Page 8 - January 2016
P. 8

| Typography |                             | |Continued

a’s of all the other faces. Study the         White paper areas include all of
individual characteristics or forms        the paper which is not covered with
of each face. Proceed on through           ink, the open areas in and between
the entire alphabet. Then do the           individual letters as well as white
same thing with the capital letters.       areas between headlines and lines of
Next study the italics of these faces,     type and the white space of marginal
and then the bold letters and ¿nish        areas which surround the type as a
up with swash letters or special           whole.
characters. When you have actually
come to know these faces as you know          A fundamental conception of
the human faces of your friends,           typographic design is best arrived
choose ¿ve more faces and study            at by thinking of type arrangements
them.                                      in terms of tone values against the
                                           contrasting tone value of the paper.
   If you de¿nitely commit yourself        If you have the “feel” of the type
to a planned study of type faces you’ll    you are using, it is much more of a
¿nd yourself becoming more and             pleasure than a task to lay it out into
more fascinated the deeper you delve.      a typographic picture. This “feel”,
Don’t attempt to memorize types as         if you really possess it by having
drawn characters. Think of them as         acquired it from applied study, will
things or faces with nature to them, as    unconsciously lead you to a tasteful
people, if you will. There is no greater   division of white space in an eɣort to
delight than to discover for yourself      achieve a tonal value suited to your
which types are neutral, or masculine,     typographic scheme or pattern.
or feminine, or stiɥy formal, or
delightfully informal, or rugged tried        Margins, spacing, headline sizes
and true like Cousin Jim on the farm;      and weights quickly become less
or any one of a hundred other ideas        formidable, and eventually you
which you associate with them.             forget about them entirely. Instead
                                           of worrying about them, they seem to
   There remains now only to provide       come into existence by themselves,
bodies for your faces and to put           because a sympathetic feeling for type
clothes on them. That’s background,        creates a mental strainer in your mind
or setting, or arrangement. Unless         which automatically strains out or
you are the kind of person who             excludes the things you don’t want or
wears a red tie and a green shirt,         should not use.
yellow shoes and a checked suit,
you won’t have much trouble in                Thus when you apply yourself to
artistically setting your type against     the study of typographic design its
a background of white space. White         compositional principles become
space is type’s stage setting. This stage  apparent, and are not only readily
setting must be as appropriate to its      understood but also quickly and
type as the type is to its message. The    unforgettably assimilated. From this
secret of good typography is colour.       it is only a step to knowing what can
By colour I mean tonal value, the          be done, and being forever free from
relation of black (or colour) ink areas    that slavishness which must always
to white paper areas.                      depend on what has been done. That
                                           is Typography.
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