Chapter 4 Typography

1. Chapter 4Typography

2. Objectives (1 of 2) • Differentiate among calligraphy, lettering, and typography. • Gain knowledge of type definitions and nomenclature. • Learn about type measurement, basic type specifications, and classifications of type. • Identify parts of letters. • Pick up the basic principles of designing with type. • Understand the interrelated visual factors involved in typographic design.

3. Objectives (2 of 2) • Become familiar with three types of spacing. • Learn design considerations of form, direct and secondary meanings, and graphic impact. • Consider the relationship of type and visuals. • Use type creatively and expressively. • Acquire tips on type from esteemed professionals.

4. Typographic Definitions (1 of 3) • Typography • The design of letterforms and the arrangement of them in two-dimensional space (for print) and in space and time (for digital media)

5. Typographic Definitions (2 of 3) • Letterform • The particular style and form of each individual letter of our alphabet • Each letter of an alphabet has unique characteristics that must be preserved to retain the legibility of the symbols as representing sounds of speech. • Used by designers in three primary forms: • Calligraphy • Lettering • Type

6. Typographic Definitions (3 of 3) • 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. • Type style • Modifications in a typeface that create design variety while retaining the essential visual character of the face

7. The Type Family Chart • By Martin Holloway

8. The Typographic Font Chart • By Martin Holloway

9. Letterforms Terms Chart • By Martin Holloway

10. Metal Type Terms Chart • By Martin Holloway

11. Classifications of Type Chart • By Martin Holloway

12. Examples of Typefaces

13. The Principles of Design Applied to Type: Emphasis • When typographic elements are arranged according to emphasis, most often there is a focal point. • When creating emphasis with typography, consider: • Position • Rhythm • Color contrast • Size contrast • Weights of the type • Initial caps • Roman vs. italic

14. Type Alignment • The primary type alignment options are as follows: • Flush left/ragged right: text that aligns on the left side and is uneven on the right side • Justified: text that aligns on the left and right sides • Flush right/ragged left: text that aligns on the right side and is uneven on the left side • Centered: lines of type centered on an imaginary central vertical axis • Asymmetrical: lines composed for asymmetrical balance — not conforming to a set, repetitive arrangement

15. The Principles of Design Applied to Type: Unity • To establish unity in a typographic design, consider: • Choose typefaces that complement each other. • Use contrasting styles, faces, and weights, rather than using similar faces. • Typefaces with pronounced or exaggerated design characteristics seldom mix well. • Avoid mixing two or more sans serif typefaces in a design. • Establish harmonious size relationships. • Determine how the size and choice of typefaces will work with the visuals. • Establish correspondence and alignment.

16. Spacing • The three types of spacing to control • Letter spacing • The space between letters • Word spacing • The space between words • Line spacing • The distance between lines of type

17. Type and Expression • How to use type creatively and expressively? • Type is often verbal, but it can also be visual when • it expresses the entire message

18. Designing with Type Consider four (4) main points, in order to design with type : • Type as form • Type as a direct message (primary meaning) • The secondary meaning (connotation) of type • Graphic impact

19. Form • Each letterform is made up of +ve and –ve forms • They create visual interest • The strokes of the letterform are the +ve forms • The spatial areas created and shaped by the • letterform are the –ve forms • When two letterforms are next to each other, -ve • forms are created in between them (counterforms)

20. Direct Message To read the message easily, consider the following : • Typefaces have individual spirits or personality • Type also has a voice (can scream or whisper)

21. Graphic Impact • Consider the aesthetics (underlying beauty of • typography) • So graphic impact is a better term because people • could not agree on what beauty is • To determine graphic impact : - Measure the texture or color of the solution • Determine the appropriateness of the style for • the client, the message and the audience

22. Summary (1 of 2) • Typography is the design of letterforms and the arrangement of them in two-dimensional space (for print) and in space and time (for digital media). • For both print and digital media, visual communication professionals must consider some fundamental issues of form and structure, design, message/content, and expression. • Learn to differentiate among letterforms. • Understand how letterforms are structured as well as generated.

23. Summary (2 of 2) • When arranging typographic elements, you should consider balance, emphasis, rhythm, unity, positive and negative space, and the manipulation of graphic space to create illusion. • Consider the interrelated visual factors of visual weight, position, and arrangement. • Consider form, direct and secondary meanings, and graphic impact. • Considering the subtle, precise relationship of type and visuals in a design solution is crucial to creating visual messages with impact. • It is essential to understand how type can be used creatively and expressively.