Often we are customary to coexist in newspapers with little orthodox alterations of the sources. Typography, logos, holders and texts expanded or condensates are from the model-making program that modifications in the signs with the object bring about, perhaps, to cover a space determined in the page or to add a “modern” style to the newspaper. Each time a typography is modify inadequately, we are placing to the readers lenses that deform their vision at the time of reading the newspaper. Paradoxically big part of them puts as well other lenses to read better.
What is the sense of the design of sources for newspapers but the one of a good one?
To respect the design of an original typography is the anticipated base of that chosen source is the suitable one. If we must force it condensing it or expanding it means that it is not the source that we needed and we will have then to look for another one or to order an expert that designs the necessary adjustments or an adapted typesetter variable.
Not to force the typographies is not an esthetic dogmatism: most of a newspaper is pure typography and when facing to us a page our eyes scan enormous volumes of typesetter signs that soon are remean transforming itself into the news. It is clear that the typesetter excellence is basic for a good newspaper.
Each variable of a good source, which ever it is, is thought and designed of way like their proportions, their interletter and interword, act like part of a system for which they were thought. It is why the typesetter election does not have to be only one question of taste but of operation.
When distorting arbitrarily we are killing them its original design, thus, besides harming the legibility of the reader, are breaking with the typesetter system of our means and attempting against the quality of the same
When realising a condensation or a forced streching, the vertical and horizontal outlines loses the proportion between everyone.
In the image we see in black the condensate variable original and in red the forced one from the model-making programs, the rectangles in cyan demonstrate the deformations to us undergone with respect to the original outlines.
In the letter ” a” we can clearly see the difference between the adjustment of the designed sign and the stretched one, because not only the vertical outlines are distorted and horizontal but the curves and the joints lose their balance and its form.
In color cyan the original design and in red forced, on each of them in line black normal version of the source. In this example we can appreciate the difference in an example of titling with a variable of Univers condensed and extended of original source, with indicator in back water and the condensate and extended version realised stretching the typography, with indicator in red.