Typography 01 Communication is Job One. 

Learner Objectives Get to Know O  Basic typography definitions O  Type anatomy and nomenclature O  Type measurements O  Design considerations 

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 

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) 

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. 

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. 

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. 

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. 

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. 

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! 

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. 

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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. 

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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 

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 

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 

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 

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 

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 

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 

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? 

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