Typography

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Typography is the art and technique of setting types to make written languages ​​readable, readable and interesting when displayed. Type arrangement involves typographic selection, point size, line length, line spacing (lead), and spacing-letters (tracking), and adjusts the space between letter pairs (kerning). The term typography is also applied to the style, settings, and display of letters, numbers, and symbols created by the process. This type of design is a closely related craft, sometimes considered part of typography; most typography does not design typography, and some types of designers do not consider themselves typography. Typography can also be used as a decorative device, not related to information communication.

Typography is the work of authors (also known as composers), typography, graphic designers, art directors, manga artists, comic artists, graffiti artists, and, now, anyone who composed words, letters, numbers and symbols for publication, , or distribution, of clerical workers and newsletter writers to whoever issues the material themselves. Until the Digital Age, typography is a special job. Digitization opens typography to a new generation of previously unrelated designers and lay users. Since the ability to create typography has become commonplace, the application of principles and best practices developed from the generation of skilled and professional workers has been reduced. So when scientific techniques can support proven traditions (eg, greater readability with serif, upper and lower case, contrast, etc.) use. Understanding the limitations of human vision, typography that often encounters may fail to achieve the ultimate goal: effective communication.

Video Typography

Etymology

The word "typography" in English comes from the Greek root ????? typos = "impression" and - ?????? -graphia = "write".

Maps Typography

History

Although usually applied to printed, published, broadcast, and reproduced materials in contemporary times, all the words, letters, symbols and numbers written alongside the earliest naturalistic images by humans can be called typography. The word, typography , comes from the Greek word ????? typo "form" or "impression" and ??????? graphein "to write", traces its origin to the first and die strokes used to create seals and currencies in ancient times, which bind the concept to print. The unbalanced distance from the impression on the brick stamps found in the cities of Mesopotamia Uruk and Larsa, originating from the second millennium BC, may be a type proof, in which the reuse of identical characters is applied to make tapered text. The cylindrical cylinder of Babel is used to create an impression on the surface by rolling the seal on the wet clay. Typography is also implemented in the Phaistos Disc, a mysterious Minoan prints from Crete, dating from 1850 and 1600 BC. It has been suggested that Roman tin pipe inscriptions were created by moving type printing, but German typist Herbert Brekle recently rejected this view.

Important criteria of type identity are met by medieval print artefacts such as the Latin Pruefening Abbey 1119 inscription created by the same technique as the Phaistos Disc. The silver altar of patriarch Pellegrinus II (1195-1204) at Cividale cathedral is printed with individual letter blows. Apparently, the same printing technique can be found in the 20th century to the 2nd century. Other early examples include individual letter tiles where words are formed by assembling single letter tiles in desirable order, which is quite widespread in medieval North Europe.

Typography with movable type was discovered during the eleventh century Song Dynasty in China by Bi Sheng (990-1051). The moving type system is made of ceramic material, and clay type printing continues to be practiced in China until the Qing Dynasty.

Wang Zhen is one of the most prominent pioneers of timber. Although wood types are more durable under mechanical handling loads, reprinting uses the characters face down and the type can be replaced simply by carving up new pieces.

This type of movable metal was first discovered in Korea during the Goryeo Dynasty, around 1230. Hua Sui introduced bronze type printing to China in 1490 AD. Diffusion from both types of mobile systems is limited and technology does not spread outside of East and Central Asia, however.

The lead-based modern type of moving, together with the mechanical printing machine, is most commonly associated with Johannes Gutenberg's goldsmith in 1439. The pieces of its kind, made of lead-based alloys, the printing objectives fit so well that the alloy is still in use today.. Gutenberg developed a special technique for printing and combining copies of the large inexpensive letters needed to print multiple copies of the text. This technical breakthrough was instrumental in starting the Printing Revolution and the first book printed on a lead-based type of move was the Gutenberg Bible.

Technological advances are rapidly revolutionizing typography in the last twentieth century. During the 1960s, some ready-to-camera screening could be produced in any office or workshop with a stand-alone machine as introduced by IBM. During the mid-1980s personal computers like the Macintosh allowed the type of designer to digitally make the typography using commercial graphic design software. Digital technology also allows designers to create more experimental typography as well as traditional typographic typography that is practical. Designs for typography can be made faster with new technology, and for more specific functions. The cost of developing typography is drastically lowered, becoming widely available to the masses. The change is called "type democratization" and has given new designers more opportunities to enter the field.

Evolution

Typographic design has been developed alongside the development of typesetting systems. Although typography has evolved significantly from its origins, this typography is a largely conservative art that tends to stick to tradition. This is because legibility is the most important, and so the most readable typography is usually maintained. In addition, the evolution of typography can not be separated from handwriting and related art forms, especially the formal style, which developed over the centuries before typography, so the evolution of typography should be discussed with reference to this relationship.

At a new stage of European printing, the typeface (blackletter, or Gothic) is designed to emulate the popular scribal style of writing. Initially, this type of letter is difficult to read, because each letter is set individually and made to fit the space allocated. The art of writing the manuscript, originally during the making of Hellenistic and Roman books, culminated in manuscripts illuminated in the Middle Ages. Metal typography primarily changes the style, makes it "crunchy and uncompromising", and also carries the "new composition standard". During the Renaissance period in France, Claude Garamond was partly responsible for the adoption of a Roman typeface that eventually replaced the more commonly used Gothic (blackletter). Roman typeface is also based on handwriting style.

The development of Roman fonts can be traced back to Greek single letters. The Greek short letters are carved into stone and "one of the first formal uses of Western letter forms"; After that, Roman Roman letters developed into monumental capital, which laid the foundation for the design of western typography, especially serif typography. There are two styles of Roman typography: old style, and modern. The first is characterized by the same weighted lines, while the second is distinguished by the contrast of light and heavy lines. Often, these forces are combined.

In the twentieth century, computers changed the design of typography into a somewhat simplified process. This has enabled the number of typography and style to proliferate exponentially, because now there are thousands available. Unfortunately, the confusion between fonts and fonts (various styles of one typeface) occurred in 1984 when Steve Jobs incorrectly labeled typography as a font for Apple computers and his faults have been perpetuated throughout the computer industry, leading to a public misuse of the term "font "when typography is the right term.

Experimental font type using

"Experimental typography" is defined as an unconventional and more artistic approach to the selection of fonts. Francis Picabia was the pioneer of Dada from this exercise in the early twentieth century. David Carson is often associated with this movement, especially for his work in Ray Gun magazine in the 1990s. His work caused a stir in the design community as he abandoned standard practice in typography selection, layout, and design. Experimental typography is said to place emphasis on expressing emotions, rather than having the attention to legibility when communicating ideas, thus being regarded as art.

Technique

There are many sides to expressive typography use, and with them come many different techniques to help with visual aids and graphic design. Spacing and kerning, special spacing of size, x-height and vertical proportions, character variation, width, weight, and contrast, are some techniques to consider when thinking about the suitability of specific typography or creating it. When placing two or more different fonts and/or contrasts together, this technique plays a role for organizational strategy and demands an attractive quality. For example, if most titles have a more unfamiliar or unusual font, a simpler sans-serif font will help complete the title while drawing more attention to the work as a whole.

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Coverage

In contemporary usage, the practice and study of typography covers a wide range, covering all aspects of letter and application design, both mechanics (lettering, type of design, and typography) and manual (handwriting and calligraphy). Typographical elements can appear in a variety of situations, including:

• Documents
• Presentations
• Show typography (explained below)
• Clothing
• Maps and labels
• Vehicle instrument panel
• As an industrial design component - type in household appliances, pens, and watches, for example
• As a component in modern poetry (see, for example, poetry e cummings)

Since digitization, the use of typography has spread to a wider range of applications, appearing on web pages, LCD phone screens, and handheld video games.

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Text type text

Traditionally, texts have been composed to create easy-to-read, coherent, and visually appealing fonts that work invisibly, without the reader's consciousness. Even the distribution of typeset material, with little disturbance and anomaly, aims to produce clarity and transparency.

The choice of font (s) is a major aspect of typographic texts - fictional, non-fiction, editorial, educational, religious, scientific, spiritual, and commercial writing all have different characteristics and requirements of appropriate typography (and their font or style )). For historical material, the kind of established texts are often chosen according to historical genres of scores obtained through a long process of increment, with much overlap between historical periods.

Contemporary books are more likely to be tuned to sophisticated "romance" or "romans" styles with serifs and design values ​​echoing contemporary design art, closely based on traditional models such as Nicolas's works Jenson, Francesco Griffo (the blow cutter that created the model for Aldine typography), and Claude Garamond. On more specific terms, newspapers and magazines rely on a compact, densely packed text-writing style tailored to the task, offering maximum flexibility, legibility, legibility, and efficient page space usage. Sans serif (without serif) text type is often used for introductory paragraphs, incidental text, and whole short articles. Current mode is to pair sans-serif typeface for a title with a matching style matching high-font type for the article text.

The typesetting conventions are modulated by orthography and linguistics, word structure, word frequency, morphology, phonetic construction and linguistic syntax. The typesetting conventions are also subject to certain cultural conventions. For example, in French it is customary to include non-breaking space before colon (:) or semicolon (;) in a sentence, while in English it is not.

Color

In letter formatting, color is the overall ink density on the page, which is determined mainly by the typeface, but also by the distance of the word, the lead, and the depth of the margin. The text layout, tone, or color of the text that is set, and the text interaction with page white space in combination with other graphical elements give "flavor" or "resonance" to the subject. With print media, typographers also pay attention to binding limits, paper selection, and printing methods when determining the correct page color.

The principle of typography craft

Three basic aspects of typography are legibility , legibility , and aesthetics . Although in a non-technical sense "readable" and "readable" are often used synonymously, their typography is separate but related concepts. Readability and legibility tend to support the aesthetic aspect of a product.

Readability illustrates how easily individual characters can be distinguished from each other. This is described by Walter Tracy as "a quality that can be solved and recognized". For example, if "b" and "h", or "3" and "8", are difficult to distinguish at small sizes, this is a legibility issue. Typography is concerned with legibility so far it is their job to choose the right font to use. The Brush Script is an example of a font that contains many characters that may be difficult to distinguish. Case selection affects typographical legibility because only capitalized ( all-cap ) reduces readability.

Readability refers to how easy it is to read the text as a whole, as opposed to the introduction of individual characters described by legibility. The use of margin, word-and line-spacing, and clear document structure all have an impact on readability. Some fonts or font styles, such as sans-serif fonts, are considered to have low readability, so they are not suitable for a large number of prose.

Readability "refers to perception" (able to see as determined by the physical limitations of the eye) and readability "refers to comprehension" (understanding meaning). Typographers and good graphic designers aim to achieve excellence in both.

"The selected font type should be readable, meaning it should be read without effort Sometimes readability is just a matter of type size, more often, however, it is a matter of letter type design.Case selection always affects legibility. Generally speaking, typography is correct for the shape of the base letter is easier to read than typography that has been condensed, expanded, decorated, or abstracted.

However, even readable fonts can become unreadable through poor settings and placements, simply because easier-to-read letter types can be made more readable through good design.

Studies of both legibility and legibility have examined various factors including the size of the type and type of design. For example, comparing serif vs sans-serif type, romance vs. type italic type , and italic type , line length, line spacing, color contrast, right edge design (eg, justification, right edge straight) vs. right ragged, and whether the text is hyphenated. Justified copy must be tightly adjusted during letter compilation to prevent loss of readability, something beyond the capabilities of a typical personal computer.

Research legibility has been published since the late nineteenth century. Although there are often similarities and agreements on many topics, others often create conflict and sharp variations of opinion. For example, Alex Poole asserts that no one gives conclusive answers to the type of style letters, serifs or sans serifs, giving the most legibility, although disagreements exist regarding the debate. Other topics such as unjustifiable vs. types, proper hyphens and typography for people with reading difficulties like dyslexia continue to be the subject of debate.

Readability is usually measured by reading speed, with an understanding score used to check effectiveness (ie, not hasty or reckless readings). For example, Miles Tinker, who published much research from the 1930s through the 1960s, used a speed reading test that required participants to view obscene words as a filter of effectiveness.

The Reading Unit Printing at the Royal College of Art under Professor Herbert Spencer with Brian Coe and Linda Reynolds doing an important job in this field and is one of the centers that reveals the importance of the saccadic rhythm of eye movement for easy reading - in particular , the ability to take (ie, recognize the meaning of the group) about three words at a time and the physiognomy of the eye, which means an eye tire if a line takes more than 3 or 4 of this saccadic leap. More than this was found to introduce tension and error in reading (eg, Doubling). The use of capital letters makes words indistinguishable as a group, all letters displaying a uniform line to the eye, requiring special effort for separation and understanding.

These days, readability studies tend to be limited to critical issues, or testing specific design solutions (eg, when new typography is developed). Examples of critical issues include typography for people with visual impairment, typography, and case selection for road signs and roadways, or for other conditions where readability can make an important difference.

Much of the research literature is somewhat atheoretical readability - various factors are tested individually or in combination (surely so, because different factors are interdependent), but many tests are performed in the absence of a visual reading or perception model. Some typographers believe that the overall word form (Bouma) is very important in legibility, and that the theory of parallel letter recognition is wrong, less important, or not the whole picture. Different form of the word, influenced by the up and down elements of the lowercase letters and allows reading the whole word without having to parse each letter (for example, the dog is easily distinguished from the cat) and it becomes more influential to be able to read a group of words at a time.

A study that distinguishes between the introduction of Bouma and the introduction of parallel letters in relation to how people recognize the word as they read, have liked the introduction of parallel letters, widely accepted by cognitive psychologists.

Some of the common findings of readability research include:

• The text set in lowercase is easier to read than the text is all set in capital letters (uppercase, all uppercase), probably because the structure of the lower case and the form of the word is more typical.
• Extenders (ascenders, descenders, and other projecting parts) increase their prominence.
• The usual vertical type (romance type) is found to be easier to read than italics.
• Contrast, without brightness, has also been found to be important, with black in yellow/beige being most effective along with white on blue.
• Positive images ( for example, black in white) make the handheld material easier to read than negative or reversible ( for example, white in black). Even this generally accepted practice has some exceptions, but (for example, in some cases of disability, and designing the most effective sign for drivers).
• The upper letters (ascenders) play a stronger part in the recognition process than the bottom.

Aesthetic concern in typography is concerned not only with the careful selection of one or two typefaces and harmonic sizes, but also by putting the elements to be printed on flat surfaces appropriately and attractively, among others. For this reason, typographers attempt to observe the typographic principles , the most common ones listed below:

• Limit up to three colors, which must be aligned with each other and with paper colors and dominant colors from photos or images
• Restrict two typography on one page, which should "match"
• Limit up to three fonts and sizes
• Choose the size that leads to the optimum and most comfortable view.
• Different increase amounts such as larger sizes, bold, different italics, different fonts, or fonts, different colors, as used for titles and words emphasized in text blocks, should be limited and consistent, and chosen wisely
• Avoid underlining like pests and should not be above other improvements
• The text should be placed wisely to direct the eye from a natural cognitive text to the next text
• Multi-line titles should be segmented with phrases (no phrases should be divided into two lines)
• There are no widows and orphans (no beginning line of paragraphs at the bottom of the page, no last paragraph line at the top of the page)
• Likewise there is no title at the bottom of the page
• The last line of the paragraph should be flat with the previous line and not stand alone under the
image
• Printing elements should not be spread in hoop style throughout the page, unless it actually conveys hodgepodge.
• The letters V and W at the beginning of the paragraph line should be slightly to the left of the left vertical flush line to give a flat optical impression to the line below.

Readability can also be compromised by spaces-letters, word spaces, or leads that are too tight or too lax. This can be improved when a generous vertical space separates lines of text, making it easier for the eye to distinguish one line from the next, or earlier. Typically poorly designed or overly tight or loose fitting may also result in poor legibility. Underlining can also reduce readability by eliminating the effect of recognition contributed by decreasing letters elements.

Periodical publications, especially newspapers and magazines, use typographic elements to achieve a distinctive and distinctive appearance, to assist readers in navigating publications, and in some cases for dramatic effects. By formulating periodic guidance, periodic or periodic guidance with relatively small typographic collections, each used for specific elements of the publication, and making consistent use of typography, case, type size, italics, thickness, color, and other typographic features. such as combining upper and lower case together. Some publications, such as The Guardian and The Economist , go so far as to assign designers types to create special typefaces for their exclusive use.

Different periodical publications design their publications, including their typography, to achieve a certain tone or style. For example, USA Today uses bold, colorful, and relatively modern styles through the use of various typography and colors; the size of the type varies greatly, and the name of the newspaper is placed on a colored background. Instead, The New York Times uses a more traditional approach, with less color, fewer font variations, and more columns.

Particularly on the front pages of newspapers and magazine covers, titles are often set up in a larger screen type to attract attention, and are placed near the masthead.

Typography is used to characterize text: Typography is meant to reveal text characters. Through the use of typography, the body of the text can instantly express the mood that the author wants to convey to his readers. Messages delivered by a text body have a direct connection to the selected font type. Therefore, when someone focuses on typography and type of arrangement they should pay very close attention to the typeface they choose. Choosing the right typeface for the body of the text can only be done after actually reading the text, understanding the context, and understanding what the text wants to convey. Once the typist has an understanding of the text, then they have the responsibility of using appropriate fonts to honor the writing done by the text writer. Knowledge of choosing the correct font comes with understanding the historical background of typography and understanding the reasons why typography was created. For example, if the body of the text is entitled "Commercial Real Estate Transactions" and further describes the real estate market throughout the body, then the appropriate font type to be used in this example is the serif typeface. This typeface will be appropriate because the author intends to inform his audience on a serious topic and not entertain his audience with anecdotes; Therefore, serif typeface will effectively convey a sense of sincerity to the audience instantly. The typographer will also use a larger font for the title of the text to convey a sense of importance to the title of the text that directly notifies the reader of the text structure intended to read, as well as improves readability from various visibility.

Typography is used to make practical reading: Typography does not only have a direct correlation with respect for text tones, but also shares responsibility for getting the audience started the process of reading and retaining the audience's attention throughout the body of the text. Although typography can potentially be exploited to entice readers to begin the process of reading, and to create beautiful/interesting pieces of text, typographic crafts are not limited to aesthetics. Typography is a craft that is not strictly covered with the aesthetic appeal of texts. Conversely, typographic objects are making the reading experience practical and useful. The use of bold colors, some typography, and colorful backgrounds in typography designs may be of interest; however, may not be appropriate for all text content and potentially render the text unreadable. The use of excessive design elements such as color and typography can create a disturbing reading experience, preventing text writers from passing on their messages to readers.

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Display graphics

Types can be combined with space and negative images, forming relationships and dialogue between words and images for special effects. Display design is a potential element in graphic design. Some sign designers show less attention to legibility, sacrificing it for artistic ways. The color and size of the type element may be much more general than just text design. Most display items exploit the type on a larger size, in which the design details of the mail are enlarged. Color is used for its emotional effects in conveying the tone and nature of the subject matter.

Typical display includes:

• Ads in publications, such as newspapers and magazines
• Type of magazine and newspaper title
• Signs and other large-scale designs, such as information signs and billboards
• Poster
• Brochures and flyers
• Packaging and labeling
• Communications and business ads
• Book cover
• Typographical logo, trademark, and word mark
• Graffiti
• Inscription
• The architectural letter
• Kinetic typography in movies, television, vending machines, online, and computer screens

Ads

Typography has long been an important part of promotional and advertising material. Designers often use typography to set themes and moods in ads (for example, using bold, large text to convey a particular message to the reader). The choice of fonts is often used to draw attention to certain ads, combined with efficient use of colors, shapes, and images. Today, typography in advertising often reflects the company's brand. The tipefaces used in advertising convey different messages to the reader: the classic is for a strong personality, while a more modern one may convey a clean neutral look. Thick typography is used to make statements and attract attention. In each design, a balance must be achieved between visual impact and communication aspects. Digital technology in the twentieth and twenty-first centuries has allowed the creation of typography for advertisements that are more experimental than traditional typography.

Writing and architecture

The history of unwritten writing is closely related to the history of writing, the evolution of letters and handicrafts. The widespread use of computers and various etching and sandblasting techniques today have made hand-carved monuments scarce, and the number of letter sculptors left in the US continues to diminish.

In order for monumental writing to be effective, it must be carefully considered in its context. The proportion of letters needs to be changed as their size and distance from viewers increases. The expert monument designers gain an understanding of these nuances through the many exercises and craft observations. Letters drawn by hand and for a particular project have the possibility of being very specific and very beautiful in the hands of a master. Each can also take up to an hour to engrave, so it is not surprising that the automatic sandblasting process has become the industry standard.

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