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A simple guide to the rules and terms that govern the design of type.

Typography design is seen in nearly every setting. When reading the list of ingredients on the back of a crackers packaging, do you ever notice the line spacing? They could be, such as, the amount of digits in a price tag, or how thick or thin the lettering are on street name signs. These are not always your daily go-to sources of inspiration, but they are a fact of life.
Actually, letters surround us continually. No matter where you go, every source offers distinct perspectives and ideas, and highlights the unlimited uses of typography.
Before we go any further, it’s important to look at what typography is, where it originated from, and what it is for.

A quick introduction to typography

The art of lettering designs. More simply, design is the skill of organizing text in an attractive, readable way. It is a critical design component. Instead of drawing their own letterforms, designers need to work with typefaces currently on the market. This design process consists of numerous considerations, like picking the correct typeface, picking the point size, spacing, and modifying kerning and line height.

This may be accomplished in a short amount of time. Thanks to technology, new generations of designers are challenging the norms of typography every day with their visions of letters that were previously unimaginable.

In the beginning, it was never only about technology. Typography was transformed in the early 15th century thanks to Johannes Gutenberg, who invented movable type. It is interesting to note that even before the advent of printing methods, individuals were motivated to write books or type-based posters. They achieved it the old-fashioned way, using patience and hard work. People have always made use of written messages, whether due to a lack of paper or because of inappropriate writing tools. They engraved glyphs into stone or wood that dated back to the ancients.

There’s a constant war between the hand-crafted and the machine-made, between the organic and the geometric. To a new and uncommon level, today’s typographic research is fuelled by significantly dividing the two worlds, as well as seamlessly blending them.



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