JOUR1006: Introduction to Digital Media Techniques Typography … · 2015-03-12 · JOUR1006:...
Transcript of JOUR1006: Introduction to Digital Media Techniques Typography … · 2015-03-12 · JOUR1006:...
JOUR1006: Introduction to Digital Media Techniques
Typography 101
Andy Screen 2015
JOUR1006: Introduction to Digital Media Techniques
Typography 101
JOUR1006: Introduction to Digital Media Techniques
Typography 101
Andy Screen 2015
Session Plan
● Major Project Review – Deadline 1: Project Content● Invisible type and expressive type● Illustrator Workshop
JOUR1006: Introduction to Digital Media Techniques
Typography 101
Andy Screen 2015
Invisible TypeMost people don’t question type, fonts or letters.
In fact, they don’t see them.
JOUR1006: Introduction to Digital Media Techniques
Typography 101
Andy Screen 2015
A Compromise?‘Typography has one plain duty before it and that is to convey information in writing. No argument or consideration can absolve typography from this duty.’
Typographie. Emil Ruder (1967)
JOUR1006: Introduction to Digital Media Techniques
Typography 101
Andy Screen 2015
Readability & LegibilityLegibility: The ability to recognise the shapes of characters.
ReadabilityThe ability to understand the written message.
JOUR1006: Introduction to Digital Media Techniques
Typography 101
Andy Screen 2015
LegibilityIt is dependent on:
– The characters (letter shapes)– The white space in which each letter-form sits– The printing or display method
JOUR1006: Introduction to Digital Media Techniques
Typography 101
Andy Screen 2015
JOUR1006: Introduction to Digital Media Techniques
Typography 101
Andy Screen 2015
JOUR1006: Introduction to Digital Media Techniques
Typography 101
Andy Screen 2015
ReadabilityThis relates to issues around extended amounts of text.
JOUR1006: Introduction to Digital Media Techniques
Typography 101
Andy Screen 2015
Readability–Letter shapes Readability depends on the instant
recognition of letter forms. When characters have odd shapes they are difficult to instantly recognise.(Bauhaus 93)
Readability depends on the instant recognition of letter forms. When characters have odd shapes they are difficult to instantly recognise.(Adobe Caslon Pro)
JOUR1006: Introduction to Digital Media Techniques
Typography 101
Andy Screen 2015
TEXT WRITTEN IN CAPITALS IS HARDER TO READ, BECAUSE PEOPLE READ WORD SHAPES, NOT INDIVIDUAL LETTERS. LETTERS COME IN MANY FORMS. THESE DIFFERING FORMS HAVE DEVELOPED FOR A VARIETY OF REASONS, SOME AS RESULT OF THE HISTORICAL PRECEDENT OF THE HANDWRITTEN FORMS, SOME FOR TYPOGRAPHICAL INNOVATIONS AND OTHERS STILL AS A RESPONSE TO SOME NEW DEMAND OF THE PRINTED WORD, AS IN GREATER CLARITY OF FORM REQUIRED FOR ADVERTISING OR PUBLIC NOTICES. AS MORE TYPEFACES BECAME AVAILABLE, THERE WAS A NEED TO CLASSIFY THEM AND TO FIND A METHOD OF DENOTING THE SIZE OF A FACE AS IT WAS PRINTED ON THE PAGE.
WHEN GUTENBERG FOUNDED THE TYPE FOR THE 42-LINE BIBLE, HE HAD ONLY TO WORRY ABOUT A SINGLE FACE – THERE WAS ONE CHOICE – THE TEXTURA OR GOTHIC BLACKLETTER FORM BASED ON THE CONVENTIONS OF THE WRITTEN SCRIPT IN USE WITHIN GERMANY DURING THE FIFTEENTH CENTURY.
Text written in capitals is harder to read, because people read word shapes, not individual letters. Letters come in many forms. These differing forms have developed for a variety of reasons, some as result of the historical precedent of the handwritten forms, some for typographical innovations and others still as a response to some new demand of the printed word, as in greater clarity of form required for advertising or public notices. As more typefaces became available, there was a need to classify them and to find a method of denoting the size of a face as it was printed on the page.
When Gutenberg founded the type for the 42-line Bible, he had only to worry about a single face – there was one choice – the textura or Gothic blackletter form based on the conventions of the written script in use within Germany during the fifteenth century.
Readability–All Caps
JOUR1006: Introduction to Digital Media Techniques
Typography 101
Andy Screen 2015
Short
Text with too short a line length is tiring to read; your eye has to keep jumping from line to line. Letters come in many forms. These differing forms have developed for a variety of reasons, some as result of the historical precedent of the handwritten forms, some for typographical innovations and others still as a response to some new demand of the printed word, as in greater clarity of form required for advertising or public notices.
Readability–Line Length
JOUR1006: Introduction to Digital Media Techniques
Typography 101
Andy Screen 2015
Readability–Line Length
Long
Text with too long a line length is difficult to read because it is difficult to find the start of the next line. Letters come in many forms. These differing forms have developed for a variety of reasons, some as result of the historical precedent of the handwritten forms, some for typographical innovations and others still as a response to some new demand of the printed word, as in greater clarity of form required for advertising or public notices. As more typefaces became available, there was a need to classify them and to find a method of denoting the size of a face as it was printed on the page.
When Gutenberg founded the type for the 42-line Bible, he had only to worry about a single face – there was one choice – the textura or Gothic blackletter form based on the conventions of the written script in use within Germany during the fifteenth century.
JOUR1006: Introduction to Digital Media Techniques
Typography 101
Andy Screen 2015
Readability–Line Length
Long
Text with too long a line length is difficult to read because it is difficult to find the start of the next line. Letters come in many forms. These differing forms have developed for a variety of reasons, some as result of the historical precedent of the handwritten forms, some for typographical innovations and others still as a response to some new demand of the printed word, as in greater clarity of form required for advertising or public notices. As more typefaces became available, there was a need to classify them and to find a method of denoting the size of a face as it was printed on the page.
When Gutenberg founded the type for the 42-line Bible, he had only to worry about a single face – there was one choice – the textura or Gothic blackletter form based on the conventions of the written script in use within Germany during the fifteenth century.
Ideal
The ideal line length is around 65 characters, although anywhere between 45 and 75 can work.
Letters come in many forms. These differing forms have developed for a variety of reasons, some as result of the historical precedent of the handwritten forms, some for typographical innovations and others still as a response to some new demand of the printed word, as in greater clarity of form required for advertising or public notices. As more typefaces became available, there was a need to classify them and to find a method of denoting the size of a face as it was printed on the page.
When Gutenberg founded the type for the 42-line Bible, he had only to worry about a single face – there was one choice – the textura or Gothic blackletter form based on the conventions of the written script in use within Germany during the fifteenth century.
Readability–Line Length
Fully Justified
Justifying type with too short a length leads to awkward word spacing, creating ‘rivers’. This interrupts the flow of text.
Letters come in many forms. These differing forms have developed for a variety of reasons, some as result of the historical precedent of the handwritten forms, for typographical innovations and others still as a response to some new demand of the printed word, as in greater clarity of form required for advertising or public notices. As more typefaces became available, there was a need to classify them and to find a method of denoting the size of a face as it was printed on the page.
When Gutenberg founded the type for the 42-line Bible, he had only to worry about a single face – there was one choice – the textura or Gothic blackletter form based on the conventions of the written script in use within Germany during the fifteenth century.
Readability–Justification
Fully Justified
Justifying type with too short a length leads to awkward word spacing, creating ‘rivers’. This interrupts the flow of text.
Letters come in many forms. These differing forms have developed for a variety of reasons, some as result of the historical precedent of the handwritten forms, for typographical innovations and others still as a response to some new demand of the printed word, as in greater clarity of form required for advertising or public notices. As more typefaces became available, there was a need to classify them and to find a method of denoting the size of a face as it was printed on the page.
When Gutenberg founded the type for the 42-line Bible, he had only to worry about a single face – there was one choice – the textura or Gothic blackletter form based on the conventions of the written script in use within Germany during the fifteenth century.
Readability–Justification
Ranged Left
Justifying type with too short a length leads to awkward word spacing, creating ‘rivers’. This interrupts the flow of text.
Letters come in many forms. These differing forms have developed for a variety of reasons, some as result of the historical precedent of the handwritten forms, for typographical innovations and others still as a response to some new demand of the printed word, as in greater clarity of form required for advertising or public notices. As more typefaces became available, there was a need to classify them and to find a method of denoting the size of a face as it was printed on the page.
When Gutenberg founded the type for the 42-line Bible, he had only to worry about a single face – there was one choice – the textura or Gothic blackletter form based on the conventions of the written script in use within Germany during the fifteenth century.
Readability–Justification
JOUR1006: Introduction to Digital Media Techniques
Typography 101
Andy Screen 2015
Great!We’ve got lots of effective rules for typesetting.
But… if typography should be invisible, why isn’t everything set in Helvetica and ranged left?
JOUR1006: Introduction to Digital Media Techniques
Typography 101
Andy Screen 2015
Denotation/ConnotationSo far all we have talked about is denotation.
This is what signs (or text) literally mean.
–
Connotation is what is implied.
The choice of typeface and its treatment effect what a word connotes, whilst what it denotes remains the same
JOUR1006: Introduction to Digital Media Techniques
Typography 101
Andy Screen 2015
Expressive TypeIt is in its connotations that typography becomes meaningful and expressive.
JOUR1006: Introduction to Digital Media Techniques
Typography 101
Andy Screen 2015
Expressive TypeHere’s some expressive type
…that is stupid.
JOUR1006: Introduction to Digital Media Techniques
Typography 101
Andy Screen 2015
JOUR1006: Introduction to Digital Media Techniques
Typography 101
Andy Screen 2015
JOUR1006: Introduction to Digital Media Techniques
Typography 101
Andy Screen 2015
JOUR1006: Introduction to Digital Media Techniques
Typography 101
Andy Screen 2015
Either tell the audience...
JOUR1006: Introduction to Digital Media Techniques
Typography 101
Andy Screen 2015
Dog
JOUR1006: Introduction to Digital Media Techniques
Typography 101
Andy Screen 2015
...or show them
JOUR1006: Introduction to Digital Media Techniques
Typography 101
Andy Screen 2015
JOUR1006: Introduction to Digital Media Techniques
Typography 101
Andy Screen 2015
But don't do both
JOUR1006: Introduction to Digital Media Techniques
Typography 101
Andy Screen 2015
Dog
JOUR1006: Introduction to Digital Media Techniques
Typography 101
Andy Screen 2015
JOUR1006: Introduction to Digital Media Techniques
Typography 101
Andy Screen 2015
It's stupid...
JOUR1006: Introduction to Digital Media Techniques
Typography 101
Andy Screen 2015
ConnotationsType can express lots of things:
– Tone– An idea or philosophy– A story or creative performance– Exclusivity to an audience– A genre or temporal association
and lots else…
JOUR1006: Introduction to Digital Media Techniques
Typography 101
Andy Screen 2015
JOUR1006: Introduction to Digital Media Techniques
Typography 101
Andy Screen 2015
JOUR1006: Introduction to Digital Media Techniques
Typography 101
Andy Screen 2015
JOUR1006: Introduction to Digital Media Techniques
Typography 101
Andy Screen 2015
ConclusionType should communicate.
–
It can do this through denotation (what the words mean) and connotation (what the design implies).
Your role is to know when type should be invisible and when it should be draw attention to itself.
JOUR1006: Introduction to Digital Media Techniques
Typography 101
Andy Screen 2015
ConclusionType should communicate.
–
Making type invisible is hard and takes lots of skill. You need to understand:
Legibility (letter shapes, kerning, tracking leading, how its displayed)
Readability(typeface design, word shapes, line length, justification)
JOUR1006: Introduction to Digital Media Techniques
Typography 101
Andy Screen 2015
ConclusionType should communicate.
–
Making expressive is great, you can suggest:Times, target audiences, philosophies, performance…
This is determined by the typeface you use and how it is typeset.
JOUR1006: Introduction to Digital Media Techniques
Typography 101
Andy Screen 2015
Illustrator WorkshopLog onto a Mac and open Adobe Illustrator.
–
I’m going to talk you through some basic functions in Illustrator.
JOUR1006: Introduction to Digital Media Techniques
Typography 101
Andy Screen 2015
Type TaskCreate an A4 artboard with a CMYK colour space.
You are to typeset this quote so that it expresses its time period, but also reflects how the words would be spoken.
–
‘Suffering has been stronger than all other teaching, and has taught me to understand what your heart used to be. I have been bent and broken, but – I hope – into a better shape.’
Estella
Great Expectations (1861) by Charles Dickens