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Monolinear typefaces are low-contrast typefaces.
Stroke contrast can be a helpful feature in small text sizes, but it is not paramount that a text face appears to be monolinear. Indeed, many newspapers employ high-contrast fonts; the question that must be considered is just how thick the thin strokes in high-contrast typefaces are.
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The images in this section show different ends of the contrast spectrum: the Cycles types shown above are serifed, with a good deal of contrast. Below, Avenir Next—also a great text face—is from another style of letter, and has very little contrast. Rather, some typefaces have a degree of contrast—be it too high or too low—that makes them less suitable for use in text. However, it is clear that both no contrast and excessive contrast can have adverse effects.
Geometric sans serif typefaces often appear to be monolinear stokes; their letters seem not to have any stroke contrast. In order to achieve this effect to the max, type designers have always made slight optical corrections. To look monolinear, a geometric sans needs some degree of thinning. In the image above, Planeta left is compared with Avenir Next right. Both typefaces are more recent additions to the geometric sans category than stalwart faces like Futura , or classic display designs like ITC Avant Garde Gothic.
Planeta has no visible stroke contrast, which must be a conscious decision on the part of its designer. While this does give it a unique style, it makes the face less suitable for text than Avenir Next, which is actually not as monolinear as it appears at first glance.
Optical Sizes The Garamond Premier typeface family features different versions of each font. These variants are tailored for use in a certain size range. Above, the Display font left is compared with the Caption font right. The Display font is optimized for texts that will appear in very large point sizes, while the Caption font has been optimized for very small text.
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.
Does the family include optical sizes that is, different versions of the typeface that are tailored specifically for use at different sizes?
As with each of the factors mentioned in this article, the size at which a font is set can make or break your text. In the comparison image below, the Garamond Premier Display font has a tighter rhythm than the Caption font—not as much space is necessary between letters when they are set in large point sizes. Why should one consider type families with optical sizes, anyway? Well, as users bump up the point size of digital fonts, the space between letters increases in equal proportion.
This inter-letter space slowly becomes too large, and makes a text feel like it is breaking apart. When a proper text font is set large, it may require some tighter tracking.
Typeface families that offer optically-sized variants of their styles play a helpful role here. Each font is balanced for its size, and they also harmonize well with one another. In another image below , these fonts have been switched: the headline is now set in the Garamond Premier Caption font, and the text in the Garamond Premier Display.
The amount of stroke contrast visible in caption-sized fonts is much lower than in display-sized fonts. If the Garamond Premier Display font from the above image was rendered in a smaller point size, its thin strokes would begin to break apart, making the text unreadable.
But this would not occur with the Caption version. Garamond Premier Caption can robustly set real text, even in poor printing conditions. How well a font will render in small sizes on screen depends on the operating system and applications in question.
Both fonts are set at the same point size. The Caption face features a much higher x-height than the Display font. Many successful text faces feature high x-heights; this means that the ratio of the central vertical area of lowercase letters—the height of the letter x, for instance—is large when compared to the length of the ascenders and descenders. Depending on its design, a text face may have a low x-height and still be quite legible.
But the benefit of incorporating a large x-height in a design is that it maximizes the area of primary activity. A high x-height may also prevent some letters, like the a or the s, from appearing to become too dark; these two letters have three horizontal strokes inside the x-height space, which is a very small area in text sizes.
In order for letters to maintain clarity and understandability, they must have a consistent rhythm, as well as include large, open forms. The Spaces Inside of Letters The images below illustrate just a few of the intra-letter spacing elements that should be understood and considered when choosing which typeface to choose for your body text.
In order for the white spaces inside of letters to remain visible in small sizes, it is necessary for their counterforms to have a certain minimum mass, proportionally. These words are reversed in the second line. Note how the enclosed white space in the top portion of the e changes between the display and text optical sizes.
In certain sizes and settings, wide apertures—and the large counterforms that are their result—will make a text more readable. The top line of the image above is set in Helvetica , and the bottom line in Frutiger. Other counterforms and problematic letters worth remembering include the c; if the apertures of a, e, s are very open, the c should follow this same route.
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Then there are lowercase letters like a, e, g, s that often have rather complex shapes—specifically, they each feature several horizontal strokes inside a small amount of vertical space. How do their forms relate to one another? Do the ascenders and descenders have enough room, particularly f and g? Do the counterforms inside of roundish letters e.
How different from one another are the forms of the capital I, the lowercase i and l, and the figure 1? Can the 3 and the 8 be quickly differentiated from each other? How about the 5 and the 6? Kerning In the sample above, kerning has been deactivated for the second line. The gaps between the letters T y and V o are too large when compared with the amount of space between the other letters in the text.
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The typeface used in the image is Carter Sans. Rather, fonts contain a list of kerning pairs to improve the spacing between the most troubling lettering combinations. The importance of kerning in a font is the role it may play in maintaining an optimal rhythm. It additionally expands your vitality in frail erectile and helps your state of mind for better sexual power.
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The images in this section show different ends of the contrast spectrum: the Cycles types shown above are serifed, with a good deal of contrast. Does the family include optical sizes that is, different versions of the typeface that are tailored specifically for use at different sizes? Old Style 2. Meta Probook Italic.
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