Chapter 3 Summary: Connor Posey

Chapter 3: Syntax and Communication

Connor Posey

The basis of typography is to be able to interpret the message given through a learned language of symbols representing visually a sound that forms a word and eventually, a whole message. All of the elements contribute to the syntax and communication of the piece-the letter, the word, the placement, the line, column, margin, etc. Visual hierarchy must be taken into account; which pieces need to be the most clear in order to better optically present your piece and which pieces can be a little more obscure.

Syntax is the combination of words to form phrases and present an overall cohesiveness to the message. The individual letterform has a lot of emphasis placed on it in typographic syntax. By widening it or adding boldness, it can stray from the font family from which it was originally chosen. Although many times, letters are combined to make words, there are times where they are combined solely to create new forms and serve as the design itself. For example, an enlarged capital “T” may break the page up into different areas and present a visual piece. This example can be seen on the cover of the typography book. Also, by adding other “T’s”, a completely different form of positive and negative spacing can be seen (ie. Image 4 on page 51 in the textbook). By combing letters to form a word, the designer will notice an overall rhythm to that specific combination of letters and can further edit that rhythm to make it flow more cohesively. Lines are another form of organizing the typographic syntax. They can be symmetrical, asymmetrical, thick, or thin, and still serve an organizational purpose for the design. Columns and margins also contribute to the overall structure. Through precise visual alignment through columns and margins, the piece can flow much more easily for the viewer. Minimalistic or heavy, through precise syntax, the piece can be communicated to the best of its ability.