Type Talks: The Personality of Communication by Raquel Bosch Roura

TYPE TALKS: The Personality of Communication RAQUEL BOSCH I ROURA

RAQUEL BOSCH I ROURA Graphic Communication Dissertation March 2015

C O N T E N T S

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I NT R O DU CT I O N

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P ER S O N A LI T Y

Introversion & Extroversion The North and South of Temperament

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COMM U N I CAT I O N

Communication Styles Patterns of Behaviour

Typography The Art of Visual Language

2 2

TALK I N G

T Y PE

Type Mood and Personality The Voice of Typography

The Communication Gap Form & Message

3 4

SP E A K I N G

F O R M S

Type Classification Organization

The Anatomy of Typography Components and Characteristics

Introversion & Extroversion Traits and Types

I N T R O D U C T I O N

hat makes you a person is what we call personality. Personality is defined as “the set of psychological traits and mechanisms within the individual that are organized and relatively enduring and that influences his or her interactions with, and adaptations to, the intrapsychic, physical, and social environments” (Larsen & Buss, 2005, 4). It refers to “those characteristics of the person that account for consistent patterns of feelings, thinking, and behaving” (Pervin et al., 2005, 6). Your personality affects where and with whom you are, in any situation and at any time. “It defines who our friends and lovers are, what careers we choose, and whether we blush when we are embarrassed” (Cain, 2013, introduction).

In personality psychology research, one of recurrent study subjects is what we know as the north and south of temperament: introversion and extroversion (Cain, 2013, 2). This is the most fundamental personality division and, because of the different personality traits attributed to each type, we end up developing a style of communication that it is observable for those who interact with us. Our communication style is conceptualized as the way in which we, as individuals, use verbal and nonverbal behaviours that indicate cate the meaning that should be “taken, interpreted, filtered, or understood” (Norton, 1978, 99). Communication style focuses on how a person communicates, rather than highlighting the content of the communication. Strictly speaking, we are talking about the “relational” rather than the “content” aspect of communication (Glauser & Tullar, 1985, 70).

a certain mood or attitude through its letterforms. The study is going to focus on the research of the terms introversion and extroversion and how they can be related to specific typefaces. It will also deal with the physical attributes of typefaces, alongside with their application to the context of their design and, also, with the historical background of their creation.

This research is divided into four chapters that navigate between the two main fields involved in the study: psychology and typography. The first chapter looks at the basis of personality psychology: what do we understand by personality traits and how do the north and south of temperament—introversion and extroversion—affect our way to think and behave. The second chapter explores the roots of communication and how personality defines the way we communicate and interact with others—in other In terms of design, designers look to control words, our communication the psychological and behavioural effects of style. It will also introduce the the decisions they make on their designs. In power of visual language in these conditions, design practices may be communication. In the third considered as “communicative acts becau- chapter, typography takes the se they involve the intentional evocation of spotlight. Through different stuthoughts, feelings, experiences or actions” dies on the connotations of type, (Crilly et al., 2008, 427). More precisely, we investigate the personality typography is one of the design fields with and mood that can be attribua biggest potential for creating personality ted to letterforms and, also, how for a message and also one of the few fields the communication gap caused of design with the power to evoke responses by the non-appropriate typeface that would hardly appear with just the use can be related to the one proof words. Words are made to be read and duced by the usage of different interpreted, but the power of type lies on communication styles between the visual aspect of it. Type can be seen and distinct personalities. Finally, we have to consider that the written word is the fourth chapter is an analysis mainly seen before it is read. The typographi- of four different typefaces, and cal layout sets the mood of the design before a more precisely a comparison besingle word is perceived by our consciousness. tween each typeface and specific traits that can be attributed to inThe purpose of this study is to find out what troversion and extroversion. personality traits can be evoked through typography, what are the connotations of typefaces and how these typefaces can evoke

INT R O D U CT I O N

Adobe Caslon Pro

et page in Fournier against another in Caslon and another in Plantin, and it is as if you heard three different people delivering the same discourseâ&#x20AC;&#x201D;each with impeccable pronunciation and clarity, yet each through the medium of a different personality. Beatrice Warde

INT R O D U CT I O N

P E R S O N A L I T Y

he term personality is described as “the dynamic organization within the individual of those psychophysical systems that determine his unique adjustment to his environment” (Allport, 1937, 48). This definition of personality is at the basis of the study of common traits, where trait is defined as “a neuropsychic structure having the capacity to render many stimuli functionally equivalent and to initiate and guide equivalent (meaningfully consistent) forms of adaptive and expressive behaviour (Allport, 1961, 347)” (Evans, 1999). The idea of personality traits is, probably, as old as human language itself. Even so, mundane appreciations of personality traits

make two assumptions that are very relevant to the understanding of the subject. First, that traits are stable over time. Naturally, an individual’s behaviour can differ depending on the occasion, but it is a fact that there is a core of consistency that we can define as the individual’s “true nature”. Second, that traits affect directly to the behaviour of the individual. The way we act should define our temperament or complexion and, in fact, it is through actions that dispositions develop, which in turn influence actions (see Matthews et al., 2003).

INTROVERSION & EXTROVERSION

THE NORTH AND SOUTH OF TEMPERAMENT

ersonality defines our lives just as much as gender or race.“The single most important aspect of personality—the ‘north and south of temperament’ […] is where we fall on the introvert-extrovert spectrum” (Cain, 2013, 2). The terms introvert and extrovert were originally introduced by the Swiss psychiatrist C.G. Jung in his now classic text Psychological Types (1971). Jung defined them as two different attitudes towards life, two different ways of reacting to circumstances. No one lives completely as one type or the other, so everyone falls somewhere in the middle.

According to Jung (1971), the extroverted attitude is a standpoint characterized by an outward flowing of personal energy (libido)—an interest in events, in people and things, a relationship with them, and a dependence on them. The extrovert is usually motivated by outside factors and greatly influenced by the environment. They are sociable and confident in unfamiliar surroundings, less cautious, less fearful, they like organizations, parties, and they tend to be optimistic and enthusiastic. The introvert attitude is characterized by an inward flowing of personal energy. The introvert is usually happy alone with a rich imagination and prefers reflection to activity

PE R SONA L I T Y

Carl Gustav Jung, along with psychologist Isabel Myers, used extrovert and introvert in On the other hand, introversion is a different way than they are most often defined in terms of a reduced sociaused in today’s world. Nowadays, although bility and the relative lack of an inthese terms are ever-present in personality clination towards social dominance: tests including the Myers-Briggs Type Indicator¹, ordinarily, Introverts […] may have strong social skills and enan extrovert is expected to be joy parties and business meetings, but after a while, bold, outgoing, impulsive and wish they were home in their pajamas. They prefer to sociable, while an introvert is devote their social energies to close friends, colleagues, expected to be shy, antisocial and family. They listen more than they talk, think or withdrawn. Jung and Myers, before they speak, […] and tend to dislike conflict. however, used the words in a […] Just as extroverts desire for stimulation, introcompletely different sense. For verts feel “right” with less of it (Cain, 2013, 11). them, extroversion and introversion are just the preference towards focusing one’s energy on either the outer or the inner world, respectively. Thus, the two concepts are used to represent just personality types: unlike previous usage of the two concepts, for Jung and Myers, neither extroversion nor introversion prevails positively or negatively above the other, and both of them are, therefore, healthy variations. This is one of the most valuable contributions made by these authors to psychological research. From Jung and Myer’s conception of extroversion and introversion, it is clear that there is a huge difference between these two personality types. On the one hand, extroversion is defined mainly in terms of heightened sociability and an inclination towards social dominance. As Cain (2013, 11) says: Extroverts are the people who will add life to your party and laugh generously at your jokes. They tend to be assertive, dominant, and in need of great company. Extroverts think out loud and on their feet; they prefer talking to listening, rarely find themselves at a loss for words, and occasionally blurt out things they never meant to say. They’re comfortable with conflict but not with solitude. ¹ The Myers-Briggs Type Indicator (Myers, Briggs, 1940) is a psychometric questionnaire designed to measure psychological preferences in how people perceive the world and make decisions. These preferences were extrapolated by Katharine Cook Briggs and Isabel Briggs Myers from the typological theories proposed by Carl Gustav Jung.

P E R SONA L I T Y

C O M M U N I C A T I O N

ommunication, from the Latin COMMUNIS, means ‘common’, to share, exchange, transmit and relate (Lewis & Short, 1879). Communication is the primary process by which human life is experienced; communication constitutes reality (see Craig, 1999). We communicate with others every day on many levels and, therefore, communication is one of those everyday activities so completely intertwined with all of human life that we sometimes overlook its pervasiveness, importance, and complexity (Littlejohn & Foss, 2010, 3).

on communication theory as a field (Craig, 1999, 119-120). This metamodel, understood as a model of models, provides a robust system for ordering the world of communication theory into seven different traditions: (1) the semiotic; (2) the phenomenological; (3) the cybernetic; (4) the sociopsychological; (5) the sociocultural; (6) the critical; and (7) the rhetorical (Littlejohn & Foss, 2010, 3). Because we are talking about the differences of individuals in relation to communication, the sociopsychological tradition is the field that refers more closely to our subject.

The term communication, though, is not The social psychology research theorise easy to define (see Dance & Larson, 1976, communication as: for a discussion on the subject). The communication professor A process of expression, interaction, and influence, a Frank Dance, after the most process in which the behaviour of humans or other exhaustive examination of the complex organisms expresses psychological mechatypes of definitions created by nisms, states, and traits and, through interaction various academics, (Dance, with the similar expressions of other individuals, 1970; Nilsen, 1957) concluded produces a range of cognitive, emotional, and behathat “[w]e are trying to make vioural effects” (Craig, 1999, 143). the concept of ‘communication’ do too much work for us” (Dance, 1970, 210). As Cited by Littlejohn For social psychology, communication is me& Foss, Dance points out that we need to diated by attitudes, emotional states and perdefine communication through a family of sonality traits, among others. The study of concepts rather than a single idea or theory the individual as a social being is the thrust in order to better understand communica- of the sociopsychological tradition. The intion in all of its complexities, powers, pos- dividual is viewed as an entity with specific sibilities and limitations (Littlejohn & Foss, characteristics that lead him to behave in an independent way from others. It views the 2010, 3). single human mind as “the locus for procesConsidering that the study of communica- sing and understanding information and getion involves so many subjects, we need to nerating messages, and it acknowledges the pay attention and be influenced by what we power that individuals can have over other consider relevant to our research. Robert individuals” (Littlejohn & Foss, 2010, 52). Craig’s “metamodel” of dividing the typologies of communication tries to establish a canon of general theory to which every communication study can refer. His goal is to unite them and to create a consensus

COMMUNICATION STYLES

PATTERNS OF BEHAVIOUR

e like to think about ourselves first as individuals. We like to differentiate ourselves and mark a boundary between us and the outside world. We assume that we have a certain combination of traits that makes us different from other people and, at the same time, we perceive that we are not an island but part of a community of other people bound together by social interaction (Littlejohn & Foss, 2010, 52). Your communication style depends mostly on your biologically determined traits and not in the situation. A trait is a distinguishing quality or characteristic; it is an individual’s relatively consistent way of thinking, feeling, and behaving across situations. Many researchers in the fields of temperament and personali-

ty agree that there is a clear correlation between personality traits, temperament type and the way we communicate, including communication preferences, miscommunication and conflict (see e.g. Bates, 1989; Bouchard, 1993; Eyseck et al., 1985; Kagan & Snidman, 1991; Myers & McCaulley, 1985; Keirsey, 1998). In his discussion of communication style, Horvath (1998) points that communication style is “similar to temperament or personality”, and he describes it as a “central tendency of behaviour”. Many traits have been investigated in psychology and communication, but, at some point, researchers realised that they needed to set a general model that allowed for the

CO M M U NI CAT I O N

explanation of many other traits and of individual differences among them. The five factor model, described by John Digman (1990, 417), is a compilation of many personality dimension theories. It identifies five general factors that, in combination, determine an individual’s more specific traits and are related to the individual communication style. The five-factor model of personality is a hierarchical organization of personality traits, and its five basic dimensions are Extraversion, Agreeableness, Conscientiousness, Neuroticism, and Openness to Experience (McCrae & John, 1992, 175). Extraversion can be explained as the tendency to enjoy being in groups and being assertive, while Agreeableness is the tendency to like and be sympathetic towards others, as well as to avoid antagonism. Openness is the tendency to be reflective, pay attention to inner feelings and have imagination and independent thinking. Conscientiousness is the tendency to resist impulses, to be self-disciplined and well organized. And, finally, Neuroticism is the tendency to feel negative compulsions, phobias and anxieties.

bin et al., 1994; Hansford & Hattie, 1987) and it is used to “label[ling] and identify[ing] patterns of behaviour and characteristics associated with the ways individuals share expression in the process of interaction. It may reflect a communicator’s self-perception or an observer’s perception” (Sisson, 2011, 6). It is normal, then, that how people communicate influences factors such as “the quality of the interactions with others, their effectiveness and attractiveness as communicators, and the interpretation and response of others to their behaviour” (Glauser & Tullar, 1985, 70).

Even so, there’s another factor relevant in the investigation of personality traits and communication, and it is related to a biological factor. Traits such as aggressiveness and shyness are primarily inherited, and the "The way you communicate depends way you communicamostly on biologically-determined traits te depends mostly on these biologically de- and not on the situation itself." termined traits and not on the situation itself. That’s why people tend to hunt for situations they feel that fit their traits and, at the same time, help them square the situation in a way that is consistent with these traits (Littlejohn & Foss, 2010, 81). Literature on communicator style covers several communicator style analyses (see e.g. Norton, 1978; Burgoon & Hale, 1987; Ru-

CO M M U NI CAT I O N

TYPOGRAPHY

THE ART OF VISUAL LANGUAGE

Alan Kitching's working process (2015)

he ability to speak or write is a fundamental part of what makes us unique as humans. Every time we speak or write, we communicate, and language is what embraces this two codes. In visual language research, the most difficult task is to establish a clear definition of a visual language. By visual language, we mean a “set of diagrams which are valid ‘sentences’ in that language where a diagram is a collection of ‘symbols’ in two or three dimensional space” (Marriot et al., 1998). Spoken language is “ephemeral and intangible, it disappears as soon as it is uttered”, but “when written, language is captured in a visual and spatial form, permanent and concrete. As the art of visual language, typography is inherently communicative” (Kunz, 2004).

In the nineteenth century, writing, thought of as the mere basic means for linguistic study, was considered insignificant and invisible, and there seemed to be no need to mention or notice it. Not only the forms and material properties of writing, but also the fact that it served the language itself were unrecognized. Going into the twentieth century, the study of writing was even more obviated, with research focusing on the study of sound and its acoustic dimensions. The spoken word took over and writing, even if it was what provided access to the spoken language, was hidden beneath it. However, from 1906 to 1911, Ferdinand de Saussure, a Swiss linguist, gave a series of lectures where he outlined that it was necessary to provide semiotic grounds to the visual forms

CO M M U NI CAT I O N

of the linguistic model. As he puts it in on his Course of General Linguistics: Language and writing are two distinct systems, the only reason for the existence of writing is to represent language. The linguistic object is not defined by the combination of written and spoken language, spoken language alone constitutes it. But the written word merges itself so intimately with the spoken word of which it is the image, that it ends up usurping the primary role; and in the process and equal—or even greater—importance gets assigned to the representation of the vocal sign that to the sign itself. It is as if one believed it were better to get to know someone through their photograph than directly by their face. (Saussure, 2013, 82) Typography is examined in aesthetic and technical considerations such as font selection, hierarchies, spatial arrangement, grids and style. Even so, we need to think about typography as a visual language, as a communicator: “[t]ypography is to language what maps are to geography, scores are to music, and algebra is to mathematics” (Baines & Haslam, 2002, 10). Typography is functional and expressive, with the aim of utility and beauty. Its function is to “communicate a message so that it effectively conveys both its intellectual me- “Written language is captured in a aning and its emotional feeling. visual and spatial form, permanent […] At the heart of good typoand concrete. As the art of visual graphic design is a critical interpretation of the meaning of the language, typography is inherently message: the more astute the in- communicative” terpretation, the more effective the design” (Kunz, 2004). Function is important to intellect, and form is important to emotions. Typography is an aesthetic component of design and it affects negatively or positively our attention, participation and enjoyment, enriching or degrading the aesthetic qualities of our environment (Kunz, 2004).

CO M M U NI CAT I O N

â&#x20AC;&#x153;Typography is to language what maps are to geography, scores are to music, and algebra is to mathematics.â&#x20AC;? Baines & Haslam

T A L K I N G

T Y P E

efining typography is not an easy Typography can be found everywhere, in task. This is, partly, because of the advan- mediums such as interfaces, packagings, ces in technical aspects that have influen- printing and the environment itself. Deced the meanings of the same terms during signers captivate with words. They use the different periods in history (Baines et al., type to shape language and provide life and 2002, 6). According to the latest Encyclo- power to the words in order to deliver text paedia Britannica core definition, “typogra- fluently: “[w]ith distinct voices and persophy is concerned with the determination of nalities, type whispers delicately and shouts the appearance of the printed page”. The loudly. Communication lies at its core. Type Collins English Dictionary (2004) defines is commanding and beautiful one moment, typography as “the art, craft, or process of analytic and instructive the next. It is dracomposing type and printing from it”. This matic, whimsical, modest, and extravagant” definition, though, escapes from the digital (Cullen, 2012, 94). era that we live in. This is the problem of such definitions, in The typographer designer is, at last, an inthat they are not as flexible as terpreter, a visual communicator, and a prothe activities they define. The blem solver. The work of the designer is not Hague's Academy of Arts tea- just to deliver a message, but also to interpret cher Gerrit Noordzij, defines it considering that interpretation is central typography by saying that it “is to the idea of communication. His job is to writing with prefabricated let- improve the comprehension of the informaters”. This definition is delibe- tion, and at the same time to make it more rately avoiding connecting the attractive and, by employing the appropriaterm typography to any specific te typeface, to place it into a design well suimedium, because of the conti- ted for the message, media, and audience. nue evolution of the discipline As Paul Rand describes in Design, Form & (Typoteque, 2007). Caos, “[t]o design is to transform prose into poetry (Rand, 1993).” (Šilić et al., 2009). In order to think of a typeface as a means of communication, we need to pay attention to it on at least two levels: the Typography is a critical tool in visual commufunctional and the semantic. Functional com- nication and, independently of the medium munication depends on the letter’s form and it where the type is used, it is basic to find a baallows the viewer to perceptually differentiate lance between function and aesthetics. The and identify each letter, while semantic com- use of the fundamental principles is essential munication induces a response in the viewer as to finding a perfect connection between text a result of such elements as the tone, mood, and and type. The selection of the appropriate attitude. It provides a subtle meaning beyond typeface has been studied mostly in terms of the text itself. As Robert Bringhurst puts in on legibility and readability, but we need to start the Elements of Typographic Style, “[t]he moment paying attention to the message the typograa text and a typeface are chosen, two streams phy itself conveys through its attributes and of thought, two rhythmical systems, two sets of characteristics. In other words, we need to habits, or if you like, to personalities intersect look at the relationship between typefaces (1996).” (Understanding Graphics, 2010). and their personality traits. (Cullen, 2012)

Alan Kitching's tribute to Paul Rand (2015)

TYPE MOOD AND PERSONALITY

THE VOICE OF TYPOGRAPHY

ypography, as the “art of shaping the written word, has an unquestionable impact on the human perception and interpretation of the message. With skilled use of type designs, communication quality of the message can be enhanced by giving a certain connotative meaning to the written word” (Šilić et al., 2009). Type has been studied in terms of legibility and readability, but many researchers now agree that readability is not the most important design issue:

Through the appropriate selection of typefaces, the message gets its own personality and tone of “voice”, but the idea that typefaces bring a visual message with them is not a new one.

In Greece and Rome, in the third and second centuries, serif letterforms were considered “symbols of the empire,” whereas sans serif forms were considered symbols of the Republic (Bringhurst, 1996). In the Renaissance, types were consiToday, the major challenge is to choose the most dered to be inspired by cultural appropriate type from a wide range of legible choices. and national characteristics — Appropriateness is best achieved when genre, pur- Garamond for France or Bodoni pose, and context fit with the ‘mood’ of a typeface for Italy (Laliberte, 1987)— but, (Schriver, 1997) (Holst-Larkin, 2006). later, with the new typography movement, most type designers

TA L KI NG

T Y P E

“Typographical design

should perform equally

what the speaker creates

through voice and gesture

of his thoughts.“ El Lizzitsky

wished to abolish the nationalistic characteristics by creating new types that were free from associations. However, they continued to support the idea that typefaces have distinct personas, suggesting that “even typography intended to be free of historical and cultural associations, can never be entirely free of rhetorical impact” (Brumberger, 2003). During the 20th century, a few studies were conducted with the aim to demonstrate that typefaces styles have psychological effects on the reader and, also, with the purpose of determining the connotative qualities of typography (Poffenberger & Frankenm, 1923; Schiller, 1935; Tinker & Paterson, 1946; Aaker, 1997). The term “connotative mea-

ning” or “secondary meaning” when talking about type was described by Ovink (1938) as “those properties by which a typeface excites feelings within the reader”. It defines a certain “personality, situation, feeling or action that is suggested by a form” (Šilić et al., 2009). Trying to explain the same concept, Kostelnick (1998) points out that the visual language of typography can transmit a “visual texture, tone, and mood,” and that “visual language suggest a rhetorical stance: serious, conversational, low key, energetic, highly technical, or user-friendly”. Parker (1997), following the same concept, claims that typeface “conveys mood, communicates attitude, and sets tone”, while Shushan and Wright (1994) assert that “each typeface has a distinct persona; they suggest that typefaces can be confident, elegant, casual, bold, romantic, friendly, nostalgic, modern, delicate, sassy, with as many possibilities for typefaces persona are there are typefaces” (see Brumberger, 2003, 208). There have been several studies about preferential, attributive, and emotional associations to fonts. Researchers on type and document design often feature typeface persona to physical characteristics. Popular type styles of the Serif and Sans Serif classifications have been examined in order to obtain a classification of perceptual affective differences using adjective pairs such as beautiful and ugly. Tantillo et al. (1995) explain that “Benson (1985), for example, suggest that sans serif faces are typically perceived to have ‘a cleaner, more modern look than serif type’. Kostelnick and Roberts (1998) similarly find sans serif type more technical than serif type, possibly because of the former’s ‘clean, machine-like look of modernism’ (Brumberger, 2003). The shape and weight of typefaces are also a very important aspect to consider when talking about personality of the typefaces.

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T Y P E

Some studies suggest that typefaces with rounded serifs are seen as more friendly, while typefaces with squared serifs are seen as more official in tone (Parker, 1997). Furthermore, typefaces that are lighter in weight tend to be seen as delicate, gentle, and feminine, while heavier typefaces are perceived as strong, aggressive, and masculine (White, 1988; Baylis, 1995). Some researchers have brought the investigation to another level, trying to identify specific personas in relation to typefaces. For example, talking about serif types, Times New Roman is perceived as traditional and “bookish”, while Garamond, in contrast, is described as graceful, refined, confident, and clearly feminine (Kostelnick & Roberts, 1998). Century Schoolbook is defined as “serious yet friendly” by the same researchers, whereas Caslon is attractive but not pretentious, “quietly dignified” and friendly, “a good substantial citizen” (Secrest, 1947). Among sans serif typefaces, Futura is defined as “no-nonsense”, “cool”, and “restrained” (Spiekermann & Ginger, 1993), while AvantGarde is modern (Kostelnick & Roberts, 1998; Shishan & Wright, 1994) without being formal. (Brumberger, 2003) Despite the amount of studies about the relationship between typefaces and personality, there is little empirical evidence to support the theories. When choosing a typeface, we make choices as we perceive and interpret documents. Thus, it seems that designers rely basically on intuition and anecdotal evidence, on terms such as “aesthetic judgment” and “good taste”.

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T Y P E

El Lissitzky: Sieg 端ber die Sonne (1923)

THE COMMUNICATION GAP FORM & MESSAGE

I know that you believe you understand what you think I said, but I'm not sure you realize that what you heard is not what I meant. Robert McCloskey

n many studies on interpersonal relationships, the main thing about personality types is how they are disclosed in communication style preference patterns. We communicate with a wide range of different resources but we tend to prefer some to others. If we talk about typography, communication style refers to the style that we, as communicators, decide that is the appropriate in order to get the message across. People use many communication tools, but not with equal preference, skill, or effectiveness. The ability to interact effectively in social environments is essential to success in everyday life. It requires that two people or, in the field of typography, the form and the content, use the same communication style at the same time in order to communicate successfully (Yeakley, 1983).

Communicating through typography is also a taught task. Even though the revolution that the invention of writing has supposed to the process of transferring information, a huge part of the original message is permanently lost in writing. This is, mostly, because of the lack of expressiveness of typography (Šilić et al., 2009). Crossed signals and misunderstandings are an everyday fact and the reasons are abundant and multiple. Talking about the psychology of introversion and extroversion, Jung suggests that the difference between them is one of attention orientation. For Jung’s introvert, “the internal reaction takes precedence over the thing reacted to, out in the world. Alternatively, Jung described the extravert as the lover of tangible reality, with little inclination for reflection [… to feel the object, to have sen-

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sations and if possible enjoy them—that is his constant aim” (Lieberman & Rosenthal, 2001, 364). These differences in communication styles or, more precisely, the bad usage of appropriate communication styles, can provoke the impatience and frustration of both personality types or, speaking about typography, the loss of the original message during the journey that suppose the materializing of words. Each part speaks a different language. Extroverts would like introverts to think and speak up faster, while introverts would like extroverts to slow down and leave space for more thinking. This doesn’t mean that one communication style is more valuable than the other but, similar to the use of the “right” typeface, their differences confirm that each type is appropriate for usage within a particular medium and a certain context of message transmission (Šilić et al., 2009). However, much of the tension that comes from differences and, as a result, poor communication, can be mitigated if both parts have an understanding of the tendencies of interaction of the other part. When we pay attention to the style of the other and, also, when we know what works for us, we can ask for what we want (The Introvert Entrepreneur, 2014). In typography, the knowledge of the connotative quality of each type itself is necessary to “achieve the highest level of expressivity of typography, and thus successful communication” (Šilić et al., 2009). The form and the message in the typographic environment are indistinguishably linked. Even the elementary form of communication, if using design, not only brings information impartially, but also gives subjective cues for the interpretation of the content of the message. Typography seeks to “integrate and balance form and function, recognizing the importance of each. Function without form is dull; Form without function or purpose lacks substance and meaning” (Kunz, 2004). It is not a surprise, then, that the most difficult task that a designer has to face is having

the skills to make this balance work. In typography, an interesting visual effect may enhance a message, but it can also overwhelm. In psychology, an extroverted communication style can be effective to the context of the message, but can suppose too much energy drain for the receptor, if it is an introvert. When form dominates content, form in fact becomes the message and the content is weakened, even lost. This could look exciting at first, but after a while it shows a lack of depth and conviction. When one personality type communication style prevails over the other, the principal affected by this situation is the message itself, for it gets lost somewhere between the differences in communication or, in other words, in miscommunication. Communication should be an easy and enjoyable exercise. Both to psychology and typography, types must not only allow people to comprehend information and interchange ideas, but to make it both easy and pleasurable. Also, considering the amount of information that we need to face up each day, this notion of ease is vital (Kunz, 2004).

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â&#x20AC;&#x153;Type well used is invisible as type, just as the perfect talking voice is the unnoticed vehicle for the transmission of words, ideas.â&#x20AC;? Beatrice Warde

S P E A K I N G

F O R M S

What gives a typefaces its personality? Why does one font appear bigger or clearer or darker or warmer than another? The answer to these questions can often be found by simply looking more closely at the letters themselves. The performance of a Text typefaces is best judged by viewing itâ&#x20AC;&#x201D;and using itâ&#x20AC;&#x201D;at its intended size in a passage of text. But just as typography (the use of type) is all about fussing over the details, the details of the typefaces themselves really do matter. Spiekermann & Coles

hat type goes farther than what we may initially think is, at this point, an undisputed fact. Type speak for itself, and in this next chapter, I will examine four specific typefaces that, in one way or another, have connotations that we can relate to the main psychological types that we have been studying so far: introversion and extroversion. To do that, I have chosen two adjectives for each psychological term and, following their meanings, I have looked at the huge catalogue of typefaces that we can find in todayâ&#x20AC;&#x2122;s market in order to find the ones that relate the most with our subject. We can think about introversion using the adjectives quiet and cautious, while extroversion can be linked to the adjectives assertive and outgoing. The aim of this chapter, then, is to find a relationship between specific typefaces and specific adjectives. To do that, though, we need to have some knowledge about both type classification and type anatomy, and the terminology related to them, which is what we do in the next section.

TYPE CLASSIFICATION ORGANIZATION

owadays, not only designers but also the general population need better ways to communicate to different audiences. We assume that “what we have to say is much easier for others to understand if we put it in the right voice; type is that voice, the visible language linking writer and reader” (Spiekermann & Ginger, 2002, 7). Nevertheless, of the many challenges that arise for anybody working with typography, one of the most relevant ones is how to make sense of the huge amount of different typefaces that are available on the market. The simplest way to organize typefaces is alphabetically, which is how most typefaces catalogues are arranged, but that obviously doesn’t work if we are looking for specific

visual characteristics in the types. By classifying typefaces according to specific visual similarities, a more coherent list of smaller groups of visually-related typefaces can be developed, which aids both recognition and selection. Furthermore, as well as forming the basis of organization for a library, catalogue, or reference work, this classification method also helps increase the users’ consciousness of the history and development of typefaces (Baines & Haslam, 2002). It is clear, then, that we need organization in order to make our type search work easier and faster. Attempting to categorise and label typefaces is not a new goal. It began in the twentieth century, when the industry of typefaces production was increasing

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very fast and, in fact, one of the methods of of categories could be self-defeating. Allan classification that was invented at the time Halley, in his series of articles about type, is still widely accepted as a standard today. proposes a hybrid system of 15 styles, based In 1962, Maximillien Vox made a classifi- on the aforementioned Vox System. He dication proposal that gained the acceptance vides types in: (1) Serif Type styles, with Old of the Association Typographique Interna- Style, Transitional, Neoclassical & Didone, tionale (ATyPI), a body that represented all Slab, Clarendon, and Glyphic subcategothe major manufacturers (which were a very ries; (2) Sans Serif Type Styles, with Grosmaller number then than now) and other tesque, Square, Geometric, and Humanistic interested parties (Baines & Haslam, 2002). subcategories; (3) Script Type Styles, with Vox was a designer, journalist, art critic, Formal, Casual, Calligraphic, and Blackleand type historian that attempted to classify tter & Lombardic subcategories; (4) Decoratypes into eleven styles based on a number tive Styles (Allan Haley, 2015). of formal criteria such as downostroke and upstroke, forms of The Serif Type styles are typefaces that serifs, stroke axis and x-height, have “feet” or non-structural details at the among others. The Vox-ATyPI ends of some strokes. Serifs are considered classification defines archetypes to be decorative but they can also serve a of typefaces but, in fact, many higher purpose. They have been credited typefaces are open to interprewith increasing both the readability and tation because they can actually reading speed of text because of the optidisplay the characteristics attrical lines that are created thanks to the serifs, buted to more than one group. which help the eye travel through the text. The main categories of the On the other hand, Sans Serif Type Styles VOX system are: Humanists, are types that don’t have serifs. They usually Garaldes, Realists, Didones, share similarities in stroke thickness, weight, Mechanicals, Lineals, Inscripand the shapes of certain letterforms. Script tionals, Scripts, Hands, Black Typefaces are based on the forms made with letters, and Gaelic types. a flexible brush or pen and often have varied strokes reminiscent of handwriting. Finally, In spite of the frenetic pace in Decorative Styles are typefaces that are oftypeface manufacturing, the ten developed with a specific use in mind VOX system is still relevant toand are designed for larger point sizes used day. However, considering that in headlines, posters, and billboards. DecoFontShop—one of the largest rative is a less strict label, and the term can type retailers nowadays—coninclude a wide variety of typefaces (Typetains over nine thousand fonts, dia, 2015). the classification that this system requires is problematic both practically and philosophically in some aspects. That’s why some changes have been made in order to adapt the typefaces to a new classification, more according to today’s demand. In such a classification, while a small variety of categories could be inadequate for design professionals, dozens

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A GARALDES

Garamond

AAA HUMANISTS

Centaur

REALISTS

Baskerville

DIDONES

Didot

A A A AAA MECHANICALS

LINEALS

INSCRIPTIONALS

SCRIPTS

HANDS

BLACK LETTERS

Rockwell

A Caflisch

GAELIC

Hebrew Universal

Futura

Banco

Optima

Fette Fraktur

TYPE CLASSIFICATION VOX System

THE ANATOMY OF TYPOGRAPHY

COMPONENTS AND CHARACTERISTICS

Just like the human body, the Latin alphabet can take on a surprising range of shapes and proportions. These varieties can come from diverging historical paths, differences in language or culture, or simply the tool used to make the letters â&#x20AC;&#x201C; whether itâ&#x20AC;&#x2122;s a pen, a chisel, or a compass. Spiekermann & Coles Horizontal Stroke

Tail

Stem

Terminal

Crossbar Apex

Hook

Finial Finial

Link

Eye

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Arm

Diagonal Stroke

Spur

Aperture

Terminal Spint

Arc of Stem

Bracket Bowl

Tittle

Descender

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Tail

Axis Stroke Contrast

INTROVERSION

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EXTROVERSION S PE A KI NG

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EXTROVERSION

ASSERTIVE Confident and direct in claiming one’s rights or putting forward one’s views. Given to making bold demands. Forceful, decisive, forward, insistent.

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ASSERTIVE

ssertiveness is one of the most powerful traits that extroverts tend to possess. It is usually associated with leadership behaviour, because of the tendency of extroverts to assert themselves in groups and, in fact, to find comfort in these situations. They tend to be self-confident in situations where they need to stand out and let their voices be clearly heard, so they usually flourish in a social environment. Akzindenz Grotesk displays clarity and power. With its bold and proportionate characters we can feel it claiming attention in a very effective way. We can appreciate how there is no contrast on its strokes, presenting it as a stable and con- Typography AKZIDENZ GROTESK sistent block of text. The combi- Designer H. Berthold AG nation of fairly short ascenders Foundry Berthold Type Foundry in comparison with the x-height, Country of Origin Germany flat apexes, and small eyes rein- Release Year 1898 force a sense of confidence and Classification Lineal / Grotesque determination within the letterforms. The non-organic forms of such parts of Akzidenz Grotesk is often mistaken for Helthe characters as the geometric spin on the s, vetica or Univers, but, in fact, it was their anthe straight leg of the R, and even the dot— cestor and had a huge impact and influence or tittle—actually being a square, make its on their creations. Akzidenz Grotesk is conappearance bolder and stronger, as if saying sidered the “original” Sans Serif, possessing that it is really worthy of being heard. Also, differences in its proportions and with subtly if we look into the family variations of the varying stroke weights. It provides the typefatypeface, the use of the condensed form of ce with more character and a warmer edge the type enhances the spirit of assertiveness than the other creations. even more, leaving no spaces in between to pause or wonder.

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INTROVERSION

Quiet Restrained in speech, manner. Saying little. Still, calm, serene. Gentle, placid, smooth.

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QUIET

ntroverts tend to be more quiet and reserved. They usually act in an introspective way and, after spending a certain amount of time with a large group of people, they feel the need to spend some time alone in order to “recharge” their energy. While extroverts gain energy by surrounding themselves with people, introverts will be drained of energy by doing it. Being quiet, though, doesn’t necessarily mean being shy, understanding shyness as the fear of people or social situations. Introverts do like being with people, but they prefer closer friends and deep conversations rather than small talk. Behind the letterforms of the Baskerville typeface we can find a sense of calm, silence, quiet. The elegant serifs help us navigate through the words Typography BASKERVILLE without effort, guiding our eyes Designer John Baskerville through the delicate tails, acting Foundry Storm as an extension of a gentle atCountry of Origin United Kingdom titude that we can already find Release Year 1750s-1760s thanks to the contrast of the Classification Realist / Transitional Serif strokes. Such subtleties, as the refined terminal of the p or the the unmistakable tail of the uppercase Q, Baskerville is the quintessential Transitional suggest the softness and warmness of the in- Serif that has long been considered a clastroverted personality when found in a com- sical typeface, because of its elegance and fortable situation. Introverts tend to be good the perfection of its letterforms. The aim of listeners, talking less and listening more. the designer was to pay careful attention to When using Italics in Baskerville, we can get drawing consistent and refined letterforms the spirit of expectation and interest for what that retained a certain spirit of handwriting. the environment is telling us. The softness of Baskerville gets its elegance from the usage bowls and shoulders of characters such as the of thinner hairline strokes and tapering serifs. m and n are almost a whisper in themselves.

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EXTROVERSION

OUTGOING Interested in and responsive to others. Friendly, sociable, open. Warm, cordial, gregarious.

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OUTGOING

xtroverts tend to be described as energetic and talkative. They enjoy socialising and being constantly active in a huge amount of different activities. Because of their natural social orientation preference, it is not a surprise that they tend to be outgoing and that they enjoy the proximity and company of people, and to open themselves up to anyone who wants to spend a good and exciting time. They tend to be action-oriented individuals, taking pleasure from their outgoing approach to life. Friendly and cordial, they are always ready to a new adventure and, therefore, they develop relationships quickly and easily. The heavy weighted Cooper Black typeface is an open invitation to enjoyment and fun. Its blunt and rounded forms, with very small counters and Typography COOPER BLACK smooth serifs, make of Cooper Designer Oswald Bruce Cooper Black a friendly and warm type- Foundry Barnhart Brothers & Spindler face. The extremely soft curves Country of Origin USA of the letterforms invite the eye Release Year 1921 to navigate through the typefa- Classification Didone / Old Style ce, appreciating such details as the funny ear of the g, almost comical, or Cooper Black is one of the eternal favourite the completely rounded shoulder of the r. typefaces among designers. With its heaviIt is voluptuous and bubbly, inviting you to ness and stroke weight, but its rounded bulplay. It is the perfect demonstration of how a bous serifs and tiny counters, Cooper Black black typeface can scream in a friendly way, is a jolly and friendly typeface. It set a trend without being frightening or too hard. On in advertisement typography in the first third the contrary, it is precisely its blackness what of the twentieth century, encouraging other draws the attention to Cooper Black. The designers to create their own black types. elliptical dots of the i and j, and the inclined axis that we can appreciate with the o, gives a playful look to the typeface.

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INTROVERSION

CAUTIOUS From the latin cautus. Careful, wary, prudent. Discreet, watchful, attentive.

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CAUTIOUS

ntroverts tend to think before they speak and, therefore, they are more careful when choosing the right words and whom they open up to. Just like anyone else, introverts enjoy the company of close friends and the opportunity to openly express their thoughts. Even so, they behave differently than extroverts do; they listen with attention and tend to be self-reflective and deep-thinkers. This is why, when they finally decide to share their insights, they do it with accurate ideas, for they are then sure that what they are saying is exactly what they meant to say. Univers, with its clean and neat visual lines, suggests simplicity and accurateness. Even if we write the word cautious in capital letters, which is used to produce a sense of loudness, Univers gets calm and serenity within the letterforms. Neither ornamentations nor serifs break the clarity Typography UNIVERS of this typeface. You can find Designer Adrian Frutiger stability in its forms with a very Foundry Deberny & Peignot, Linotype low contrast on the strokes and Country of Origin France, Germany the steams, a moderate x-height Release Year 1957 and big counters leaving the eye Classification Lineal / Neo-Grotesque enough space to catch the spirit of the typeface. The longer extension of the ascenders provides elegance Univers is considered one of the most rewithout unnecessary decorations or curved markable typefaces of the twentieth century. tails. Even so, Univers is not a complete- Released in the same year as other powerful ly â&#x20AC;&#x2DC;straightâ&#x20AC;&#x2122; typeface, which can suggest too typefaces such as Helvetica, Univers is a very much seriousness. In characters such as a and neutral typeface, with elegant and above all, s we can find smooth curves, which provide pure forms. It gives an impression of steadithe typeface with the humanist part that cha- ness and homogeneity without decorations. racterizes the introvert communication style.

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C O N C L U S I O N S

he aim of Type Talks: The Personality of Typography is to analyse the relationship between certain areas of two apparently different fields, psychology and design, that end up having more in common than we may think at first. This research is an approach to one of the most investigated areas of psychology, Personality—and, more precisely, the traits of introversion and extroversion—, and it seeks to investigate the relationship between these traits and typography, a very valuable and extensive area of design.

re the type is going to be placed and for what purpose is needed. Well-used typography is the perfect combination between what we want to say and how are we going to say it— form and message—, so finding the appropriate typography in each situation must be acknowledged as a key factor in design. The relationship between this appropriateness and the miscommunication created by the differences of styles in communicating between introverts and extroverts is also a key point of this chapter.

In the first and second chapters, the terms introversion and extroversion are introduced. The analysis of these terms shows that the two personality types present clear differences, and that people is affected in several areas of everyday life by these traits. One of the main points made in the initial part of this research is that Introverts and Extroverts are different, but that that does not imply negative connotations for any of the two. In these chapters, there is an analysis of how the aforementioned personality traits affect one very specific and relevant area of everyday life: Communication. I focus on how we communicate, rather than what we communicate or the environment in which the communication is happening, to see which communication styles are characteristic of each personality type and, also, how the differences among these styles affect the interaction between the traits.

The last part of this investigation is an analysis of four specific typefaces that, from my point of view, have some introverted or extroverted connotations. Obviously, this part of the research is the most subjective part, precisely because when we talk about how certain personality traits are translated by forms, there is always the influence of your own way of perceiving the traits. Even so, I think that this is definitely the most interesting part: the process of selecting the right typefaces allowed me to observe the perspectives of different people—with different personality types— on the issue, and how, in spite of their differences, their reactions to each typeface are usually very similar.

In the third chapter the investigation focuses on the field of typography. The aim of this chapter is to demonstrate that typography can speak for itself, for it conveys a specific personality and mood that is reflected into the design where the typography is used. I show how the use of typography needs to be very accurate, and that research about whe-

In conclusion, this research highlights the very close relationship that exists between typefaces and personality traits—one could even say that typefaces have personality traits—and that, similar to what occurs with personality traits in humans, they are often complicated and subjective to describe. It has been noted in this dissertation that the North and South of temperament—introversion and extroversion—can relate to certain forms and shapes, which demonstrates that typography can, without a doubt, talk to us beyond the words.

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TYPE TALKS: The Personality of Communication March 2015