Typography's Terms and Conditions
Text.
It communicates messages though written language. It provides information. It tells stories. It calls to action.
Because the literal meaning of text is so vital to the entire message, the way in which these texts are viewed is even more critical. Words brazen across advertisements, movie posters, sides of buildings, book covers, news, etc. influence audiences’ attentions and perceptions. Typography’s close knit relationship to graphic design makes it something by which all creative designers work.
Fundamentally, typography is split into two closely related categories: typeface and font. Though most people often use the terms interchangeably, typeface refers to the actual design of the lettering. Font is the altering of the typeface. Font can be manipulated by bolding, thinning, italicizing, and changing the size or color of the typeface. Being able to differentiate between the two makes understanding typography much easier.
From a technical perspective,
typefaces can be classified within six basic families: blackletter, roman, script, miscellaneous, square serif, and sans serif.
Blackletter typefaces are designed with heavy strokes and dramatic diagonal lines. These characteristics make the lettering look highly ostentatious. A classic example of a blackletter typeface is easily recognizable in a Johannes Gutenberg printed bible.
The most common typeface, roman, is seen within the bodies of books, magazines, and other prints for its effortless legibility. The clarity of a roman typeface is a result of the lightly curved serif lines and the contrast offered between the thick and thin strokes.
Script typefaces mimic handwriting. These typefaces are used to advertise a brand identity of high-class and quality. In Visual Communication: Images with Messages, Paul Lester points out “wedding invitations and licenses, for example, commonly are printed in script because fine letters, perhaps more than any other family’s style, give the piece an air of handmade attention to detail”.
Beginning to appear during the Industrial Revolution, miscellaneous typefaces were originally created for advertising. Per the name “miscellaneous”, they can’t be categorized simply because of their crazy designs. These outlandish typefaces’ sole purpose is to draw in a viewer’s attention. Examples of this typeface range from designs of flowers to contorted bodies in order to create the perception of letters.
Square serif is similar to roman, but is designed with right angle curves protruding from the letter strokes called serifs. This rigid-looking typeface is largely associated with the Wild West because of its common storefront appearance in Hollywood western movies. It is hardly used in modern times because of its brick-like design and stiff presence.
Because the French word “sans” translates to “without”, sans serif typefaces merely have no serif. Being described as streamlined and clean, this typeface has a no-nonsense approach and does not distract the viewer with serifs. There is deliberate reasoning as to why stop, warning, and exits signs have sans serif typefaces.
Why is this important?
With typography, there is a time and a place for everything. When trying to grab attention and excite viewers for an event, the use of a sans serif typeface in a large, bold, font is the way to go. If attempting to communicate opulence and class for a prestigious Ivy League university, a convincing choice would be a modern roman typeface with clear differentiation in line weight. For graphic designers and art directors, text is bound to work its way into many projects. And for every one of those projects, typography must be taken into thorough consideration.
Though there is a universal belief that all typefaces can be used depending on the intended message and scenario, some maintain that certain typefaces need to take their final bow. Take, for example, Papyrus. In 10 Iconic Fonts and Why You Should Never Use Them, Matthew Carpenter writes,
Papyrus is the king of bad fonts. Equal parts childish, kitschy and irritating, this ugly piece of typography has found its way into everything from film posters (Avatar, anyone?) to logos for credit unions.
Along with Comic Sans and Bradley Hand, Carpenter expresses his contempt for these immature, and poorly designed typefaces. So, maybe after all, there truly isn’t a time or place for all typefaces.
With more and more designers entering the creative world
there is an equally strong push for creators to learn more about typography. In Typography Referenced: A Comprehensive Guide to the Language, History, and Practice of Typography , Ina Saltz observes,
Typography has entered the mainstream. Its devotees and acolytes have never been more visible, more active in the field, or more passionate.
Analyzing iconic typographical work throughout posters and advertisements is just about the best way to start building a strong foundation. Work could include one of Stanley Kubrick’s 2001: A Space Odyssey posters (seen at the top of this post), which was meticulously calculated and crafted by Kubrick, designers, and typographers, until it reached a final state of perfection.
Constantly learn more. Constantly improve. Good luck.