Once the type studies are finished, you can decide on the best option for typeface combinations, point sizes for various copy elements, and leading-then start applying those elements to the entire design. Type studies allow you to compare options that could be suitable for your project, as well as determine appropriate weights for different applications, point sizes, and leading sizes. Once the type studies are finished, you can decide on the best option for typeface combinations, point sizes for various copy elements and leading-then start applying those elements to the entire design. Type studies can also save quite a bit of time-it is much easier to work with small samples of copy rather than having to apply different typefaces and properties to an entire project, then having to change it again when you need to try a different typeface. In-depth type exploration allows you to figure out not only the most effective combination of typefaces but also elements such as kerning and leading. Type studies typically include several options for typefaces, as well as an exploration of different sizes and weights of any given typeface and different parts of the text (body copy/headline/etc.) typeset in those different options. These allow you to experiment with different typeface combinations before settling on a final choice, which you will then finesse and tweak. Once those elements are established, it’s time to do some type studies! Type studies For most projects, this could include the body copy, headline and some sort of caption. To determine how effective the leading is, you must first figure out the different elements of your typography-heavy layout that will require different leading settings-start by reading the copy you’ve been provided.

In most instances, you would use normal or positive leading. Positive leading is larger than the typeface’s point size and is written as Helvetica 10/14. Negative leading is smaller than the typeface’s point size and is written as Helvetica 10/8. Normal leading is equal to the typeface’s point size and is written as Helvetica 10/10. While it’s the recommended minimum to follow, it’s important to remember the following terminology. When you bring body copy into a program such as InDesign or Illustrator, the default starting size for leading is roughly 2 points more than the point size-this measurement is sometimes referred to as default leading. When you specifying a typeface’s measurement and leading, you’ll write Helvetica 10/12-the first number is the point size and the second number is the leading size. The unit of measure for leading in most programs is points-same as for measuring type size. The x-height and length of the ascenders/descenders in a particular typeface are two of the most important factors when figuring out the leading. The term stuck around and while the olden days of typesetting by hand are long gone, the terminology and principles still remain! To adjust the space between the lines so that the design could breath more, typesetters added thin strips of lead. In the early days of printing and typesetting, all typography was typeset by hand, using individual characters made of wood or metal.

In the context of digital design, such as apps and websites, leading may be referred to as line spacing or line-height. Leading is measured from baseline (the imaginary line upon which a line of text rests) to baseline.

Leading is the space between multiple lines of type, which can be as few as two lines of type to, well, as many lines as needed. Among the elements that require a lot of finessing is leading, one of the unsung heroes behind every typography-heavy piece of design. When it comes to typography, it is the attention to detail that makes a difference in how readable and legible that piece of typography is. In graphic design, quite a few decisions happen behind the scenes that clients may not grasp the importance of, yet have a huge effect on the outcome of a design.

Helvetica does not equal sign