Q. Can you explain the “three-letter approach” to kerning?
A. When I first began learning about typography, the concepts of kerning and proper letterfit were mysterious and challenging. Then Ed Benguiat taught me a way to better see spatial relationships between letters when kerning a headline or any display type.
As I discussed in my “Kerning Principles” column, the goal of kerning is to create even color, texture, and balance between all characters. All character pairs should theoretically have the same negative space between them. But analyzing the spacing of many characters and/or several words at once can be overwhelming without a strategy. That’s where the three-letter technique serves you well.
The technique goes like this: When looking at a headline, start from the beginning and isolate three letters at a time, either by blocking them off with your hand, two pieces of blank paper, or, as you become adept at it, just mentally.
If you’re looking at a computer screen, enlarge the type as much as necessary to get a more accurate representation of the actual outline of the characters as well as the space between them. Just make sure you can still see the entire word. Look at the volume of negative space between each pair of letters and determine if they’re relatively even.
Figure 1. This word, commonly seen in headlines and ads, is a tough one to space properly. By isolating three characters at a time, it becomes easier to see the unbalanced negative spaces, which can then be adjusted for more even overall spacing, as see in the bottom example.
If the negative spaces are noticeably different, you might need to open or close one or both letter pairs a bit. But before you make any changes, use the three-letter technique for the entire word or several words to get a feel for the rhythm, flow, and balance of the headline. The optimum overall spacing depends on the typeface (serif, sans, and overall design characteristics) and on the intended size of the actual type.
Once you get a sense of the overall rhythm of the spacing, begin to open or close some of the worst spacing with your software’s kerning feature. Then step back, take a look, and go through the process again, adjusting as much as necessary to create even typographic color. Print out the type often during this process for a more accurate representation.
Figure 2. All cap settings, especially those with diagonal letterforms such as A, V and Y, are often poorly spaced. The three-letter technique makes it easier to find the offending combinations, which can then be opened or closed for a better overall result.
Note that certain character pairs, such as Ty and rk, always have a lot of negative space between them. Don’t over-tighten them, and don’t use them as a guide for the rest of the character combinations.
To see more illustrations of kerning principles, read my “Kerning in Action” column. Once you become adept at this technique, kerning a headline will undoubtedly become faster and easier, and you will be able to kern without fear.
Confused about kerning’s definition? Read my account of the word’s evolution.
This article was last modified on July 1, 2022
This article was first published on September 15, 2011
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To all who expressed extreme disagreement with my final spacing solution: If you read the article carefully, you’ll understand why I did what I did as it relates to the principle of equal negative spaces, which is one that some designer are not aware of. Being a designer for many years does not automatically translate into understanding the right way to kern. Having said that, there is no one right way but a range of solutions that follow the basic principles. I was lucky enough to have learned these principles from some of the great typographers and designers of our time, including Aaron Burns, Ed Benguiat, and Herb Lubalin.
Not to sure what you consider the correct way to space. My opinion – maybe you should take a second look at some of you overlapping spacing which to me seems crowded and not really any easier to read, some even harder to read. Just my thoughts after after 23 years of designing.
I always turn my type upside down and mirror image it before kerning. I teach this to my students. It’s much easier because you are no longer looking at characters but the positive and negative shapes. Kern it, then mirror it back and turn it right side up! Easy! KG
“If you’re looking at a computer screen, enlarge the type as much as necessary to get a more accurate representation of the actual outline of the characters as well as the space between them. Just make sure you can still see the entire word.”
It’s actually easier to see evenness and unevenness in letterspacing when all three letters are in your range of vision without moving your eyes. I would caution against enlarging beyond the size of the examples on this page.
You’re the best.
Thanks for sharing the wisdom of the Masters with us.
…I hope the “HEAVENLY” illustration wasn’t intended as a before-and-after example. In the last “HEAVENLY” the spacing between H-E and A-V is dreadful! It’s a great technique, though, which I think many of us have employed without realizing it. Thanks!