The literature relevant to typography is diverse and often describes the evolution of typography. This chapter provides a summary of those topics considered to be the most relevant to the research. It begins with a discussion of exploring typography and the consumer perceptions of the art. This is followed by the clarification of brand identity and the importance of it in today’s business environment. The merging of how typography plays a role in brand identity is next. Finally, there is an explanation of Generation-Y and how the former concepts of typography and brand identity are relevant.
2.1 Exploring Typography
The art of typography has been around for centuries. It is dynamic in nature and the evolution has brought about a whole new meaning to visual communication especially in the branding sphere where differentiation is key.
Typography "is the art and technique of creating and composing type in order to convey a message. The term includes the design and function of alphabetic and analphabetic symbols to represent language" (Woolman, 1997).
McLean (1980) best defines typography as “the art, or skill, of designing communication by means of the printed word.” This “involves the design of books, magazines, posters or anything that is printed and communicates to other people by means of words.” On the other hand, Meggs (1998) describes typography as “the process of printing using independent letterforms to mechanically re-create hand-written interpretation of words.”
It is important to understand that typography and font are not interchangeable words. Font refers to the size and style (bold or italic) of typography.
Typography has a great impact on the visual culture of today and it surrounds our daily lives and its...
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...ent (Stanford Report, 2005).
The progression of methods in which written communication is produced and presented will continue to evolve. “From cuneiform markings on clay tablets, to pen and parchment, to the Gutenberg press, to computers and the internet, technology has always provided text with new mediums to express itself” (Lee, Forlizzi & Hudson, 2002).
Typography in any size business, as per Childers & Jass (2002), is able to be considered as an affordable design decision for brochures, in-store displays, coupons, and advertising. With these possibilities at their fingertips, marketing communications has so much potential to successfully communicate with their target audience, however the incorrect application of it can cause people to not bother reading the message. Therefore understanding it’s principals and employing the correct strategies is imperative.
New Jersey: John Wiley & Sons, Inc, 2006. Rabinowitz, Tova. Exploring Typography. Clifton Park, NY: Thomson/ Delmar Learning, 2006.
Figure 8: documents the creation of my own typeface. conventional design. Here are some images of it. Figure 8 shows one key aspect of it, which is the use of creativity as I created my own typeface. The creation of my own font has the ability to empower other designers experiment with typeface design. Figure 9 shows another key aspect of it, which is the idea of breaking down
By being educated at a young age in literacy, I included it in my pottery and also working for newspaper companies strengthened my form of expression. Working in the South Carolina Republican and then later on The Edgefield Hive as a typesetter, it was a good experience helping my literacy skills but I didn’t feel fully indulged. I did it because I had to but also to learn. By understand typography, I was able to understand the science of the anatomy of type. They taught me the use of size, spacing, and placement of typography in order to show hierarchy, direction and attraction. I became to understanding that type is a collective of shapes and strokes. Master Abner 's newspaper did not get a lot of publicity and hit a crisis, which led him to cease publication of the newspapers. Master Abner then moved to Columbia, South Carolina, in 1832. He decided to leave me back in Edgefield and...
Introduction The introduction of the printing press changed society permanently. Along with this invention came the emergence of mass production of texts. Suddenly, information could be efficiently replicated, thus facilitating the dissemination process. Widespread alphabetic literacy, as Havelock states, could finally become a reality.
The words you choose and the form they take on paper are an important part of the writing. Some people say they appear like diamonds on paper (Kenn, 2011).
They cannot be changed too much because of the decreasing of the legibility. However, typographers always had enough freedom for their experiments with typefaces. Another McCarthy’s statement was that the text’s design is as important as its sense. The typographer can decrease or increase its readability with the aid of usage of capital letters, font’s size, color, align and other features. Words’ background and location also plays an important role.
7. Jean, Georges. Writing- The Story of Alphabets and Scripts. New York: Harry N. Abrams, Inc., 1992.
Many were once against typography when it first emerged. One prime example was Plato, who Ong and Postman both mention at some point in their work. In fact, Ong states that “Writing, Plato has Socrates say in the Phaedrus, is inhuman, pretending to establish outside the mind what in reality can only be in the mind. Writing is simply a thing, something to be manipulated, something inhuman, artificial, a manufactured product” (Ong 27). He then goes on to say that many have made the same argument about computers today. However, the essential message from this quote is that many believed that these technologies would have a negative effect on the way we think. Ong goes on to disprove Plato’s rationale by explaining that “…his philosophically analytic thought, including his analysis of the effects of writing, was only possible because of the effects that writing was having on mental processes” (Ong 29). Due to the fact that he was even able to analyze typography meant that he was subsuming to typography’s nature. Postman would agree that Plato would not have been able to formulate his analytic views if it were not for writing. Postman wrote that literacy is highly rational. He iterated that discourse in a culture dominated by print tend to have a coherent arrangement of an idea, a fact, or a claim. Postman would explain to Ong that the cause of this is similar to some of the reasons Plato
This paper will argue that the industrial revolution allowed for the proliferation of fonts in the 19th century for two main reasons. First, there was an unprecedented need for new and eye-catching lettering to grab the attention of consumers a new variety of choices on the market. Secondly, the creation of new fonts was more affordable than ever due to the advancements in technology during the industrial revolution.
The text is set apart from the rest of the picture by being placed in a section by itself and using bold, capitalized letters to draw the attention of the viewer. English is a language that is spoken all over the world and by using it to express the visual text, ADOT, despite being a French organization, exponentially boosts the potential number of viewers. By using numerical figures, the artist enhances their argument by giving the viewer something concrete to contemplate while lending credence to the overall statement. Trademarks and logos are often interpreted as sources of authority that lend credibility and stability to an argument.
Look around and what do you see? You see letters forming creative words on this page, on TV and magazines. These letters form words which can be read in such a particular way. The typography behind the design seeks for the readers attention. The typography in design is the unique personality that identifies the product or advertisement, similar to fashion. Typography visually gives more to the idea behind the design. It is a way to call out and be heard without making a sound. It combines elements in new ways with different themes and ideas. The idea of typography has not changed since it was first created. The late seventieth century and early eighteenth century, type designers work was laborious and they had very little appreciation. Typography was a craft that evolved from handwritten letterforms that would be printed on a page. Time and dedication was needed to create such fine work. Typefaces needed to be readable, coherent, visually appealing and unique. Type was created by cutting punches into metal sheets in order to create just one letter. Punching and designing intricate type was a tedious job. Plenty of type designers made a living this way. In England, a new type designer would become so popular that his typefaces are still used to this day. William Caslon was influenced by all different types, but he designed one typeface that changed the world during the time period. Named after himself, Caslon typeface stormed Europe and the United States. Working for many years as an apprentice, he gained the knowledge and ideas from engraving guns. Influenced by previous typefaces created, William decided to create his own typeface. William’s typeface changed how Europe and the United States printed work and ha...
Typography plays a huge role in not only its basic function of communication, but also as a visual design element that can easily make or break a work. Knowing this, I strive to be very strong typographically. An artist that I take typographical inspiration from is Michael Bierut, who happens to be terrific with typography.
The world of typography is so diverse with so many different typefaces that continue to contribute to so many different needs for print and digital purposes. Each typeface contributes to the overall beauty of typography that plays a very silent significant role in the world of design. There are typefaces that are only for one purpose while there are other typefaces that offer multiple purposes. One specific typeface in particular , Futura is highly rated with it’s great versatility, it’s modern and simplistic appearance. However, as popular as the typeface is, not too many designers and people with an interest in typography are not aware of the deeper detail inside it’s world.
McLuhan, M. The Gutenberg Galaxy: The Making of Typographic Man. Toronto: University of Toronto Press, 1962.
In its simplest form, corporate identity is a function of design that includes the name of the organization, its logos, the interior of the buildings, and visual identification such as uniforms of the staff, vehicles and signage. For a long period, graphic designers have remained highly influential been hugely influential in two regards, in that they articulated the basic tenets of corporate identity formation and management and succeeded in keeping the subject on the agenda of senior managers. Currently, symbolism, or design, has assumed a greater role and has moved on from merely increasing organizational visibility, to a more serious position of communicating corporate strategy (Ollins, 1978). There were now three main types of visual identity such as Monolithic (single brand visual), Endorsed (parent brand endorsing a sub-brand) and Branded (a plethora