The seven types of contrast by henry nguyen

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Communication and expression are always affected by contrast. With greater contrast, comes greater clarity. The readability becomes relative through proper use. Contrast supplies the viewer with a path to follow. A visually expressive map of typography allows for comprehension High contrast commands attention and generates direction. Low contrast is assigned to supportive information and is applied to word or text shapes, which are of secondary and tertiary importance. The control of type on the page, gives the reader a hierarchy of importance and a sense of expression.

A successful graphic designer will guide the reader through the page using words and columns of type as value shapes. He or she carefully scrutinizes the proportion and arrangement of lights and darks in a composition. Clear and concise use of value distribution will increase emotional impact. A composition that employs eighty-percent black has a different expression than one that employs eighty-percent white. This book demonstrates that careful use of contrast will greatly enhance the communicative use of type as a visual form, in an effort to expand and clarify typographic principles.

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Henry J. Kaiser

if your work

Size

Size is the first and most basic form of typographic contrast. By changing the font size, the viewers eye is immediately drawn to the content. Words or letters set in the same style of type maintain the relationship of the letter to the background and you create a physical enlargement of the pattern – ABA. What is the first thing you see on the opposite page?

peaks

In reviewing the quotation, the eye is immediately drawn to the word speak. Through contrast, you are lead to the two word “don’t interrupt” and finally the remainder of the statement. The font used for the lettering is the same, allowing the viewer to remain undistracted and permit the size contrast to control and lead the eye. The relative sizes of things can be adjusted for the purposes of creating a perspective illusion, exaggerating comparative apparent attributes, as a message or metaphor, or simply to achieve a balanced layout in terms of the distribution, mass, and space.

for itself, don’t interrupt.

death can really make you like a star Weight

Weight refers to the perceived mass created by the typeface’s stroke and counters. Using weight easily communicates meaning as well as creating rhythm on the page. Selecting a typeface with several families, makes it easy for the designer to control hierarchy inside a composition without risking the sense of harmony. Priorities can be structured as the weight increases or descreases from the focal point. Weight is often used to create emphasis, also called focus – causing text of an image to seem more important than others. Creating a balanced series of emphases is critical to creating a good overall composition: too many emphases is chaotic, too few is boring. When the eye is not directed where to look, it tends to just look away. In any layout, a maximum of 3 weights is recommended. In reviewing the quotation, the eye is immediately drawn to death 04

make a star. Through contrast, you are lead to the word “death make a star” and finally the remainder of the statement. The viewer almost hears the emphasis allowing the full meaning of statement to communicate, control and lead the eye.

Andy Warhol

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Henrik Fisker

if DESIGN isnâ&#x20AC;&#x2122;t PROFITABLE then its ART FOrm

Form refers to the distinction between uppercase letters and its lowercase equivalent. These forms not only compliment each other, but the letters themselves have now have ability to express a different context. Contrasting uppercase against lowercase depicts formality against casual. Uppercase letters start sentences or are often used as Acronyms. Too many cap forms and there is loss in legibility so use it sparingly. Working with form allows some freedom with design, as layout need not be changed to draw attention to a piece of text of the same point size and leading. In reviewing the quotation, the eye reads through, but takes note of the words design, profitable and art. As a visual cue, the letterform contrast awakens the importance of a specific word or words.

Henry Ford

DON FI

’TREFIND AMEFAULT NDDYA .

Colour

Colour alters the scale of relationship between similar letterforms. A typographic colour change allows a designer to highlight structure and invigorate a page. A letterform’s shape and value are more important in determining it’s spatial depth. The tonal values of the colours can be used to create the illusion of size difference and the perceptual difference among colours like red, blue or green can play a dramatic role in typography. Rich spatial perceptions can be achieved through varying colour intensities and allows the designer to separate information as well as creating visual interest. Notice how in the quotation, colour is used to RE, ME and DY . 11

Structure

The use of structure involves contrasting the thicks and thins of type. The roman letter and the italic counterpart are a common method. A true italic is measured at 12 to 15 degrees less upright than itâ&#x20AC;&#x2122;s counterpart. Typefaces are purposely designed with variations in structure so that letterforms compliment each other and give the designer a clear advantage when distinguishing textual priority. To contrast structure you can also contrast different families and achieve distinct visual differences between thicks and thins.

Letters are not pictures The quotation demonstrates how emphasis can be controlled. The words letters , are, not and pictures contrasts with the words things, of and things and by doing the, the structure change is not only like increasing or decreasing the volume, but changes the very quality and tone of the voice to suit the expression.

Eric Gill

things, of things

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Structure

Albert Einstein

intellectuals solve problems geniuses prevent them Texture Texture is how the type appears as a single unit on the page – creating a grey value. This texture is derived from the letterforms, their rhythm, density and how they are arranged letter to letter, word to word and line to line on the page. Texture can be compared to fabric – the type is equal to the threads that form it. Texture also calls to our sense of touch so the viewer can be spoken to on two levels. By altering type’s visual darkness, you alter the space it occupies. With variations in light, dark, dense, and volumous, the texture is keyed to the brain’s function to identify visual stimuli and the viewer’s experience is used to tell them where the eye should travel next.