Basic Typography Lesson 7 PDF

Lesson 7 BASIC TYPOGRAPHY Introduction: Typography is considered the arrangement of letters and words to convey meaning. In choosing typefaces for a particular layout, a graphic designer has the option to pick from hundreds and hundreds of different font resourc...

Lesson 7 BASIC TYPOGRAPHY Introduction: Typography is considered the arrangement of letters and words to convey meaning. In choosing typefaces for a particular layout, a graphic designer has the option to pick from hundreds and hundreds of different font resources on the Internet. The choice of typeface will heavily depend on what message you need to communicate and the intended audience for your message. You are expected to appreciate typography and learn how to properly utilize this tool to develop professional-looking communication—or marketing materials. Learning Objectives 1. Appreciate the value of typography in visual communication. 2. Understand the key considerations in choosing typefaces. 3. Learn the basics of typography. 4. Practice in choosing and using typefaces for readability and contrast. Key considerations in choosing typefaces Because of this ubiquitous availability of fonts and the abundance of resources, there always seems to be confusion on how to use the term font versus typeface, the physical embodiment of a collection of letters, numbers, symbols, etc. (whether it is a case of metal pieces from the traditional days of graphic design, or the modern-day computer file) called a font. When referring to the design of the collection, the way it looks, you call it a typeface. In other words, font style refers to the typeface. When you say, “Can you send me that font?”, it refers to the font file itself. How would you use font and typeface in a sentence? Do you find it hard to choose typefaces? In choosing typefaces next, one has to ask the following questions: 1. Is my typeface readable? Is there enough contrast for the type versus the background? The challenge with having seemingly unlimited funds to choose from is that some graphic designers tend to pick typefaces that are too expressive and focus more on the form than the function. The reason why a graphic designer places text on a particular layout is for the viewer or the audience to read it. It may look intricately designed, but if it is unreadable then it is useless. 2. Does it properly represent the client, the brand, or the organization that you are designing for? Companies and brands have what they call visual identity guidelines and this serves as a rule book that displays the official colors, typography, graphic elements, layout styles, and photography treatments of the brand. The veer away from this set of rules can weaken its visual identity. The objective of the branding guidelines is to be as consistent and as repetitive as possible in terms of elements used so that the audiences can create a strong association with the brand. We discussed earlier that brands stick with certain colors because of the message that they want to convey and because it increases recognition and recall. 3. What does your typeface aim to communicate? Just like colors, different typefaces can have different meanings and connotations. Some typefaces can look more modern and premium, while some can be more appropriate for mass-produced items. Some typefaces have been around for so long that they stand the test of time. Case in point is Helvetica. Helvetica originated in Switzerland in 1957, and it was influenced by Akzidenz-Grotesk, a German typeface. It was developed by the Haas Type Foundry with the intent of creating a neutral and more ubiquitous typeface. Currently, it is one of the most widely used typefaces because of its ability to support any visual, adapt any message, and it has established itself as one of many pillars of modern graphic design. The school of thought from the 50s to the 70s was that typefaces were not meant to have meaning and were only there to support the visual, whether it is a photograph or an illustration. From the 70s onwards, technology has made it available to everyone, counter- culture and deviance from the norm had risen, and it meant experimenting with typefaces. Through the use of software, a typographer can easily create his own set of fonts, and there was an increase in grungy, more intricate, more elaborate typography. Graphic designers have opened up to the idea that typefaces can assist in communication, not just in words, but also in how the type was designed. The Anatomy of Type When discussing graphic design with clients, a common language is necessary. One must be familiar with jargon to properly communicate how a certain feeling or mood can be translated into the desired creative output. It is the responsibility of. The graphic designer educates clients about the best-in-class design practices and creates more value for the creative industry. If the client requests a classy typeface, the graphic designer should immediately identify serif fonts that can serve the purpose. If the client desires a more modern and straightforward typeface, then thin and crisp sans serif can be achieved. The objectives What are serif and sans serif anyway? Here is a basic guide on the anatomy of type.  The ascender height is part of the lowercase letter that extends beyond the X-height of the lowercase letter. Examples are b, d, f, h, k, and l.  The X-height is the maximum height of lowercase letters that does not include ascenders and descenders.  The descender is the part of the letter that extends beyond the baseline. Examples of letters with descender heights are g, j, b, q, and y.  The baseline is the imaginary line on which all characters sit.  The cap height is the height of capital letters.  The stroke is character's main portion.  The sheriff is a line or a stem that extends the main character's stroke. Sans serif is a type category without serifs. Other notable and widely used typefaces are slab serifs and scripts. Slab serifs are typefaces that have heavy serifs. These are typically used to emphasize specific bodies of text in the layout. Examples are black codes and titles. On the other hand, scripts are casual typefaces that mimic calligraphy or handwriting. Most script typefaces appear with varying strokes. As if the text was written with a brush or a flat tip. Pen scripts are normally used for titles. Bodies of text with a script typeface are not as readable as sans serif or serif typefaces. Just like color, each typographic treatment also has the tendency to create meaning. Not like 50 to 60 years ago wherein the school of thought was that typography was supposed to be neutral without inherent meaning and only serves the purpose of. Delivering the intended message of the visual serif typefaces are more traditional and timeless and are associated with luxury and class sans serif typefaces are considered more modern and progressive because of their ability to adapt to most categories of brands, beauty, tech supports, etcetera. Slab serif typefaces can be used alternatively with serif fonts, but are considered friendly and at the same time bolder and stronger script. The faces are the most casual of the type categories and are mostly used in food-related and lifestyle-oriented brands. Think of your favorite brands and observe the typefaces That they are using in their logo, variant names, and descriptions. Do the choices in the typefaces match the personality of the brand? Combining Typefaces In order for the text to be easily reviewed by the viewer, combining typefaces is a necessity. This does not only serve a functional aspect of the layout but also an aesthetic purpose. Contrasting typefaces create more visually stimulating and dynamic treatments than layouts that use the same typeface over and over. The classic rule of combining typefaces is to use a sanserif with a serif or vice versa. A serif can be used for titles and subheadings, while the sun serif can be used for continuous bodies of text. This can also be done. In reverse, by using a sans serif as header, while a modern serif can be used for the copy. Dramatic or script typefaces can be used for titles and quotations but can be hard to read when used for body effects. We have seen so many typographic executions in cafes and restaurants that use more than three typefaces. Although it is aesthetically pleasing as a form of interior design or artwork, it does not serve the function of strengthening the brand's visual identity as a rule of thumb. The graphic designer should only use two or three typefaces. Single Family Theory For a safer and more neutral approach to typography, using the same font family in various weights and sizes can achieve the same desired effect. This technique is called the single-family theory. Some font families, such as the Avenir family shown above, have enough flexibility to serve different functions while creating enough restraint to make the visual language clearer. Varying weights and styles can be used to create a sense of hierarchy and distinction, the same as how a different font can do it. Using different styles from a single font family will also appear cohesive and can produce type designs because they already possess similar foundations (such as proportion). Famous large font families include:  Helvetica y Max Miedinger and Eduard Hoffman  Lucida by Charles Bigelow and Kris Holmes  Gotham by Hoefler & Co.  ITC Franklin Gothic by Morris Fuller Benton and Victor Caruso  ITC Century by Tony Stan  Myriad by Robert Slimbach and Carol Twombly Grab the nearest book or magazine or visit your favorite website. Does it use contrasting typefaces? What is the function for each of the variations in the typeface? Layout Fundamentals in Typography In learning the basics of graphic design, one has to remember four things when it comes to typography-proximity, alignment, repetition, and contrast. Proximity is grouping related items together. In business cards, these can be contact details such as mobile or phone number, e-mail address, and address. The name of the company, the cardholder's name, and his or her designation can also be grouped together and should be obviously to separate from the contact details. Strongly layouts would also normally have strong alignment, organization of elements, and proper distribution of space. It was mentioned in previous discussion that negative space is also treated as a visual element once space is organized. The layout has more impact and it Directs more attention to the subject. It does not confuse the viewer into looking at two many elements on the artwork. Aside from center alignment, consider using flash left and flashlight more as it creates a more sophisticated and professional layout. Symmetrical layouts near traditional art while asymmetrical compositions create more interest to the viewer. Alignment is also necessary for creating distinctions among blocks of text and segregating information in a more readable manner. Strategic alignment of elements contributes to the overall unity of the layout. In repetition, the same styles and elements are used over and over to create consistency. With consistency, one establishes a stronger visual identity. Does the repetition of certain elements create a more pleasing reading experience for your audience? In creating rules for your multipage or multi-panel layout, questions you may need to ask include: What should be the typeface for all headers? What should be the size of the fonts? What should be the size of the typeface for all bodies of text? What should be the size of the fonts? Are you consistent in the space between the lines (leading)? Repetition creates structure and lessens the possible clutter of having too much text and too many elements. In contrast, you create more interest in certain elements of the page through colors and unique shapes. Just like alignment, contrast highlights or segregates certain pieces of information that you would want the viewer to immediately focus on. In marketing collaterals, when you place text on a unique shape with a contrasting color, it would normally communicate changes in price, promos, or new features. This is called a violator, and it tells the viewer, “Look at me first!” Notice that in posters for sales promotions, the price off violator is usually in red and the typeface is in yellow. Search for any infographic online that uses all four principles – proximity, alignment, repetition, and contrast. An infographic communicates data in a more pleasing and aesthetic manner in order to be easily consumed by the target audience. It uses colors, typography, simple shapes, and icons in order to convey information in a more exciting and enticing way than just the plain and mundane charts, graphs, and tables on a spreadsheet.