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Rule 1:
For optimum legibility, choose classical, time-tested typefaces. These
typefaces should be drawn and crafted with consistency among characters,
and exhibit highly legible proportions. Examples include: Baskerville,
Bembo, Bodoni, Caslon, Centaur, Franklin Gothic, Frutiger, Futura,
Garamond, Gill Sans, Goudy Old Style, Helvetica, News Gothic, Palatino,
Perpetua, Sabon, Times New Roman, and Univers.
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Rule 2:
Be mindful not to use too many
different typefaces at any one time. The main reason for using more than
one typeface is to create emphasis or to separate one part of the text
from another. When too many different typefaces are used, the reader is
unable to determine what is and what is not important.
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Rule 3:
Avoid combining typefaces that
are too similar in appearance. If the reason for combining typefaces is to
create emphasis, it is important to avoid the ambiguity caused by
combining types that are too similar in appearance.
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Rule 4:
For text type use sizes that
according to legibility studies prove most readable. These sizes generally
range from 8 to 12 points for text that is read from an average distance
of 12 to 14 inches. Be sure to remember that sizes (based on the x-height
of letters) appear different from one typeface to another.
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Rule 5:
Avoid using too many different
type sizes and weights at the same time. Some experts recommend using no
more than two sizes, one for display titles and one for text type.
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Rule 6:
Use text types of book weight.
Avoid typefaces appearing too heavy or too light. Text typefaces that are
too light cannot easily be distinguished from their backgrounds. In
typefaces that are too heavy, counterforms diminish in size, making them
less legible.
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Rule 7:
Use typefaces of medium width.
Avoid typefaces that appear extremely wide or narrow in width. Rather than
distorting text by stretching or squeezing the text width, use type
families that include condensed and extended faces that fall within
accepted proportional norms.
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Rule 8:
Use appropriate line lengths.
Lines that are too short or too long disrupt the reading process. As the
eye travels along overly long lines, negotiating the next line becomes
difficult. Reading overly short lines creates choppy eye movements that
tire and annoy the reader. When working with text type, a maximum of about
70 charters (10 to 12 words) per line is thought to be most acceptable.
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Rule 9:
For text type, use lines
spacing that easily carries the eye from one line to the next. Lines of
type with too little space between them slow the reading process; the eye
is forced to take in several lines at one. By adding one to four points of
space between lines of type (depending on the specific typeface),
readability can be improved.
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Rule 10:
For optimum readability, use
a flush left, ragged right type alignment. Although in special situations,
other type alignments (flush right, ragged left; centered, and justified)
are acceptable, the tradeoff is always a loss, however slight, in
readability.
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Rule 11:
Strive for consistent,
rhythmic rags. The purpose of effective rags is not only to achieve
aesthetic beauty, but to enable readers to move gently and effortlessly
down a text column. Effective rags consist of lines establishing an
informal but consistent pattern of line endings.
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Rule 12:
Clearly indicate paragraphs,
but be careful not to upset the integrity and visual consistency of the
text. The two most common ways of indicating paragraphs are by indenting
and inserting additional space between paragraphs.
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Rule 13:
Avoid widows and orphans
whenever possible. A widow is a word or very short line at either the
beginning or end of a paragraph. An orphan is a single syllable at the end
of a paragraph.
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Rule 14:
Emphasize elements within
text with discretion and without disturbing the flow of reading. You can
use italics, underlined type, color type, different typeface, small
capitals, capitals, bold type within light type, light type within bold
type, larger type, and outline type to emphasize elements but never overdo
it. Use minimum means for maximum results.
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Rule 15:
When working with type and
color, ensure that sufficient contrast exists between type and its
background. Too little contrast in hue, value or saturation, or a
combination of these factors, can result in type that is difficult, if not
impossible, to read.
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