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Explore the numerous type options, type-related features, and type-specific preferences of Adobe InDesign. Using practical, real-world examples, instructor and designer Nigel French dissects the anatomy of a typeface and defines the vocabulary of typography. The course moves from the micro to the macro level, addressing issues such as choosing page size, determining the size of margins, adjusting number columns, and achieving a clean look with baseline grids. This course takes you from laying out a page to delving into the hows and whys of typography.
Relatively rare though they are, there are some typefaces that give you the option of different optical sizes, and this is an example, it's called Warnock Pro. It's not one of the fonts that comes with InDesign as standard. So, you may not have this, but I wanted to show you this anyway. We have here four different optical sizes, caption, regular, subhead, and display. So that's going from smallest to largest. And in terms of their presence on the page, the smaller versions are a little bit heavier so that they don't get lost at small type sizes, and the display versions are a little bit more finely sculpted so that they don't look too clunky when used at large sizes.
So, you should choose whatever is appropriate for the size that you're working at. So if it's 8 point or below, you want caption, if it's above that and up to about say 13 point, then you want regular. Anything from 13, 14 point up to say 24 point would be subhead, and anything bigger than that would be considered display. If we just take a look at them on the menu, you can see that this particular typeface, Warnock Pro, comes in a number of weights, so we have Light, Regular, Semi bold, Bold, and each of those weights comes in a specific optical size.
So you have a tremendous range of choice. In some ways, perhaps, an overwhelming amount of choice, but it really does expand your range of options if you are working in a variety of different sizes. In a similar vein, the same sort of principle, there are other typefaces that have these things called Titling Alternates. And one such example is Adobe Garamond Pro, which is part of the standard font set that comes with InDesign. Now, I have just typed this out here. This is Adobe Garamond Pro, it's regular, this is not with Titling Alternates turned on.
So what I'm going to do is I'm going to select that, and then I'm going to duplicate it down below, holding down the Alt key and the Shift key just to drag away from it. And then I'm going to select the type within the frame and come up to my OpenType menu where I will switch to Titling Alternates. You may have just noticed something very subtle happen. The spacing slightly changes, and the characters are a little bit more finely drawn than the regular characters.
This is a difficult thing to represent on screen, and you're only really going to appreciate the difference when these are printed out at large sizes. I was looking at this earlier on, I found something quite interesting, and that is that the Automatic Kerning varies between the regular and the regular with Titling Alternates turned on. Between the T and the I, we can see we have -28 for the regular, but for the Titling Alternates, it's now gone to -29. Okay, a very subtle difference. I think this is because I turned on Optical as my chosen Auto Kerning method.
If I were to switch that to Metrics, we see we do get some rather unfortunate spacing happening with the Titling Alternate version beneath, where there is no kerning adjustment between the T and the I. So this is one of those rare cases where I think Optical Kerning is going to be preferable, and so that we're comparing like with like, I'm going to use Optical Kerning for both. And then just to demonstrate there is very subtle difference in the shapes of these characters, I'm going to apply the color red to the top example, and then I'm going to move this one exactly on top of it.
We can see right there that we're seeing some of the red behind the black. Now, that's slightly misleading because most of the difference is coming from the spacing rather than the shapes of the characters themselves. But if we disregard the first line and look at the second line, we can see that especially in the case of the A, we're seeing the shape of the original outline behind the more finely sculpted Titling Alternate. Now, it's relatively rare that you're going to need these, and there are relatively few fonts that even offer this as an option.
But if you are working with display type at large sizes, then you may want to consider if you have the option available using Titling Alternates.
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