Literature review
12th December, 2014
Angelika Falzon
“When typography speaks louder than words; how does typography visually communicate through advertisements regarding posters?”
The way in which words are presented are sometimes as important as the words themselves. Typography is such which plays an imperative role in stressing the meaning of the words being portrayed. Visual communication is highly dependent on elements such as technical and practical knowledge and understanding of typography.The combination of all elements, together, aim to form a visually striking composition, that will draw the viewer in, and deliver the message. It is imperative to note that type, is more than simply words, but can be utilised as a design element in itself. In order for the type to act as such visual imagery and not just written text, the designer must examine various fields, such as, dynamic functions, visual fields, grid structures, amongst others, and observe the impact that their combinations have on the message that needs to be presented. The type works hand in hand with the words, in order to devise an emotionally evoking and powerful visual communication.
Soo C.Hostetler’s description of successful visual communication is outlined by the impact that typography has on it. He presents the notion that type is as important, if not more, than the words being used. Typography, if done properly, is something which enables the evoking of powerful imagery, creating emotion, feeling and delivering a message.
In ‘Thinking with type’, Ellen Lupton states that “ The organisation of letters on a blank page - or screen - is the designer’s most basic challenge.” The designer faces a challenge when deciding on which of all the elements to use when putting together a visually pleasing composition of text and type. All elements must be revised, such as font, size, alignment, whether the text must be made in bold, or underlined, and any other characteristic which complements the content of the words that need to be portrayed.
Ellen Lupton explains that her preference for text and typography is simple is key. That the structure of the type must also draw in cultural and theoretical elements, and that together, they harmoniously narrate a story behind what is being said. “[...] show not just how typography is structured, but why, asserting the functional and cultural basis for design habits and conventions.”
For Ellen Lupton typography is structured via three main characteristics, letter, text and grid. In terms of letter, various styles that changed over the years, present a somewhat historical element to the design. The age that the type was created plays an imperative role on the character of the text. Text is something which may easily be manipulated by the designer, in various ways. Lastly, grid is such which introduces space and organization. The coming together of letter and text, combined with design, will not be successful without properly thought out spacial organisation.
Robert Bringhurst’s book, The Elements of typographic Style, deals with the importance of typography and shines a light on its impact. He states that a successful typography must be first and foremost, legible and must attract attention to itself, even before the words are read by the viewer. Once the viewer is interested, the words that need to be read, will have more of an impact. Bringhurst explains however that the original purpose of type was that of copying text, where it was a typographers job to simply imitate and replicate scripture and continues to stress that this, is no longer the case. Typography is now used as one of the most important elements of visual communication, in that in a minimalistic advertisment or composition, the design of even one word, in all its elements, is able to represent a certain meaning and evoke some kind of emotion with the viewer.
The designer is one which closely analyses the order of the text, and through design, reveal the meaning of the word, and emphasise it. Bringhurst draws on the notion that typographers must be considered as artists, being both composers and authors, were they create a relationship with their craft, and through their tools, develop it and bring forth all of the meanings. They must draw the reader into the text, whilst revealing the meaning of it. However it is imperative to state, as Bringhurst did, that the text and other existing elements must have a successful link, creating a flow within the visual medium.
In terms of rhythm and proportion, Robert Bringhurst presents various characteristics which a typographer should always consider when designing. He stresses that space and size are imperative and must be chosen carefully in order to harmonise with the text. Spacing, size and alignment are all important keys when building a typeface, as they play impertaive roles in creating the character of the typography used for the text.
Within the chapter, ‘Grooming the font’, Bringhurst likens typography to the art of playing the piano, in that the notes are already fixed, it is their order, duration and amplitude that are not, and need to be adjusted, much like that of adding typography to text. The content already exists, it is the form and structure of the words that need to be amended and designed, in other words, ‘groomed’. However, Bringhurst stressed that too much design and tweeking to the text, can over amplify and overshadow the meaning, in that he states “if it aint broke...”. Therefore, the main purpose of grooming the font is to perfect every single space, line, size, letter, positioning and any little element and detail, that together combine the typography.
The Design Collection » Enhancing Visual Communication in Typographic Design: Arranging Forms, Formatting Grids, Utilizing Spaces, and Creating Rhythms. 2014. The Design Collection » Enhancing Visual Communication in Typographic Design: Arranging Forms, Formatting Grids, Utilizing Spaces, and Creating Rhythms. [ONLINE] Available at: http://ijg.cgpublisher.com/product/pub.154/prod.456. [Accessed 12 December 2014].
Robert Bringhurst, 2004. The Elements of Typographic Style. 3rd Edition. Hartley and Marks Publishers
Ellen Lupton, 2010. Thinking with Type, 2nd revised and expanded edition: A Critical Guide for Designers, Writers, Editors, & Students. 2 Rev Exp Edition. Princeton Architectural Press.
