Preface The content of this book is a collection of written responses — reflecting on found articles based on typography and design. Enjoy!
and Graphic design ellon lupton
DE CON
STRUCTION
The word deconstruction is defined as, a method of
The article states, “indexes and title pages, captions
critical analysis of philosophical and literary language
and colophons, folios and footnotes, leading and
that emphasizes the internal workings of language and
line lengths, margins and marginalia, spacing and
conceptual systems, the relational quality of meaning,
punctuation—would contribute to the field which
and the assumptions implicit in forms of expression.
Derrida has called grammatology.”
Deconstruction derived from Jacques Derrida's 1967 work Of Grammatology.
By deconstructing literary designs/forms, you are left with basic elements—some in which have meaning,
Lupton’s article evaluates the concept of deconstruction —based on Derrida’s theory, to the world of graphic design and typography. Derrida refers to the comparisons of speech/writing, mind/body, nature/ culture to elaborate on the concept of deconstruction in graphic design.
while others do not. Also, mentioned are the relevance of ideographic elements and pictographic forms. These represent the concepts of words and the sounds, implying the numerous meanings of literary context. I believe Lupton’s article was intended to reinstate Derrida’s theory on deconstruction and imply the concept to design—enforcing the acknowledgment of how literary design can be “broken down” into structuralism and the relationship of one aspect to another.
When creating a body text I tend to think of the basics, such as what typeface am I using, how is my leading and—on a good day, I take into consideration the rule of 45-75 characters per line. This is considered the ideal measurement of a line of text. An aspect of this rule I was unaware of, is the fact the rule changes for print and web designs. According to the article, “45 to 75 characters including spaces and punctuation per line for print, however, we can reliably broaden the range to 45 to 85 characters including spaces and punctuation per line for web pages.
Back to my first point, when creating body text, I rarely think of the scientific aspects of how humans read text. Franz analyzed past research based on a collection of heat waves, conducted while a select group read from body text on a
This is crucial in terms of design and typography, with bad use
computer screen. The research discovered people read in three
of type and a dull design aspects, the viewer wont even bother
ways. One, casually—skimming over text, reading words and
to engage in the reading let alone stay on the page. Within
sentences here and there to get a sense of the content. Two,
a web design, the designer needs to focus on these main
scan with purpose, jumping from section to section, looking for
aspects—line length and reading, font size/typeface, leading,
a particular piece of information. Last, in an engaged manner
and most important how the design and type will function in a
reading all of the given text.
responsive web-page (from laptop to phone).
SIZE
Size Matters: Balancing Line Length And Font Size In Responsive Web Design By: Laura Franz
MATTERS
Serif vs. Sans Serif Fonts: Is One Really Better Than the Other?
Picking a typeface for a project is
Cousin’s research revealed readability
never an easy task. With the amount
studies have found serif typefaces are
of typefaces, families, weights, and
easier to read because the added
styles—it is a true talent to be able to
strokes make each character more
use type correctly and in an appealing
distinctive—“more distinctive letters are
way. According to the article, serif
easier for the eye to recognize quickly.”
typefaces are considered classic,
Take newspapers for example, almost
elegant, formal, and confident. San
all of the type is a serif typeface—along
serif typefaces are modern, friendly,
with many magazines and other forms
direct, clean and minimal. With
of publication intended for reading.
these “reputations” come aspects
In my opinion, the given subject will
of personal opinions and—more or
always be a form of personal belief
less, arguments based on where and
and preference. Some designers
how the two should be used. Rumors
will say the “rumors” are fact and
of serifs only being appropriate for
typographic rules, while others will
print, or san serifs should only be
take the side of Cousins—and say
used for digital publication. Such as
nonsense! “The key, like for any other
Cousins, I disagree and he makes a
design technique or tool, is to use the
valid argument with the use of found
typefaces well, with purpose and in
examples. As a design student, I have
concert with the content.”
learned to believe you can use a serif or san serif in many applications, as long as you use the type well and in an appropriate manor. Next, there is the assumption serif type is difficult to read. In some cases I would agree, but that does not mean this should be a “rule” or a “no-no.”
“Use the
typefaces well”
By: Carrie Cousins
“Little things often make all the difference.” This is an essential statement to abide by when it comes to design. Modern western society has become so dependent on specific visual forms and relating these forms to what it is we perceive. Glaser refers to an example of this in the typographic styling of fashion brand Juicy Couture as, “The gothic letter forms are seen by the brand’s target audience as being the height of fashion and desirability. To some, however, the same typeface in a different context would imply tradition, heritage, reputation and possibly even political persuasion. A more traditional use of this style of font can be found in the masthead of the UK newspaper The Telegraph.” Glaser then proceeds to discuss numerous Ben and Jerry ads using distinct typographic/design elements and with the use of handwritten typographic characters, and how this effects the tone of the advertisement. By simply deciding to use handwritten characters, allows the audience to feel invited and comfortable with the brand. Another given example, was a 2010 Volkswagen campaign implying the reduced rates of the company compared to the competition. By using hand lettering within the advertisements shows the companies devotion to lower and affordable rates for their customers. All of which express the importance of subtle typographic choices and how these choices can impact the translation of a design as a whole—“Effective design begets effective communication.”
By C. Knight, J. Glaser
sub tle makes a difference
The Infinite Grid, discusses the optimal /desired layout designs for mobile, responsive and interactive design. With today’s technological advances such as, smartphones, tablets and computers—a set grid system, which is created for a fixed canvas, no longer works within the design. “Grid systems are a key component of graphic design, but they’ve always been designed for canvases with fixed dimensions. Until now. Today we’re
By CHRIS ARMSTRONG
designing for a medium that has no
Armstrong goes on to discuss the
fixed dimensions, a medium that can
infinite grid system stating, “For a grid
and will shape-shift to better suit its
to be useful, it has to be based on the
environment—a medium capable
things we know. With digital design
of displaying a single layout on a
the canvas is an unknown, making it
smartphone, a billboard in Times
a poor foundation to base a layout
Square, and everything in between.”
on.” The infinite grid is described as “a grid system.” To achieve said desired grid system, one must use proportional units, start with the extremes and work your way to the in-betweens, change state where relationships breakdown, and finally—go beyond the extremes.
nfinite
“For a grid to be useful, it has to be based on the things we know.”
“In order to embrace designing native layouts for the web—whatever the device—we need to shed the notion that we create layouts from a canvas in. We need to flip it on its head, and create layouts from the content out.” — Mark Boulton
“Mood has impact in two ways—the
How the color is used—a dominant
Last, physical space within design
mood of the project itself and the
color versus accent, and other colors in
generally associates open spaces as
mood of users. Together they create
proximity to it can have great impact.”
more positive and inviting while closed
an experience that connects each user
Warm colors are relaxing and creative
or tight spaces are more negative
to the project.” Attracting the viewer’s
but can feel chaotic or stressful (red,
in association. “Designers often use
attention is key in design, whether the
yellow, orange), while cool colors
space to imply an overall mood for
mood is—in generic terms, positive
are inviting and professional but can
the project. Simple spacing and
or negative. The terms positive and
feel unfriendly or stark (blue, green,
organization can bring together color
negative, “often emerge from emotional
purple). As for typography, there are
and typography to create a positive
influences such as anger, fear, disgust,
two primary considerations—aesthetics
mood or lack thereof can have the
happiness, sadness and surprise.” In
and readability. “Type that is not easy
opposite impact.” With consideration
design, mood establishes how users
to read, regardless of context, will
and proper use of these three
connect to a project and how they
create a negative association.” When
techniques, designers have the ability
perceive a brand or advertisement.
thinking about type for readability,
to trigger mood and emotion in an
According to the article, there are three
serifs typefaces are considered to be
appealing way through the users.
basic design techniques used to control
more professional and serious while
mood–those being color, typography,
sans serif typefaces are associated
and space. “Color associations in terms
with more modern, clean and informal
of mood require a lot of context.
designs.
By Carrie Cousins
visual
“In communicating a message, a
words, phrases, and sentences
balance has to be achieved between
can impact the work dramatically.
the visual and the verbal aspects of a
However, using the two together
design.” Visual language is explained
is what balances a design all together.
as referring to the meanings created by
Chosen words alone will affect the
the visual appearance of both text and
viewer’s acceptance of a message,
image, while verbal language is the
but altering the typographic
literal meaning of words, phrases and
appearance while using selective
sentences. Together, the two will act
wording will give balance to the
as a formula for reaction and overall
message and can control the tone
interpretation of a work. The article
of the design dramatically.
elaborates on numerous examples reveling how minuscule changes in typographic treatments can allow for a completely different tone or mood to be perceived of the same message.
Small changes such as, using the word “hello” in all lowercase and tightly kerned can allow for a friendly and comforting message—while using the same word, but the font, case, scale, color and positioning all suggest a considerably more distant and hesitant message. “Verbal language is often used to inspire and shape design and typography in order to get a message
By C. Knight, J. Glaser
verbal
across, with the goal being to make the most of the viewer’s reaction.” Opposite of changing the physical appearance of the type—the choice of
when typography speaks louder than words
The typo graphy rebellion where p of the 9 roper te 0’s— c hniques kerning, s u c h a leading, s and spa torn-apa cing we rt and d re ismissed the term . Grung used to e is describe typogra this form phic trea of tment. D is said to avid Ca be the g rson odfather typogra of grung phy. He e believes have to , “ y ou don’t know th e rules b them, an efore bre d never aking mistake legibility for comm unicatio ally, I am n.” Pers inspired onb y Carso I feel he n’s work truly beli . eved in ge-ways his “gru ,” and s n aw his o torn-apa verlappin rt, and c g, haotic ty of comm pe as a unicatin fo rm g—and be mista I believe ken for it can “non-art .”
Such as every other art form, there is a way of abstraction and creating abstract work—and I tend to feel typography/graphic design can sometimes be unaccepting of this type of work, in which I disagree. However, I don’t necessarily agree with all of the grunge movement’s motives and beliefs—as well as Carson’s opinion, based on not needing to know the rules beforehand. If you are aware of the “rules” and traditions, then you are more likely to be successful in explaining your reasoning for breaking them. That being said… §§¶••ªªªºººº∞∞∞∞∞∞∞∞£££££ ££££¢¢¢¢¢¢¢¢§§§§§¢¢¢¢¢ªªªªª ªª––––££££££££¡¡¡¡¡¡¡¡¢¢•¶
The Rise And Fall Of Grunge Typography by Sharan Shetty
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-–-–----–-There is importance to knowing rules before breaking them and typographic etiquette is one of many detailed oriented rules in which, should be known.
From proper indentation, spacing, punctuation/dashes, and proper quotes—
typographic etiquette can be achieved. “When signaling the end of a paragraph and the beginning of another, you can generally either indent or insert a space between the paragraphs.” A hyphen is a punctuation mark while an en dash is the width of a lowercase “n” and an em dash is the width of a lowercase “m”. Dumb quotes are stark and clunky while smart quotes are elegant and proper. These minor and specific details are all major and crucial components that separate, “the master designers from the novices.”
Mind Your En And Em Dashes: Typographic Etiquette ––––––––––––––––––––––––– ––––––––––––––––––––––––– By David Kadavy
When thinking of typography and
When explaining the process of
design we may only reference to
creating a telegram prop for The Grand
design studios, firms, and the general
Budapest film, the film’s designer Annie
related aspects of the form. The given
Atkins states, “You need to understand
article elaborates on a design form
the scale of the text and the texture of
less noticed by the average designer.
the paper in your hands, otherwise
Cinema is an easily overlooked/
it’s never going to work in an actor’s
under-appreciated form of design
hands.” Printing and physically
and typographical beauty. The Grand
handling design work is a key
Budapest Hotel, the given example—is
technique learned as a basic in design.
a masterpiece in the art of typographic
Other useful and key tips elaborated in
detail and acknowledgment to proper
the article and relevant to any design
design. Much of the insight given
project include—understanding your
is based on the attention to details,
time-period (aka: the product), make
which is dominant in the art of design.
it real, and as an aspect of refined
For example, graphic props used in
details, check spelling!
cinema. A prop may only be seen on camera for a few seconds, some viewers may not even acknowledge the
8 things you didn't know about design for film By Julia Sagar
work, but the amount of time and care given into creating a believable prop can be under-appreciated.
attention detail