2. In This Chapter, you’ll learn on:
The Fundamentals of Typography
Letterform Shapes
3. The Fundamentals of Typography
The layout of your text will depend very much on the
application. A largely text based application may have
a screen full of text to read, whereas more graphical
applications may try to keep text restricted to small
boxes of around fifty words or less.
Text is much harder to read from a computer monitor
than from a book and a screen full of small text will be
very off putting.
If your application determines the fonts, choose them
carefully.
4. Some fonts are more legible than others, particularly
at small sizes. Generally, unlike in text documents,
sans serif fonts, such as Helvetica, are more legible
than serif fonts, such as Times New Roman.
If your application is cross platform, you should
remember that font sizes may change on different
platforms, for example, Microsoft Windows fonts are
bigger than the equivalent font on a Mac. LINKS to
font map.
5. Generally,
Make sure the text is legible at the size that it will be
viewed at
Don’t use a lot of different font typefaces
Adjust spacing if necessary (line spacing, kerning)
Try different colours to make text more legible or stand
out
For headings, try other effects, such as drop shadows or
making the text curved
Have plenty of white space round headlines
Sentences in mixed case are easier to read then those in
just capitals
6. Letterform Shapes
The ability to see shapes is especially important with
letterforms. They are symbol of something, but first and
foremost they are pure shape, a fundamental design
element. Successful layout and logo design depend on
creating unity through the play of similarity and variety of
letterform shapes.
The distinction is often made between geometric shapes
and curvilinear, organic shapes. A artist, Jasper Johns,
utilizes a free, expressive, curvilinear line. Our eye
alternates among numerals as we recognize the multiple
overlapping in Figure 1. Figure 2 shows the logo for ABC
designed by Paul Rand, using a skilful repetition of basic
shapes.
7. Figure 1 Jasper Johns. 1960,
Lithograph, printed in black,
composition: 61 x 47.9cm. The
Museum of Modern Art, New
York.
Figure 2 Paul Rand.
Trademark, the
American Broadcasting
Corporation, 1962.
8. Type styles often have different expressive qualities
depending on their shapes. Those with hard, straight
edges and angular corners have a colder, more
reserved feeling then typestyles with graceful
curves, which have a relaxed, sensual feeling. To
become sensitive to the shapes in a letterform, look
carefully at its anatomy [Figure 3]. Then learn the
differences among type styles. In Chapter 6, we
discuss the classification of type styles and formats.
