ELEMENTS
OF TYPOGRAPHY
Typography
is the Art and Design of Printed Text.
Typefaces
and Fonts
The
original meanings of the words 'Typeface' and 'Font' have
become blurred through common usage . Both now tend to
be used to describe the various styles of letterforms
available to designers and printers.
Typefaces
The
term 'Typeface' was originally used to identify the design
elements in a letter style e.g. bold, underlined,
or italic.
Bold
Type
can add an emphasis or strength to the style of a font.
Underlined
Type is an effective way of emphasising the
title of a document. It can also be used to call attention
to an important section of text.
Italic
Type can also emphasise an important word
or passage of text, but it tends to be used in a more
informal context. Italic fonts have an animated style
and are often selected for designs where there is a need
to convey the illusion of speed and energy.
Fonts
The
term 'Font' was
originally used to identify a family of typefaces. The
fonts below are all members of the 'Futura' font family.
Their height is measured in points - the standard unit
for printed text. There are about 72 points to one inch.
Although
the above fonts are all the same height, note how their
breadth varies according to their style. Some fonts are
more suited to fitting into a confined area of a design,
while others like to spread themselves out.
There
are two main font types:
Serifs
are the extended corners
at the ends of a letter and like all good design, they have
evolved naturally. They originated in the stone-carved letters
of the Ancient Romans. Stone masons discovered that it was
technically easier to finish chiseling the ends of a letter
in a slow curve. Not only did serifs look more elegant but
they were also very practical as they formed a natural channel
for water or rain to flow away as it cleaned dust from the
corners.
Serif
fonts are the most legible and are commonly used for large
blocks of text. Their wide horizontal baseline emphasises
the line of text for the eye and makes reading more comfortable.
Sans-serif
fonts are simply fonts without serifs ('sans' means
'without' in French). They are also sometimes called
gothic fonts.
Legibility
and Style
Fonts
are usually chosen for their legibility or their stylistic
effect.
Legibility
Legibility
is the measure of how quickly a font can be read.
The
balance between legibility and style is one of the important
factors to be considered when choosing a font for a design.
Serif
fonts like Times New Roman above are the easiest to read.
They usually appeal more to an older target audience who
are more concerned with content than style.
Novelty
fonts like Carnivale are fun but are less legible and
tend to date quickly. They tend to appeal more to a younger
target audience who often prefer style over content.
Calligraphic
or script fonts, especially in capitals, are often the
most illegible.
The
choice of colour can also have a strong effect on the legibility
of a font.
Style
Fonts
can speak in a voice that reflects the style or emotion
of the words they make. The elements of shape and colour
help to communicate their meaning.
Based
on the carved letterforms on the buildings of Ancient Rome
and used as the typeface of The Times newspaper today, the
'Times New Roman' font represents the voice of authority.
This idea is reinforced here by its dark blue colour - the
colour of law enforcement.
'Times
New Roman' was designed in 1931 by British designers Stanley
Morison and Victor Lardent. However, certain authorities
now dispute this and believe it to be the work of the American
designer, Starling Burgess.
Various
elements contribute to the sense of disorder in the 'Bedrock'
font above. The primitive shape of each letterform is chiseled
to form a crooked design, while the irregular arrangement
and different colours heighten the effect.
Designed
in 1995, it was probably inspired by 'The Flinstones' who
lived in Bedrock, and it reflects the anarchy of a cartoon
world.
Anger
is expressed in the aggressive and calculatingly crude calligraphy
of the 'Chiller' font. Its dangerous aura is amplified by
the symbolic use of red - the colour of rage.
'Chiller'
was created by the British designer, Andrew Smith.
An
ice cold blue colour, smooth rounded corners and a long
relaxing shadow, all contribute to the feeling of calm in
the 'VAG Rounded BT' font.
BT
stands for Bitstream, the company from Cambridge MA, USA
who designed the font.
'Ravie'
has the energy and bouncy movement necessary for a fun-filled
font. Bright primary colours enhance its cheerful form.
'Ravie'
was designed by Ken O'Brien in 1993-94 at the Art Center
in Pasadena, California.
The
combination of italic type, graduated colour and blurred
form creates the illusion of speed using the 'Slipstream
LET' font.
Slipstream
was designed by the Letraset Type Studio.
By
their nature bold fonts shout. 'Futura XBlk (extra black)
BT' is a no nonsense, sans-serif font that gets its message
across loud and clear.
Paul
Renner (1878-1956), a typographer associated with the Bauhaus
in Germany designed the original Futura fonts. They were
the most popular sans-serif fonts in the first half of the
20th century.
Certain
fonts inherit a reputation for style through their association
with a particular time or place. 'Broadway Engraved' evokes
the Art Deco era which was one of the most popular design
movements of the early twentieth century. A metallic gold
finish completes the stylish look.
This
font is based on 'Broadway' which was designed by Morris
Fuller Benton between 1925-28.
The
Abstract Elements of Type
The
interaction between the abstract elements of positive shape
and negative space is an important consideration in the
design of good typography.
Positive
Shape - Negative Space
By
positive shape we mean the shape of the letter itself.
By
negative space we mean the background shapes between the
letters.
Equally
balanced positive shapes and negative space interlock to
create a strong architectural quality in the Logan font.
If
you look closely you will see that a little trickery has
been used to manipulate the positive shapes and negative
space of this Stencil font.
A
careful balance between positive and negative elements was
essential to create the rhythm and vitality of this script
font. Script or calligraphic fonts, like Luftwaffe, should
be avoided if you are looking for legibility.
Ravie
is a fun font for those who place stylistic effect over
legibility. Although it looks improvised and intuitive,
there is a calculated balance between its positive shapes
and negative spaces. This effect is made more visible
by the circle which highlights its animated and abstract
qualities.
The
elephant is a beast of burden and the Elephant font reflects
this quality. Like steel girders, its characters look to
be able to support a great weight. The balance between the
strength and delicacy of their positive and negative forms
adds a sense of refinement to this typographic powerhouse.
The
interaction between the positive and negative shapes of
the Wide Latin font evokes the dynamic forms of Geometric
Abstraction in mid 20th century painting.
Try
out our two lessons
related to this area of design:
TYPOGRAPHY
DESIGN LESSON
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