Introduction to Typography

Start Date: 07/05/2020

Course Type: Common Course

Course Link:

About Course

Typography is the art of manipulating the visual form of language to enrich and control its meaning. It’s an essential area of skill and knowledge for graphic designers. Typography predates modern graphic design by around 500 years; it is rich in rules, conventions, and esoteric terminology—but it remains an exciting space for invention and expression. In this rigorous introductory course, we will study, name, and measure the characteristics of letterforms. We’ll consider the pragmatic concerns involved in selecting and combining type. We’ll peek into the 
rich historical, cultural, and aesthetic histories of familiar typefaces. We’ll discuss time-tested conventions and best practices in setting type, as governed by principles of hierarchy and spatial organization. And we’ll explore the expressive, meaning-making potential of type. Informative lectures will be complemented by a series of three peer-assessed assignments, culminating 
in an opportunity to design a full-scale typographic poster. Please note that this is not a software course; a basic working knowledge of Adobe InDesign or other 
page layout software will be assumed. You will need access to a computer and page layout software, such as InDesign, to complete the assignments.

Course Syllabus

This week, we’ll take an up-close look at typefaces, both as physical artifacts and as works of design. 
We will study the formal elements that define and give character to type, and understand where they came from and why they look the way they do. We will review the terminology and measuring system used to describe type, and look at the way the form and proportion of letters relate to the practical concerns of selecting and combining typefaces. The week will wrap up with a graded quiz.

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Course Introduction

Introduction to Typography Typography is the study of how type affects the perception and understanding of content, and in turn, the performance and circulation of information. Typography is important because it enables us to see the advantages and limitations of different printed materials, and to design documents’ that are visually appealing and performant. Typography is an important area of skill for any designer because it covers a wide set of topics, and because there are so many “good” examples. In this course, we will learn about the general principles of composition, the advantages and limitations of using type, and the different ways in which type affects the way information is perceived by the audience. We’ll also learn practical, effective, and effective techniques for working with typography and shaping the visual style of our documents. After completing this course, you’ll be able to: 1) design better typefaces for your information, 2) learn how to differentiate between different types of information, 3) use type to emphasize or underline elements, and 4) use type to communicate ideas, functions, and processes.Week 1: Understanding and Designing Typography Week 2: Typefaces and the Mechanics of Type Week 3: Using Type to Inform and Represent Week 4: The Elements of Style Introduction to Software Quality This course provides an introduction to the basics of software quality. The course focuses on the areas of software stability,

Course Tag

Adobe Indesign History Creativity Graphics

Related Wiki Topic

Article Example
Letter-spacing "Men who would letterspace blackletter would shag sheep." When quoted, "shag" is often bowdlerised as "steal". Goudy's pronouncement inspired the title of "Stop Stealing Sheep", an introduction to typography that Spiekermann co-authored.
Typography Typography is the work of typesetters (also known as compositors), typographers, graphic designers, art directors, manga artists, comic book artists, graffiti artists, and, now, anyone who arranges words, letters, numbers, and symbols for publication, display, or distribution, from clerical workers and newsletter writers to anyone self-publishing materials. Until the Digital Age, typography was a specialized occupation. Digitization opened up typography to new generations of previously unrelated designers and lay users, and David Jury, head of graphic design at Colchester Institute in England, states that "typography is now something everybody does." As the capability to create typography has become ubiquitous, the application of principles and best practices developed over generations of skilled workers and professionals has diminished. So at a time when scientific techniques can support the proven traditions (e.g., greater legibility with the use of serifs, upper and lower case, contrast, etc.) through understanding the limitations of human vision, typography as often encountered may fail to achieve its principal objective: effective communication.
Typography Typography is the art and technique of arranging type to make written language legible, readable, and appealing when displayed. The arrangement of type involves selecting typefaces, point sizes, line lengths, line-spacing (leading), and letter-spacing (tracking), and adjusting the space between pairs of letters (kerning). The term typography is also applied to the style, arrangement, and appearance of the letters, numbers, and symbols created by the process. Type design is a closely related craft, sometimes considered part of typography; most typographers do not design typefaces, and some type designers do not consider themselves typographers. Typography also may be used as a decorative device, unrelated to communication of information.
Typography The design of typefaces has developed alongside the development of typesetting systems. Although typography has evolved significantly from its origins, it is a largely conservative art that tends to cleave closely to tradition. This is because legibility is paramount, and so the typefaces that are the most readable usually are retained. In addition, the evolution of typography is inextricably intertwined with lettering by hand and related art forms, especially formal styles, which thrived for centuries preceding typography, and so the evolution of typography must be discussed with reference to this relationship.
Kinetic typography Barbara Brownie's model of temporal typography divides kinetic typography into 'motion typography' (subdivided into 'scrolling typography', 'dynamic layout') and 'fluid typography'.
Typography Typography (from the Greek roots "typos" = "impression" and "-graphia" = "writing").
Typography "Typography utilized to make reading practical:" Typography not only has a direct correlation with honoring the tone of the text, but also shares the responsibility of making the audience commence the reading process as well as sustaining the audience’s attention throughout the body of text. Although typography can potentially be utilized to attract the reader's attention to commence the reading process, and create a beautiful/attractive piece of text, the craft of typography is not limited to aesthetics. Typography is a craft that is not stringently encompassed with the aesthetic appeal of the text. On the contrary, the object of typography is to make the reading experience practical and useful. The use of bold colors, multiple typefaces, and colorful backgrounds in a typographic design may be eye-catching; however, it may not be appropriate for all bodies of text and could potentially make text illegible. Overuse of design elements such as colors and typefaces can create an unsettling reading experience, preventing the author of the text from conveying their message to readers.
Temporal typography Within the field of typography, letterforms typically embody either static or kinetic forms. However there is another category of typography that escapes the purely static or purely kinetic. Unlike static typography, these forms are not bound by one iteration within a singular viewing experience. Similar to kinetic type, temporal typography carries the stamp of time but is not relegated movement or time-based media.
Kinetic typography In classification, kinetic typography is a form of temporal typography (typography that is presented over time). It is distinct from other forms of temporal typography including 'serial presentation', which involves the sequential presentation of still typographic compositions.
Kinetic typography Y. Y. Wong has proposed that it is important to distinguish between the properties of form (e.g. colour and font) and of behaviour (e.g. qualities of movement) in temporal typography. It is necessary to make this distinction in order to classify kinetic typography in ways that acknowledge their difference to static type (which may share properties of form, but not kinetic behaviours). Kinetic typography is therefore categorised according to behaviours or action, rather than appearance.
Introduction Introduction, The Introduction, Intro, or The Intro may refer to:
Temporal typography Temporal typography is typography that appears to move or change over time. It normally appears in screen-based media, and in particular title sequences, TV station idents, and advertising.
Advanced Introduction to Finality This is the second "Introduction to Finality" episode of the series, following season three's finale, "Introduction to Finality".
Typography "Experimental typography" is defined as the unconventional and more artistic approach to typeface selection. Francis Picabia was a Dada pioneer of this practice in the early twentieth Century. David Carson is often associated with this movement, particularly for his work in "Ray Gun" magazine in the 1990s. His work caused an uproar in the design community due to his abandonment of standard practices in typeface selection, layout, and design. Experimental typography is said to place emphasis on expressing emotion, rather than having a concern for legibility while communicating ideas, hence considered bordering on being art.
Bullet (typography) In typography, a bullet ( • ) is a typographical symbol or glyph used to introduce items in a list. For example:
Typography "Typography utilized to characterize text:" Typography is intended to reveal the character of the text. Through the use of typography, a body of text can instantaneously reveal the mood the author intends to convey to its readers. The message that a body of text conveys has a direct relationship with the typeface that is chosen. Therefore, when a person is focusing on typography and setting type they must pay very close attention to the typeface they decide to choose. Choosing the correct typeface for a body of text can only be done after thoroughly reading the text, understanding its context, and understanding what the text is wishing to convey. Once the typographer has an understanding of the text, then they have the responsibility of using the appropriate typeface to honor the writing done by the author of the text. Knowledge of choosing the correct typeface comes along with understanding the historical background of typefaces and understanding the reason why that typeface was created. For example, if the body of text is titled “Commercial Real Estate Transactions” and further elaborates on the real estate market throughout the body, then the appropriate typeface to use in this instance is a serif typeface. This typeface would be appropriate because the author intends to inform its audience on a serious topic and not entertain his audience with an anecdote; therefore, a serif typeface would effectively convey a sense of seriousness to the audience instantaneously. The typographer would also employ larger-sized font for the title of the text to convey a sense of importance to the title of the text which directly informs the reader of the structure in which the text is intended to be read, as well as increasing readability from varying viewing distances.
Typography The esthetic concerns in typography deals not only with the careful selection of one or two harmonizing typefaces and relative type sizes, but also with laying out elements to be printed on a flat surface tastefully and appealingly, among others. For this reason, typographers attempt to observe "typographical principles", the most common of which are listed below:
Modern typography The Modern typography states as its first objective to develop its visible form out of the functions of the text. For modernist designers it is essential to give pure and direct expression to the contents of whatever is printed: "Just as in the works of technology and nature, 'form' must be created out of function. Only then can we achieve typography that expresses the spirit of modern man. The function of printed text is communication, emphasis (word value), and the logical sequence of the contents." "The trend in modern typography is definitely toward simplicity and legibility, employing forms that comply with the natural inclination of the human eye to seek harmony and ease."
Introduction to Film Around 5.86 million Americans watched "Introduction to Film".
Typography Typography has long been a vital part of promotional material and advertising. Designers often use typefaces to set a theme and mood in an advertisement (for example, using bold, large text to convey a particular message to the reader). Choice of typeface is often used to draw attention to a particular advertisement, combined with efficient use of color, shapes, and images. Today, typography in advertising often reflects a company's brand. Typefaces used in advertisements convey different messages to the reader: classical ones are for a strong personality, while more modern ones may convey clean, neutral look. Bold typefaces are used for making statements and attracting attention. In any design, a balance has to be achieved between the visual impact and communication aspects. Digital technology in the twentieth and twenty-first centuries has enabled the creation of typefaces for advertising that are more experimental than traditional typefaces.