THE ELEMENTS TYPOGRAPHIC P17 One of the principles of durable typography is always legibility; another is something more than legibility: some earned or unearned interest that gives its living energy to the page. It takes various forms and goes by various names, including serenity, liveliness, laughter, grace and joy. P29
2019-06-11 17:05
THE ELEMENTS
TYPOGRAPHIC
P17
One of the principles of durable typography is always legibility; another is something more than legibility: some earned or unearned interest that gives its living energy to the page. It takes various forms and goes by various names, including serenity, liveliness, laughter, grace and joy.
In a world rife with unsolicited messages, typography must often draw attention to itself before it will be read. Yet, in order to be read, it must relinquish the attention it has drawn. Typography at its best is a visual form of language linking timelessness and time. Typography is just that: idealized writing / and its normal function is to record idealized speech. Typography is to literature...
2015-07-23 02:18
In a world rife with unsolicited messages, typography must often draw attention to itself before it will be read. Yet, in order to be read, it must relinquish the attention it has drawn.
Typography at its best is a visual form of language linking timelessness and time.
Typography is just that: idealized writing / and its normal function is to record idealized speech.
Typography is to literature as musical performance is to composition: an essential act of interpretation, full of endless opportunity for insight or obtuseness.
Letters are microscopic works of art as well as useful symbols. They mean what they are as well as what they say.
Because it isolates the individual elements, letterspacing has a role to play where words have ceased to matter and letters are what count.
Typographic letters are made legible not only by their forms and by the color of the ink that prints them but also by the sculpted empty space between and around them.
(Leading) Longer measures need more lead than short ones. Dark faces need more lead than light ones. Faces that are large on the body need more lead than those that are small...And unserifed faces often need more lead (or a shorter line) than their serifed counterparts.
However empty or full it may be, the page must breathe, and in a book - that is, in a long text fit for the reader to live in - the page must breathe in both directions.
*Short last lines followed by new lines with large indents produce a tattered page.
*But to distinguish verse quotations from surrounding prose, they should be indented or centered on the longest line. Centering is preferable when the prose measure is substantially longer than the verse line.
*But turning the page is not, in itself, an interruption of the reading process.
*The simplest scale is a single note, and sticking with a single note draws more attention to other parameters, such as rhythm and inflection.
They (text figures) are basic parts of typographic speech, and they are a sign of civilization: a sign that dollars are not really twice as important as ideas, and numbers are not afraid to consort on an equal footing with words.
*However common it may be, the use of titling figures in running text is illiterate: it spurns the truth of letters.
*Genuine small caps are not simply shrunken versions of the full caps. They differ from large caps in stroke-weight, letterfit, and internal proportions as well as height.
But type is visible speech, in which gods and men, saints and sinners, poets and business executives are treated fundamentally alike. Typographers, in keeping with the virtue of their trade, honor the stewardship of texts and implicitly oppose private ownership of words.
*Aldus, Melior, Mendoza, Palatino, Sabon, Trajanus and Trump Mediaval, for example, all set handsomely without ligatures.
But poise is usually far more important than size - and poise consists primarily of emptiness.
...and their problem is often that the title throws its weight around, unbalancing and discoloring the page.
But space alone is not enough to achieve the sense of richness and celebration, nor is absence of space necessarily a sign of typographic poverty.
* paraphernalia - not only the standard half-title, title page, copyright page, dedication page and some blanks, but also perhaps a detailed table of contents, a list of charts, illustrations and maps, a table of abbreviations, a page or two of acknowledgements, and a preface, counterbalanced by appendices, endnotes, bibliography, index and a colophon.
The typesetting device, whether it happens to be a computer or a composing stick, functions like a loom. And the typographer, like the scribe, normally aims to weave the text as evenly as possible.
2014-02-09 17:11
The typesetting device, whether it happens to be a computer or a composing stick, functions like a loom. And the typographer, like the scribe, normally aims to weave the text as evenly as possible.
4.1.3 Set titles and openings in a form that contributes to the overall design. Renaissance books, with their long titles and ample margins, generally left no extra space at the heads of chapters. In modern books, where the titles are shorter and the margins have been eaten by inflationary pressure, a third of a page sometimes lies vacant just to celebrate the fact that the chapter begins. But ...
2013-09-04 16:24
4.1.3 Set titles and openings in a form that contributes to the overall design.
Renaissance books, with their long titles and ample margins, generally left no extra space at the heads of chapters. In modern books, where the titles are shorter and the margins have been eaten by inflationary pressure, a third of a page sometimes lies vacant just to celebrate the fact that the chapter begins. But space alone is not enough to achieve the sense of richness and celebration, nor is absence of space necessarily a sign of typographic poverty.
Narrow row houses flush with street are found not only in urban slums but in the loveliest of the old Italian hill towns and Mediterranean villages. A page full of letters presents the same possibilities. It can lapse into a typographic slum, or grow into a model of architectural grace, skilled engineering and simple economy. Broad suburban lawns and wide typographical front yards can also be uninspiringly empty or welcoming and graceful. They can display real treasure, including the treasure of empty space, or they can be filled with souvenirs of wishful thinking. Neoclassical birdbaths and effigies of liveried slaves, stable boys and faded pink flamingoes all have counterparts in the typographic world.引自 Structural Forms & Devices
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