Wednesday, September 18, 2013

The Reading

Pages 26-27

  • Talks about the presentation of typography. For example, a garage sale sign can be sloppy or imperfect because that gets the point across of a garage sale. A garage sale is just a local sale in the garage of a household when someone is trying to get rid of some old objects. So there is no point in making a professional looking sign, a hand painted large sign will do just fine because it announces all information you need to know and will catch the eye.
  • Regardless of what other people are doing though, as typography designers or graphic designers, it is our duty to effectively and efficiently get our point across. We must make typography work, as Crisp says.
  • It is important that we understand the emotion and mood of a typeface or font. If we do not then people will be mislead and confused. This could be one of the most disastrous outcomes.
Pages 33-35

  • These couple of pages go over the denotation and connotation of typefaces.
    • Typefaces covered as examples:
      • American Typewriter
        • Joel Kaden and Tony Stan
        • based on Sholes and Glidden typewriter
        • released in 1974
      • Bickham Script
        • more elegant, could be taken as fancy. 
        • Created by Richard Lipton, released in 1977
      • Cooper Black
        • Oswald Bruce Cooper in 1921
        • released in 1922
        • has gained and lost popularity, currently being used by Odd Future.
        • good for advertising
  • Conveying the right tone can be easily done by using the right typeface.
  • Don't use Bickham Script for a garage sale poster. Use Cooper Black.
  • If you had to write body text in one of these three typefaces, your best bet is American Typewriter.
Pages 39-47

  • Discussion and explanation of relationships. Relationships between typefaces and their details.
    • details meaning x-height, counter size, obliques, italics, etc.
  • First off, the viewer picks up elements based off of other elements.
  • Example: the size of figure and the size of background.
    • the figure can seem large or small depending on the background bordering it. If there is a lot of negative space between the border and the main figure the figure seems reduced and smaller.
  • positive and negative space between letterforms, is very important.
  • Each letterform in an alphabet is unique and serves a purpose. It must stand alone from the others and easily identifiable but at the same time must hold up to the expectations of the entire alphabet. Meaning that while each letter or glyph is unique it still must be similar and flow with the rest of the characters.
  • Things to consider
    • Ratio
      • x-height
      • cap height
      • stroke-width
      • set-width
      • all of these are susceptible to change within each font family of each typeface.
      • Changing these ratios can effect other ratios, cap height is changed due to ascenders can make a type more slender and change the set-width. 
  • Point size
    • changed in response to "increasingly popular and problematic reading space of the monitor"
    • Italics and Obliques are usually at a slant from five to eight degrees.
    • Faux italics looked forced because they simply are. 
    • True italics flow from one letterform to the next.
Pages 232-233
  • Point size includes the top most part of a character to the bottom most.
  • Mostly used in metal typesetting. Used with metal slugs.



Overall the reading focuses on the mood of typefaces and how to get a point across clearly. To do so one must consider every aspect of the type, from x-height and counter space, to italics, to serifs, and just the type itself. I tried to focus on what each part can convey and why that is important. Handwritten script can come off as unprofessional but playful. A serif based type can be used mostly for body text because the x-height might be higher and easier to read. Through out these pages of the readings I'm starting to pick up the fundamentals of choosing a typeface and the reasoning behind it. It makes sense that this is where everyone should start, without knowing the anatomy of a letter and the details that go into it, a point cannot be made clear. 

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