Chapter 1
This chapter goes through the different textual designs of
types through the ages beginning in Egypt. It gives four distinct timelines of
text evolution and the different types of styles they are. It also covers the
radical approaches to text design as well as using text as a design it and of
itself. The different forms of text go across a wide range of styles and have
their own personal traits. They fall into two general categories; serif and
sans serif.
Chapter 2
This chapter deconstructs the anatomy of typography. It goes
over the various parts of letterforms as well as explains how each of these
parts contributes to the text as a whole.
It also describes certain discrepancies that can go along with trying to
explain and justify the different parts. It continues on to give examples of
various type faces and some of their history. The chapter ends with the explanation
of how to measure metal type and measuring the spatial intervals.
Chapter 3
It goes over the syntax element of typographic design. How
artist use space along with the text in order to convey a visual message that
aptly described the content. The form of the text and the relationships between
the word and the typeface. Designers use these relationships to form inter letter
relationships with the words across the page, engaging in space. The type on
the page can be defined by the lines, grids, columns, margins, and geometric configurations,
which can include the use of negative and positive space as well as visual arrangement.
Chapter 4
Legibility in typography is important due to the fact that
if the viewer can’t read it, the design or the text isn’t conveying the message
clearly. It goes through how to distinguish letters and use those qualities in
appropriate design structure. Type size, interline spacing, stroke weight and
line length are just a few factors one needs to consider when designing with
type. The type must fit the design and vice versa to have a natural aesthetic
in the over all image. Color is also important as it can change the feel of a
type drastically as opposed to it being only in black and white. The
manipulation of design is also growing more and more popular due to the
evolution in technology and designing by computer.
Chapter 5
The grid can be one of the most helpful tools in laying down
text in space or even creating it. Using a graph we are able to utilize the
space needed to convey the designer’s meassage clearly so that everything on
the page fits. With grids we can create page layouts for books, articles, pamphlets,
etc. And we can keep the text and the
images used in a more structured straightforward way.
Chapter
6
Text
is virtually everywhere. The design is street signs and logos and the
like. The visual concept of the image is
important because it has to say what the text alone cant. Such devices as
stroke weight, position play, visibility, and the use of a picture to replace
text are just a few devices used when designing in order to say a specific
message.
Chapter 7
This chapter talks about the growth of typography from hand
to computer. The machines used to create and make each specific letterform are the linotype, monotype, and Ludlow.
There is also phototypesetting, and keyboard phototypesetters. From these
machines designer started scanning their images of text to then using various
forms of software in order to manipulate the type. These kinds of designs and
techniques are now used widely and offer an ease of the mind in creating a
piece. But at the same time it lacks certain challenges that artists before
them had to endure which was what made their design so interesting and
sometimes ingenious.
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