Chapter 4 introduces the idea of legibility of type. The first interesting thing I came across was the idea that letterforms can be categorized by vertical, curved, a vertical/curve combination, or oblique type. I was also intrigued by the fact that the top halves of letters give the greater visual cues as opposed to the lower halves. This made sense to me when I read that word recognition is based on word structure because when uppercase letters are together, they form a much more visually appealing structure than lowercase letters - the eye does not need to stray. However, with lowercase type, serifs help reinforce the horizontal flow of the word. As a whole, this chapter really taught me a lot about the structure of type and how it should be arranged (moreso the idea that there is justified and unjustified typography).
Chapter 5 implements the typographic grid. This is something that I see every day that I do not realize I am encountering; whenever I read a newspaper, book, magazine, etc. The grid is based on a simple formula that, when applied correctly, provides visual appeal to type. Margins, bleeds, and columns all deal with certain divisions of space and again, when applied correctly, increase the flow of type and readability. The book itself is an important example of a perfect layout of a typographic grid.
Chapter 5 implements the typographic grid. This is something that I see every day that I do not realize I am encountering; whenever I read a newspaper, book, magazine, etc. The grid is based on a simple formula that, when applied correctly, provides visual appeal to type. Margins, bleeds, and columns all deal with certain divisions of space and again, when applied correctly, increase the flow of type and readability. The book itself is an important example of a perfect layout of a typographic grid.
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