Typography 01

Definitions, anatomy, measurements, design considerations

Transcript

1. Typography 01 Communication is Job One.
2. Learner Objectives Get to Know O  Basic typography definitions O  Type anatomy and nomenclature O  Type measurements O  Design considerations
3. Why You Should Care O  Organization + Clarity = Communication O  Recognizable information flow O  Better reader/viewer comprehension O  Improved design dynamics O  Compelling, attention-getting layouts
4. Definitions O  Typography – the design of letterforms and the arrangement of them in two- dimensional space (for print and screen- based media) and in space and time (for motion and interactive media)
5. Definitions O  Display type – functions as a dominant typographic component and is usually large or bold. Ex: Titles and subtitles, headlines and subheadlines, headings and subheadings.
6. Definitions O  Text type – the main body of written content, usually in the form of paragraphs, columns, or captions. O  Letterform – the particular style and form of each individual letter of our alphabet.
7. Definitions O  Typeface – the design of a single set of letterforms, numerals, and signs unified by consistent visual properties. These properties create the essential character, which remains recognizable even if the face is modified by design.
8. Definitions O  Type Font – a complete set of letterforms, numerals, and signs, in a particular face, size, and style, that is required for written communication.
9. Definitions O  Type Family – several font designs contributing a range of style variations based upon a single typeface design. O  Type Style – a collection of modifications to a typeface that create design variety while retaining the essential visual character of the face.
10. Definitions O  Serif – a small element added to the upper or lower end of the main stroke of a letterform. O  Sans Serif – a typeface with no serifs. Nice Serifs! No Serifs Here!
11. Nomenclature & Anatomy O  Type terminology is mostly based on the earlier (printing) process: O  Type was first cast in relief on a 3-dimensional piece of metal O  The metal type was then grouped, inked and printed O  Today, nearly all type is created digitally or is handmade.
13. Nomenclature & Anatomy O  In print, the traditional system of typographic measurement utilizes two basic units: the point (height) and the pica (width). O  For the screen, you can specify type measurement using points, pixels, percentages, or em units.
18. Learn Some Lingo Source: The Non-Designer’s Design Book, 2nd Ed. – Robin Williams; Graphic Design Solutions, 5th Ed. – Robin Landa; Notes on Graphic Design and Visual Communication – Greg Berryman
19. Type is Design O  Headlines, subheads, copy blocks = elements O  Control “subconscious” components of layout O  Study what works, avoid what does not O  Recognize flaws, make corrections O  Enhance communication O  Always maintain legibility
20. Designing With Type Goals Include: O  Seek effective type combinations O  Understand similarities and differences O  Acquire knowledge, acquire more control O  Recognize flaws, make corrections O  Create conscious design decisions O  Reach solutions faster
21. O  Type is form – base your evaluations on aesthetic criteria of shape, proportion, and balance O  Type communicates on two levels: O  Denotative (direct meaning) O  Connotative (suggested, or additional, meaning) Designing With Type
22. O  To communicate effectively, type: O  Must be thoughtfully integrated with visuals O  Must be readable O  Must respect margins, so that text type will be properly presented O  Must flow visually. Transitions between letters, words, and paragraphs are critical. Spacing can make or break communication. Designing With Type
23. O  Each letterform contains positive & negative shapes. O  Strokes (of the letterform) = positive shapes (or forms) O  Spatial areas (created/shaped by the letterform) = negative shapes (or counterforms). O  The counterform includes counters, the shapes defined within the forms, as well as the negative shapes created between adjacent letterforms. O  Negative shapes are as important as the positive shapes. Type as Shapes
24. Design Considerations Factors: Aesthetics & Impact O  Creation, or selection, of a typeface (for its aesthetic value and the impact) is as important as creation, or selection, of an image O  Every characteristic of a typeface contributes to communication and should be evaluated: O  Aesthetics based on proportion, balance, visual weight, thick-thin contrast, positive and negative shapes of each individual letter and counters O  Shape relationships between and among letters
25. Design Considerations Factors: Image Integration O  Each characteristic of a typeface should be considered for integration with the characteristics of the accompanying images. O  Make these design decisions: O  Should the typeface share visual characteristics with the image? O  Should the typeface contrast with the characteristics of the image?
26. Design Considerations Factors: Image Integration O  Should the typeface be neutral and allow the image to drive the solution? O  Should the typeface dominate the solution? O  Should the type and image operate collectively? O  Would hand-drawn, or handmade lettering, or handwriting work best? Environmental Awareness (AIGA): Poster © Morla Design, San Francisco, CA Source: The Non-Designer’s Design Book, 2nd Ed. – Robin Williams; Graphic Design Solutions, 5th Ed. – Robin Landa; The Non-Designer’s Type Book, 2nd Ed.– Robin Williams