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Designing with type

Type is the basic building block of any printed page. Sometimes it is absolutely imperative to design a page with more than one typeface on it. But how do you know which typefaces work effectively together?

There is usually more than one element on a page – even a document of plain body copy typically has heads or subheads or at least page numbers on it. Within these dynamics on the page, a relationship is established that is concordant, conflicting, or contrasting.

A concordant relationship occurs when you use only one type family without much variety in style, size, weight, and so on. Perhaps you use some of the italic version and perhaps a larger size for a headline, and maybe a graphic or several ornaments – but the basic impression is still concordant. It is easy to keep the page harmonious, and the arrangement tends to appear quiet and rather sedate or formal – sometimes downright dull. This doesn’t mean concord is undesirable – just be aware of the impression you give by using elements that are all in concord with each other.

A conflicting relationship occurs when you combine typefaces that are similar in style, size, weight, and so on. The similarities are disturbing because the visual attractions are not the same (concordant), but neither they are different (contrasting), so they conflict. When you put two faces together that look too much alike without really being so, most of the time it looks like a mistake. Concord is solid and useful concept; conflict should be avoided.

A contrasting relationship occurs when you combine separate typefaces and elements that are clearly distinct from each other. The visually appealing and exiting designs that attract your attention typically have a lot of contrast built in, and the contrasts are emphasized. Creating concord is pretty easy, and creating conflict is easy but undesirable. Creating contrast is just fun. One of the most effective, simplest, and satisfying ways to add contrast to a design is with a type.

Contrast is not just for aesthetic look of the piece. It is intrinsically tied in with organization and clarity of the information on the page. Never forget that your point is to communicate. Combining different typefaces should enhance the communication, not confuse it.

There are 6 clear and distinct ways to contrast type: size, weight, structure, form, direction, and color. Most often you will strengthen the effect by combining and emphasizing the differences.

When you can recognize and name the contrasts, you have power over them – you can then get to the root of conflicting problem faster and find more interesting solutions.

Before getting to the ways to contrast, you need to have a familiarity with the categories of type.

There are many thousands of different typefaces available right now, and many more being created every day. Most faces can be dropped into one of the 6 categories mentioned below. Of course, you will find hundreds of faces that don’t fit neatly into any category. The point is just to start looking at type more closely and clearly.



These are six groups of types:

Old Style

Modern

Slab serif

Sans serif

5. Script

Decorative

 

· Old style.

Old Style Bookman Old Style

Typefaces created in the old style category are based on the handlettering of scribes – you can imagine a wedge-tipped pen held in the hand. Old styles always have serifs and the serifs of lowercase letters are always at an angle (the angle of the pen). Because of that pen, all the curved strokes in the letterforms have a transition from thick to thin, technically called the “thick/thin transition”. This contrast in the stroke is relatively moderate, meaning it goes from kind-of-thin to kind-of-thicker. If you draw a line through the thinnest parts of the curved strokes, the line is diagonal. This is called the stress – old style type has a diagonal stress.

· Modern or Roman or serif.

Modern Times New Roman

As history marched on, the structure of the type changed. Type succumbs to lifestyle and culture changes, just like hairdos, clothes, language. In the 1700s, smoother paper, more sophisticated printing techniques, and a general increase in mechanical devices led to type becoming more mechanical too. New typefaces no longer followed the pen in hand. Modern typefaces have serifs, but the serifs are now horizontal instead of slanted, and they are very thin. Like a steel bridge, the structure is severe, with a radical thick/thin transition, or contrast, in the strokes. There is no evidence of the slant of the pen; the stress is perfectly vertical. Moderns tend to have a cold, elegant look.

· Slab serif or Egyptian.

Slab serif Courier New

Along with the industrial revolution came a new concept: advertising. At first, advertisers took modern typefaces and made the thicks thicker. Slab serifs have little or no thick/thin transition. This category of type is sometimes called Clarendon, because this typeface is the epitome of this style.

· Sans serif or Gothic.

Sans serif Century Gothic

The word ‘sans’ means ‘without’ (in French), so sans serif typefaces are those without serif on the ends of the strokes. The idea of removing the serifs was a rather late development in the evolution of type and didn’t become wildly successful until the early part of the 20th century. Sans serif types are almost always “monoweight”, meaning there is virtually no visible thick/thin transition in the strokes.

· Script or Cursive.

Script Lucida Handwriting

The script category includes all those typefaces that appear to have been handlettered with a calligraphy pen or brush, or sometimes with a pencil or technical pen.

· Decorative or Ornate.

Decorative Matisse ITC

Decorative fonts are easy to identify – if you don’t want to read a book in that font, you can probably put it in the decorative pot. Decorative fonts are great – they are fun, distinctive, easy to use, and there is a font for any whim you wish to express. Of course, simply because they are so distinctive, their powerful use is limited.

 


Date: 2016-04-22; view: 685


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