Type Structures: Typography for Graphic Design - Daniel Francavilla OCAD
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Design and layout copyright © 2010 - 2013 Daniel Francavilla
Transcript of Type Structures: Typography for Graphic Design - Daniel Francavilla OCAD
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typography for graphic design
chapter 1 the letter 02chapter 2 the word 04chapter 3 the line 06chapter 4 arrangement 08chapter 5 the column 12chapter 6 the grid 18chapter 7 syntax + hierarchy 1 20chapter 8 syntax + hierarchy 2 22chapter 9 conclusion 24
an introduction
typography is a beautiful group of letters, not a group of beautiful letters
this book explores the basic principles and structures of typography as applied to graphic design. it covers the relationships and associations from letter to letter, word to word, line to line, column to column and column to page.
the formalities
layout by daniel francavillaprofessor steve quinlan
published april 2010
ontario college of art + design, toronto
danielfrancavilla.comatdesignschool.com
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typography is a beautiful group of letters, not a group of beautiful letters
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typography is a beautiful group of letters,
not a group of beautiful letters
typography is a beautiful group of letters, not a group of
beautiful letters
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typography is a beautiful group of letters, not a group of beautiful letters
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Most people read without seeing what they read. In probability you have no idea of the name of this typeface. Not that it’s of overwhelming importance.
As advertising doyen David Ogilvy once commented, no housewife ever bought a new detergent because the advertisement as set in Caslon. Nevertheless, if a piece of text looks unattractive or dif!cult to scan, one isn’t likely to read it.
Typographers live in a world inhabited by serifs, counters, kerns, ligatures and line feeds, populated with Egyptian Expands, Latin Extends and Modern Romans. Wordage is viewed in terms of colour and weight, points, picas and leading.
The aesthetics involve pace, proportion, scale, balance, harmony and order. As you can see, there is more to it than you thought.
!""#$%&'()*+%$,"$-(*..+$%(($)/*,$+"01-($-(*'&23$4$567:$9
Look sideways to really see what you’re reading [ ]x18 p
123456789typography for graphic design | 15
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Most people read without seeing what they read. In probability you have no idea of the name of this typeface. Not that it’s of overwhelming importance. As advertising doyen David Ogilvy once comment-ed, no housewife ever bought a new detergent be-cause the advertisement as set in Caslon. Neverthe-less, if a piece of text looks unattractive or dif!cult to scan, one isn’t likely to read it.
Typographers live in a world inhabited by serifs, counters, kerns, ligatures and line feeds, populated with Egyptian Expands, Latin Extends and Modern Romans. Wordage is viewed in terms of colour and weight, points, picas and leading. The aesthetics involve pace, proportion, scale, balance, harmony and order. As you can see, there is more to it than you thought. Furthermore, the options held by this fraternity can excite an intensity of passion only equaled by medieval ecclesiastics arguing about how many angels can dance on the head of a pin. Typographers have ideological commitments to sym-metrical or asymmetrical arrangements, fervent alle-giances to particular typefaces, unremitting hatred for others, and what could be construed as moral attitudes; ‘using bold caps’, declared Paul Rand, ‘is like wearing belt and suspenders.’
11/14 (-10) Bodoni Std Book
!""#$%&'()*+%$,"$-(*..+$%(($)/*,$+"01-($-(*'&23$4$567:$9
Look sideways to really see what you’re reading [ ]x18 p
Most people read without seeing what they read. In probability you have no idea of the name of this typeface. Not that it’s of overwhelming importance. As advertising doyen David Ogilvy once commented, no housewife ever bought a new detergent because the advertisement as set in Caslon. Nevertheless, if a piece of text looks unattractive or difficult to scan, one isn’t likely to read it.
Typographers live in a world inhabited by serifs, counters, kerns, ligatures and line feeds, populated with Egyptian Expands, Latin Extends and Modern Romans. Wordage is viewed in terms of colour and weight, points, picas and leading. The aesthetics involve pace, proportion, scale, balance, harmony and order. As you can see, there is more to it than you thought. Furthermore, the options held by this fraternity can excite an intensity of passion only equaled by medieval ecclesiastics arguing about how many angels can dance on the head of a pin. Typographers have ideological commitments to symmetrical or asymmetrical arrangements, fervent allegiances to particular typefaces, unremitting hatred for others, and what could be construed as moral attitudes; ‘using bold caps’, declared Paul Rand, ‘is like wearing belt and suspenders.’
8/11.5 (-10) Helvetica
Most people read without seeing what they read. In probability you have no idea of the name of this typeface. Not that it’s of overwhelming importance.As advertising doyen David Ogilvy once commented, no housewife ever bought a new detergent because the advertisement as set in Caslon. Nevertheless, if a piece of text looks unattractive or difficult to scan, one isn’t likely to read it.
Typographers live in a world inhabited by serifs, counters, kerns, ligatures and line feeds, populated with Egyptian Expands, Latin Extends and Modern Romans. Wordage is viewed in terms of colour and weight, points, picas and leading. The aesthetics involve pace, proportion, scale, balance, harmony and order. As you can see, there is more to it than you thought. Furthermore, the options held by this fraternity can excite an intensity of passion only equaled by medieval ecclesiastics arguing about how many angels can dance on the head of a pin. Typographers have ideological commitments to symmetrical or asymmetrical arrangements, fervent allegiances to particular typefaces, unremitting hatred for others, and what could be construed as moral attitudes; ‘using bold caps’, declared Paul Rand, ‘is like wearing belt and suspenders.’
9/12 Helvetica
Look sideways to really see what you’re reading [ ]
Look sideways to really see what you’re reading [ ]
123456789typography for graphic design | 17
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123456789typography for graphic design | 19
It may seem that many people point-blank refused to use the telephone because they might have to speak to some-one to whom they had no formal introduction! Can’t get much less intimate than that can you.
The telephone survived the stupidity of snobbery and opened up a whole new world of intimacy. People could keep in touch. They could swap con!dences in a way they would never think of in a face to face encounter. They could make their lives faster, more ef!cient and easier.
In the 1990’s the mobile phone took the transformation of everyday life to another level altogether - constant com-munication. As the yuppie label faded rapidly, the mobile phone became the instrument of intimacy; the builder of relationships. If you wanted to be empathetic, you would have to admit there was a hell of a lot to listen to. In an average day an adult can use as many as 40,000 words. That’s about !ve hours of continuous speech. If you mul-tiply this be 75, that’s about a billion words in a lifetime.
And what will all these words be about? Important issues of the day? Very few of them. Most of our talk could be termed trivial. It’s about the process of talking rather than the content; we talk about family and friends, the weather, local news, and (especially) the days goings-on. Gossip is the lifeblood of intimacy.
People automatically phone home to announce they are in the car and on the way home. Everyone is constantly calling everyone else to explain where they are, what is happening, what might happen. A point-by-point tracking throughout our lives with our loved ones.
Intimate talking has become a 24/7 activity. Forget gram-mar and argument. We’re talking haphazard, incomplete and emotional. This is not about communicating informa-tion as we know it. This is a constant sensing of where you are, where I am, and how we are both feeling.
To me commitment is one of the most demanding Love-mark attributes. Remember that great de!nition of the difference between being committed and being involved? In a plate of bacon and eggs, the pig is committed and the chicken is involved. Working with P&G I was introduced to Cape Town academics Jan Hofmeyr and Butch Rice from Commitment-Led Marketing. We all agree that loy-alty is not enough. As Hofmeyr and Rice point out, loyalty can just be consumers acting on autopilot, continuing to buy the same brand because they can’t be bothered to make another choice. But commitment can transform loy-alty from an unthinking acceptance to a real state imbued with real emotions - loyalty beyond reason.
This continuation of loyalty and commitment is the power-ful force we need to harness for Lovemarks. Getting to the crucial place where people are beyond the information stage and point-by-point comparisons. They have made their choice. They have committed to it before friends and fam-ily. It is part of them and they are not going to change now.
Fish are the last to recognize water
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123456789typography for graphic design | 21
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It may seem that many people point-blank refused to use the telephone because they might have to speak to someone to whom they had no formal introduction! Can’t get much less intimate than that can you.
The telephone survived the stupidity of snobbery and opened up a whole new world of intimacy. People could keep in touch. They could swap confidences in a way they would never think of in a face to face encounter. They could make their lives faster, more e!cient and easier.
In the 1990’s the mobile phone took the transformation of everyday life to another level altogether - constant communication. As the yuppie label faded rapidly, the mobile phone became the instrument of intimacy; the builder of relationships. If you
wanted to be empathetic, you would have to admit there was a hell of a lot to listen to. In an average day an adult can use as many as 40,000 words. That’s about five hours of continuous speech. If you multiply this be 75, that’s about a billion words in a lifetime.
And what will all these words be about? Important issues of the day? Very few of them. Most of our talk could be termed trivial. It’s about the process of talking rather than the content; we talk about family and friends, the weather, local news, and (especially) the days goings-on. Gossip is the lifeblood of intimacy.
The last to recognize water
Fish
123456789typography for graphic design | 23
It may seem that many people point-blank refused to use the telephone because they might have to speak to someone to whom they had no formal introduc-tion! Can’t get much less intimate than that can you.
The telephone survived the stupidity of snobbery and opened up a whole new world of intimacy. People could keep in touch. They could swap con!dences in a way they would never think of in a face to face encounter. They could make their lives faster, more ef!cient and easier.
In the 1990’s the mobile phone took the transfor-mation of everyday life to another level altogether - constant communication. As the yuppie label faded rapidly, the mobile phone became the instrument of
the last to recognize water
fishintimacy; the builder of relationships. If you wanted to be empathetic, you would have to admit there was a hell of a lot to listen to. In an average day an adult can use as many as 40,000 words. That’s about !ve hours of continuous speech. If you multiply this be 75, that’s about a billion words in a lifetime.
And what will all these words be about? Important issues of the day? Very few of them. Most of our “talk could be termed trivial. It’s about the process of talking rather than the content; we talk about family and friends, the weather, local news, and (especially) the days goings-on. Gossip is the lifeblood of intimacy.
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123456789typography for graphic design | 25
