Setting type for better or worse.
// by Panos Vassiliou

It so happens that the more you use type the more you become aware of the fundamental differences of typefaces and their ability to establish a diverse environment through which a message, an idea or a culture is communicated. What is it that makes a typeface suitable for a job and how do we measure its effectiveness? Are there any rules to go by, or it’s strictly a subjective process which depends solely on the individual designer’s education, experience and aesthetics?
There are 2+1 basic concerns when setting type:
1. Functionality
2. Aesthetics
3. Details
When setting type for a newspaper, a magazine or anything else used for heavy reading, we are mostly interested in typefaces which are ‘invisible’ i.e. those which do not distract the reader’s attention, but instead make him concentrate on reading the text with comfort and ease. Readability (visual comfort) and legibility (the speed we perceive characters) are the two terms we use when we measure the effectiveness of a typeface with respect to reading. However, these two alone are not enough. Over the years, certain so called ‘rules’ have been established for the shape and proportion of characters. These rules are mostly based on visual observations and not on any scientific facts. They are there to set the base for the ‘natural’ characteristics of letterforms. As the structural part of the basic letterforms is almost fixed, there is no much ground for differentiation among typefaces. In his quest for the best fit, a designer needs to look for a quality of distinction which will differ from the qualities presented by other typefaces. It is these aesthetic characteristics, additional to the functional, which provide the difference in expression.
Another aspect that is often overlooked is the reader’s cultural needs. The designer must be able to select a typeface with familiar shapes which reflect the cultural identity of the reader, as this is a major factor for legibility.
There are several factors that affect the structural and aesthetic features of a typeface. The proportion of the letterforms, the relative thickness of the strokes, the texture of type as a result of the contrast or black/white balance, the stress of certain characters, the x-height, the shape of serifs, the spacing of characters and a few other less important. One must realize that it’s not only the internal characteristics of a typeface which are responsible for the appearance of a document but equally important is the environment within which it is called to be performed as well as the treatment received by a designer through a software program such as the adjustment of the text column, leading, wordspacing, kerning, background, etc.
Finally, one aspect often overlooked is those little details, the additional qualities, the extra characteristics -which possibly nobody asked for- but they are there to remind us of superior craftmanship and added value.
This post will serve as a preface to a series of typographic tips for those who actually use type. These tips will hopefully serve as a quick reference or some kind of a reminder when setting type. We will explore some fundamental principles of type, how type works, what qualities to look for when choosing a typeface, how to choose type for various projects. Stay tuned!!