S.Duran
Typography 230
Chapter 4- Legibility
Chapter 4, talks about the legibility on type and how one needs the lettering and words to be seen clearly on the page. The stylizing of letters on a page need to be read with little difficulty. Each letter should be recognizable to one's mind, because every letter should look like its part of a set and not an individual letter form. Each letter characteristic is based on four groups of vertical strokes, curved strokes, curved and/or vertical, and oblique. It touches upon how fluid reading in lowercase is compared to text that is only in uppercase (which takes up more space) and how one should pay attention to the interline spacing based on the style of font.There is a significant work put into combining color and the legibility of text. The most important thing to understand is not having a harsh contrast between the background color and the text color, complementary colors work better (depending in the shade of the color used) and the style of the font compared to the color used. How each word is organized in import at was well, from the lettering spacing, to size, and paragraph alignment. The justified alignment is better for clear reading and easier legibility, while injustices does the same but has a clear rhythm at its ends. One of the things to be careful if is the distortion in type because it destroys the font style and the legibility of the type. The last two pages of this chapter on Recommend type usage, I find to be the most helpful. They explain the do's and don't o type by giving examples on what to do for emphasis, arranging type, looking at the inter letter spacing, quotations, and the use of em dashes in works of text. These tips help me structure out what the text should look like along with visualizing its structure, in how typography should look like based on these “guidelines”.
Typography 230
Chapter 5 - The Typographic Grid
Instead of focusing on the use and style of type, chapter 5 points out how to structure type on a page. Most designs start off with planning using the skeletal framework to placing text information and design images into a space so that it may be clear to the reader and pleasing to the eye that it catches attention without being distracting. Background it the first topic the chapter discuss, how to use background, how much space to leave, and what types of divisions in this space work well (in spatial relationships) for what a designer would want to typography to present. From figuring out proportions, square grids, and constructing boxes to form space for text and materials there are many ways to design layout for a page, as shown on page 96. One of the most thorough explanation on this idea is that of columns and girds. From single to “multi” columns, these linear guides help a designer since the limits of space and proportions displayed on a page with the use of the gutter and margins to all sides. Although single columns are usually used for book layouts, the multi-column guide is better for designing how the text should be placed and how much should be seen, based on the type size, length, and leading. Since this layout can vary the width of its columns in an easier format, the therefore can be seen separated by hierarchy but connected to all the elements on the page at the same time. The last few pages touch upon the modular grids, whose boxes are “smaller” and allow more space and interpretation of design to go into them. It seems to provide good advice are, “the more complex the grid...the more flexible the organization.” To me, it looks to be true since it is harder of a typographic feature to find exactly into large grids when using smaller ones lets you see exactly how much spacing therein in between each piece and how the layout can be reduced page after page.
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