1. TRACKING
1.1. POSITIVE TRACKING
1.1.1. MORE AIRY, OPEN LOOK
1.1.2. SUBTLE EFFECT
1.1.3. FOR EMPHASIS
1.2. NEGATIVE TRACKING
1.2.1. RARELY DESIRABLE
1.2.2. SOMETIMES HELPS TO BRING UP A SHORT LINE OF TEXT
2. KERNING
2.1. ADJUSTING SPACE BETWEEN TWO LETTERS
2.2. METRIC KERNING
2.2.1. BUILT INTO THE TYPEFACE
2.2.2. INTENDED BY THE TYPE DESIGNER
2.2.3. LOOKS GOOD IN SMALL SIZES
2.2.4. CHEAP NOVELTY FONTS DO NOT HAVE IT
2.2.5. FOR THE TEXT
2.3. OPTICAL KERNING
2.3.1. DONE AUTOMATICALLY BY THE PAGE LAYOUT PROGRAM
2.3.2. ASSESSES THE SHAPES OF CHARACTERS AND ADJUSTS THE SPACING WHEREVER NEEDED
2.3.3. FOR THE HEADLINES
3. ALIGNMENT
3.1. JUSTIFIED
3.1.1. EVEN EDGES
3.1.2. CLEAN SHAPE
3.1.3. EFFICIENT USE OF SPACE
3.1.4. UGLY GAPS
3.1.4.1. NEGATIVE TRACKING TO FIT ADDITIONAL CHARACTERS
3.1.4.2. POSITIVE TRACKING TO EVEN OUT A LINE
3.1.4.3. HYPHENATION
3.2. CENTRED
3.2.1. SYMMETRICAL
3.2.2. CLASSICAL
3.2.3. EDGES UNEVEN
3.2.4. INVITATIONS, TITLE PAGES, TOMB STONES
3.3. RANGED
3.3.1. LEFT
3.3.1.1. LEFT EDGE IS HARD, RIGHT EDGE IS SOFT
3.3.1.2. ORGANIC FLOW OF LANGUAGE
3.3.1.3. THE RIGHT EDGE HAVE TO APPEAR RELAXED AND NOT REMIND OF A SHAPE
3.3.2. RIGHT
3.3.2.1. HARD TO READ
3.3.2.2. FOR THE MARGINAL NOTES, SIDE BARS, PULL QUOTES
3.3.2.3. UNUSUAL
4. HYPHENATION
4.1. BREAKS WORDS INTO ELEMENTS
4.2. VISUAL APPEARANCE OF THE LAYOUT
4.3. ISSUES OF READING
4.4. NOT FOR CHILDREN'S BOOKS
5. READABILITY
5.1. EASY
5.2. LOWER CASE
5.3. FUNCTIONAL
5.4. MODERN
6. LEGIBILITY
6.1. CLARITY
6.2. INDIVIDUAL TYPEFACE
7. SIZE
7.1. SMALL FONT IN CLEAR FACE CAN BE READABLE
7.1.1. CONTRAST BETWEEN BACKGROUND AND FONT
7.2. HEIGHT
7.2.1. POINT SYSTEM
7.2.1.1. 1PT=1/72IN OR 0.35MM
7.2.1.2. 12PT=1PICA
7.2.1.3. INCHES, MILLIMETRES OR PIXELS
7.3. WIDTH
7.3.1. TO PROTECT FROM OTHER LETTERS
7.3.2. NARROW OR WIDE
7.3.2.1. CHOOSE CONDENSED, COMPRESSED, WIDE OR EXTENDED
7.3.3. DO NOT DISTORT PROPORTIONS