Three fundamental aspects of typography are legibility, readability, and aesthetics. Although in a non-technical sense "legible" and "readable" are often used synonymously, typographically they are separate but related concepts. Legibility and readability tend to support aesthetic aspects of a product.
Periodical publications, especially newspapers and magazines, use typographical elements to achieve an attractive, distinctive appearance, to aid readers in navigating the publication, and in some cases for dramatic effect. By formulating a style guide, a publication or periodical standardizes with a relatively small collection of typefaces, each used for specific elements within the publication, and makes consistent use of typefaces, case, type sizes, italic, boldface, colors, and other typographic features such as combining large and small capital letters together. Some publications, such as The Guardian and The Economist, go so far as to commission a type designer to create customized typefaces for their exclusive use.
Typography utilized to make reading practical: Typography not only must honor the tone of the text but also share the responsibility of making the audience commence reading and sustaining the audience's attention throughout the text. Although typography can potentially attract the reader's attention and create a beautiful/attractive piece of text, the craft of typography is not limited to the aesthetic appeal of the text. On the contrary, the object of typography is to make the reading experience practical and useful. Bold colors, multiple typefaces, and colorful backgrounds in a typographic design may be eye-catching; however, it may not be appropriate for all bodies of text and could potentially make text illegible. Overuse of design elements such as colors and typefaces can be unsettling, preventing the text from conveying its message to readers. A study from 2020 found that the participating subjects felt music sounded "more pleasant" when the CD cover featured round typeface.
In sections exploring the many ways to voice dissent (VOTE!, RESIST!, LOVE!, TEACH!, and STRIKE!), the show will chart a typographic chant of resistance across more than a century of protest graphics.
Drawing from existing and newly acquired Letterform Archive collections, Munro and Coles initiated the project on the upswell of the Black Lives Matter protests with a goal to showcase typographic anger and agency as it is seen in the streets, on the printed page, and even on the bodies of demonstrators. The visual history of protest on display will range from nineteenth-century antislavery broadsides to the colorful affiches of the Paris 1968 uprising, from the revolutionary Black Panther newspaper to the public awareness posters of the AIDS crisis.
To serve our global community, Strikethrough will also be presented as a rich online exhibition designed by chris hamamoto, Jon Sueda, and Minkyoung Kim. The site will be available to all for a limited time and permanently accessible to Archive members. Prior to the full website launch, visit the preview site where you can get a peek at selected objects from the show and make your own typographic protest image (desktop only).
The classic typographic scale is a collection of font sizes that are in visual harmony.A typographer chooses sizes from a typographic scale in the same way that a musician chooses notes from a musical scale.
Like a musical scale, a typographic scale is a scale, so it must obey the scaling property:if f is a size in the scale, then rf must also be a size in the scale, where r is the ratio of the scale.
The second defining property of any scale is the number of notes, n.In classical music, there are twelve notes in an octave.In the classical typography, there are five sizes in an interval.(We rarely nest content deeper than one or two levels, so it makes sense that a typographic scale would have only a few notes.)
The third and final property of any scale is its fundamental frequency, f0.In the chromatic scale, this is the Stuttgart pitch.In the classic typographic scale, the fundamental frequency is the pica.This value, 1 pica = 12 pt, is the baseline font size used in print typography.
After considering what constitutes typographic form, Brideau turns to typographic function and how it relates to form. Examining typography's role in both the neurological and psychological aspects of reading, she argues that typography's functions exceed reading; typographic forms communicate, but that communication is not limited to the content they carry. To understand to what extent the design and operations of the typographic medium affect the way we perceive information, Brideau warns, we must understand the medium's own operational logic, embodied in the full diversity of typographic forms.
Simply defined, the concept of typographic hierarchies refers to the visual organization of content in terms of their relative importance. In other words, the manner in which we organize the text, the headers, the subheaders, the columns, the paragraphs, the callouts, and others on the page or space signify their importance.
These two words: typographic and hierarchies are not familiar concepts to those outside our field. In fact, even in the art and design field, fellow artists do not necessarily understand typographic hierarchy. The term typographic refers to matters related to typography: type choice, sizes, weights, how far or close we set the letters, and others. The term hierarchy refers to levels of priority or importance: what comes first, second, and third. Thus, when these two terms are put together, we mean to arrange content in levels of importance with the intention of communicating to the reader.
While it is true that the advent of the computer to our field has expedited the design and printing process, it is also true that typographic proportions do not look the same when looking at things online versus printing. The relationship between the reader and their monitor differs from the relationship between the reader and anything printed, whether hand-held or seen at a distance.
The typographic hierarchies project is based on two books by professor Rob Carter from Virginia Commonwealth University. These books are Typographic Design: Form and Communication and Experimental Typography. The latter is out of print now. The objective of the project is to isolate six basic variables to establish a typographic hierarchy. These variables are:
Later on, Post Modern typography came along. Characterized by the juxtaposition of graphic elements, typography, and page use in a more organic way, it sought to find alternative typographic organizational arrangements. John Choi, a former student at NYUAD, wrote on the blog NYUAD Types of Art the following:
The goal of this variable is to explore only the distance between any elements we choose and where we place our paragraphs and titles. You might be wondering, how does space work in relation to typographic hierarchies? To answer this question, we will discuss some examples.
Olivia is back in Nerd Alert corner, talking about the impact the industrial revolution had on typographic trends and styles - specifically the innovation of display and slab serif type choices. Listen to find out more.
While we are in the season of giving, how about giving your friends some quality, nerdy, typographic fun! You can blow their minds with generative fonts, teach them a thing or two with Ohno Type School, and give them a beautiful site to stare at with Reagen Ray's Jazz Musician Lettering, and a bunch more.
This week's articles come from all around the world! We chat about a new experimental typeface from London, Australia's new logo, and the shiny new branding for Glasgow's football team. In our Nerd Alert segment we chat about the ins and outs of font licensing with loads of tips that will help you navigate any typographic territory.Weekly Typographic Newsletter Links
The basic idea of a typographic scale that our font sizes fall on a set scale. To go with a basic example, let's set we decide on a scale of 1.5, solely because it's an easy number to work with. The base is the base, so let's say 10px, again, to make it really easy to work with. For the first step up our scale, we multiply by our scale unit. Then, we put the scale to the power of 2. Then the power of 3, etc.
Typography IINathan PacelliThis presentation panel shows the 4 steps of the project. Step 1: a simple, extra-bold sans serif sequence of letters is developed to understand letter shape, proportion and syntactic unity. Step 2: the internal counter spaces are removed and a word shape is developed by manipulating letter position, orientation and scale. Step 3: the counter spaces are reintroduced as minimally as possible. Step 4: The counter spaces are replaced by non-typographic imagery.A poster application uses any or all of the 4 step elements to develop a dynamic typographic composition. Value is first explored, and then the 6 main color strategies are explored: Complimentary, Split-Complimentary, Analogous, Triad, Tetrad, and Monochromatic.
Features define typographic capabilities of the font, and are the means that applications use to invoke those capabilities. These can include essential capabilities required for display of some scripts, as well as other capabilities for fine typography. A font that supports positioning of diacritical marks will implement a 'mark' feature. A font that supports substitution of vertical glyphs will implement a 'vert' feature.
Lookups are data used to implement the capabilities invoked by features. Lookup tables describe glyph substitution or glyph positioning actions that an application should apply to achieve the desired typographic effect. A feature can be used to refer to a typographic capability in a font-independent way, but lookups provide the font-specific data used to implement that capability. 041b061a72