Brunner- Chapters 1, 3, 6

Karly Brunner

Chapters 1, 3, 6

Chapter 1: The Evolution of Typography was interesting to read because it describes the history of written communication in the context of world events. I liked how the chapter broke up the history of typography between four timelines; predating the visual form of communication, the era of the handpress to the eighteenth century, the Industrial Revolution to the 19^th century, and finally, the modern era, covering the 1900’s to the twentieth century. This made it much easier to read and allowed me to group information into understandable, feasible amounts. The attribute that I appreciated the most about this chapter however, were the vast amount of visuals on every page. I am a visual learner so it was fun to investigate all the multiple artifacts and types of text. It also allowed me the ability to view the evolution of type as more advanced principles of typography surfaced as each new era began. From 3150 B.C until 2010, the drastic styles of type seem to fade and reappear again decades later. My favorite typography collections were introduced in the nineteenth century from 1800-1899 A.D. For example, on page 12 figure 89., I acknowledge the artistic and frilly details added to the Tuscan style with serifs designed by Robert Thorne in 1821. It is the first time I see attention to detail and very specified typefaces. Furthermore, Figures 98. And 102. on page 14 are equally as unique with their ornamented type and eye-catching textures. My least favorite typefaces are surprisingly from the more modern eras. Although they are sleek and minimalist, I feel like they lack individuality and character. Figure 136 and 183, which were created in 1925 and 1985, appear too futuristic looking for my liking. This chapter did an outstanding job at outwardly showcasing the evolution of typography in an entertaining, yet educational way.

Chapter 3: Syntax and Communication, although the title alone is undeniably dry and unappealing, I found it to be the exact opposite. I learned from the first chapter that syntax is the connecting of typographic signs to form words and sentences. Thus, with the elements of design; letter, word, line, column, and margin, create communication. With that said, as I read on, much of the information was redundant, but coincides with what we have previously learned in class (Vocab quiz!) There is so much thought and feeling that goes into developing a typeface that I was completely unaware of before reading this chapter. Everything from the word, form, counterform, spacial proximity, contrast and repetition are just a few of the concepts I learned. Figure 53 does a precise job at pinpointing elements of design that successfully work together to create a typeface, such as the Olivetti logo by Walter Balmer. Also, I concluded that every problem demands a fresh approach specialized for the content and typeface. I was shocked to hear that scale, margins, and interval of columns and their relationships to one another must be carefully adjusted in accordance to the information they support. I always thought it was only adjusted due to visual appeal, but I was proven wrong. As in the case for chapter one, I also approved of the visuals and graphs provided to ease in the understanding of the captions and chapters. Pages 68 and 69 were my favorite to read because they included examples that I could relate with, such as the television network, abc, and the signage for NASA. Paul Rand, the designer for the abc logo, is a man that I highly respect for his expertise and keen eye for design. I loved seeing the evolution of the logo and the final outcome.

 

Chapter 6: The Typographic Message was my absolute favorite chapter. I resonate with the content in this chapter because I believe it to be the most important function of typography. Typography and typographic messages are the backbone of every campaign and makes advertising ultimately possible. These messages that we encounter tens of thousands of times a day can go completely and utterly unnoticed or a show stopping event, depending upon the visual deign of the typographic message. Typographic messages are the most effective when they can be distinguished from the rest of the competitors, and communicate messages characterized by clarity in both form and content. When typographic messages are created by experienced and artistic individuals, like Raul Rand for example, they can achieve both aesthetic beauty and distinctness. I loved reading about the verbal and visual equations involved in communicating ideas. The idea that signs exist at various levels of abstraction was a concept that really stuck with me. (Page 115, Figure 10) Whether a red dot carries a particular meaning such as a balloon, cherry, or Japanese flag is completely subjective to the mind who is experiencing the form. This was so eye-opening and intriguing to me because it just goes to show that there will never be one typographic design or typeface that everyone responds positively towards, therefore design will always be manipulating and evolving. Typographic messages often have a long-range effect upon a message receiver, influencing social, political, and economic events. These effects can be seen throughout the different typographic eras. Although typographic signs are both verbal and visual, as a dynamic representation of verbal language, typography’s main function is to communicate. Effective qualities need to be appropriate to the message transmitter, but ultimately, the message receiver, who will determine if the message is clearly communicated and accurately represented.