Picerne Chapters 2, 4, and 5

Chapter 2 of the textbook focused mostly on typographic anatomy. It focused on the different parts and proportions of the letterforms, as well as the historical classification of typefaces, typographic measurement, and type families. What I found most interesting in the chapter was the section on "historical classification of typefaces". The section points out that due to being in the digital age, we are exposed to an infinite amount of typefaces. However, it becomes clear that even though the typefaces can vary, they all seem to fall into the major categories. The part I found most interesting about this was that the chapter names only six major categories. I would think with so many different typefaces that there would be more categories for different fonts to fall into. 

Chapter 4 focused on legibility, which is extremely important when discussing typography. I never realized how much goes into the legibility of typography. The chapter goes into much detail about the basic principles of legibility, type size, line length, and interline spacing, legibility and color, and legibility and electronic page design. The portion of the chapter I found interesting was the section entitled "justified and unjustified typography". Justified typography is what was most commonly used due to efficiency and for appearing more refined. However, in the 1920s, unjustified typography became popular. I find that the attached image is a good example of the difference between unjustified and justified typography. The top section is unjustified because the alignment is set to flush-left, ragged right. The lines are uneven in length, however, as the section explains, it cues the eye to go onto the next line of reading. The bottom of the page is set in a justified alignment because all of the lines are equal in length.

Chapter 5 discusses the typographic grid. The typographic grid is important when developing and organizing one's composition. After focusing on the background of the grid, the chapter goes into detail about structure and space, proportion, and the different kinds of typographic grids. The section I found interesting in the chapter was "The square". The section explains that squares enable a grid to have an infinite amount of visual patterns. I would not have thought that the square would be the most influential space when developing the modern grid.