19. What Is Typography? Design or selection of letter forms to be organized into words and sentences and printed or displayed electronically
20. What is Good Typography? Stresses legibility and communication Draws attention to itself, then relinquishes the attention it has drawn Gives letters a “living energy” More than just picking out fonts
21. Web design is 95% typography. Source: http://informationarchitects.jp/the-web-is-all-about-typography-period/
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28. What is Good Web Typography? Optimize readability, accessibility, usability, and overall graphic balance Succeed despite limited font choices and poor screen resolution Treats the text as a user interface, not a canvas
32. point The smallest of the typographical measuring units. 1 point equals 1/72 inch. There are 12 points in a Pica. em Square unit of measurement equal to the point size of the current font. en One half of an em.
33. font A complete character set of a single size of a particular typeface (ex: Arial 10pt). type·face One or more fonts designed with stylistic unity (ex: Arial).
74. Concord Removal of contrast to give elements a uniform impression Type blocks are designed to achieve an equal level of lightness and darkness
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76. Visual Hierarchy Divide up the screen and tell users what is most important Create typographic “anchors” to move the users eye across and down the screen
77. Athletes confused by Olympic social media rules By Mark McClusky,Wired February 5, 2010 4:57 p.m. EST American skier Lindsey Vonn, one of the potential stars of the 2010 Winter Olympics, told her nearly 35,000 Twitter followers that she would not be posting to the social network until after the Games were over, perhaps based on a faulty understanding of the International Olympic Committee's rules on blogging and social networking. Read more
78. Athletes confused by Olympic social media rules By Mark McClusky,Wired February 5, 2010 4:57 p.m. EST American skier Lindsey Vonn, one of the potential stars of the 2010 Winter Olympics, told her nearly 35,000 Twitter followers that she would not be posting to the social network until after the Games were over, perhaps based on a faulty understanding of the International Olympic Committee's rules on blogging and social networking. Read more
79. Athletes confused by Olympic social media rules By Mark McClusky,Wired February 5, 2010 4:57 p.m. EST American skier Lindsey Vonn, one of the potential stars of the 2010 Winter Olympics, told her nearly 35,000 Twitter followers that she would not be posting to the social network until after the Games were over, perhaps based on a faulty understanding of the International Olympic Committee's rules on blogging and social networking. Read more
80. Athletes confused by Olympic social media rules By Mark McClusky,Wired February 5, 2010 4:57 p.m. EST American skier Lindsey Vonn, one of the potential stars of the 2010 Winter Olympics, told her nearly 35,000 Twitter followers that she would not be posting to the social network until after the Games were over, perhaps based on a faulty understanding of the International Olympic Committee's rules on blogging and social networking. Read more
81. Athletes confused by Olympic social media rules By Mark McClusky,Wired February 5, 2010 4:57 p.m. EST American skier Lindsey Vonn, one of the potential stars of the 2010 Winter Olympics, told her nearly 35,000 Twitter followers that she would not be posting to the social network until after the Games were over, perhaps based on a faulty understanding of the International Olympic Committee's rules on blogging and social networking. Read more
82. Athletes confused by Olympic social media rules By Mark McClusky,Wired February 5, 2010 4:57 p.m. EST American skier Lindsey Vonn, one of the potential stars of the 2010 Winter Olympics, told her nearly 35,000 Twitter followers that she would not be posting to the social network until after the Games were over, perhaps based on a faulty understanding of the International Olympic Committee's rules on blogging and social networking. Read more
87. The C Fonts Calibri Cambria Candara Consolas Constantia Corbel
88. Font Stacks p { font-family: Arial, Helvetica, sans-serif;} p.serif { font-family: Georgia, "Times New Roman", Times, serif;}
89. Font Stacks p { font-family: Arial, Helvetica, sans-serif; } p.serif { font-family: Georgia, "Times New Roman", Times, serif; } p { font-family: Geneva, “Lucida Sans”, “Lucida Grande”, “Lucida Sans Unicode”, Verdana, sans-serif;} p.serif { font-family: Palatino, “Palatino Linotype”, Georgia, Times, “Times New Roman”, serif;}
90. sIFR Combination of Flash, CSS, and JavaScript Checks if Flash is installed and replaces text Selectable, customizable, degrades gracefully Steep learning curve, cumbersome scripting Makes page load feel “clunky”
91. CUFÓN JavaScript only Uses VML (Vector Markup Language) for Internet Explorer and HTML5 Canvas for advanced browsers Fast loading Violates EULA agreements for some font files, text not selectable, no hover states
92. @Font-Face CSS3 declaration Standards-compliant, fast loading, easy to use Not all fonts designed for screen usage, especially at small sizes Maybe a little too easy to use
96. GUidelines Read the text before designing it Get away from “loremipsum” or dummy text as soon as possible Don’t use a font you don’t need Consolidate similar sizes and treatments Don’t stretch or squeeze
97. Legibility & Readability Optimal measure is 45-75 characters Use italic and bold for emphasis but avoid using for large blocks of text Beware of too much or too little contrast with background color All caps fine for titles and headlines, not recommended for sentences or long blocks of type
98. It deosn'tmttaer in wahtoredr the ltteers in a wrod are, olnytaht the frist and lsatltteres are at the rghitpcleas. Tihs is bcuseae we do not raederveylteter by ilstef, but the wrod as a wlohe.
Introduction to how to look at understand and usePart of world around usMake aware of how designers use and see type
kid looked at handwritingcomics
artist has touched everything storynot just books & magazines
every foodhousehold productnot just communication but art direction & branding
lets you know where you are goingbillboardsstreet signstraffic signsbuilding signage
lets you know where you are at
exquisite timelessbecomes part of the culture
first known “handwriting” cuneiformSumerian tablet 3000 BC Mesopotamia – modern iraqledger sheet
phaistos disk2ndmillenium BC, island of cretemade by pressing hieroglyphic seals into soft clayfirst instance of “movable type”, but invention didn’t take off
Egyptian book of the dead 1500 – 1000 BC
Qin dynasty edict on bronze200 BC
France, Bible, 13th c
A&EGrew up goldsmithingMainz, Germany ~ 1450L-shaped adjustable
oil-based ink to stick to metal typesbased on press used for cloth and grapes
moveabletypebackwards
Gutenberg bible1455 finished180 copiescolor parts added by hand42 lines
oxford library – 140 copieshigher education, science, religion, renaissancetypography is born
early purpose of type was copyingillusion of superhuman speed, stamina, and precision to human handInterprets content like a musician interprets a score
One of the last crafts to be mechanized, one of the first crafts to be computerized95% of the information on the web is written language, so designer should learn how to shape written informationTYPE as UI: Icons with names, form fields with examples, buttons with labels, step by step instructions in a process, a clear explanation of your refund policy. These are all interface design.
craigslistexample of text asuidon’t read every line of type
structure in place but unusable
news site
pictures & icons but no contextad but what is it for?
application
tabs but no contextform but what does it do?
BRINGHURST BOOK
make aware of typography on the atomic levelcharacter of blocks of copy made from elements of individual letterstrue mastery of typography begins at the lettercan use letter as a primary design element
anthropomorphicfigure/ground relationship is importantnegative space (helvetica)
units of measurementem originally width of capital M
space between letterskerning tablescornerlsj logo
affects overall texture resolve widows and orphansstill negative space
line easy to followimportant for legibility
effects legibility at body copy sizeseffects leadingx because of 4 slabs
modern = class. of serif. stroke variation, horizontal serifsblackletter = 12th centuryeurope (gothic, old english)
# of characters in a line of texton web defined by width of boxes
Understand our surrounding through contrastReading is possible because of contrast (ink on paper) : reduce contrast reduce legibilityLike notes of a musical scale (chords)Drawing metaphor (light and dark)DAIR BOOK
scarcely a job where a large letter or word cannot be used to striking effectOnly effective when used with discretion. can’t use if too much is large
go big
Thickness of lines that compose lettersNo middle ground in the contrast of weight
All the same widthvs varying widths
Italicvs roman vs capital
Colors are either cold, warm, or neutralIf using a small bit of red, contrast with a large bit of cold color
all black with touch of redretro feelnewspaper headlines in red
off color for emphasisleads eye through page
Eyes used to orienting on a horizontal horizonSense of balance is disturbed by slanted lines90 degree intersection of slanted units creates relationship
slanted title leads eye downverticalnav interesting
Structure of a letter determines its texture, weight determines its coarsenessThink in terms of hard and soft (slick and rough)Can alter with letter-spacing and line spacing
interpretative dance with typeall same font (no structure)look at direction, color, weight
lack of contrastblending of elements to give a uniform impressiontonal value
Use contrast to divide up the screen and tell the users where they should be lookingUse contrast to create typographic anchors to move the users eye across and down the screen (vertical rhythm)
structure, weight
form, size, color
size
color
3 are rarely used because they are illegible at smaller sizes
Georgia vs Times
Typekit
Legibility = distinguishing one letter from anotherReadability = comprehending large blocks of text