by a letter form or a symbol (the counter-space/the hole of). Letters containing closed counters include A, B, D, O, P, Q, R, a, b, d, e, g, o, p, and q. Letters containing open counters include c, f, h, i, s etc. The digits 0, 4, 6, 8, and 9 also possess a counter.

8. DESCENDER: (parts of a character which 'descend' below it's x-height - lower tail of a g or y

etc.)

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9. DISPLAY TYPE: Display is a particular use of type. In the days of letterpress and
phototypesetting, many of the most commonly used typefaces were available in a "display face" variation. Display faces were created for best appearance at large "display" sizes (typically 36 points or larger) as might be used for a major headline in a newspaper or on the cover of a book. Some of the foundations of display type are these:

Visual Alignment
Designers are used to being detail-oriented and mathematically precise, nudging things a point this way and a pixel that way until technical perfection is achieved. However, when it comes to typographic alignment, the mathematical approach to design doesnt apply: its all in the eye of the beholder.

Reverse Display Type

Terms of Typography:
Kanzah ahmed(57063) Reversing type that is, placing light or white type against a darker background is a useful way to add emphasis as well as to help develop a strong typographic hierarchy. A reverse headline can provide an inviting, eye-catching point of entry, signaling the viewer to look here before moving on to the other elements.

Spacing Display Type

When you purchase or work with a professional quality font, your assumption might be that the spacing wont require manual adjusting. However, display settings occasionally need a bit of finessing to look their best, as built-in spacing and kerning cannot be flawless over a wide range of large sizes. Small adjustments can make a big difference. Here are some important factors to consider when setting type at larger sizes.

Display Margins & Centering

A simple typographic rule states: if it doesnt look right, it isnt. Anyone setting type can increase its readability by making manual adjustments to alignment. Making things look right typographically, often requires overriding mathematical accuracy with optical correctness.

Setting Capitals
Headlines and other display type usages are meant to be noticed. One type treatment frequently employed to achieve this is the use of all capitals (usually referred to as all caps).

10. EM: An em is a unit of width in the field of typography, equal to the currently specified point size. For
example, one em in a 16-point typeface is 16 points wide.

Terms of Typography:
Kanzah ahmed(57063) 11. EN: an en dash , which is the width of a lowercase n.

12. FAMILY: There are typeface families which are made up of different family groups. Alinea and ITC Legacy are perfect examples. Alinea has three family groups: serif, sans, and incised. ITC Legacy has sans serif and seriffamily groups. The basic designs have the same cap heights, lowercase x-heights, stem weights, and general proportions. Each typeface has been designed to stand on its own as a useful communications tool, but is also part of a large integrated family that can be mixed easily with other members of the family. They can be used together with the confidence that they work well together, offering options for subtle variations in headlines, text, subheads, captions and other typographic applications.

13. GRID: When the letters are formed in a grid for a better alignment. 14. ITALIC: italic type is a cursive typeface based on a stylized form of calligraphic handwriting e.g. italic
15. JUSTIFY: 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 a autohyphenate and manually hyphenating the text are all examples of possible solutions. (For instance, if the guidelines of the design requires 2 margins and no other solutions work, change text to different alignment.)

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16. KERNING: the amount a character's horizontal space encroaches into its neighbor.

17. LEADING: the space vertically between lines of text - name comes from the physical piece of lead that used to be used in mechanical printing process to separate lines of text.

18. LETTERSPACING: when working with caps. small caps, numbers and display text where looser type spacing may increase legibility. It is the space between the letters .

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19. LIGATURE: there are two possible ways to define a ligature and both ways can appear in
connection or individually. If we talk about the appearance of type, a ligature is made from two or more letters, which appear connected. In hand writing such connections are created all the time. But since the invention of moveable type, a new and more technical definition has appeared. When in metal typesetting two ore more letters are cast together to one sort, this is considered a ligature. This use in metal type has also transcended into the digital age. Ligatures are now usually included as single glyphs in a font, even though they might represent different characters in the underlying text.

20. MEANLINE: is half the distance from the baseline to the cap height. This may or may not be the xheight, depending on the design of the lower case letters. A very high or very low x-height may mean that the midline is above or below the x-height.

21. OBLIQUE: is a form of type that slants slightly to the right, used in the same manner as italic type. Unlike
italic type, however, it does not use different glyph shapes; it uses the same glyphs as roman type, except distorted. Oblique fonts are usually associated with sans-serif typefaces.

22. OLD STYLE FIGURES: 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. Oldstyle figures have more of a

Terms of Typography:
Kanzah ahmed(57063) traditional, classic look. 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.

23. PAGINATION: The sequential numbering of pages.Pagination encompasses rules and algorithms for
deciding where page breaks will fall, which depends on semantic or cultural senses of which content belongs on the same page with related content and thus should not fall to another (e.g., widows and orphans).

24. PICA: A printer's unit of type size, equal to 12 points or about 1/6 of an inch. A unit of measurement equal to one-sixth of an inch. There are 12 points to a pica. A typographic measurement that has survived the digital revolution. 12 points = 1 pica; 6 picas = 1 inch; 72 points = 1 inch.

Terms of Typography:
Kanzah ahmed(57063) 25. POINT: A unit of measurement, often used to measure type size, equal to 0.013837 inch (approximately equal to 1/72"). The traditional point measurement was slightly more or less than 72 points to the inch (depending on the typesetting measurement system). 26. QUAD: An em quad is a space that is one em wide; as wide as the height of the font. An en quad is a
space that is one en wide: half the width of an em quad.

27. RAG: The uneven alignment of text lines. Ragged is the opposite of flush. A text block may be formatted to be evenly aligned (flush) on one side and unevenly aligned (ragged) on the other. 28. RECTO: The right page of a spread 29. ROMAN RULE: In Macintosh font menus, this is called Plain meaning text that has no style applied to it (i.e., Italic, Bold, Boldltalic). Roman fonts are upright thick-and-thin weighted, and usually serifed type. The classical Roman letter style began in A.D. 114 with letters chiseled in the stone of the Trajan Columns in Rome. 30. SERIF: Small, finishing strokes on the arms, stems, and tails of characters. Serif typefaces are usually used for text since the serifs form a link between letters that leads the eye across a line of type. 31. SANS-SERIF: A typeface without serifs. For example, Helvetica or Modern. Sans serif type is more legible in headings than in a long passage of text. Helvetica is an example of a sans serif typeface. First designed by William Caslon IV in 1816, it was originally referred to as "English Egyptian." Also known as "Gothic" in the United States and "Grotesque" in Europe. 32. SWASH: Uppercase letters that have flourishes added to them. Originally designed to go with Italic typefaces. 33. VALUE: it is the wight on the letters , to make them prominent and obvious. 34. VERSO: The left hand page on a spread. 35. WIDOW: A single line of a paragraph at the bottom of a page or column. 36. ORPHAN: A single line of a paragraph at the top of a page or column. 37. WORD SPACE: In a line of text, this is the amount of space between each word. It can be varied to adjust line length without affecting readability, unlike letterspacing.

Terms of Typography:
Kanzah ahmed(57063) 38. X-HEIGHT: The height of those lowercase letters such as "x", which do not have ascenders or descenders. The lowercase 'x' is used for measurement since it usually sits squarely on the baseline.

39. FOLIO: A page number 40. SLAB-SERIF: Slab serif typefaces generally have no bracket (feature connecting the strokes to the serifs). Some consider slab serifs to be a subset of modern serif typefaces, because of their bold appearance, they are most commonly used in large headlines and advertisements but are seldom used in body text.

41. RULE: some rules of typography are :Dashes Never use two hyphens instead of a dash. Use hyphens, en dashes, and em dashes appropriately. Hyphen: ( ) is a punctuation mark used to join words and to separate syllables of a single word. It should not be confused with dashes , which are longer and have different uses, and with the minus sign ( ) which is also longer. Em dash: A dash the length of an em, used to indicate a break in a sentence: His friendalso an editor thought the same thing. En dash: A dash the length of an en, used to indicate a range of values: 19601990

Underlining

Terms of Typography:
Kanzah ahmed(57063) Dont underline. Underlining is for typewriters; italic is for professional text.

Capitals Very rarely (almost never) use all capital letters. Text set in all caps is much harder to read.

Kerning Adjust the space between letters according to your sensitive visual perception optical kerning.

Tabs & Indents Use those tabs and first-line indents regularly. NEVER use the space bar to align text.

Paragraphs Either indent the first line of paragraphs or add extra space between themnot both.

Widows & Orphans Never leave widows and orphans bereft on the page. Widow: when a paragraph ends and leaves fewer than seven characters (not words) on the last line. Orphan: when the last line of a paragraph wont fit at the bottom of a column and must end itself at the top of the next column.

Hyphenations & line breaks Avoid more than two hyphenations in a row. Avoid too many hyphenations in any paragraph. Avoid stupid hyphenations. Never hyphenate a heading. Break lines sensibly.

Leading, or linespacing Keep the linespacing consistent.

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Kanzah ahmed(57063) Justified text Justify text only if the line is long enough to prevent awkward and inconsistent word spacing.

Serif & sans serif While some of the differences between serif text fonts seem almost insignificant when single words are isolated, each of these fonts has a distinct look and feel when applied to extended copy. Some look more (or less) modern, formal, or just better than others in a given situation. Having a wide variety of serif text faces to choose from means that youll be able to most effectively convey the intended message of any publication or document. Serif type is more readable and is best for text; sans serif type is more legible and is best used for headlines.

Combining typefaces Unless you have a background in graphic design and typography, never combine more than two typefaces on the same page. Never combine two serif fonts on the same page, and never combine two sans serif fonts on the same page.