Learning about type has become one of the biggest components of this course for me personally. I feel as though it is a huge part of learning about design. With almost every designer presentation, the artist has a strong focus in typography. Design is all around us and I never thought I would be paying close attention to every single font I come across but it now happens subconsciously.
The Ellen Lupton reading begins by saying, “Letters build into words, words build into sentences.” I found this to be as profound as it was cheesy. Type allows every designer to create a navigation system for his or her work. Typography can relay any bit of information and unify a design. This topic has come to life for me with project 3. My project is highly reliant on typography. I find myself drawn to logos with type and love the way it can literally speak to its audience. Cullen’s reading places such an emphasis on text that she claims, “Typography is the basic grammar of graphic design, its common currency.” The most interesting part of both readings was the discussion behind the strategy behind typography. Type should only make the viewer’s job easier but also an opportunity for the designer to get creative and I found this information to be key in my understanding.
I think I find myself with such a strong interest in typography because it provides designers an opportunity to make a difference. Words can bring ideas to fruition. Whether it’s equality, caring for the environment, self-love or anything in between, words help us to make positive changes in this world and for that I am thankful.
I have attached designs that I believe exemplify the concepts discussed within the chapters, but also my response: https://i-h2.pinimg.com/564x/51/4b/ab/514bab0bf54344cd0fc2c28ea15323f5.jpg?b=t https://i-h2.pinimg.com/564x/c1/2a/0f/c12a0fc04bffca267bc538ee77f4545b.jpg https://i-h2.pinimg.com/564x/63/17/27/631727e5a7e0f3a993c129b8ffde5cd0.jpg
This week’s reading from Cullen focuses on all things typography. This quote especially stood out to me from the reading: “A good typographer is one who can arrange type so as to produce a graceful, orderly page that puts no strain on the eye” (Cullen 117). This is especially true in all things design, especially through design for print. When reviewing a design, Cullen discusses looking at a design with both a micro and macro perspective. By seeing the design holistically – looking at both the small and bigger details – one is able to see a design in regard to the macro perspective. That is, how a design appeals to the viewer as a whole. However, the designer is able to also review it with a micro perspective, thereby paying attention to all the little intricate details of a piece. Little details that may appear seemingly insignificant are especially important to the whole of the design, such as spacing of letters, kerning, and so on.
The example below is an email advertisement design that I pulled from Madewell. One of my favorite brands, I think that Madewell does an amazing job creating fun, creative, and easy to read advertisements, especially through their email design assets. This email ad especially plays off of Cullen’s idea of manipulating type, while also allowing it to be readable. Through repetition, the “30% off” text exclaims excitement and urgency. However, the viewer is still able to read the 30% off through the centered middle placement. Further, looking at the design as a whole and through a micro perspective, its clear and precise spacing is especially evident. Madewell consistently utilizes 2-3 font families so as to create a clear aesthetic and consistent “look.” For a brand, I believe that it is useful and almost necessary to maintain a consistent identity through an established font family for all communications.
Both of the readings for this week focus on typography, which is something that I utilize frequently in my design. One portion of the Cullen reading that stood out to me was when they state how typography “is a voice that resonates on the surface of the page, setting the tone of the design” and how it can unify the overall design. With this, Cullen emphasizes the emotional and humane aspect that is present in typography and typographic design. This resonated with me because I tend to create a phrase and then add design elements physically and metaphorically surrounding that particular phrase on the page.
In relation to my previous and current design projects, I was also drawn to Lupton’s discussion of how typography has been redefined as “discourse” and that it has “imploded the traditional dichotomy between seeing and reading” (97). As someone who has heavily studied design and writing in my college career, this idea of “reading and seeing” created the most understanding for me in designing for my future projects.
Below is a design that I feel exemplifies the idea of typography as “setting the tone of the design” and also using it in a way that unifies the design. In this particular design, the designer uses different fonts and different effects on each of the individual letters. But with these different factors, the words are structured in a way that flows from the top to bottom of the page. The design utilized the lemon in giving the letters a cut out effect in the design and also takes on the literal nature of the word “squeezy” in the squeezed effect at the bottom of the page. Overall, this design plays on the text itself to create a unifying design that consists of various design elements.
This weeks reading focuses on typography and the role that it plays in design. For me, extending my knowledge of typography beyond just letters in various fonts on different backgrounds has been a huge part of what I am learning, but also focusing on developing my skills on in this class, this semester. It has been a huge focus not only on my designs, but also with the designer that I chose for my presentation. In the reading, Lupton says “whether a design is objective or subjective, the designer’s task is to read, understand, and approach the text with a critical eye and design with type compositions that are engaging and readable, while also appropriately reflecting the content” (p. 106). I think this is an appropriate way of describing typography in designs, while emphasizing the fact that it is as much of the design as the graphics, or pictures. The designer I chose for my presentation said that “words are images, and they can be interpreted in so many different ways”, which is also so significant to this because if the typography doesn’t match with the content it can be interpreted completely different than what the designer intended.
The image below is an example of a logo that Jessica Hische designed on the magazine for her client, Eating Well. The front cover executes the combination of typefaces and case which were discussed in the reading. I think that by making the logo lowercase, it is better complimented with the white space. I also think because it is lowercase, it allows the other type on the page to be uppercase and look good together. http://jessicahische.is/content/02-working/03-Identity/02-Eating-Well/03.jpg
From full body paragraphs, to titles, menus, and page numbers, typography is a way for graphic designers to organize all this text into a cohesive, flowing layout that make it easier for people to read and prioritize information. Typography turns ordinary text into a “material object with dimensions and fixed locations” (Lupton p. 91). One element is the spacing, which separates words and creates a flow while you read. The internet introduced a new element as well, called the birth of the user. Rather than passively reading print, users can actively engage with the things they are reading, click on text, navigate through information, and interact with many different parts of the design. From a designer’s viewpoint, this shows that how the text is used is more important than what it means (Lupton p. 97). There are many ways for a language to visually manifest as well. Rather than the single dimension of reading from a book, typography can also organize time as well as space. For example, databases are structures that organize information and run in the background of programs such as apps and video games. The arrangement of these elements emphasizes spacing as well as purpose. Designers can take these concepts into other areas of design as well.
The typeface itself has different styles depending on the posture, weight, and width of the letters. When selecting a typeface, the designer has to keep in mind the purpose and the audience and make sure it reaches those goals, as well as complimenting other elements in the design. The same concept goes for combining different typefaces as well. Legabilities refers to how easy something is to read. In some cases, the information needs to be clear and easy to understand. In different situations, more creative lettering can be expressed and context clues can be used for further understanding (Cullen p. 105). The more legible types of typography are called objective representation because it is straightforward and practical. The other category is called subjective representation. “The typographic design shares messages without replying on conceptually driven applications of type to form that imply deeper meanings” (Cullen p. 106)
The first image is an example of an objective design; only black and white are used, and the title is very large and readable, and the body text and the bottom right is easy to read and locate. Even though it has a simple design, it is still captivating and has an overall flow, and the contrast of the colors of the font make it visually alluring and aesthetic. The second poster would be considered subjective. It is harder to read, has more elements and directions, and also uses color. However, it still has a main title that dictates some visual hierarchy, and has a body text with supporting information. The design is just more complex, less linear, and more intricate.
This week’s reading topic is typography and the use of it in design. I found that Cullen gives a great guide guide on how to choose fonts and colors for projects. On page 106 Cullen describes the difference between objective and subjective representation. Objective being very straightforward and can be considered conservative. An example would be a regular serif font paired with a sans serif font or any ordinary paring one may see in design. Subjective is idea-based and interpretive. This can be illustrative and a custom font that the designer themselves creates.
I found an example of subjective typography on Pinterest. It shows an image of a milkshake and the words “milk shake” written in a font that looks to be a part of the liquid in the glass. One could also infer that this is a strawberry milkshake given the color. I think this design was clever and I like how the colors in the glass are shades of one color/monochromatic and then paired with blue makes the pink colors stand out. I think the designer possibly hand drew this illustration and then digitally rendered and colored it. I do not think he or she used a pre-made category font. I also enjoy the flow of the liquid in the glass. I think it adds a fun element to the design instead of having it the liquid be vertical at the top in the glass. The secondary script like font is also done very nicely and compliments the “milk shake”. The bubble-like letters also add a nice third font to the set. I think all three fonts work very nicely together and bring the piece nicely into one central graphic.
This weeks reading focuses on typography. I am very interested in and intrigued by all types of typography. It stuck out to me when Cullen said: “ A good typographer who can arrange type so as to produce a graceful, orderly pair that puts no strain on the eye”(Cullen, 117). It is hard to figure out which color goes with a specific font vis versa. That is why I enjoyed reading this because Cullen gives a great layout on how to choose certain colors and fonts for different things.
The two pictures I found relate to the reading and my project 3. With project 3 approaching I am changing the typography of the company and this is one of my ideas. I really like how the typography also incorporates a smiley face. I also like the colors incorporated in this design, simple yet they go great together. In the second image, I like how natural It looks. I love the font and all of the colors together.
The focus of this week’s reading was typography and how it is used to enhance a design. Cullen says in regards to type that “A decisive, well-planned system encourages readability and comprehension.” This is definitely true, there is nothing worse than seeing a font on a poster that you just cannot read or understand. A poster is effectively useless if the wrong type is used. I also found the section regarding the “personalities” of typefaces to be particularly interesting. There is no doubt that somebody can look at a type and immediately tell what the vibe is and what the message is trying to convey. A wedding invitation often uses cursive to show the elegance of the event, while a PSA poster often uses a big, bold font to convey the severity of a situation. In Ellen Lupton’s Thinking With Type, I liked how she talked about the difference between reading something on the web vs. in print. A designer definitely has to keep in mind what they are trying to convey when working with each medium, as users expect different accessibility standards with each. Overall it was interesting to read about how our society has shifted from creating books and typefaces by hand, to going digital in in a majority of things that we create.
I chose this specific example because I love how it combines different fonts that all work really well together. It would be boring if the whole thing was just one font, but the use of different typefaces carries the viewer’s eye through the piece highlighting the most important details first while adding sophistication to the piece. I found it funny how the piece I chose uses the small capitals that Cullen describes in the text. This technique definitely shows emphasis without taking away from the main point of the invitation, just as Cullen said it would.
This week’s readings focused on typography. Personally, when it comes to design typography is one of my favorite elements. Typography sets a tone for the viewer. I find it the most fun to experiment with and it really holds the power to separate designs from one another. In the reading, Cullen mentions that a good designer produces a well balanced “graceful” design without being a “strain to the eye”. I think this is definitely true. Good typography keeps the viewer engaged, but not confused or disinterested. The most important thing I got out of this reading specifically was the importance of looking at a design holistically. This helps the designer to tap into the bigger idea at hand, while not ignoring all the important details, which I think is extremely important to keep mind of when choosing typography.
Below are some designs I think mirror what was discussed in the chapters, but also designs that I think hold strong typography.
“Typography enlivens communication” (95). I just love that line. Because you know what’s funny about typography as a visual medium, is that it always plays with double meaning. And it’s not like double entendre either, because that would revolve around expectations or connotations of diction choice prescribed to the imagination, and typography is about playing with the eye just as much as it plays with “the mind’s eye.”
So when Cullen started to delve into color choices, weights, etc. it made perfect sense. Typography is now split into two parts, after all: the symbols we read, and the visuals we interpret.
We talked about typography briefly in a class I’m taking called, “Rhetorics Then & Now.” During a discussion about style versus substance, a quote came up from one of our textbooks (“The Economics of Attention” by Richard A. Lanham, I would highly recommend it) essentially claiming that style turns into substance, and back again. This reminded me of another quote from Cullen’s book in balancing the objective clarity of the visual medium to its subjectivity: “Whether a design is objective or subjective (or somewhere in between), the designer’s task is to read, understand, and approach the text with a critical eye and design with type compositions that are engaging and readable, while also appropriately reflecting the content” (106). In both quotes, it’s a matter of balancing the weight of the meaning behind the words with its first impressions that ultimately color the substance.
I’ll end this miniature essay with a final quote that I absolutely adored, even though it has its own flaws, since it highlights the delicate, difficult, but rewarding aspects of typography: “A good typographer is one who can arrange type so as to produce a graceful, orderly page that puts no strain on the eye. This is the first and last fundamental requisite of book design, and like most operations, it is a matter of years of training” (Jan Tschichold quote, 117).
It’s advantageous that we’re talking about type this week, as it will be relevant and helpful for me in working on my book jacket for project 3. Something I really want for my book is for it to be dynamic, both inside and out, and I would love to find a way to think out of the box when it comes to the words on its front and back covers. One quote from the beginning of the Lupton text that really stands out to me is when she writes “Text can be viewed as a thing-a sound and sturdy object-or a fluid poured into the containers of page or screen. Text can be solid or liquid, body or blood” (87). This sort of changes my perspective on text and its purpose; it can be viewed as an object in and of itself, but it can also act as more of a filler, something to take the shape of its container and be perceived differently as a result. The shape that the words take can actually change the way that people understand them, and as words can already be powerful enough on their own, the ability to mellow their message or really hit it home is something I hadn’t much considered before these readings. As Lupton puts it, “content itself changes with each act of representation. Typography becomes a mode of interpretation” (97).
An unexpected insight was the discussion of paper versus screen for reading and taking in information. I can personally attest to the difficulties of focusing when trying to read on my computer; there’s just something about holding a physical book that draws me in differently. It makes sense that the screen itself is not the impeding factor, but the culture behind looking at the screen. Lupton’s assertion that “The cultural habits of the screen are driving changes in design for print, while at the same time affirming print’s role as a place where extended reading can still occur” (98) illustrates this further. Her point is that designers are getting more and more creative so as to maintain focus on their words when they’re displayed on screen, which cements the idea that people are reading on screens, even despite difficulties. We’re so attached to our technology that trying to switch back to more physical forms of text might be impossible, and as a result, graphic designers have to push themselves to do something new and exciting just for their words to be seen—even if those words hold gripping excitement, shock, anger, or joy in and of themselves. As society stubbornly develops, so must design.
This week’s reading focused on text. We learn early into Ellen Luptons “thinking with type: a critical guide for designers, writers, editors, & students”, that type does not have to be the boring blog on the page that you will likely skim over. “Designers provide ways into—and out of—the flood of words by breaking up text into pieces and offering shortcuts and alternative routes through masses of information” (87). Below I have included an example of a unique way the break up text. This not only offers an appealing layout design, it also attracts the readers eye and may in fact increase the length of time they spend on the page. Something I was unaware of was the economic side of text and typography. Lupton, in her section “Errors and Ownership”, discusses the cost of manufacturing as well as what seems like an early start to copy editing. Typography also allowed for authors to “claim” through copy-write their work as their own. Lupton then goes into the discussion of “Spacing”, and the continuous flow from spoken word that is dropped in alphabetic writing, (91). In my opinion societal growth has had a huge impact on what we can do now that we could not do before. And the reading seems to weave in this theme of development.
In Cullen’s chapter on typography we learned all about the power of typography and how it has the ability to completely control a design. She explains that, ”the designer develops, composes, and controls a typographic system that leads the viewer through the design without visual roadblocks that prevent accessibility and comprehension” (104). I feel like when most people thing of design the first thing they think of is layouts and illustrations, when really the typography is so crucial is making the design flow. That being said, I really enjoyed Cullen’s section on objective and subjective representation. Her explanation of how text can serves as an objective tool in things such as maps, charts, and other more conservative elements, but at the same time work as subjective representation in a conceptual sense, is so intriguing. One of my favorite things to do as a designer is make my typography for subjective representation. Being able to express or portray a theme through typography is such a satisfying thing to see in a design.
For example, in the image below, typography plays a major role in the design. The designer uses subjective representation in the way the letters and words are spread out around the page. The design reads, “you’ve got enough on your plate” which implies that someone is extremely busy with a variety of things. By spreading out the text in a disorganized fashion it portrays that emotion and stress of having multiple things on your plate all at once.
Learning about type has become one of the biggest components of this course for me personally. I feel as though it is a huge part of learning about design. With almost every designer presentation, the artist has a strong focus in typography. Design is all around us and I never thought I would be paying close attention to every single font I come across but it now happens subconsciously.
The Ellen Lupton reading begins by saying, “Letters build into words, words build into sentences.” I found this to be as profound as it was cheesy. Type allows every designer to create a navigation system for his or her work. Typography can relay any bit of information and unify a design. This topic has come to life for me with project 3. My project is highly reliant on typography. I find myself drawn to logos with type and love the way it can literally speak to its audience. Cullen’s reading places such an emphasis on text that she claims, “Typography is the basic grammar of graphic design, its common currency.” The most interesting part of both readings was the discussion behind the strategy behind typography. Type should only make the viewer’s job easier but also an opportunity for the designer to get creative and I found this information to be key in my understanding.
I think I find myself with such a strong interest in typography because it provides designers an opportunity to make a difference. Words can bring ideas to fruition. Whether it’s equality, caring for the environment, self-love or anything in between, words help us to make positive changes in this world and for that I am thankful.
I have attached designs that I believe exemplify the concepts discussed within the chapters, but also my response:
https://i-h2.pinimg.com/564x/51/4b/ab/514bab0bf54344cd0fc2c28ea15323f5.jpg?b=t
https://i-h2.pinimg.com/564x/c1/2a/0f/c12a0fc04bffca267bc538ee77f4545b.jpg
https://i-h2.pinimg.com/564x/63/17/27/631727e5a7e0f3a993c129b8ffde5cd0.jpg
This week’s reading from Cullen focuses on all things typography. This quote especially stood out to me from the reading: “A good typographer is one who can arrange type so as to produce a graceful, orderly page that puts no strain on the eye” (Cullen 117). This is especially true in all things design, especially through design for print. When reviewing a design, Cullen discusses looking at a design with both a micro and macro perspective. By seeing the design holistically – looking at both the small and bigger details – one is able to see a design in regard to the macro perspective. That is, how a design appeals to the viewer as a whole. However, the designer is able to also review it with a micro perspective, thereby paying attention to all the little intricate details of a piece. Little details that may appear seemingly insignificant are especially important to the whole of the design, such as spacing of letters, kerning, and so on.
The example below is an email advertisement design that I pulled from Madewell. One of my favorite brands, I think that Madewell does an amazing job creating fun, creative, and easy to read advertisements, especially through their email design assets. This email ad especially plays off of Cullen’s idea of manipulating type, while also allowing it to be readable. Through repetition, the “30% off” text exclaims excitement and urgency. However, the viewer is still able to read the 30% off through the centered middle placement. Further, looking at the design as a whole and through a micro perspective, its clear and precise spacing is especially evident. Madewell consistently utilizes 2-3 font families so as to create a clear aesthetic and consistent “look.” For a brand, I believe that it is useful and almost necessary to maintain a consistent identity through an established font family for all communications.
https://i.imgur.com/ag41qF9.jpg
Both of the readings for this week focus on typography, which is something that I utilize frequently in my design. One portion of the Cullen reading that stood out to me was when they state how typography “is a voice that resonates on the surface of the page, setting the tone of the design” and how it can unify the overall design. With this, Cullen emphasizes the emotional and humane aspect that is present in typography and typographic design. This resonated with me because I tend to create a phrase and then add design elements physically and metaphorically surrounding that particular phrase on the page.
In relation to my previous and current design projects, I was also drawn to Lupton’s discussion of how typography has been redefined as “discourse” and that it has “imploded the traditional dichotomy between seeing and reading” (97). As someone who has heavily studied design and writing in my college career, this idea of “reading and seeing” created the most understanding for me in designing for my future projects.
Below is a design that I feel exemplifies the idea of typography as “setting the tone of the design” and also using it in a way that unifies the design. In this particular design, the designer uses different fonts and different effects on each of the individual letters. But with these different factors, the words are structured in a way that flows from the top to bottom of the page. The design utilized the lemon in giving the letters a cut out effect in the design and also takes on the literal nature of the word “squeezy” in the squeezed effect at the bottom of the page. Overall, this design plays on the text itself to create a unifying design that consists of various design elements.
https://i-h2.pinimg.com/564x/77/65/d9/7765d941a4ff0dbe79cb5ae8f5588a5f.jpg
This weeks reading focuses on typography and the role that it plays in design. For me, extending my knowledge of typography beyond just letters in various fonts on different backgrounds has been a huge part of what I am learning, but also focusing on developing my skills on in this class, this semester. It has been a huge focus not only on my designs, but also with the designer that I chose for my presentation. In the reading, Lupton says “whether a design is objective or subjective, the designer’s task is to read, understand, and approach the text with a critical eye and design with type compositions that are engaging and readable, while also appropriately reflecting the content” (p. 106). I think this is an appropriate way of describing typography in designs, while emphasizing the fact that it is as much of the design as the graphics, or pictures. The designer I chose for my presentation said that “words are images, and they can be interpreted in so many different ways”, which is also so significant to this because if the typography doesn’t match with the content it can be interpreted completely different than what the designer intended.
The image below is an example of a logo that Jessica Hische designed on the magazine for her client, Eating Well. The front cover executes the combination of typefaces and case which were discussed in the reading. I think that by making the logo lowercase, it is better complimented with the white space. I also think because it is lowercase, it allows the other type on the page to be uppercase and look good together.
http://jessicahische.is/content/02-working/03-Identity/02-Eating-Well/03.jpg
From full body paragraphs, to titles, menus, and page numbers, typography is a way for graphic designers to organize all this text into a cohesive, flowing layout that make it easier for people to read and prioritize information. Typography turns ordinary text into a “material object with dimensions and fixed locations” (Lupton p. 91). One element is the spacing, which separates words and creates a flow while you read. The internet introduced a new element as well, called the birth of the user. Rather than passively reading print, users can actively engage with the things they are reading, click on text, navigate through information, and interact with many different parts of the design. From a designer’s viewpoint, this shows that how the text is used is more important than what it means (Lupton p. 97). There are many ways for a language to visually manifest as well. Rather than the single dimension of reading from a book, typography can also organize time as well as space. For example, databases are structures that organize information and run in the background of programs such as apps and video games. The arrangement of these elements emphasizes spacing as well as purpose. Designers can take these concepts into other areas of design as well.
The typeface itself has different styles depending on the posture, weight, and width of the letters. When selecting a typeface, the designer has to keep in mind the purpose and the audience and make sure it reaches those goals, as well as complimenting other elements in the design. The same concept goes for combining different typefaces as well. Legabilities refers to how easy something is to read. In some cases, the information needs to be clear and easy to understand. In different situations, more creative lettering can be expressed and context clues can be used for further understanding (Cullen p. 105). The more legible types of typography are called objective representation because it is straightforward and practical. The other category is called subjective representation. “The typographic design shares messages without replying on conceptually driven applications of type to form that imply deeper meanings” (Cullen p. 106)
The first image is an example of an objective design; only black and white are used, and the title is very large and readable, and the body text and the bottom right is easy to read and locate. Even though it has a simple design, it is still captivating and has an overall flow, and the contrast of the colors of the font make it visually alluring and aesthetic. The second poster would be considered subjective. It is harder to read, has more elements and directions, and also uses color. However, it still has a main title that dictates some visual hierarchy, and has a body text with supporting information. The design is just more complex, less linear, and more intricate.
https://martiplasencia.files.wordpress.com/2014/02/bodoni_typeface_poster_by_wolfspiritunbroken-d38qdb11.png
https://jordangillespi.files.wordpress.com/2013/12/jspuzzillo_typo_posters-2.jpg
This week’s reading topic is typography and the use of it in design. I found that Cullen gives a great guide guide on how to choose fonts and colors for projects. On page 106 Cullen describes the difference between objective and subjective representation. Objective being very straightforward and can be considered conservative. An example would be a regular serif font paired with a sans serif font or any ordinary paring one may see in design. Subjective is idea-based and interpretive. This can be illustrative and a custom font that the designer themselves creates.
I found an example of subjective typography on Pinterest. It shows an image of a milkshake and the words “milk shake” written in a font that looks to be a part of the liquid in the glass. One could also infer that this is a strawberry milkshake given the color. I think this design was clever and I like how the colors in the glass are shades of one color/monochromatic and then paired with blue makes the pink colors stand out. I think the designer possibly hand drew this illustration and then digitally rendered and colored it. I do not think he or she used a pre-made category font. I also enjoy the flow of the liquid in the glass. I think it adds a fun element to the design instead of having it the liquid be vertical at the top in the glass. The secondary script like font is also done very nicely and compliments the “milk shake”. The bubble-like letters also add a nice third font to the set. I think all three fonts work very nicely together and bring the piece nicely into one central graphic.
https://i.pinimg.com/564x/22/4d/7b/224d7b6b6ab295c68a2cf16d757e95ea.jpg
This weeks reading focuses on typography. I am very interested in and intrigued by all types of typography. It stuck out to me when Cullen said: “ A good typographer who can arrange type so as to produce a graceful, orderly pair that puts no strain on the eye”(Cullen, 117). It is hard to figure out which color goes with a specific font vis versa. That is why I enjoyed reading this because Cullen gives a great layout on how to choose certain colors and fonts for different things.
The two pictures I found relate to the reading and my project 3. With project 3 approaching I am changing the typography of the company and this is one of my ideas. I really like how the typography also incorporates a smiley face. I also like the colors incorporated in this design, simple yet they go great together. In the second image, I like how natural It looks. I love the font and all of the colors together.
https://dribbble.com/shots/2789071-The-Good-Things
https://www.instagram.com/p/BP4mithB48W/?taken-by=ohhdeer
The focus of this week’s reading was typography and how it is used to enhance a design. Cullen says in regards to type that “A decisive, well-planned system encourages readability and comprehension.” This is definitely true, there is nothing worse than seeing a font on a poster that you just cannot read or understand. A poster is effectively useless if the wrong type is used. I also found the section regarding the “personalities” of typefaces to be particularly interesting. There is no doubt that somebody can look at a type and immediately tell what the vibe is and what the message is trying to convey. A wedding invitation often uses cursive to show the elegance of the event, while a PSA poster often uses a big, bold font to convey the severity of a situation. In Ellen Lupton’s Thinking With Type, I liked how she talked about the difference between reading something on the web vs. in print. A designer definitely has to keep in mind what they are trying to convey when working with each medium, as users expect different accessibility standards with each. Overall it was interesting to read about how our society has shifted from creating books and typefaces by hand, to going digital in in a majority of things that we create.
I chose this specific example because I love how it combines different fonts that all work really well together. It would be boring if the whole thing was just one font, but the use of different typefaces carries the viewer’s eye through the piece highlighting the most important details first while adding sophistication to the piece. I found it funny how the piece I chose uses the small capitals that Cullen describes in the text. This technique definitely shows emphasis without taking away from the main point of the invitation, just as Cullen said it would.
http://jessicahische.is/content/02-working/05-Miscellany/11-CAA-Friday-Night/01.jpg
This week’s readings focused on typography. Personally, when it comes to design typography is one of my favorite elements. Typography sets a tone for the viewer. I find it the most fun to experiment with and it really holds the power to separate designs from one another. In the reading, Cullen mentions that a good designer produces a well balanced “graceful” design without being a “strain to the eye”. I think this is definitely true. Good typography keeps the viewer engaged, but not confused or disinterested. The most important thing I got out of this reading specifically was the importance of looking at a design holistically. This helps the designer to tap into the bigger idea at hand, while not ignoring all the important details, which I think is extremely important to keep mind of when choosing typography.
Below are some designs I think mirror what was discussed in the chapters, but also designs that I think hold strong typography.
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“Typography enlivens communication” (95). I just love that line. Because you know what’s funny about typography as a visual medium, is that it always plays with double meaning. And it’s not like double entendre either, because that would revolve around expectations or connotations of diction choice prescribed to the imagination, and typography is about playing with the eye just as much as it plays with “the mind’s eye.”
So when Cullen started to delve into color choices, weights, etc. it made perfect sense. Typography is now split into two parts, after all: the symbols we read, and the visuals we interpret.
We talked about typography briefly in a class I’m taking called, “Rhetorics Then & Now.” During a discussion about style versus substance, a quote came up from one of our textbooks (“The Economics of Attention” by Richard A. Lanham, I would highly recommend it) essentially claiming that style turns into substance, and back again. This reminded me of another quote from Cullen’s book in balancing the objective clarity of the visual medium to its subjectivity: “Whether a design is objective or subjective (or somewhere in between), the designer’s task is to read, understand, and approach the text with a critical eye and design with type compositions that are engaging and readable, while also appropriately reflecting the content” (106). In both quotes, it’s a matter of balancing the weight of the meaning behind the words with its first impressions that ultimately color the substance.
I’ll end this miniature essay with a final quote that I absolutely adored, even though it has its own flaws, since it highlights the delicate, difficult, but rewarding aspects of typography: “A good typographer is one who can arrange type so as to produce a graceful, orderly page that puts no strain on the eye. This is the first and last fundamental requisite of book design, and like most operations, it is a matter of years of training” (Jan Tschichold quote, 117).
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It’s advantageous that we’re talking about type this week, as it will be relevant and helpful for me in working on my book jacket for project 3. Something I really want for my book is for it to be dynamic, both inside and out, and I would love to find a way to think out of the box when it comes to the words on its front and back covers. One quote from the beginning of the Lupton text that really stands out to me is when she writes “Text can be viewed as a thing-a sound and sturdy object-or a fluid poured into the containers of page or screen. Text can be solid or liquid, body or blood” (87). This sort of changes my perspective on text and its purpose; it can be viewed as an object in and of itself, but it can also act as more of a filler, something to take the shape of its container and be perceived differently as a result. The shape that the words take can actually change the way that people understand them, and as words can already be powerful enough on their own, the ability to mellow their message or really hit it home is something I hadn’t much considered before these readings. As Lupton puts it, “content itself changes with each act of representation. Typography becomes a mode of interpretation” (97).
An unexpected insight was the discussion of paper versus screen for reading and taking in information. I can personally attest to the difficulties of focusing when trying to read on my computer; there’s just something about holding a physical book that draws me in differently. It makes sense that the screen itself is not the impeding factor, but the culture behind looking at the screen. Lupton’s assertion that “The cultural habits of the screen are driving changes in design for print, while at the same time affirming print’s role as a place where extended reading can still occur” (98) illustrates this further. Her point is that designers are getting more and more creative so as to maintain focus on their words when they’re displayed on screen, which cements the idea that people are reading on screens, even despite difficulties. We’re so attached to our technology that trying to switch back to more physical forms of text might be impossible, and as a result, graphic designers have to push themselves to do something new and exciting just for their words to be seen—even if those words hold gripping excitement, shock, anger, or joy in and of themselves. As society stubbornly develops, so must design.
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This week’s reading focused on text. We learn early into Ellen Luptons “thinking with type: a critical guide for designers, writers, editors, & students”, that type does not have to be the boring blog on the page that you will likely skim over. “Designers provide ways into—and out of—the flood of words by breaking up text into pieces and offering shortcuts and alternative routes through masses of information” (87). Below I have included an example of a unique way the break up text. This not only offers an appealing layout design, it also attracts the readers eye and may in fact increase the length of time they spend on the page. Something I was unaware of was the economic side of text and typography. Lupton, in her section “Errors and Ownership”, discusses the cost of manufacturing as well as what seems like an early start to copy editing. Typography also allowed for authors to “claim” through copy-write their work as their own. Lupton then goes into the discussion of “Spacing”, and the continuous flow from spoken word that is dropped in alphabetic writing, (91). In my opinion societal growth has had a huge impact on what we can do now that we could not do before. And the reading seems to weave in this theme of development.
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In Cullen’s chapter on typography we learned all about the power of typography and how it has the ability to completely control a design. She explains that, ”the designer develops, composes, and controls a typographic system that leads the viewer through the design without visual roadblocks that prevent accessibility and comprehension” (104). I feel like when most people thing of design the first thing they think of is layouts and illustrations, when really the typography is so crucial is making the design flow. That being said, I really enjoyed Cullen’s section on objective and subjective representation. Her explanation of how text can serves as an objective tool in things such as maps, charts, and other more conservative elements, but at the same time work as subjective representation in a conceptual sense, is so intriguing. One of my favorite things to do as a designer is make my typography for subjective representation. Being able to express or portray a theme through typography is such a satisfying thing to see in a design.
For example, in the image below, typography plays a major role in the design. The designer uses subjective representation in the way the letters and words are spread out around the page. The design reads, “you’ve got enough on your plate” which implies that someone is extremely busy with a variety of things. By spreading out the text in a disorganized fashion it portrays that emotion and stress of having multiple things on your plate all at once.
https://pin.it/ybqldvrq3sotcr