Typography for Writers: How to Pick the Best Type for Writing

Typography is the art and technique of arranging type. This arrangement process involves selecting different typefaces, line lengths, point sizes, letter spacing, line spacing, and manipulating the space between letters (also known as kerning). The art of typography encompasses all of these design elements, the careful combination of which can enhance your written words’ legibility, readability, and overall visual appeal.

Though many people use the words “typeface” and “font” interchangeably, they are actually distinct ideas.

Typeface refers to a complete set of characters that are unified by a common design ethos. For instance, Helvetica, Garamond, and Comic Sans are all typefaces.

Fonts, on the other hand, are actually subsections of typefaces. The font refers to the size, weight and style of the specific typeface you’re using. Let’s say you’re writing a book in New York typeface, and you’ve chosen specifically to write in New York Condensed Extra Bold size 12. The “Condensed Extra Bold size 12” part—in other words, the style, weight, and type sizes of your typeface—is your font.

Typographers and type designers have their own universe of special terms, each of which refers to a specific part of a given letter. Understanding these basic elements of typography can help you decide precisely what typographic style you want to employ to grab your reader’s attention:

1. 1. Baseline: The line upon which the letters sit.
2. 2. Cap height: The vertical distance between the baseline and the top of the capital letters.
3. 3. X-height: The height of the body of the lowercase letter, located between the baseline and the cap height.
4. 4. Bowl: The curve-shaped section of the character that encloses the circular part of certain letters (such as a lowercase “a” or an uppercase “D”)
5. 5. Serif: The small outcrop that finishes off a letter’s stroke in certain typefaces (also referred to as a “foot”)
6. 6. Descenders: The longest part of a letter that descends below the baseline (such as the bottom of letters like “y” and “p”)
7. 7. Ascenders: The part of a letter that ascends above the font’s x-height
8. 8. Ligature: The stroke that unifies adjacent individual letters
9. 9. Stem: The base of a letter
10. 10. Spine: The curvy middle section of the letter “s”
11. 11. Cross bar: The bar that connects one side of the letter to the other (such as the middle part of the letter “B”)
12. 12. Counter: The white space in the middle of letters like “O” and “P”

Typefaces are divided into a few major type classifications. You don’t need to be an expert in graphic design to tell the difference, and understanding the nuances between typeface classifications can help you achieve the desired effect for your reader.

1. 1. Serif. Fonts that contain decorative strokes on a letter’s stem are referred to as “serif” fonts. These letter shapes can be found in common serif fonts such as Times New Roman and Garamond. Many novels are written in serif fonts, since the serifs result in clear distinctions between letters that make them easier to read over a long period of time.
2. 2. Sans serif. Sans serif fonts do not include the decorative embellishments on the base of the letterforms (the word “sans” means “without” in French). Common sans-serif typefaces include Arial and Verdana. These are more commonly found in web design, as sans serif web fonts tend to have a more modern aesthetic and look legible even at low resolutions.
3. 3. Blackletter. Blackletter typefaces (also known as Gothic or Old English typefaces) are defined by dramatic strokes and elaborate serif swirls. These typefaces are modeled after early manuscript writing, such as the typography design found in Gutenberg’s Bible.
4. 4. Script. Script typefaces are meant to model the fluid strokes of hand lettering and calligraphy. Graphic designers often use a script body text for formal documents like wedding invitations or diplomas.

Here are some tips to keep in mind during your typeface design process:

1. 1. Think about how your form can mirror your content. In her story “The Maze,” Joyce Carol Oates positions her text along the outer margins of the page, letting the font size get smaller and smaller as the sentences get closer to the center. Then, at the center, she ends her story with a two-word sentence. She uses the form to imitate the content, creating a clear resonance between the visual and textual elements of the work. Whole approaches to poetry, like “pattern poetry” or “figure poetry,” are based on using the visual orientation and typography of the words as another layer of expression.
2. 2. Consider the character of your typography. Typeface and font selection may seem arbitrary, but different fonts and typesettings can have a great impact on the character and emotion of your work. Font design comes with built-in associations on the part of the reader. For instance, serif fonts can convey stability, while script fonts can denote formality. Similarly, introducing new fonts and font styles can establish a new emotional reality in your written work, in the same way that typing in all-caps can change the fundamental understanding of what is being read.
3. 3. Make sure your text is legible. It’s tempting to make bold choices with your fonts or type scale, but at the end of the day you want your reader to be able to understand your writing. If you are writing for print, consider using a legible serif font. If your audience will primarily be reading your work on the web, try a sans serif. Sometimes, the best adjustments you can to your text are subtle. For instance, if the text of your body copy seems too condensed, you can increase the vertical space between your lines of text by increasing your leading. These simple adjustments can improve the overall readability of your work.

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