Marks and Measures A to Z

Section and paragraph.

Items placed on two axes split into four quadrants.

A chart drawn with false depth.

End of story, end of press release.

Standard paper sizes. A4 is 210 by 297 mm. Letter is the US size.

A change the client asks for after proof. The client pays.

What can be seen before folding or scrolling.

One colour kept back for emphasis.

How usable a design is for people with disabilities. “a11y” counts the eleven letters in between.

Sections that expand and collapse.

A slide title written as a full-sentence finding, such as “Usage fell 30% after the update”

Material added after publication.

Money paid to the author before publication, against future royalties.

Clustering research notes into themes.

A visual cue to how something can be used.

A closing note about the book, and a closing scene after the main story.

A slide listing the sections to come.

A prominent message about something that needs attention.

Elements lining up along shared edges or centres.

A written description of an image for screen readers.

An effect played on objects within a slide.

A note on the chart pointing out a feature.

A fee some open-access journals charge authors.

How open a partly enclosed counter is (c, e)

Slides held after the end for questions and detail.

Author query: a question the editor puts to the author.

An early copy sent to reviewers before publication.

The working area in a design tool. An artboard is one page or screen on it.

The stroke that rises above lowercase height (b, h), or drops below the baseline (g, y)

The ratio of width to height.

Any reusable file in a design: image, icon, logo, font.

A recorded reading of a book.

A person’s photo or initials in a circle.

The reference line along the bottom (x-axis) or side (y-axis)

The name and unit of an axis, and the small marks along it.

A ragged edge with deep bites or accidental shapes.

A small count or status marker on another element.

Even, or deliberately uneven, spread of visual weight.

Visible stripes in what should be a smooth gradient.

A message strip across the top of a page or section, usually dismissible.

Horizontal bars, or vertical columns. Some people use “bar chart” for both.

The line most letters sit on.

A horizontal grid every line of text snaps to, so lines align across columns.

Works consulted or recommended, vs only works actually cited.

Artwork extended past the trim edge, usually by 3 mm, so no white edge shows after cutting.

A longer quotation set as its own indented block.

The description on the back cover, and praise quoted from others. In American usage “blurb” often means the praise.

Standard text reused unchanged.

Title, contributors, keywords and category codes that let shops and libraries find a book.

The pitch for a non-fiction book: argument, audience, competing titles, outline and sample chapters.

The invisible rectangle around any object, with handles to resize it.

Median, spread and outliers in one figure.

The rules for using a brand’s logo, colours, type and voice.

The trail showing where a page sits in a site, such as Home > Courses > Maths. For the slide sense, see B7.

A screen width at which a layout changes.

The written request setting out purpose, audience, content and constraints.

A newsroom’s list of stories planned for an edition.

A compact bar measured against a target and bands.

A marker for list items, and a list within a list.

The main point hidden deep in the text. The same failure as anticlimax in Instruments and Moves.

The main action, a lesser action, and an outline-only button.

The author’s name.

“Circa”: approximately, for dates.

The line or button that tells the reader what to do next.

Text boxed, coloured or flagged so it stands apart.

Final artwork needing no further changes. Originally, artwork ready to be photographed for printing plates.

The height of capital letters.

Text attached to an image or chart. “Cutline” is the newsroom word.

See B4.

Testing how users group content, and whether they can find things in a proposed structure.

Insert here.

Content that rotates through a single slot.

Sewn or glued signatures fixed into a hard cover.

Lines centred on a midline.

“Compare”: points to a contrasting source.

The full range of glyphs a font contains.

The heading of a chart. Strongest when it states the finding.

Decoration that carries no data.

Choose any number of options, vs choose exactly one.

A small rounded label, often removable or used as a filter.

A map shaded by value.

Cataloguing in Publication: library catalogue details printed on the copyright page.

Standard formats for citing sources.

A fix for something accurate but misleading.

A version with all changes accepted and markup removed.

The minimum empty area required around a logo.

Generic stock cartoons and symbols.

Remove the space.

Cyan, magenta, yellow and black ink. How most printers make colour.

Paper with a smooth finish that keeps colour bright, or without.

A note on the fonts, printing and production of a publication.

Colours that change between screen and print, usually duller in print.

Colour used as the only signal, such as red and green for status.

A vertical division of the grid.

Finds and signs books for a publisher.

Short for comprehensive: a near-final mockup for sign-off.

A reusable building block such as a button, card or header.

Blotches and halos from saving an image at low quality.

Like elements treated alike.

A box that holds related content. A card is a self-contained one.

A date after which content can’t change, though design and build continue.

Observing people in their own setting, and having them log experiences over days or weeks.

A colour proof the printer agrees the final print will match.

Visible difference in size, weight, colour or lightness.

The difference in lightness between text and background, as a ratio.

Any written text in a design. “Body copy” is the main running text.

The date final text is due to the designer.

The people who do the copyedit and the proofread. For what each covers, see Instruments and Moves C4.

Editing text so it fits the space available.

The reverse of the title page, with rights, ISBN, edition and printing details.

How rounded a shape’s corners are.

A published fix for a factual error.

A correction of the author’s error. The editorial version of AA against PE.

The enclosed or partly enclosed space inside a letter (o, e)

“Correct as written”: tells the copy desk that an odd spelling or fact is intentional. Never printed, unlike sic.

Standard licences such as CC BY that set how others may reuse a work.

Who made or owns an image.

Trimming the edges of an image to change its framing.

Small lines at the corners showing where to cut.

An image with its background removed.

A light-on-dark colour theme.

A design that tricks users into choices they didn’t intend, such as a hidden opt-out.

A screen of several charts and figures tracking performance.

The value printed on or beside a data point.

Rows and columns of records, often sortable and filterable.

The share of a chart’s ink that shows data (Tufte, 2001)

A calendar control for choosing dates.

Where and when a piece was written.

A set of slides.

One or two summary lines under the headline. Two meanings: “deck” also means a set of slides.

Who the book is for, and thanks to those who helped.

Delete.

When the final manuscript is contractually due.

How much is packed into an area.

Inconsistencies that pile up when quick fixes bypass the system.

A shared set of components, styles and rules for building consistent products.

A named value, such as a colour or spacing size, shared between design and code.

Rejected by the editor without being sent for review.

The person who does the structural edit. See Instruments and Moves C4.

A custom shape cut from paper by a metal die.

A series name placed on the data itself instead of in a legend.

A display face is drawn for large sizes. A text face is drawn for reading at body size.

An image stretched or squashed out of proportion.

Bars centred on a midpoint, with agreement one way and disagreement the other.

A permanent link for a publication, and a permanent identifier for a researcher.

Values shown as dots, and two values for each item joined by a line.

Two spaces after a full stop, a typewriter habit.

Dots per inch (a printer’s output) and pixels per inch (an image’s density). Often used interchangeably.

A panel that slides in from the edge of the screen.

Technical locks restricting copying of ebooks and audiobooks.

An enlarged first letter of an opening paragraph.

A soft shadow behind an object to lift it off the page.

A list that opens from a single control.

Two different value scales on one chart.

Straight quotes where curly ones belong.

A blank or rough physical mock-up showing size, folding and binding.

An image printed or tinted in two colours.

A change made by the editor rather than the author.

Content pressed too close to the page or slide edge.

A note explaining a change or adding context.

The editor’s overall response to a draft, with the main revisions needed.

Words left out of a quotation.

An em equals the current type size. An en is half that. Both also name a dash of that width.

Not to be published before a set date and time.

Fonts stored inside a file so it displays correctly anywhere.

Says who made the italics in a quotation.

What a screen shows when there’s nothing in it yet.

A quotation placed at the start of a work or chapter.

Vector formats used in print and by Adobe Illustrator.

The standard ebook format, either reflowing to fit any screen or keeping a fixed page design.

A correction of the publisher’s or printer’s error.

What a component shows when something has gone wrong, and messages beside the field at fault.

“And others”: shortens a list of authors.

Content that doesn’t date.

Saving a design out to a format for use elsewhere.

A short label above the headline naming the section, topic or category.

Common scanning routes. An F on text-heavy pages (Nielsen, 2006), a Z on sparse ones.

Legal exceptions allowing limited use of copyright material without permission, which vary by country.

Bold or slant generated by software when the real style isn’t installed.

“And following pages”

Whether an object separates clearly from its background.

Words that put a layer between reader and experience: “she saw”, “he felt”, “they noticed”

The finished files for reproduction. In print, “artwork” includes the text.

A page-by-page map of a publication, showing what goes where.

Lines aligned on the left, uneven on the right.

Lines aligned on the right.

Where the eye lands first.

The visible outline that shows keyboard position.

The page number, with any text set beside it.

One style or file of a typeface, such as Helvetica Bold. Two meanings: in everyday use, a synonym for typeface.

A missing font silently replaced by another, which shifts the layout.

A note at the foot of the page, or collected at the end.

Written by someone else, written by the author about the book, the opening of the content itself, and an opening scene set apart in time.

Pages before the main text (title, contents, foreword) and after it (appendices, references, index)

New titles, and older titles still in print.

Content that runs right to the edge of the page or screen.

Typeset text checked before it is laid out into pages.

Horizontal bars showing tasks across a timeline.

A draft deck of slide titles and empty boxes, written before the analysis is done.

Writes a book published under someone else’s name.

A raster format with limited colours that supports simple animation.

Definitions of terms, and an alphabetical guide to where topics appear.

Any single character shape, including symbols and alternates.

A gradual blend from one colour to another.

Shades of grey only.

The invisible structure of columns, rows and margins that places everything (Müller-Brockmann, 1981)

Background lines across the plot area.

Several objects joined so they move together.

Items read as a set because they’re close, alike or share a boundary.

Paper weight in grams per square metre. Office paper is about 80 gsm.

Non-printing lines and measuring bars used to place elements.

Two meanings: the space between columns, or the inner margin where pages meet at the spine.

The thinnest printable line, about 0.25 pt.

The first page bearing only the title, and the page with title, author and publisher.

The three-line icon that hides navigation behind a tap.

Passing a finished design to the people who will build or print it.

A printed or PDF version given to the audience.

Every line indented except the first.

Quotes and bullets placed just outside the text edge so the edge looks straight.

Enter starts a new paragraph. Shift+Enter breaks the line within the same paragraph.

A rigid cover, and a soft cover. Trade paperbacks are larger, mass-market ones smaller.

A small circle filled by quarters to show a rating.

Switching point of view between characters within a scene.

Real heading styles rather than bold text, so readers can jump between sections.

The main title of a piece or page.

A grid of cells coloured by value.

Headline, deck and paragraph, spelt to look wrong on purpose.

The large lead image or banner at the top of a page.

The lead image of a piece.

An expert review of a design against a list of usability principles.

A six-character code for a screen colour, such as #1F3FD0.

The order of importance the eye picks up.

The distribution of one measure, shown as adjoining bars. Not the camera histogram of Shots and Cues B7.

Kept back for later use.

The standard states of an interactive element: pointed at, selected by keyboard, being pressed, unavailable.

The colour family: red, blue, green.

Three styles of sans serif: based on pen strokes, on circles and straight lines, or on early industrial type.

Three marks of different length. Hyphen for compounds, en dash for ranges (2019–2026), em dash for a break in a sentence.

Rules for splitting words at line ends.

“That is” restates. “For example” gives instances.

“In the same place” and “in the work cited”. Footnote shorthand.

A small symbol standing for an action or idea.

A family of icons drawn in one consistent style.

A drawn image, as opposed to a photograph.

Average citations per article in a journal over two years. Widely used, widely criticised.

Arranging pages on a large press sheet so they fold into the right order.

A brand name under which a publisher issues a line of books.

Text set in from the margin. A first-line indent marks a new paragraph.

Compiles the index, usually from the final proofs.

A graphic that combines data, images and text to explain a topic.

International Standard Book Number: a unique 13-digit identifier for each edition and format.

Italic, roman (upright) and bold.

Italic letters are redrawn in a cursive form. Oblique letters are upright ones slanted.

Stair-stepped edges on curves and diagonals.

What a user is trying to get done, independent of any product.

A user’s experience over time, and the behind-the-scenes processes that support it.

A compressed raster format suited to photos.

Where a story continues on a later page.

Titles, logos or page numbers that shift position between slides.

Lines stretched to align on both edges.

Spacing between one specific pair of letters, such as AV or To.

A thin outline around an image or box.

Two meanings: a label above the headline, or the closing line of a story.

Cut even favourite passages if the work is better without them.

Drop a piece entirely.

An image faded so text can sit over it.

A form field’s name, its guidance, and the hint inside it that vanishes as you type. Placeholder text should never stand in for a label.

Three or more lines in a row ending in hyphens.

The stacking order of objects, front to back.

A reusable slide arrangement within the master, with placeholders for title, text and images.

Lowercase, uppercase, small caps.

The distance from one baseline to the next. Pronounced “ledding”, after the lead strips once used.

A deck written to be read without a presenter.

The opening sentence or paragraph. Spelt “lede” to avoid confusion with lead, the metal.

The requirement to give copies of published works to the national library.

The guide that matches colours or symbols to series.

How easily individual letters can be told apart. A property of the typeface.

How large an effect looks in the graphic, divided by how large it is in the data (Tufte, 2001)

Two letters joined into one glyph, such as fi.

An enlarged image or video shown over a dimmed page.

Points joined by a line.

The web and app term for leading. Measured slightly differently, same idea.

Numerals that sit at cap height, or that rise and fall like lowercase letters.

Links that describe where they go. “Click here” fails this.

An image referenced from outside the file, or stored inside it.

Represents authors, sells their work to publishers and negotiates contracts.

Low fidelity (rough) or high fidelity (close to final)

No further changes accepted.

A fixed arrangement of logo elements, or of two logos placed side by side.

The visual mark identifying an organisation.

A logo that is a symbol, or one that is the name set in type.

Dummy Latin-like text used as a placeholder.

Compression that throws away detail to save space, or keeps all of it.

Press set-up time, and the sheets wasted during it.

The author’s text of a book or article before it is typeset.

The space between content and the edge of the page or screen.

Corrections written onto a proof or file.

A shape that shows only part of an image, without deleting the rest.

Two meanings: the title block at the top of a publication, or its list of staff.

Surface finishes, and a protective film laid over a print.

Line length, counted in characters.

The pre-digital board of assembled artwork. The word survives in older print workflows.

The small words of an interface: buttons, hints, errors and confirmations.

The smallest size a logo may be reproduced.

Ink plates out of line, leaving coloured fringes.

Artwork that stops at the trim edge, leaving white slivers after cutting.

Images or fonts the file points to but can’t find.

A static, styled picture of how the final design will look.

A window that blocks the page until the user responds.

One cell of a grid made of both rows and columns.

A design built from shades of one colour.

A scholarly book by one author or team, and a collection of chapters by different authors.

A typeface where every character takes the same width.

A collage of images, colours and type showing the intended look and feel.

Icons or links that give no clue where they lead until clicked.

No date given.

The main menu along the top, or down the side.

“Note well”: flags something not to miss.

Empty space that forms a shape of its own.

Greys, off-whites and near-blacks that carry most of a layout.

Elements that compete for attention without adding meaning.

A space that won’t split two words across lines.

A message about an event, inside the app or pushed to the device.

The paragraph that says why the piece matters.

Press printing from plates (economical for large runs), or direct from file (economical for small runs)

The first-run experience, and a pointer that highlights one feature for a new user.

How see-through an element is.

Free to read: on the journal site often for a fee, in a repository, or free to both readers and authors.

Font file formats. WOFF is the web version.

Adjusting what looks aligned rather than what measures aligned.

The first line of a paragraph stranded at the bottom of a page or column.

No longer available from the publisher, and the rights returning to the author as a result.

Text converted into vector shapes, so the font is no longer needed.

The dimmed layer behind a modal or drawer.

Ink printed on top of another ink, or onto a gap left in it.

Extra copies printed beyond the order.

Text that doesn’t fit its frame and is hidden from view.

Round letters drawn slightly beyond the baseline and x-height so they look the same size as flat ones.

Collecting a layout with all its fonts and linked images into one folder.

On screens, the space inside an element’s boundary. Margin is the space outside it.

Text checked in its final page layout.

Controls for moving through pages of results.

The set of colours a design uses.

A named set of formatting applied in one click. Change the style and every instance changes.

Final approval to print, often signed at the press check.

“Throughout”: the topic appears across the cited work.

The collection where a design system’s components are kept.

A fixed-layout file that looks the same on any device.

A print-ready PDF standard that locks fonts, colour and bleed.

A mistake made by the printer or typesetter. The printer pays.

Expert review where reviewers are anonymous, both sides are anonymous, or identities are shared.

Written consent to reproduce someone else’s text, image or data.

A composite profile of a type of user, built from research.

Twelve points, or one-sixth of an inch.

A simple figure showing an object or person, often used in rows to show quantities.

A circle divided into slices of a whole.

Screen units. A pixel is one screen dot. A rem is a multiple of a web page’s base text size.

Built to match the design exactly, to the pixel.

Visible square pixels from an enlarged raster image.

A temporary box or image marking where real content will go.

A writer who plans the structure first, and one who writes “by the seat of their pants”

A raster format with sharp edges and transparent backgrounds.

The unit of type size, 1/72 of an inch.

Who tells the story: “I”, one character’s view in the third person, or an all-knowing narrator.

A small panel anchored to the element that opened it.

Upright or sideways orientation.

All the work between the final file and the printing plate.

A document or deck sent for reading before a meeting.

A journal that charges authors without providing real peer review or editing.

An automated check of a file for missing fonts, low-resolution images and colour problems.

The version before review, the accepted version before typesetting, and the final published version.

The presenter’s screen showing notes, the next slide and a timer.

The client checks the first sheets at the press before the full run.

In branding, the main colours and the supporting ones.

The mark for feet, inches or minutes (′ ″). Often confused with quotes.

The number of copies printed.

The full specification of a job: size, stock, colours, quantity and finish.

Printing copies only as they are ordered.

A test copy for checking before the full run.

A clickable or working model used for testing.

Closeness that signals two things belong together.

The official release date.

Promotes a book to media and readers.

A short extract from the text, enlarged to catch the eye.

Writing so ornate it draws attention to itself.

A one-page pitch to an agent or editor.

Values on spokes from a centre. Usually harder to read than a bar chart.

The uneven edge of unjustified text.

An image built from a fixed grid of pixels. Blurs or blocks when enlarged.

How comfortably text can be read at length. A property of how it’s set.

The order a screen reader follows through a page or slide, which can differ from the visual order.

The route the eye takes through the page.

The right-hand page and the left-hand page.

Two meanings: a document comparison showing changes (legal and policy), or a design annotated with specs (B9)

A design marked up with exact sizes, spacing and colours for building.

How precisely the separate ink plates line up.

Another printing of the same text, vs a revised version with substantial changes.

The number of pixels in an image, or pixels per inch at a given size.

A layout that adapts to the screen it’s viewed on.

Withdrawal of the whole piece.

Unsold copies sent back by bookshops, and surplus stock sold off cheaply.

Light text on a dark background.

An invitation to revise, with the scale of changes needed.

A proof showing the last round of corrections was made.

Red, green and blue light. How screens make colour.

Regular, predictable spacing or repetition.

Black built from all four inks for a deeper result on large areas.

Gaps between words that line up down a block of justified text.

The author’s share of each sale, and the point when royalties exceed the advance.

A straight line used to divide or emphasise.

Join to the previous paragraph, or start a new one.

A title or section name repeated at the top or bottom of each page. Word calls them header and footer.

A single word alone on the last line of a paragraph.

Stapled through the fold, or glued into a flat spine.

The zone guaranteed to show on any screen or printout.

One to three chapters sent with a proposal.

Flows between stages, drawn with widths proportional to volume.

A typeface without serifs.

How intense or grey a colour is.

Size relative to other elements.

Points placed by two values.

A gap between sections within a chapter, and the ornament marking it, such as three asterisks.

A typeface that imitates handwriting.

The search input, and the controls that narrow results by category.

A slide marking the start of a new section.

Publishing at the author’s own cost and control, and author-funded publishing with a publisher’s services.

One set of related values plotted together, such as one line.

A small finishing stroke at the end of a letter. Also a typeface that has them.

“Thus”: the error is in the original, not the editor’s.

Self-contained supporting content beside the main text.

Groups of pages printed on one sheet and folded together before binding.

A grey outline of a page shown while its content loads.

Serifs drawn as thick, square blocks.

The parent slide that controls fonts, colours and positions for every slide.

The view showing all slides as thumbnails.

A handle dragged along a track to set a value.

A document pasted onto slides: too dense to present, too broken up to read (Reynolds, 2008)

Lines joining two points in time for each item.

The area outside the bleed used for job notes.

Two meanings: a short label for a story in the newsroom, or the job-notes area beyond the bleed in print (B10)

Unsolicited submissions waiting to be read.

Capitals drawn at about lowercase height.

A series of small charts sharing the same axes and scale (Tufte, 2001)

Typographic quote marks shaped to open and close.

A proof checked on screen, or a physical printout.

A line under a chart naming where the data came from.

Spell out, as in “3” to “three”

Paragraph spacing set as part of a style.

Spacing allowed only in fixed steps, usually multiples of 8 pixels.

A line chart with too many tangled series.

A word-sized line chart set inline (Tufte, 2006)

Notes attached to each slide, visible only to the presenter.

The bound edge, the removable paper cover, and the sheets pasted inside the covers.

Signals of unknown waiting, and of known progress.

A premixed ink matched to a numbered standard.

Two facing pages seen together.

Words the editor inserted into a quotation.

Bars divided into segments that add up to a total.

The British term for a deck: a short introductory paragraph set apart from the body.

The main vertical stroke, the round enclosing stroke, and the end of a stroke.

A row of numbered steps showing progress through a multi-step task.

“Let it stand”: cancels a marked correction.

A small corner tag such as “Draft” or “For discussion”

The paper or card a job is printed on.

A licensed photo or illustration bought or borrowed for use.

A sketch of the sequence of slides or screens.

A short supporting line. In branding, the slogan that sits with a logo.

Letters squashed or widened to fit a space.

The difference between a letter’s thickest and thinnest strokes.

A shape’s outline, and its interior colour.

A document of rules for type, colour, layout and voice.

A heading within the body text.

Rights to translations, audio, film and other formats, sold separately from the main edition.

Small characters raised or lowered from the baseline.

A ten-question survey that scores perceived usability from 0 to 100.

A vector image format for screens.

A saved colour sample in a design tool.

A font already installed on the device.

The list of sections and their pages.

Panels switched by labels along a row.

Numerals that all take the same width.

A PDF with its structure marked up so assistive technology can navigate it.

A boxed line on a slide stating its “so what”

Two elements that just touch, creating unintended tension.

The share of users who complete a task, and how long it takes them.

A reusable file with layout and styles set up in advance.

A container that holds text in a layout.

A single-line input, and a multi-line one.

A saved set of fonts, colours and effects applied to a whole deck.

Linking text frames so text flows from one to the next.

A small, rough drawing exploring layout options.

A square or rectangular block, often in a grid, that opens something when tapped.

A colour mixed with white, with black, or with grey.

The opening slide carrying the title, presenter and date.

“To come”: content still missing.

A brief message that appears and fades without blocking anything.

An on/off control that takes effect immediately. Not a feature toggle (Stacks and Sprints B4)

A brief hint that appears on hover or focus.

A slide title that only names the subject, such as “Usage data”

Transpose: swap the order.

A small marker on each slide showing which section you’re in.

Even spacing added to or removed from a run of letters.

Books for general readers, for scholars, and for schools and courses.

An effect played when moving from one slide to the next.

An image with no background, so it sits cleanly on any colour.

Pockets of empty space enclosed by elements.

Nested rectangles sized by value.

The final size of the page after cutting.

A value axis that starts above zero, exaggerating differences.

Time from file submission to delivery.

All the weights and styles of one typeface.

A fixed set of type sizes, each related to the next by one ratio.

The design of a set of letters, such as Helvetica.

Watching users attempt real tasks while they say what they’re thinking.

How light or dark a colour is. Carries more contrast than hue.

A company that charges authors to publish them while offering little editing or distribution.

One font file holding a continuous range of weights or widths.

A version of a component, such as a primary or secondary button.

A graphic built from mathematical shapes. Scales to any size without losing quality.

Multiple competing copies of a file, often named “final_v3_REAL”

Saturated opposite colours side by side that appear to shimmer.

The visible area of a screen or browser window.

How strongly an element pulls the eye.

“Namely”: introduces a complete list.

An author’s recognisable way of writing.

Assembles and edits an edited collection, and oversees a series of books.

A slide filled with paragraphs.

Bars showing how a starting value rises and falls to an end value.

A faint mark over an unlicensed stock preview.

The Web Content Accessibility Guidelines, the international standard for accessible digital content (W3C, 2018)

Stroke thickness, from thin through regular and bold to black.

A proof printed on the real press with real ink and paper.

Wrong font.

Any empty space in a layout.

The last line of a paragraph stranded at the top of a page or column (Bringhurst, 2004). Two meanings: some people use it for a runt.

A plain, unstyled layout showing structure and content placement only.

The length of a manuscript, and the length of the finished book in pages.

The space between words.

The height of lowercase letters, measured on the x.

The line where the value axis starts at zero. Two meanings: not the type baseline in B1.