a. Typography exists to honor content. – The content that
is in any form all express their own meanings based on the font, the subject,
and the writer. Given that all of these aspects help form the meanings, it
helps to show the form in which type can honor content.
b. Letters have a life and dignity of their own. – Words
mean nothing without the proper expression and font choice. If the font is
correct for the purpose of the content, then the words created from the letters
mean much more.
c. There is a style beyond style. – The style chosen
within typography is not just the style of the text, but also the style of the
writer or designer. They are able to make the style their own and much more
personal based on the content of the text.
2. What are a few technical considerations when choosing
type? Make sure to explain them if they are new concepts to you.
a. Consider the medium for which the typeface was
originally designed.
b. When using digital adaptations of letterpress faces,
choose fonts that are faithful to the spirit as well as the letter of the old
designs. – Different fonts and text are made given different manipulations from
the print work, which lead to them being weighted and finished differently.
c. Choose faces that will survive, and if possible
prosper, under the final printing conditions.
d. Choose faces that suit the paper you intend to print
on, or paper that suits the faces you wish to use.
3. What are a few practical considerations when choosing
type? Make sure to explain them if they are new concepts to you.
a. Choose faces that suit the task as well as the
subject.
b. Choose faces that can furnish whatever special effects
you require. – example: “If your text includes an abundance of numerals, you
may want a face whose numerals are especially well designed” (Bringhurst 95).
c. Use what there is to the best advantage. – If there is
only the choice of one font, the designer can use it to its fullest; italics,
bold, underlined, small caps.
4. What are a few historical and cultural considerations
when choosing type? Make sure to explain them if they are new concepts to you.
a. Choose a face whose historical echoes and associations
are in harmony with the text. – It doesn’t make sense for a typographer to
interchange time periods and history when it comes to the content within the
text.
b. Allow the face to speak in its natural idiom.
5. Beginning on page 102 "The Multicultural
Page", explain some of the guidelines for choosing typeface combinations.
a. Start with a single typographic family. – “If you
restrict yourself to faces within the family, you can have variety and
homogeneity at the same time: many shapes and sizes but a single typographic
culture” (Bringhurst 95). This allows for many possibilities within a document
that calls for different forms of text to show differences between titles, body
text, subheads, quotations, and more.
b. Respect the integrity of roman, italic and small caps.
– Mixing the different forms are less likely to succeed, whereas treating the
different forms as separate but equals, there is a greater chance of success.
c. Consider bold faces on their own merits.
d. Choose titling and display faces that reinforce the
structure of the text face. – “A geometrically constructed, high-contrast face,
has marginal promise as a titling face for text…” (Bringhurst 105). In a sense,
the title text and body text contradict each other but in a form that help
embrace the other and work together.
e. Pair serifed and unserifed faces on the basis of their
inner structure. – “When the basic text is set in a serifed face, a related
sanserif is frequently useful for other elements, such as tables, captions or
notes” (Bringhurst 105). This usually isn’t as simple when trying to work with
a serifed and sanserifed fonts that aren’t directly related or stand within the
same text family.
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