Page 8 - January 2016
| 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.