Chapter 2 gives a brief history on typography to start with. It mentions how current methods of finding letter width and proportion were founded. It then gives definitions of the parts of a letterform. Chapter 2 then discusses the importance of proportion and ratios. It discusses what happens with words are expanded and shrunk and what happens to the proportion. Then, more definitions are given related to text.
Then, optical relationships within fonts are discussed. The book explains that mechanical and mathematical letterform construction can result in serious spatial problems because diverse forms within an alphabet appear optically incorrect. Pointed and curved letters extend slightly above or below the base and top lines to make their heights seem appropriate. Two-storied capitals must be a bit off center so they do not appear too large. Horizontal strokes are drawn slightly thinner than vertical strokes so the horizontal lines do not appear too thick. In letters where diagonal and vertical strokes meet, the opening must be widened to make the joint larger. Curved strokes are drawn slightly large in the midsection to appear even.
Since there is so much diversity in form in typographic font, all typographic elements must be integrated into a system that can be successfully combined into innumerable words. A well-designed typeface must have repetition of curves, verticals, horizontals, and serifs to being variety and unity to the typographic design.
Chapter 2 then explains how font is measured with picas, points, and inches. It discusses how a designer also considers the measurement of special ratios as well as the actual font measurements. Chapter 2 then goes on to explain how the weight of a font can create a whole series of alphabets. Most type families consist of many type weights. Changing proportion is another way to add typefaces. The rest of Chapter 2 explains various things like italics and elaboration.
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