Typography

Typography is what language looks like.

!"#$ %&'( )#!*#+)#,

(-./"0,# /!*#+)#,

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*,&!! %/,

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*/2 3#-.3"

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anatomy

36 | "3-+5-+. '-"3 "62#

Bone

*/2 3#-.3" The distance from the baseline to the top of the capital letter determines the letter’s point size.

skin, Body "3# %/!#(-+# is where all the letters sit. This is the most stable axis along a line of text, and it is a crucial edge for aligning text with images or with other text.

&7#,3/+. The curves at the bottom of letters hang slightly below the baseline. Commas and semicolons also cross the baseline. If a typeface were not positioned this way, it would appear to teeter precariously. Without overhang, rounded letters would look smaller than their flat-footed compatriots.

/!*#+)#, 3#-.3" Some elements may extend slightly above the cap height.

Hey, look! They supersized my x-height.

Two blocks of text are often aligned along a shared baseline. Here, 14/18 Scala Pro (14-pt type with 18 pts of line spacing) is paired with 7/9 Scala Pro.

Although kids learn to write using ruled paper that divides letters exactly in half, most typefaces are not designed that way. The x-height usually occupies more than half of the cap height. The larger the x-height is in relation to the cap height, the bigger the letters appear to be. In a field of text, the greatest density occurs between the baseline and the x-height.

4-3#-.3" is the height of the main body of the lowercase letter (or the height of a lowercase x), excluding its ascenders and descenders.

(#""#, | 37

)#!*#+)#, 3#-.3" The length of a letter’s descenders contributes to its overall style and attitude.

7-!0/((6 !2#/5-+., %/!#(-+#! /+) 4-3#-.3"! )#"#,$-+# "3# ,#/( #).#! &1 "#4"

3#-.3" Attempts to standardize the measurement of type began in the eighteenth century. The point system is the standard used today. One point equals 1/72 inch or .35 millimeters. Twelve points equal one pica, the unit commonly used to measure column widths. Typography can also be measured in inches, millimeters, or pixels. Most software applications let the designer choose a preferred unit of measure; picas and points are standard defaults.

nerd alert: /%%,#7-/"-+. 2-*/! /+) 2&-+"! 8 picas = 8p 8 points = p8, 8 pts 8 picas, 9 points = 8p9 8-point Helvetica with : points of line spacing = 8/: Helvetica

'-)"3 A letter also has a horizontal measure, called its set width. The set width is the body of the letter plus a sliver of space that protects it from other letters. The width of a letter is intrinsic to the proportions and visual impression of the typeface. Some typefaces have a narrow set width, and some have a wide one. You can change the set width of a typeface by fiddling with its horizontal or vertical scale. This distorts the line weight of the letters, however, forcing heavy elements to become thin, and thin elements to become thick. Instead of torturing a letterform, choose a typeface that has the proportions you are looking for, such as condensed, compressed, wide, or extended.

size

12 points equal 1 pica

6 picas (72 points) equal 1 inch

60-2&-+" !*/(/ A typeface is measured from the top of the capital letter to the bottom of the lowest descender, plus a small buffer space.

In metal type, the point size is the height of the type slug.

Wide load

tight wad

tight Wad

-+"#,!"/"# %(/*5 The set width is the body of the letter plus the space beside it.

-+"#,!"/"# %(/*5 *&$2,#!!#) The letters in the compressed version of the typeface have a narrower set width.

type crime 3&,-;&+"/( < 7#,"-*/( !*/(-+. The proportions of the letters have been digitally distorted in order to create wider or narrower letters.

Big

Wide load

38 | "3-+5-+. '-"3 "62#

When two typefaces are set in the same point size, one often looks bigger than the other. Differences in x-height, line weight, and set width affect the letters’ apparent scale.

Mrs Eaves rejects the twentieth-century appetite for supersized x-heights. This typeface, inspired by the eighteenth-century designs of Baskerville, is named after Sarah Eaves, Baskerville’s mistress, housekeeper, and collaborator. The couple lived together for sixteen years before marrying in 1764.

Like his lovely wife, MR EAVES has a low waist and a small body. His loose letterspacing also makes him work well with his mate.

The size of a typeface is a matter of context. A line of text that looks tiny on a television screen may appear appropriately scaled in a page of printed text. Smaller proportions affect legibility as well as space consumption. A diminutive x-height is a luxury that requires sacrifice.

12/14 $, #/7#!

8/10 $,! /+) $, #/7#!

The x-height of a typeface affects its apparent size, its space efficiency, and its overall visual impact. Like hemlines and hair styles, x-heights go in and out of fashion. Bigger type bodies became popular in the mid- twentieth century, making letterforms look larger by maximizing the area within the overall point size.

Because of its huge x-height, Helvetica can remain legible at small sizes. Set in 8 pts for a magazine caption, Helvetica can look quite elegant. The same typeface could look bulky and bland, however, standing 12 pts tall on a business card.

Typefaces with small x-heights, such as Mrs Eaves, use space less efficiently than those with big lower bodies. However, their delicate proportions have lyrical charm. 12/14 $,! #/7#!

12/14 3#(7#"-*/

8/10 3#(7#"-*/

Do I=look fat in this paragraph? 32-2" !*/(/ 2,& 32-2" -+"#,!"/"# ,#.0(/, 32-2" %&)&+- 32-2" $,! #/7#!

The default type size in many software applications is 12 pts. Although this generally creates readable type on screen displays, 12-pt text type usually looks big and horsey in print. Sizes between 9 and 11 pts are common for printed text. This caption is 7.5 pts.

32-2" 3#(7#"-*/ 32-2" $,! #/7#! 32-2" $, #/7#!

(#""#, | 39

%-. %&""&$! /,# /+ #11-*-#+" 0!# &1 ,#!&0,*#!

Mr. Big versus Mrs. & Mr. Little

40 | "3-+5-+. '-"3 "62#

All the typefaces shown below were inspired by the sixteenth-century printing types of Claude Garamond, yet each one reflects its own era. The lean forms of Garamond 3 appeared during the Great Depression, while the inflated x-height of ITC Garamond became an icon of the flamboyant 1970s.

1930s: Franklin D. Roosevelt, salvador dalí, Duke

Ellington, Scarface, chicken and waffles, shoulder pads, radio.

1970s: Richard Nixon, Claes Oldenburg, Van Halen,

The God father, bell bottoms, guacamole, sitcoms.

1980s: Margaret Thatcher, barbara kruger, Madonna,

Blue Velvet, shoulder pads, pasta salad, desktop publishing.

2000s: Osama Bin Laden, ! "# #$%& '" ( )%*, the White

Stripes, !e Sopranos, mom jeans, heirloom tomatoes, Twitter.

18-2" ./,/$&+) 3, designed by Morris Fuller Benton and Thomas Maitland Cleland for ATF, 1936

18-2" -"* ./,/$&+), designed by Tony Stan, 1976

18-2" /)&%# ./,/$&+) 2,#$-#,# 2,& $#)-0$ !0%3#/), designed by Robert Slimbach, 2005

18-2" /)&%# ./,/$&+), designed by Robert Slimbach, 1989

Grapes of Wrath 30-2" ./,/$&+) 3 30-2" -"* ./,/$&+)

size

garamond in the twentieth century: variations on a theme

(#""#, | 41

!

"#$%&'(#) are slim, high-strung prima donnas.

!"#$%&'! are !isky supporting characters. !"#$ is the everyman of the printed stage. !"#$%&'( get heavy to play small roles. 27-2" /)&%# ./,/$&+) 2,#$-#,# 2,& */2"-&+

A type family with optical sizes has different styles for different sizes of output. The graphic designer selects a style based on context. Optical sizes designed for headlines or display tend to have delicate, lyrical forms, while styles created for text and captions are built with heavier strokes.

27-2" /)&%# ./,/$&+) 2,#$-#,# 2,& )-!2(/6

27-2" /)&%# ./,/$&+) 2,#$-#,# 2,& ,#.0(/,

27-2" /)&%# ./,/$&+) 2,#$-#,# 2,& !0%3#/)

8 2" 80 2"

A %')*&$+ or headline style looks spindly and weak when set at small sizes. Display styles are intended for use at ,- pts. and larger.

In the era of .#/$& /+*#, type designers created a different punch for each size of type, adjusting its weight, spacing, and other features. Each size required a unique typeface design.

When the type design process became automated in the %&%"$""%$' ("%$)*+, many typefounders economized by simply enlarging or reducing a base design to generate different sizes.

This )*+,"'%-*. "##/&"+, to type sizes became the norm for photo and digital type production. When a text-sized letterform is enlarged to poster-sized proportions, its thin features become too heavy (and vice versa). /)&%# ./,/$&+) 2,#$-#,# 2,& */2"-&+

/)&%# ./,/$&+) 2,#$-#,# 2,& )-!2(/6

/)&%# ./,/$&+) 2,#$-#,# 2,& ,#.0(/,

Basic !"#$ styles are designed for sizes ranging from , to -. pts. Their features are strong and meaty but not too assertive.

!"#$%&' styles are built with the heaviest stroke weight. They are designed for sizes ranging from 0 to 1 pts.

optical sizes

10 2"

No Job Too Small 48-2" %&)&+- 8-2" %&)&+-

type crime Some typefaces that work well

at large sizes look too fragile when reduced.

/ 2

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42 | "3-+5-+. '-"3 "62#

scale

Scale is the size of design elements in comparison to other elements in a layout as well as to the physical context of the work. Scale is relative. 12-pt type displayed on a 32-inch monitor can look very small, while 12-pt type printed on a book page can look flabby and overweight. Designers create hierarchy and contrast by playing with the scale of letterforms. Changes in scale help create visual contrast, movement, and depth as well as express hierarchies of importance. Scale is physical. People intuitively judge the size of objects in relation to their own bodies and environments.

THE WORLD IS FLAT

THE WORLD

IS FLAT

type crime Minimal differences in

type size make this design look tentative

and arbitrary.

!*/(# *&+",/!" The strong contrast between type sizes gives this design dynamism, decisiveness,

and depth.

"3# 4-4 /$#+)$#+" Typographic installation at Grand Central Station, New York City, 1995. Designer: Stephen Doyle. Sponsors: The New York State Division of Women, the Metropolitan Transportation Authority, Revlon, and Merrill Lynch. Large-scale text creates impact in this public installation.

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%(&'-02: 23&"&.,/236, *-+#$/, /+) "3# %,/-+ Book cover, 2003. Designers: Paul Carlos and Urshula Barbour/Pure + Applied. Author: Warren Niedich. Cropping the letters increases their sense of scale. The overlapping colors suggest an extreme detail of a printed or photographic process.

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scale

44 | "3-+5-+. '-"3 "62#

0+-"#) +/"-&+!’ &11-*# &+ ),0.! /+) *,-$# (0+&)*) Maps, 2009. Design: Harry Pearce and Jason Ching/ Pentagram. This series of posters for the United Nations’ Office on Drugs and Crime uses typographic scale to compare drug treatment programs, HIV incidence, and other data worldwide. The designers built simple world maps from country abbreviation codes (GBR, USA, RUS, etc.). The posters are aimed specifically at the Russian police, whose country has a poor track record in drug treatment. Note Russia’s high incidence of HIV and low availability of addiction rehabilitation programs.

revolver: zeitschrift für film (magazine for film) Magazine, 1998–2003. Designer: Gerwin Schmidt. This magazine is created by and for film directors. The contrast between the big type and the small pages creates drama and surprise.

!*/(# -! !&$#"3-+. 6&0 */+ 3&() -+ 6&0, 3/+)!

(#""#, | 45

type classification

A basic system for classifying typefaces was devised in the nineteenth century, when printers sought to identify a heritage for their own craft analogous to that of art history. Humanist letterforms are closely connected to calligraphy and the movement of the hand. Transitional and modern typefaces are more abstract and less organic. These three main groups correspond roughly to the Renaissance, Baroque, and Enlightenment periods in art and literature. Historians and critics of typography have since proposed more finely grained schemes that attempt to better capture the diversity of letterforms. Designers in the twentieth and twenty-first centuries have continued to create new typefaces based on historic characteristics.

Aa Aa Aa

!/%&+

%/!5 #,7-((#

%&) &+

- 30$/+-!" &, &() !"6(# The roman typefaces of the fifteenth and sixteenth centuries emulated classical calligraphy. Sabon was designed by Jan Tschichold in 1966, based on the sixteenth-century typefaces of Claude Garamond.

",/+!-"-&+/( These typefaces have sharper serifs and a more vertical axis than humanist letters. When the typefaces of John Baskerville were introduced in the mid- eighteenth century, their sharp forms and high contrast were considered shocking.

$&)#,+ The typefaces designed by Giambattista Bodoni in the late eighteenth and early nineteenth centuries are radically abstract. Note the thin, straight serifs; vertical axis; and sharp contrast from thick to thin strokes.

Aa

*(/,#+ ) &+

#.62"-/+ &, !(/% !#,-1 Numerous bold and decorative typefaces were introduced in the nineteenth century for use in advertising. Egyptian typefaces have heavy, slablike serifs.

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!

3 #(7#"-*/

10 "0 , /

30$/+-!" !/+! !#,-1 Sans-serif typefaces became common in the twentieth century. Gill Sans, designed by Eric Gill in 1928, has humanist characteristics. Note the small, lilting counter in the letter a, and the calligraphic variations in line weight.

",/+!-"-&+/( !/+! !#,-1 Helvetica, designed by Max Miedinger in 1957, is one of the world’s most widely used typefaces.Its uniform, upright character makes it similar to transitional serif letters. These fonts are also referred to as “anonymous sans serif.”

.#&$#",-* !/+! !#,-1 Some sans-serif types are built around geometric forms. In Futura, designed by Paul Renner in 1927, the Os are perfect circles, and the peaks of the A and M are sharp triangles.

46 | "3-+5-+. '-"3 "62#

This is not a book about fonts. It is a book about how to use them. Typefaces are essential resources for the graphic designer, just as glass, stone, steel, and other materials are employed by the architect.

This is not a book about fonts. It is a book about how to use them. Typefaces are essential resources for the graphic designer, just as glass, stone, steel, and other materials are employed by the architect.

This is not a book about fonts. It is a book about how to use them. Typefaces are essential resources for the graphic designer, just as glass, stone, steel, and other materials are employed by the architect.

This is not a book about fonts. It is a book about

how to use them. Typefaces are essential resources

for the graphic designer, just as glass, stone, steel,

and other materials are employed by the architect.

This is not a book about fonts. It is a book about how to use them. Typefaces are essential resources for the graphic designer, just as glass, stone, steel, and other materials are employed by the architect.

This is not a book about fonts. It is a book about how to use them. Typefaces are essential resources for the graphic designer, just as glass, stone, steel, and other materials are employed by the architect.

This is not a book about fonts. It is a book about how to use them. Typ efaces are essential resources for the graphic designer, just as glass, stone, steel, and other materials are employed by the architect.

Bodoni 14 2"

Baskerville 14 2"

Clarendon 14 2"

Gill Sans 14 2"

Helvetica 14 2"

Selecting type with wit and wisdom requires knowledge of how and why letterforms evolved.

Selecting type with wit and wisdom requires knowledge of how and why letterforms evolved.

Selecting type with

wit and wisdom

requires knowledge

of how and why

letterforms evolved.

Selecting type with wit and wisdom requires knowledge of how and why letterforms evolved.

Sabon 14 2"

Selecting type with wit and wisdom requires knowledge of how and why letterforms evolved.

Futura 14 2"

Selecting type with wit and wisdom requires knowledge of how and why letterforms evolved.

!/%&+ 9/12 7/9

%/!5#,7-((# 9/12 7/9

%&)&+- %&&5 9.5/12 7.5/9

*(/,#+)&+ (-.3" 8/12 6/9

.-(( !/+! ,#.0(/, 9/12 7/9

3#(7#"-*/ ,#.0(/, 8/12 6/9

10"0,/ %&&5 8.5/12 6.5/9

Selecting type with wit and wisdom requires knowledge of how and why letterforms evolved.

(#""#, | 47

"62# -! "& 2/2#, /! %0""#, -! "& %,#/)

classic typefaces

type families

In the sixteeenth century, printers began organizing roman and italic typefaces into matched families. The concept was formalized in the early twentieth century.

The roman form is the core or spine from which a family of typefaces derives.

Italic letters, which are based on cursive writing, have forms distinct from roman.

!"#$$ %#&! '#() # ')*+', ,'#, *! !*"*$#- ,. the lowercase /-')*+',.

Bold (and semibold) typefaces are used for emphasis within a hierarchy.

Bold (and semibold) typefaces each need to include an italic version, too.

/)&%# ./,/$&+) 2,& ,#.0(/,

/)&%# ./,/$&+) 2,& -"/(-*

/)&%# ./,/$&+) 2,& ,#.0(/, (/(( !$/(( */2!)

/)&%# ./,/$&+) 2,& %&() /+) !#$-%&()

/)&%# ./,/$&+) 2,& %&() /+) !#$-%&() -"/(-*

The roman form, also called plain or regular, is the standard, upright version of a typeface. It is typically conceived as the parent of a larger family.

The italic form is used to create emphasis. Especially among serif faces, it often employs shapes and strokes distinct from its roman counterpart. Note the differences between the roman and italic a.

Small caps (capitals) are designed to integrate with a line of text, where full-size capitals would stand out awkwardly. Small capitals are slightly taller than the x-height of lowercase letters.

Bold versions of traditional text fonts were added in the twentieth century to meet the need for emphatic forms. Sans-serif families often include a broad range of weights (thin, bold, black, etc.).

The typeface designer tries to make the two bold versions feel similar in comparison to the roman, without making the overall form too heavy. The counters need to stay clear and open at small sizes. Many designers prefer not to use bold and semi-bold versions of traditional typefaces such as Garamond, because these weights are alien to the historic families.

Italics are not slanted letters. type crime: 2!#0)& -"/(-*!

The wide, ungainly forms of these

mechanically skewed letters look forced and unnatural.

/)&%# ./,/$&+) 2,&, designed by Robert Slimbach, 1988

48 | "3-+5-+. '-"3 "62#

Some italics aren’t slanted at all. In the type family Quadraat, the italic form is upright. >0/),//", designed by Fred Smeijers, 1992.

",0# -"/(-*

anatomy of a type family

(#""#, | 49

$*!'##+#6’! Magazine cover, 2002. Design: Dave Eggers. This magazine cover uses the Garamond 3 typeface family in various sizes. Although the typeface is classical and conservative, the obsessive, slightly deranged layout is distinctly contemporary.

.& ',/2 6&0, "-+6, /",&236-+. /,$! /,&0+) !&$# '-((-+. "62#1/*#

50 | "3-+5-+. '-"3 "62#

superfamilies

Scala Scala Italic !*/(/ */2! Scala Bold !*/(/ 2,&, designed by Martin Majoor, includes Scala (1991) and Scala Sans (1993). The serif and sans- serif forms have a common spine. Scala Pro (OpenType format) was released in 2005.

Scala Sans Light Scala Sans Scala Sans Condensed Scala Sans Cond Bold Scala Sans Bold Scala Sans Black SCala jewel crystal

scala jewel diamond

scala jewel pearl

Scala jewel saphyr

A traditional roman book face typically has a small family—an intimate group consisting of roman, italic, small caps, and possibly bold and semibold (each with an italic variant) styles. Sans- serif families often come in many more weights and sizes, such as thin, light, black, compressed, and condensed. A superfamily consists of dozens of related fonts in multiple weights and/or widths, often with both sans-serif and serif versions. Small capitals and non-lining numerals (once found only in serif fonts) are included in the sans-serif versions of Thesis, Scala Pro, and many other contemporary superfamilies.

0+-7#,! was designed by the Swiss typographer Adrian Frutiger in 1957. He designed twenty-one versions of Univers, in five weights and five widths. Whereas some type families grow over time, Univers was conceived as a total system from its inception.

",-(&.6, a superfamily designed by Jeremy Tankard in 2009, is inspired by three nineteenth-century type styles: sans serif, Egyptian, and fat face. The inclusion of the fat face style, with its wafer-thin serifs and ultrawide verticals, gives this family an unusual twist.

C E R E � O � Y.

Ticket of �dmittance,

One Shillin�

W I T H I N T H E E N C L O S U R E , T O V I E W T H E

The Money raised by these Tickets will be applied to defray the expences of the Day.

W. Pratt, Printer, Stokesley

anatomy of a superfamily

"3#!-!, designed by Lu(cas) de Groot, 1994

energize typography today. Writing

in the West was revolutionized early

in the Renaissance, when Johannes

Gutenberg introduced moveable type

This is not a book about fonts. It is a book about how to use them. Typefaces

are essential resources for the graphic designer, just as glass, stone, steel, and

other materials are employed by the architect. some designers create

"3# !#,-1 $#)-0$ ,&$/+

"3# !#,-1 $#)-0$ -"/(-*

"3# !#,-1 $#)-0$ !$/(( */2!

their own custom fonts. But most

graphic designers will tap the vast

store of already existing typefaces,

choosing and combining each with

"3# !#,-1 %(/*5 ,&$/+

"3# !#,-1 #4",/ %&() ,&$/+

"3# !#,-1 %&() ,&$/+

"3# !#,-1 !#$- %&() ,&$/+

regard to the audience or situation.

Selecting type with wit and wisdom

requires knowledge of how and why

letterforms have evolved. The history

"3# !#,-1 $#)-0$ ,&$/+

"3# !#,-1 !#$- (-.3"

"3# !#,-1 (-.3" ,&$/+

"3# !#,-1 #4",/ (-.3" ,&$/+

of typography reflects a continual tension between the hand and machine, the

organic and geometric, the human body and the abstract system. These tensions

marked the birth of printed letters five centuries ago, and they continue to

"3# !/+! $#)-0$ ,&$/+

"3# !/+! $#)-0$ -"/(-*

"3# !/+! $#)-0$ !$/(( */2!

"3# !/+! %(/*5 ,&$/+

"3# !/+! #4",/ %&() ,&$/+

"3# !/+! %&() ,&$/+

"3# !/+! !#$- %&() ,&$/+

in Germany. Whereas documents and

books had previously been written by

hand, printing with type mobilized all

of the techniques of mass production.

"3# !/+! $#)-0$ ,&$/+

"3# !/+! !#$- (-.3" ,&$/+

"3# !/+! (-.3" ,&$/+

"3# !/+! #4",/ (-.3" ,&$/+

(#""#, | 51

"62#1/*#! %,##) (-5# ,/"!

anatomy of a superfamily

52 | "3-+5-+. '-"3 "62#

capitals and small capitals

+#' 6&,5 $/./;-+# Design: Chris Dixon, 2009. This page detail mixes serif types from the Miller family (including true Small Caps) with the sans- serif family Verlag.

A word set in ALL CAPS within running text can look big and bulky, and A LONG PASSAGE SET ENTIRELY IN CAPITALS CAN LOOK UTTERLY INSANE. !$/(( */2-"/(! are designed to match the x-height of lowercase letters. Designers, enamored with the squarish proportions of true !$/(( */2!, employ them not only within bodies of text but for subheads, bylines, invitations, and more. Rather than M-4-+. S$/(( C/2! '-"3 C/2-"/(!, many designers prefer to use /(( !$/(( */2!, creating a clean line with no ascending elements. InDesign and other programs allow users to create FALSE SMALL CAPS at the press of a button; these SCRAWNY LETTERS look out of place.

PSEUDO SMALL CAPS are shrunken versions of FULL-SIZE CAPS. type crime

2!#0)& !$/(( */2! Helvetica was never meant to include

small caps. These automatically generated characters look puny and starved; they are an abomination

against nature.

",0# !$/(( */2! integrate 2#/*#10((6 with lowercase letters. !$/(( */2!, !*/(/ 2,&

Only use small caps when they are officially included with the type family. When working with OpenType fonts (labeled Pro), access small caps in

InDesign via the Character Options>OpenType menu. Older formats

list small caps as a separate file in the Type>Font menu.

CAPITAL investment CAPITAL punishment CAPITAL crime

type crime In this stack of lowercase

and capital letters, the spaces between lines appear uneven because caps are tall

but have no descenders.

/)?0!"#) (#/)-+. The leading has been fine- tuned by selectively shifting the baselines of the small capitals to make the space between lines look even.

CAPITAL investment CAPITAL punishment CAPITAL crime

+

–

(#""#, | 53

4 4 A M U S E M E N T N U M É RO 5 J U I N 2 0 0 9

F R E E P L AY E R S

4 5 A M U S E M E N T N U M É RO 5 J U I N 2 0 0 9

F R E E P L AY E R S

« MA PHILOSOPHIE PASSE PAR

LE GAMEPLAY » KEITA TAKAHASHI

En cette fin du mois de mars, Keita Takahashi fait escale en France. Quelques jours plus tôt, le game designer japonais était à San Francisco

pour la Game Developers Conference, grand raout annuel de la profession où, comme à son habitude, il a abreuvé ses confrères de réflexions rafraîchissantes sur le jeu vidéo.

Mais, avant toute chose, il leur a montré sa nouvelle écharpe, qu’il porte encore sur lui pour ce mini-séjour parisien. Confectionnée par Madame Takahashi mère, celle-ci

a notamment pour avantage de permettre au fiston d’y glisser ses mains afin de les protéger en cas de grand froid. Ce précieux tricot est aussi

le premier « produit dérivé » de Noby Noby Boy, le dernier jeu en date de Keita Takahashi, disponible depuis le mois de février

sur le service de téléchargement de la PS3 pour la somme quasi-ridicule de 3,99 euros. Cette écharpe à l’effigie du souriant Boy se révèle même

remarquablement en phase avec le jeu qui l’a inspirée : tranquillement singulière, résolument artisanale et conçue

pour qu’on se sente bien quand on y met les mains.

Clay Fighter Erwan Higuinen Photographie Sébastien Agnetti

F R E E P L AY E R S F R E E P L AY E R S

9 6 A M U S E M E N T N U M É RO 5 J U I N 2 0 0 9

A M U S E M E N T x S I M S 3

9 7 A M U S E M E N T N U M É RO 5 J U I N 2 0 0 9

A M U S E M E N T x S I M S 3

« JE FINIRAI PAR METTRE LE

BAZAR UN PEU PARTOUT ! »

SARA FORESTIER

CASSE LA BARAQUE DANS

LES SIMS 3 Simuler avec une grande finesse ses traits psychologiques, personnaliser son avatar

avec tant de possibilités qu'elles le rendent unique, proposer une expérience interactive qui va au- delà du simple jeu, et vous propulse dans les subtilités de nos modes de vie ? Voici un petit aperçu

de ce que propose Les Sims 3, dernier épisode de la saga culte lancée il y a tout juste dix ans.

Jeune actrice pleine d’énergie et aux réactions imprévisibles, Sara Forestier montre dans chacun de ses rôles une grande créativité qu’elle exprime également depuis plusieurs années

dans la réalisation de courts-métrages. À l’affiche à la rentrée dans Victor, une comédie de Thomas Gilou sur les relations familiales, Sara était toute trouvée pour casser la baraque dans Les Sims 3 ! Et elle ne s’est pas gênée !

Photographie François Rousseau

9 6 A M U S E M E N T N U M É RO 5 J U I N 2 0 0 9

A M U S E M E N T x S I M S 3 Jean Apc

Veste blazer Louis Vuitton Bague et collier Bon Ton ,

quartz fumé/Diamants Pasquale Bruni Chaussures Louis Vuitton

Sièges Eames Plastic Side Chair verte, Organic Chair rouge,

Tom Vac Rouge, Pantone Chair Orange, Wire Chair DKR rouge

Vitra

/$0!#$#+" $/./;-+# Design: Alice Litscher, 2009. This French culture magazine employs a startling mix of tightly leaded Didot capitals in roman and italic. Running text is set in Glypha.

(-+#! &1 "#4" !#" -+ /(( */2! */+ %# "-.3"(6 (-+#-!2/*#) %#*/0!# "3#6 3/7# +& /!*#+)#,! &, )#!*#+)#,!

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mixing typefaces

Combining typefaces is like making a salad. Start with a small number of elements representing di@erent colors, tastes, and textures. Strive for contrast rather than harmony, looking for emphatic di@erences rather than mushy transitions. Give each ingredient a role to play: sweet tomatoes, crunchy cucumbers, and the pungent shock of an occasional anchovy. When mixing typefaces on the same line, designers usually adjust the point size so that the x-heights align. When placing typefaces on separate lines, it often makes sense to create contrast in scale as well as style or weight. Try mixing big, light type with small, dark type for a criss-cross of contrasting flavors and textures.

Creamy and Extra Crunchy | Differences within a single family

Sweet Child of mine | Differences within a superfamily

Noodles with Potato Sauce | Bland and blander

Jack Sprat and his voluptuous wife | Two-way contrast

Sweet, sour, and hot | Three-way contrast

Mr. Potatohead and Mrs. Pearbutt | Too close for comfort

single-family mixes

0+-7#,! 47 (-.3" *&+)#+!#) /+) 0+-7#,! 67 %&() *&+)#+!#)

>0/),//" ,#.0(/, /+) -"/(-*; >0/),//" !/+! %&()

3#(7#"-*/ +#0# 56 $#)-0$ /+) 3#(7#"-*/ +#0# 75 %&()

multiple-family mixes

"3#!-! !#,-1 #4",/ (-.3" /+) 7/. ,&0+)#) %&()

%&)&+- ,&$/+, "3#!-! !#,-1 #4",/ (-.3" !$/(( */2!, /+) 10"0,/ %&()

/)&%# ./,/$&+) 2,& %&() /+) /)&%# ?#+!&+ 2,& %&()

type crime These typefaces are from the same family, but they are too close in weight to mix well.

type crime These two type styles are too similar to provide a counter- point to each other.

type crime: '3&’! /**&0+"/%(# 1&, "3-!A A slightly squeezed variant of the primary font has been used to make the second line fit better (as if we wouldn’t notice). Yet another weight appears on the bottom line.

"3# '&,): +#' 6&,5 $/./;-+# Design: Chris Dixon, 2010. This content-intensive page detail mixes four different type families from various points in history, ranging from the early advertising face Egyptian Bold Condensed to the functional contemporary sans Verlag. These diverse ingredients are mixed here at different scales to create typographic tension and contrast.

.(623/ "3-+, designed by Adrian Frutiger, 1979. The large scale of the letters is counterbalanced by the fine line of the stroke.

$-((#, !$/(( */2!, designed by Matthew Carter with Jonathan Hoefler and Tobias Frere-Jones, 1997–2000. Known as a Scotch Roman typeface, it has crisp serifs and strong contrast between thick and thin.

#.62"-/+ %&() *&+)#+!#), a Linotype font based on a typeface from 1820. This quirky, chunky face has been used intermittently at New York Magazine since the publication was first designed by Milton Glaser in the 1970s. Here, the ultra-black type set at a relatively small size makes an incisive bite in the page.

7#,(/., designed by Jonathan Hoefler, 1996. Originally commissioned by Abbott Miller for exclusive use by the Guggenheim Museum, Verlag has become a widely used general-purpose typeface. Its approachable geometric forms are based on Frank Lloyd Wright’s lettering for the facade of the Guggenheim.

/ "62&.,/23-* !$&,./!%&,) /!!#$%(#) "& 2(#/!# "3# #6#

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numerals

Lining numerals take up uniform widths of space, enabling the numbers to line up when tabulated in columns. They were introduced around the turn of the twentieth century to meet the needs of modern business. Lining numerals are the same height as capital letters, so they sometimes look big and bulky when appearing in running text.

123 456 !*/(/ !/+! 2,& %&()

lining numerals non-lining numerals

10"0,/ %&()

123 456

123 456 3#(#7#"-*/ +#0# %&()

012 345 /)&%# ./,/$&+) 2,&

Non-lining numerals, also called text or old style numerals, have ascenders and descenders, like lowercase letters. Non-lining numerals returned to favor in the 1990s, valued for their idiosyncratic appearance and their traditional typographic attitude. Like letterforms, old style numerals are proportional; each one has its own set width.

"#4" !#" '-"3 (-+-+. +0$#,/(!

What is the cost of War and Peace? 6e cover price of the Modern Library Classics paperback edition is $15.00, discounted 32% by Amazon to $10.50. But what about the human cost in terms of hours squan- dered reading a super-sized work of literary fiction? If you can read 400 words per minute, double the aver- age, it will take you 1,476 minutes (24.6 hours) to read War and Peace. Devoting just four hours per day to the task, you could finish the work in a little over six days. If you earn $7.25 per hour (minimum wage in the U.S.), the cost of reading War and Peace will be $184.50 (7130.4716, £11.9391, or ¥17676.299).

"#4" !#" '-"3 +&+-(-+-+. +0$#,/(!

What is the cost of War and Peace? 6e cover price of the Modern Library Classics paperback edition is 804.99, discounted 21: by Amazon to 809.49. But what about the human cost in terms of hours squan- dered reading a super-sized work of literary fiction? If you can read 399 words per minute, double the aver- age, it will take you 0,3;5 minutes (13.5 hours) to read War and Peace. Devoting just four hours per day to the task, you could finish the work in a little over six days. If you earn 8;.14 per hour (minimum wage in the U.S.), the cost of reading War and Peace will be 80<3.49 (=029.3;05, >00.?2?0, or @0;5;5.1??).

/)&%# ./,/$&+) 2,& includes both lining and non-lining numerals, allowing designers to choose a style in response to the circumstances of the project. The lining numerals appear large, because they have the height of capital letters.

Non-lining numerals integrate visually with the text. Different math and currency symbols are designed to match the different numeral styles. Smaller currency symbols look better with non-lining numerals.

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$&+"3(6 */(#+)/,, 1892 The charming numerals in this calendar don’t line up into neat columns, because they have varied set widths. They would not be suitable for setting modern financial data.

,#"-+/, designed by Tobias Frere-Jones, 2000, was created for the extreme typographic conditions of the Wall Street Journal’s financial pages. The numerals are designed to line up into columns. The different weights of Retina have matching set widths, allowing the newspaper to mix weights while maintaining perfectly aligned columns. The notched forms (called ink traps) prevent ink from filling in the letterforms when printed at tiny sizes.

123

$&)#,+ +0$#,/(! /,# )#!-.+#) "& !-" -+ *&(0$+! /! '#(( /! ,&'!

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punctuation

A well-designed comma carries the essence of the typeface down to its delicious details. Helvetica’s comma is a chunky square mounted to a jaunty curve, while Bodoni’s is a voluptuous, thin- stemmed orb. Designers and editors need to learn various typographic conventions in addition to mastering the grammatical rules of punctuation. A pandemic error is the use of straight prime or hatch marks (often called dumb quotes) in place of apostrophes and quotation marks (also known as curly quotes, typographer’s quotes, or smart quotes). Double and single quotation marks are represented with four distinct characters, each accessed with a di@erent keystroke combination. Know thy keystrokes! It usually falls to the designer to purge the client’s manuscript of spurious punctuation.

5'2" eyes of blue

It’s a dog’s life.

2,-$# &, 3/"*3 $/,5! -+)-*/"# -+*3#! /+) 1##"

/2&!",&23#! !-.+/( *&+",/*"-&+ &, 2&!!#!!-&+

>0&"/"-&+ $/,5! !#" &11 )-/(&.0#

He said, “That’s what she said.”

“The thoughtless overuse” of quotation marks is a disgrace upon literary style—and on typographic style as well.

type crime Quotation marks carve out chunks of white space from the edge of the text.

3/+.-+. >0&"/"-&+ $/,5! Make a clean edge by pushing the quotation marks into the margin.

nerd alert: To create hanging punctuation in InDesign, insert a word space before the quotation mark. Pressing the option key, use the left arrow key to back the quotation mark into the margin. You can also use the Optical Margin Alignment or Indent to Here tools.See /22#+)-4 for more punctuation blunders.

{[“‘,.;:’”]} 3#(7#"-*/ +#0# %&()

{[“‘,.;:’”]} %&)&+- %&()

commonly abused punctuation marks

“Hanging punctuation” prevents quotations and other marks from taking a bite out of the crisp left edge of a text block.

(#""#, | 59

type crimes +#' 6&,5 *-"6 "&0, City streets have become a dangerous place. Millions of dollars a year are spent producing commercial signs that are fraught with typographic misdoings. While some of these signs are cheaply made over-the-counter products, others were designed for prominent businesses and institutions. There is no excuse for such gross negligence.

gettin’ it right Apostrophes and quotation marks are sometimes called curly quotes. Here, you can enjoy them in a meat-free environment.

gettin’ it wrong The correct use of hatch marks is to indicate inches and feet. Alas, this pizza is the hapless victim of a misplaced keystroke. In InDesign or Illustrator, use the Glyphs palette to find hatch marks when you need them.

)0$% >0&"#! )&+’" 5+&' "3#-, 1,&+" !-)# 1,&$ "3#-, %/*5!-)#

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ornaments

`!r!r!wewe: a"RESTRAINT# y$%%&'$ii&,#!",/-+" Ornaments, 2007. Design: Marian Bantjes.

!2#/502, designed by Supisa Wattanasansanee/Cadson Demak, 2008. Distributed by T26.

"62&.,/23-* &,+/$#+"! Fry and Steele, London, 1794. Collection of Jan Tholenaar, Reinoud Tholenaar, and Saskia Ottenhoff-Tholenaar.

Not all typographic elements represent language. For centuries, ornaments have been designed to integrate directly with text. In the letterpress era, printers assembled decorative elements one by one to build larger forms and patterns on the page. Decorative rules served to frame and divide content. In the nineteenth century, printers provided their customers with vast collections of readymade illustrations that could easily be mixed with text. Today, numerous forms of ornament are available as digital fonts, which can be typed on a keyboard, scaled, and output like any typeface. Some contemporary ornaments are modular systems designed to combine into larger patterns and configurations, allowing the graphic designer to invent new arrangements out of given pieces. Themed collections of icons and illustrations are also available as digital fonts.

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! ( ) , - . 1 2

3 45 6 7 8 9 <>

? A B C D E F G

H I J K L M N O P Q R S

T U V W X Y Z [ \ ] a b

c d e f g h i j k m n o p

)/+*# -+5 $/./;-+# Design: Abbott Miller, 1996. The designer repeated a single ornament from the font Whirligigs, designed by Zuzana Licko in 1994, to create an ethereal veil of ink. Whirligigs are modular units that fit together to create an infinite variety of patterns.

'3-,(-.-.!, designed by Zuzana Licko, Emigre, 1994.

k

/ 1&+" +##) +&" *&+"/-+ /+6 (#""#,! /" /((

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1/+"/-!-# 5/2-"/(#+ Type specimen, 1897. Design: Joh. Enchedé & Zohnen. Collection of Jan Tholenaar, Reinoud Tholenaar, and Saskia Ottenhoff-Tholenaar.

ornaments

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#7#,6%&)6 )/+*# +&' Postcard, 2009. Design: Abbott Miller, Kristen Spilman, Jeremy Hoffman/Pentagram. Peter Bilak’s typeface History, designed in 2008, consists of numerous decorative and structural elements that can be layered into distinctive combinations.

&,+/$#+" -! /+ #*3& &1 !",0*"0,#

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lettering

Creating letters by hand allows graphic artists to integrate imagery and text, making design and illustration into fluidly integrated practices. Lettering can emulate existing typefaces or derive from the artist’s own drawing or writing style. Designers create lettering by hand and with software, often combining diverse techniques.

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"&5-&+ $/./;-+#: 5-+.! Designer: Deanne Cheuk, 2002–2003.These magazine headlines combine drawing and painting with digital techniques.

)-!!&(7-+. "3# (-+# %#"'##+ '&,5-+. '-"3 !&1"'/,# /+) '&,5-+. %6 3/+)

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the locust (left) and melt banana (right) Screenprint posters, 2002. Designer: Nolen Strals. Hand lettering is a vibrant force in graphic design, as seen in these music posters. Lettering is the basis of many digital typefaces, but nothing is quite as potent as the real thing.

lettering

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.&&) "62# 1##(! .&&)