Over the years, in my design career, I’ve enjoyed using typography in it’s many forms to give my work consistency and functionality. Presented below are 10 of the most useful rules I have found from various sources, and generally live by when creating work for a client. Of course rules can be broken too, but first you must learn the rules you intend to break!
1. Choose classical typefaces with a proven track record
There are about 30 or so typefaces I would call classical, which work well in any application. These are the ones that have been around for centuries and are designed with consistency among characters and are proportioned well for readability. Some examples are: Bembo, Bodoni, Frutiger, Gill Sans, Helvetica, Garamond, Palatino, Sabon and Univers. Invest in a CD with these classsical fonts and it will be money well spent.
2. Don’t use too many typefaces at any one time
It’s okay to use different typefaces to put emphasis on a heading, or separate one part of text from another. However, avoid using too many as this just confuses the reader.
3. Use different variations of one typeface
A good alternative to using too many typefaces above, is to use the different variations, or weights of the typeface family instead. There are many to choose from Bold, Bold Italic, Italic, Roman, Caps and Small Caps (however, use caps sparingly, see below). Try to purchase the full font family and use the official variations as ‘computerised’ versions of font weights are rarely as good as the original version from the font designer.
4. Don’t set everything in CAPITALS
Lower case letters are designed to make text most readable. The presence of ascenders, descenders and the internal patterns between the letters make this the case. Using all capital letters severely affects readability however they can be successfully used in display type. The normal convention is to use both upper and lower case letters as this is what readers are most accustomed to.
5. Don’t underline or use double spaces after a full stop
These practices are reserved for word processing and if used in graphic design has the effect of making the page look amateurish. Instead use different weights of typefaces for emphasis as above. To aid readability again, the rule for typesetting is to use one space only after a full stop.
6. Use appropriate line lengths
Lines that are too short or too long disrupt the reading process, making it wearisome. If the lines are too long, negotiating each line becomes difficult. If the lines are too short it creates choppy eye movements for the reader that can become tiring.
7. Don’t distort type
Well designed typefaces already have visual qualities that make them readable. Don’t distort the type just because a design program gives you the capability to. When type is artificially distorted, again it has an amateurish feel.
8. Use appropriate spacing
Even though typefaces are designed with optimum readability in mind, sometimes you need extra help for those letters that don’t sit well together, such as lower case f and l. Historically these appear too close and special ligatures were created for these, but you can also use a small amount of kerning to add space and get the letters to sit right. The same applies to capital letters at the beginning of a sentence which sometimes appear disjointed from its neighbouring letter. Use appropriate line spacing too, don’t just rely on the automatic settings in a program. The general rule I like to use is for any size up to 12pt use 1 extra point of leading, and anything over that use 2 extra points.
9. Use text sizes that are most readable
The most readable text ranges from 8 to 12 points for text that is read from an average distance of 12 to 14 inches. However be aware of the fact that typefaces of the same size may appear different in size due to their ‘x-heights’. That is the size of the x in the typeface family and can vary considerably. I would say 6 pt is the smallest readable type.
10. When working with colour, ensure sufficient contrast between type and background
Too little contrast in hue, value or saturation results in type that is difficult, if not impossible to read. Black type on a white background is the most legible of the colour combinations and this is what we are accustomed to reading. Reversing the colour relationship, i.e. white text on a black background compromises readability to a degree, but can be effective. Ensure your contrast is effective but still readable.
This article is written by Rachel Toy, a freelance Graphic Designer working in the design industry for over 15 years. Her company, Spirit Creative Ltd, is a full Graphic Design Agency serving Beds/Bucks/Herts, providing logo design, business cards, leaflets, brochures, web sites, web hosting, exhibition graphics and more! If you would like us to help your company with any of the above then do not hesitate to contact us on info@spiritcreative.co.uk
