Use Traditional / Classical Style Typography
Excerpts from: The Elements of Typographic Style by Robert Bringhurst
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2 Rhythm & Proportion
2.1 Horizontal Motion
2.1.1 Define the word space to suit the size and natural letterfit of the font
2.1.2 Choose a comfortable measure
2.1.3 Set ragged if ragged setting suits the text and page
2.1.4 Use a single word space between sentences
2.1.5 Add little or no space within strings of initials
2.1.6 Letterspace all strings of capitals and small caps, and all long strings of digits
2.1.7 Don’t letterspace the lower case without a reason
2.1.8 Kern consistently and modestly or not at all
2.1.9 Don’t alter the widths or shapes of letters without cause
2.1.10 Don’t stretch the space until it breaks
2.2 Vertical Motion
2.2.1 Choose a basic leading that suits the typeface, text and measure
2.2.2 Add and delete vertical space in measured intervals
2.3 Blocks & Paragraphs
2.3.1 Set opening paragraphs flush left
2.3.2 In continuous text mark all paragraphs after the first with an indent of at least one en
2.3.3 Add extra lead before and after block quotations
2.3.4 Indent or center verse quotations
2.4 Etiquette of Hyphenation & Pagination
2.4.1 At hyphenated line-ends, leave at least two characters behind and take at least three forward
2.4.3 Avoid more than three consecutive hyphenated lines
2.4.5 Hyphenate according to the conventions of the language
2.4.6 Link short numerical and mathematical expressions with hard spaces
2.4.8 Never begin a page with the last line of a multi-line paragraph
3 Harmony & Counterpoint
3.1 Size
3.1.1 Don’t compose without a scale
3.2 Numerals, Capitals & Small Caps
3.2.1 Use titling figures with full caps, and text figures in all other circumstances
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Start here use tabs to create something similar to this…
OR? use traditional / classical proportions and layout…
Other approaches:
Michael Mina Cooks
https://www.behance.net/gallery/815787/-Dale-magazine
Part Two: Read and then, typeset a text below using tabs in Indesign
Use Modern / Swiss Style of Typesetting
important: treat ALL details correctly as the text describes…
Excerpts from: The Elements of Typographic Style by Robert Bringhurst
Rhythm & Proportion
2.1
An ancient metaphor: thought is a thread and the raconteur is a spinner of yarns – but the true storyteller, the poet is a weaver. The scribes made this old and audible abstraction into a new and visible fact. After long practice, their work took on such an even, flexible texture that they called the written page a textus, cloth.
Another ancient metaphor: the density of the texture in a written or typeset page is called its color. This has nothing to do with red or green ink; it refers only to the darkness or blackness of the letterforms in mass. Once the demands of legibility and logical order are satisfied, evenness of color is the typographer’s normal aim. And color depends on four things: the design of the type, the spacing between the letters and the spacing between the words, and the spacing between the lines. None is independent of the others.
2.1.2 Choose a comfortable measure
Anything from 45 to 75 characters is widely regarded as a satisfactory length of line for a single-column page set in a serifed text face in a text size. The 66-character line (counting both letters and spaces) is widely regarded as ideal. For multiple column work, a better average is 40 to 50 characters.
2.1.5 Add little or no space within strings of initials
Names such as W.B. Yeats and J.C.L. Prillwitz need hair spaces, thin spaces or no spaces at all after the intermediary periods [full stops]. A normal word space follows the last period in the string.
2.1.6 Letterspace all strings of capitals and small caps, and all long strings of digits
Acronyms such as CIA and PLO are frequent in some texts. So are abbreviations such as CE and BCE or AD and BC. The normal value for letterspacing these sequences of small or full caps is 5% to 10% of the type size.
Many typographers like to letterspace all strings of numbers as well. Spacing is essential for rapid reading of long, fundamentally meaningless strings such as serial numbers, and is helpful even for shorter strings such as phone numbers and dates.
2.1.7 Don’t letterspace the lower case without a reason
A man who would letterspace lower case would steal sheep, Frederic Goudy liked to say. The reason for not letterspacing lower case is that it hampers legibility. But there are some lowercase alphabets to which this principle doesn’t apply. Moderate letterspacing can make a face such as lowercase Univers bold condensed more legible rather than less.
2.1.10 Don’t stretch the space until it breaks
Lists, such as contents pages and recipes, are opportunities to build architectural structures in which space between the elements both separates and binds. The two favourite ways of destroying such an opportunity are setting great chasms of space that the eye cannot leap without help from the hand, and setting unenlightening rows of dots that force the eye to walk the width of the page like a prisoner being escorted back to its cell.
NOTE: The dot leader approach to which Bringhurst alludes is the default presentation for tables of contents in Microsoft Word.
2.3.1 Set opening paragraphs flush left
“The function of a paragraph indent is to mark a pause, setting the paragraph apart from what precedes it. If a paragraph is preceded by a title or subhead, the indent is superfluous and can therefore be omitted.”
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