Chapter 6, the Typographic
Message in "Typographic Design: Form and Communication", talks
about efficient ways to portray a message with typography. Apparently not
always are typographic messages clearly portrayed to the viewers. The way to
create effective typographic messages is by having a prime combination of logic
and intuitive judgment. On page 117 they provide you with an example of
simultaneity with the word eight, but instead of having the lowercase letter G
they replace it with the number 8 and lowered it, so it looks like it should be
a G but in fact it is an 8 (ei8ht – something like that). Right next to that
they have the word families, which is an example of visual transformation. They
took the lowercase letter l and added a dot on top of it to represent a head.
They also change the x height of one of the I’s to create an uneven feel (ili –
so it would look like family is standing in the middle of the word families). I am a big fan of taking such
basic words and making them visually appealing and somewhat artistic. A basic
viewer might see these and think nothing of it, but I appreciate the
creativeness in those two words. In order for typography to be truly functional
and to stratify the needs of the audience, a designer most understand both the
verbal and visual attribute of a typographic message. When creating typographic
messages, you need to understand who your audience is. If a designer is
designing a label for prescription mediation, then the label should not only be
clean and easy to read, but also boring. But when a designer is creating
something more artistic, lets say a flyer for an art show, then they can play
around and become more creative with the text, but they must also keep in mind
that it needs to be legible and understandable.
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