Typography is the beauty of letterforms and the art of communication. Do you remember what we first learnt in elementary school? It is reading and pronouncing letters A, B & C, understanding the definition of words and spelling. Letters are originally picture writing. It is developed to indicate words for communicating precisely and pictures become simpler and simpler from time to time until it comes across to hardly recognizable signs that were representations of things in the past. (Gill, 1988)
We may each have an idea of what typography is but people may disregard the significant relationship between typography and text. In the book ‘The Elements of Typographic Style’, it mentioned that “typography is the craft of endowing human language with a durable visual form, and thus with independent existence” (p11, line 9-10), it shows the importance of typography and how it is the foundation of communication between people. It also suggests the role of typographer in the society, who is responsible to evaluate a visual hierarchy of information and to balance typography to be pleasing to the eye and yet to communicate the text precisely to the reader.
Typography might not sound interesting at first but after the lecture of Typography and Communication, I have realized majority of things we see are with text. Typography is basically surrounding us all the times. Can you imagine a world without typography? It will ultimately be a world with no communication. Typography has a great impact to the culture and it will make a difference between good and bad designs as well as communication. There is no limit for a typeface to express. It is interesting to see how letters are meaningless individually, for example: ‘d’ ‘o’ ‘g’ but when they are put together it creates the word ‘dog’, meaning a domestic animal and when you reverse the word ‘dog’, it will become ‘god’, another word that meant the creator of the universe (Swann, p11).
This essay will discuss the development of type, its use and the link to technology nowadays, exploring the function and purpose of typography and the complexity relationship between content and type. The role of typographers will be mentioned and some examples of typefaces and logos will be examined. The impact in design and effects on readers’ feelings according to different words and how the language is transmitted will also be analyzed. This will then lead to the legibility of language suggesting a general approach to science. Finally, explaining why typography is so important in the society and concluding how typography is viewed differently by different generations in terms of the meaning of words and tone of voice.
Typefaces are created in different period of time and there is a general rule of eight classifications for typefaces: Black Letter, Roman, Sans Serif, Square Serif, Script, Italic, Decorative and Glyphic (Faiola, 2000). Black Letter (Fig. 1) is often used for printed materials such as graduations, weddings and religious events that intended to reflect the feeling of the medieval period (p20). Roman (Fig. 2) is widely used due to the principles of readability and aesthetic preferences of simpler and lighter letterforms (p20-21). Sans Serif (Fig. 3) is an all-purpose font that fits greatly in all types of designs but it is commonly used for logo design and in-house publications like magazines and newspaper (p25). Square Serif (Fig. 4) is best used for headlines in posters because it gives reader the feeling of solidity and strength (p25-26). Script (Fig. 5) is to imitate handwritings and it expresses the feeling of elegancy so it is mostly used for special invitations and announcements (p26). Italic (Fig. 6) gives emphasis (Fig. 7) to the word or phrase to attract reader’s attention without disturbing the flow of the text. For example, titles in bibliographies and quotations in essay writings are often seen in italic typefaces (p27). Decorative (Fig. 8) is always used for headings and subheadings to create special attention and mood in the design (p29). Glyphic (Fig. 9) is often used as display type in all capital letters (p29). The art of typography will continue to change and new forms of typography will be created for the needs to communicate depending on the evolvement of communication in the society. A good type represents the culture of the times and through the design of a type conveys the feeling of ideas (Green, 2009).
Handwriting has been ruined because people are forced to scribble nowadays due to the improvement of technology. However, typography is started with commercial purposes and the term ‘commercial lettering’ is conferred, deliberately to reproduce texts faster than writing and to save time, (Jury, 2001) therefore people uses simple messages, often supported by images to catch public attention and make firm impression on audiences’ memory in seconds. For example the logo of McDonald (Fig. 10), the golden coloured capital letter ‘M’ is straightforwardly used to symbolize the name of the corporation, the combination of golden letter and red background is to signifies the strength of the company and the word ‘McDonald’ in a simple font defines the strong image of the firm (Famouslogos, 2012). Commercial lettering describes the look and defines the character of McDonald through the use of letter stroke, font size (Fig. 11) and colour. This is one of the most recognizable logo in the world and it becomes a cultural sign synonymous for fast food and globalization. It is interesting to note how quickly new words and phrases absorbed into the common language around the world.
The existence of typography is to honor content (Bringhurst, 1999). A font should be appropriately chosen and used to hold effective design together, gives a perceptible impact in the visual surrounding and accurately communicates the original messages of the writer. “In a world rift with unsolicited messages, typography must often draw attention to itself before it will be read. Yet in order to be read, it must relinquish the attention it has drawn.” (Bringhurst, 1999) This explains that typography must drawn readers into the text in order to communicate its message without confusion and distraction because reader will not be reading if he is still aware about the design of the type so in order to do that typographers have to understand the idea and tone of voice in the text before choosing an appropriate font for communication and enabling it to be understandable and memorable.
Durable typography is always legible. For example, Helvetica (Fig. 12) that gained global acceptance once it is developed in 1975. Today, it is still widely used everywhere in the world, on street signs, advertisements, billboards and more. It is a legible, pleasing to look but ordinary typeface because it does not communicate the meaning of the words (Beale, 2008). In other words, a legible typeface does not mean it communicates, such as writing the word ‘bomb’ in Helvetica does not make it “boom”. The term ‘invisible typeface’ is also used to describe Helvetica. Even though Helvetica is overused but it is beautifully designed and serves its purpose of legibility (Fig. 13) that readers can look at it for a long time on books or on screens comfortably. In 1972, Weingart said: “a study of typography must include a study of the meaning of text…we will need input for new fields such as sociology communications theory, semantics, semiotics, computers and planning methods” (Jury, 2001). For example, the colour yellow can be used to describe the word ‘happy’. This portrayed typography can be expressed in different semiotic modes with the use of colours, shapes, sizes, strokes, typographic arrangement and these design principles makes communication more meaningful.
Likewise, Comic Sans (Fig. 14) is a good example to be describe as ‘a font is a visual tone of voice, each with its own pitch, each appropriate for a different occasion.’ (Domeneghetti, 2013) The silliness of this type is used for informal text and the appropriate users will be aimed for children primarily. The designer of Comic Sans, Vincent Connare explained, “There are 200-300 fonts installed on every computer but people pick Comic Sans because it is different and it looks more like handwriting and does not look like an old school text book” (Winston, 2014). On the other hand, Ban Comic Sans manifesto says, “Comic Sans as a voice conveys silliness, childish naiveté, irreverence, and is far too casual…It is analogous to showing up for a black tie event in a clown costume” (Winston, 2014). It is considered as ‘the worst font in the world’ (Winston, 2014) and the reason that people hate Comic Sans is because they do not understand the purpose of design and have misused it on store signs, invitations, job applications and more.
In Albert Kapr, a type designer’s opinion: ‘the choice of typeface is naturally decisive for the interpretation of a text and its content. It is also permissible to interpret a text in various ways…must take care to reflect the spirit of the work…” (Hochuli, 2008, p53) Another type designer, Francesca Bolognini says that ‘You need a passion for achieving balance and beauty,’ and ‘sometimes you make shapes that look good on some letters, but do not work for the whole alphabet. So there is a lot of compromise and honesty involved. It’s important to understand who is going to use your typeface and in what context. A good type designer must be sensitive to the final use’ (TYPOGRAPHY, 2009). The style of typography helps strengthening the meaning of words. Appropriate words deserve appropriate letters as letterforms have their unique character and once a text and a typeface are chosen somehow two personalities interconnect. Therefore, the use and choice of type (Fig. 15) represents the designer greatly because poor chosen type will visually show discordant.
In many situations visuals does all the talking. For example, newspaper with clear and legible black print fonts and its clear and logically presentation of information with headlines, subheadings, texts, photographs and captions benefits readers with quicker and easier reading as well having the meaning of texts easier to understand and remember. Also, a good typeface creates an emotional response in relation to the message it is conveying along with a clear tone of voice. (Fig. 16) This is an example of a type designed by Jason Munn, an American designer. This shows sections of each letter of the word ‘liars removed skillfully. Readers could not see the entire letter completely but could guess the word immediately. The contrasts of thick and thin strokes, the missing part of each letter adding on the positioning of letters convey the message of lying will receive negative consequences. When your eyes try to figure out a word, it will send signals to the brain to identify the word and it will occur the problem of ‘uncomfortable reading’. Here, it explains the element of science vaguely, as the brain play an important role in recognizing, transmitting messages and decision-making.
Typography lives in our culture and it plays an important part of improving the visual presentations of designs as well as conveying meanings and communicating with the readers therefore choosing the right type is very essential because it evokes a particular feeling and it is important that it is the right feeling that the designer wanted to express. The selection of typefaces, arrangement of the text, use of colours and symbols in creating a brand is also building its unique personality that identifies the subject. Typography is like getting dressed and similarly in choosing one outfit for an occasion. There are numerous types of fonts but different look of typefaces fit with a particular look or style of writing, layout or design therefore chosen type of font is to convey one kind of message. Typography is also observed differently by different generations that will make quite big changes in the meaning and tone of voice. For example, the word ‘gay’ meant bright and attractive in the past and now it is used to refer to homosexuality (Mirror, 2013). There are wide ranges of communication approaches in appropriate situations such as particular places or a particular group of listeners. Besides, the more important of the message shows the more structured and considered must be the choice of words.
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Bringhurst, R. 1999. The Elements of Typographic Style. 2nd ed. Vancouver: Hartley & Marks.
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List of Illustrations:
Fig. 1. (2000) Examples of Black Letter typefaces [Digital] In: Faiola, A. Typography Primer. Pittsburgh: GATF Press.
Fig. 2. (2000) Examples of Old Style typefaces [Digital] In: Faiola, A. Typography Primer. Pittsburgh: GATF Press.
Fig. 3. (2000) Examples of Sans Serif typefaces [Digital] In: Faiola, A. Typography Primer. Pittsburgh: GATF Press.
Fig. 4. (2000) Examples of Square Serif typefaces [Digital] In: Faiola, A. Typography Primer. Pittsburgh: GATF Press.
Fig. 5. (2000) Examples of Script and Cursive typefaces [Digital] In: Faiola, A. Typography Primer. Pittsburgh: GATF Press.
Fig. 6. (2000) Examples of Italic typefaces [Digital] In: Faiola, A. Typography Primer. Pittsburgh: GATF Press.
Fig. 7. (1990) Creating Emphasis [Digital] In: Craig, J. BASIC TYPOGRAPHY A DESIGN MANUAL. New York: Watson-Guptill Publications.
Fig. 8. (2000) Examples of Decorative and Novelty typefaces [Digital] In: Faiola, A. Typography Primer. Pittsburgh: GATF Press.
Fig. 9. (2000) Examples of Glyphic typefaces [Digital] In: Faiola, A. Typography Primer. Pittsburgh: GATF Press.
Fig. 10. McDonald’s Logo (1975) [Logo] At: http://www.webhostingreviewboards.com/design/essentials-of-logo-design-a-few-inspirations/ (Accessed 11 May 2015)
Fig. 11. (1990) Type Size [Digital] In: Craig, J. BASIC TYPOGRAPHY A DESIGN MANUAL. New York: Watson-Guptill Publications.
Fig. 12. Helvetica (1957) [Typeface] At: http://imgsoup.com/1/helvetica-typeface/ (Accessed on 11 May 2015)
Fig. 13. (1990) Readability [Digital] In: Craig, J. BASIC TYPOGRAPHY A DESIGN MANUAL. New York: Watson-Guptill Publications.
Fig. 14. Comic Sans (1994) [Typeface] At: http://genius.com/1702338/Dinos-punchlinovic-namaste/Jaime-la-police-comic-sans-ms (Accessed 11 May 2015)
Fig. 15. (1990) Choosing Typefaces [Digital] In: Craig, J. BASIC TYPOGRAPHY A DESIGN MANUAL. New York: Watson-Guptill Publications.
Fig. 16. Liars concert poster (2010) [Poster] At: http://postercabaret.com/liars-concert-poster-by-jason-munn.html (Accessed 11 May 2015)
Stephanie Suen 