Here is the link to my image files:
Here is the link to my image files:
letters at a standard reading size. the eye perceives letters to be all the same, weight, height, and width. This is the most critical aspect of type: stylistic uniformity discourages distraction during the reading process.
loose letter spacing makes a more distinct rhythm, and improves the legibility of the all uppercase setting and obviates spacing problems.
tightening or loosening spacing between letters corrects the awkward counter spaces inherent in their forms.
4. Case, weight, width,posture, and style
all very important things to learn about type that change the font drastically
classifying type helps a designer grasp the subtle differences among style, organizing them in a general way further helping select an appropriate typeface for a project.
6. What and why
selecting a typeface for its feel and mood for a particular style.
7. Combining type styles
the only reason to change a type face is to gain an effect of contrast,and so that the contrast achieved by the combination should be clearly recognizable.
8. Alignment logic
alignment of text has an effect on the spacing and within it and, therefore on the search for a desirable text setting.
9. push and pull
colons and semi colons need additional space preceding them and less space following them.
10. type is visual
acts as the same way that dots, lines squares, etc. do in composition. Type and pictures are equal players in design.
I also cant upload images So i attached a link of the exercise showing value, hue, saturation, and temperature !
2. Type Sizes and Spacing
3. Visual Variations
4. The Optics of Spacing
5. Style Classifications
6. Combining Type Styles
7. Know What and Why
It can be difficult to select a typeface based on its feeling or mood but every designer learns the mood that corresponds to each typeface, and shows how the viewer will react.
8. Alignment Logic
Justified text is the only setting which the lines are the same length and size. Rag is an uneven length.
9. Exploring the Ragged Edge
10. Color and Hierarchy
1.The Nuts and Bolts -When the same type is enlarged, minute changes in character heigh, stroke width, and shape become apparent.
2.The Optics of spacing- Each type face as its own rhythm of strokes and spaces. The relationship between form and counter-form defines the optimal spacing of words, between lines of type , and among paragraphs.
3.Type sizes and spacing- Setting type smaller or larger than the optimal reading size for text also has an impact on spacing. Optimal spacing at reading size means that the stokes and counter-forms are evenly alternating.
4. Visual Variations- A designer must carefully evaluate his or her typeface selection in the context of the audience for a particular piece. Alphabet variation is an important first step in being able to select and combine appropriate typefaces for a project.
5. Style Classification- Classing type helps a designer grasp the subtle differences among styles, organizing them in a general way and further helping to select an appropriate typeface for a particular project.
6. The Details- Selecting a typeface for its feeling or mood is a tricky endeavor that often comes down to a designer’s rhythm or shapes inherent in a particular style.
7. Combining Type Styles- Select only two typeface families for a given job, context plays an important role in deciding whether or not to adhere to such limitation.
8. Alignment Logic- Justified text is the only setting in which the lines are the same length. Rag is uneven lengths of the lines create soft shape on the nonaligned side.
9. Exploring the Ragged Edges- Word order and word breaks across lines also affect the rag. Designers must weigh the consequences of re-breaking the lines to prevent these problems against their effect on the rag as a whole.
10. The Optimal Paragraph- In which constellation of variables achieve a harmonic balance is a desirable paragraph setting. By comparing the results of these variations, a designer will be able to determine the comfortable text setting for extended reading.
1) “The typographer is to the text as the theatrical director to the script, or the musician to the score.”
Typography is a craft; it requires attention and skill. I believe one of the greatest faults a graphic designer can make is carelessness with type.
2) Form and Counterform: “To enhance their look and legibility, all-uppercase setting must always be spaced a little more loosely than normal.”
This rule is extremely helpful for me to know, especially when pairing lowercase words with uppercase.
3) Always evaluate on a case by case basis.
It is best to not expect rules to be completely universal; there will always be exceptions.
4) Type Sizes and Spacing
This portion talks about how two fonts at the same size in points may look very different in size. Furthermore, when reducing or enlarging a text size, the spacing needs to be taken into consideration as well.
5) Visual Variation: The 6 Aspects of Typeface
Breaking down typefaces into case, weight, contrast, width, posture, and style can help me to articulate what makes certain types different from others. Furthermore, in comparison to each other, certain typefaces seem more stylized than others.
6) Style Classifications
The different categories of type style would be beneficial for me to memorize. I never before new what determined whether a font was traditional or modern. I personally am drawn to sans serif fonts.
7) Combining Type Styles
Contrast between typefaces is important for creating a hierarchy. Fonts within the same family can create tension, and the weight of the stroke plays a heavy hand in how they relate to each other. However, the rule of convention is to use two different type families.
8) Alignment Logic
I had not previous realized the importance of alignment when creating large amounts of text. The designs on pg. 135 show the acute differences between center axis and justified text.
9) Typographic Color
This deals with the texture, rhythmic, and spatial qualities of type. The value as well as compactness and amount of text all contribute to the effect they have on the viewer.
10) “Design students and novices often make the mistake of ignoring the abstract visual nature of type…”
The author suggest that type and pictures should be on equal playing ground. Type is after all made up of dots and should be treated as an important part of the overall composition.
I haven’t really thought about typography, except to choose a font that I really like personally. I always try to choose one that fits the piece though, but its usually one I like and I guarantee that I haven’t thought half of these things through.