Quiz 1

Question 0

How many points are in a pica?

Answer 0

12.

Question 1

What is the distinction between a typeface and a font?

Answer 1

A typeface is the design of a letterform and refers to its overall visual appearance. A font is the delivery system. Traditionally a font referred to a set of cast metal characters used for printing, but in modern systems it implies the digital file. A single typeface can encompass a number of fonts in different styles and weights.

Question 2

The stroke is the basic element of a letter.

True or False?

Answer 2

False. The stem is the basic element of a letter.

Question 3

What is the difference between “typographer’s” quotes and “dumb quotes”?

Which should we be using?

Answer 3

Typographer’s quotes are also known as curly quotes. There is the opening single quote, the closing single quote (also used for apostrophes), the opening double quote and the closing double quote. We should be using typographer’s quotes for apostrophes, quotations and dialogue.

Dumb quotes (or straight quotes) should reserved for use as inch and foot marks: 6’ 4”.

Question 4

What does “nine on sixteen”, 9/16, in typesetting mean?

Answer 4

It indicates a font size of 9 points, set with leading of 16 points.

Question 5

How wide is an em? How wide is an en?

Answer 5

An em is proportional to the size of the type, roughly equivalent to the letter’s cap height.
An en is half the width of an em, and wider than a word space.

Question 6

What are the three different kinds of dashes and what are their proper uses?

Answer 6

Em dash—used between words in sentences, and can function like parentheses for emphasis.
• She took her pigs—all six of them—for a walk.

En dash—to indicate a span or range of numbers, or connected words and ideas.
• 1998–2007, the London–Paris flight

Hyphen—compound numbers, verbs and adjectives.
• Twenty-one, state-of-the-art design, a friendly-looking dog

Question 7

In typesetting, it is often the little details that matter the most.
True or false?

Answer 7

True.

Question 8

Which of the following is the best type specification for text type?
A. 8/8 Helvetica
B. 12/auto Helvetica
C. 11/10 Bodoni
D. 9/15 Garamond

Answer 8

D. 9/15 Garamond

Question 9

What is kerning?

What is tracking?

Answer 9

Kerning adjusts the space between two letters.

Tracking adjusts the overall spacing of a group of letters, also known as letterspacing.

Question 10

Roman is the basic weight and style of a typeface.

True or false?

Answer 10

True.

Question 11

What are old-style figures? Why would we use them?

Answer 11

Numbers come in upper- and lowercase versions; old style figures refer to the lowercase versions, with ascenders and descenders designed to blend in with a body of text.

Question 12

What are the 9 major Vox+ classification categories?

Answer 12

1. Humanist
2. Garalde
3. Transitional
4. Didone
5. Slab-serif
6. Sans-serif (Humanist, Grotesque, Neoclassical, Geometric)
7. Glyphics
8. Scripts
9. Gothic

Question 13

There is only one system for classifying type.

True or False?

Answer 13

False. The Vox system is the most widely used, but there are others, such as the British Standards Classification of Typefaces and Bringhurst’s typography rules.

Question 14

Define the word “stress” as it relates to type.

Answer 14

The “stress” of a letterform is the visual axis resulting from the relationship between thick and thin strokes. It can appear slanted to either side, or upright.

Question 15

Label the anatomy of a letterform.

What are all the parts of a letterform?

Answer 15

1. Cap height
2. Uppercase
3. Lowercase
4. x-height
5. Baseline
6. Ascender
7. Descender
8. Counter
9. Stem
10. Hairline
11. Cross Stroke
12. Cross bar
13. Arm
14. Leg
15. Tail
16. Bowl
17. Spine
18. Apex
19. Vertex
20. Spur
21. Loop
22. Link
23. Ear
24. Terminal
25. Axis
26. Ligature
27. Bracket
28. Serif
29. Foot
30. Lobe
31. Waist
32. Beak
33. Cupped stem
34. Branch
35. Shoulder
36. Diagonal hairline
37. Curved stem
38. Eye
39. Pot hook
40. Swash
41. Triangular serif
42. Horizontal cupped serif

Question 16

What are the differences between text figures and lining figures?
Name a typeface that has text figures.
Name a typeface that only has lining figures.

Answer 16

Text figures (also known as old style figures), are numbers designed with ascenders and descenders designed to blend into body copy. Text figures are proportional and have their own set width.

Lining figures are the same height as capital letters and are better suited for display or headlines. They take up uniform widths of space and were designed for use in financial and accounting ledgers.

Adobe Garamond Pro contains text figures.
Futura contains only lining figures.

Question 17

Slab serifs are also called:
A. Egyptian
B. Hairline serifs
C. Clarendons
D. Typewriter fonts

Answer 17

A. Egyptian and C. Clarendons

Question 18

Which of these typefaces has the lowest contrast?
A. Didot
B. Walbaum
C. Rockwell
D. Baskerville

Answer 18

C. The slab-serif Rockwell

Question 19

Display type usually needs kerning.

True or false?

Answer 19

True. Display type should be optically kerned.

Question 20

Give sample type specifications for:
Text type
Set solid
Display type
Type with negative leading

Answer 20

8/11
8/8
24/22
11/10

Question 21

Where does one use small caps? What are the important characteristics of genuine small caps?

Answer 21

Small caps are used to whenever words are set in all caps within running text.

True small caps are designed to match the x-height of lowercase letters and have more squarish proportions as compared to full capitals.

Question 22

If you are using a space after to indicate paragraphs, it should be a multiple of what? Why?

Answer 22

The space after should be half of the leading, or in multiples of the leading, so that lines in adjacent columns line up neatly.

Question 23

Where do you find the setting for space after in InDesign?

Answer 23

In the paragraphs panel.

Question 24

The first line, of the first paragraph, should be set full out. True or false?

Answer 24

True. Indents should be used from the second paragraph onwards.

Question 25

If you are using an indent to indicate paragraphs, what is the proper way to set these up in InDesign?

Answer 25

Use the "first line indent" setting in the paragraphs panel. An indent should be 130%—140% of an em space, approximately 1 pica for body copy. And never indent the first paragraph.

Question 26

When you set type in very small sizes you need to decrease the tracking. True or false?

Answer 26

False. Type set in small sizes should have tracking increased for better legibility.

Question 27

What is a general rule for how much leading body copy needs?

Answer 27

Leading should be about 120%—130% of the type size. Or, roughly speaking, point size plus 3. E.g.: 8/11.

Question 28

Small caps should be used for three-letter acronyms. | True or false?

Answer 28

False. Three-letter acronyms may remain in full caps.

Question 29

Describe characteristics, examples and applications of Humanist typefaces.

Answer 29

1. Humanist • Calligraphic quality, inclined stresses, strokes echoing the forms created by a broad-nibbed pen, angled bar on lowercase 'e'. • Jenson • Limited practical use, suitable for letterpress.

Question 30

Describe characteristics, examples and applications of Garalde typefaces.

Answer 30

2. Garalde • Letter forms are informed by the developing craft and sensibility of the punch cutter, medium contrast, inclined stress, generous counters, medium x-height, horizontal bar on lowercase 'e'. • Adobe Garamond, Goudy • Attractive and well-designed faces suitable for body copy.

Question 31

Describe characteristics, examples and applications of Transitional typefaces.

Answer 31

3. Transitional • Letterforms show development toward a vertical stress, characterized by a more dramatic variation in stroke width. High contrast, pointed apex, vertical serifs, drop ears, drop tail. Italics are designed as part of the typeface. • Baskerville, Caslon • Body copy, elegant displays

Question 32

Describe characteristics, examples and applications of Didone typefaces.

Answer 32

4. Didone • Pronounced contrast in weight between vertical strokes and horizontal hairline. Vertical stress, vertical tail junction, circular or elliptical drop, hairline serifs, bracketed and unbracketed serifs within same font. • Didot, Bodoni • Best for display and small amounts of copy, but requires high-quality printing and paper.

Question 33

Describe characteristics, examples and applications of Slab Serif typefaces.

Answer 33

5. Slab-serif • Heavy, square-ended serifs, with or without brackets, developed from large-scale Display letters used in woodblock letterpress printing. Low contrast, vertical stress, bracketed serifs, short descenders, pronounced drop forms. • Clarendon, Rockwell • Excellent for display and semi-display, useful in text settings, particularly in cases where a greater weight is required. Good for low resolution digital printing. Prints well on rough or absorbent paper.

Question 34

Describe characteristics, examples and applications of Sans Serif (lineale) typefaces.

Answer 34

6. Sans-serif a. Humanist • Proportions are derived from the Roman capital letters and the lowercase hand of humanist writing. • Frutiger, Myriad, Officina Sans • Capital letters with classical proportions, minimal contrast, medium x-height, double storey lowercase 'a', equal length cross strokes. • Subheads, compatible with a number of Humanist, Garalde and Transitional faces with similar Roman proportions. b. Grotesque sans-serifs • Evolved from display type and architectural lettering • Franklin Gothic, Bell Gothic, News Gothic • Heavier weights, variations of stroke width at junctions, wide set. • Good for a range of functions, from signage to display. Also function well for text setting. c. Neo-grotesque/Neo-classical Sans-Serif • Key component of Swiss typography. More mechanical than Grotesques, less variation of stroke width, wider set, high x-height, lowercase 'g' has open stroke instead of bowl, slightly condensed form, minimal contrast, well-defined counter. • Univers, Helvetica • Function better at small sizes than most other Sans-serifs, among the most suitable sans-serif faces for long text setting. Generous x-height and well-defined counter ensure page economy and legibility. Good for display. d. Geometric Sans-Serif • Design reflects the idea that type can be reduced to simple geometric units. Representative of Modernist ideology of 1930s—1950s. Geometric construction, monoline stroke width, single storey 'a' (in some typefaces), no contrast, circular counters. • Avenir, Gill Sans, Futura • Good for display and semi-display.

Question 35

Describe characteristics, examples and applications of Glyphic typefaces.

Answer 35

7. Glyphic • Based on letterforms that were carved or inscribed, chiseled forms, sharp terminals or serifs, waisted stems, angled finials. • Trajan • Specialised applications. As most are without lowercase letters, probably best for display only.

Question 36

Describe characteristics, examples and applications of Script typefaces.

Answer 36

8. Script • Based on handwriting, angled forms, high ascenders, deep descenders, low x-height, contrasting stroke width, single story lowercase 'a', calligraphic inflection. • Snell Roundhand, Berthold Script • Decorative contrast to Roman, few are suitable for setting extended text.

Question 37

Describe characteristics, examples and applications of Gothic typefaces.

Answer 37

9. Gothic/Blackletter • The original movable type forms, used in Germany until the first half of the 20th century. High contrast, narrow lowercase, angled stress, broad stroke widths. • Fette Fraktur, Goudy Text • Used in applications requiring association with period and culture, knowledge of context required.