October 22nd: Typography
Parts 1 & 2

Plan for the Day

We've got a few things to do today, so below is a list:

• Leading Class Discussion with Daniel
• Effective Repetition: ethos, pathos, logos
• More on Typography
• Groupwork on Typography with your typefaces
• Possible Photoshop Lesson on Extracting Images

Leading Class Discussion on Type

Now, let's get Daniel up here, so he can tell us a little more about type.

Typography Intro

I have a page for us about Typography, so let's head on over.

How to install fonts.

Chapters 9 and 10

Try your best to use these terms when you describe your assignments (in memos and reflections). Of course, when I say use, I really mean know them and use them properly. The following come from Robin Williams' book (p. 145):

• Concord--typefaces have little or no variety within a document; elements are of the same family.
  Not to be confused with Concord, NC.
• Conflicting--typefaces are similar (but not the same), and that similarity is what's distracting; such type looks like a mistake. (this is usually considered an ineffective design)
• Contrasting--typefaces that are moderately to dramatically different. (this is considered an effective design)

When you use the above terms, make sure you explain why typefaces are concordant or contrasting and why you chose conflicting typefaces...why you broke the rules.

Categories of Type

We mostly think of (at least in my design classes and research) two types of fonts and sometimes a third--serif, sans serif, and script. Of course, artsy, crunchy Robin Williams has to have six types (p. 153). Well, she is the design guru. What do the following category types say? In other words, when might you use them? In even other words, describe their perceptual, cultural, and rhetorical effects.

Oldstyle

Modern

Slab Serif

Sans Serif

Script

Decorative

Hey, at least we have choices. But why?

Chapter 11

Are you ready to be bold? What have you learned from Williams this semester?

LET'S BE BOLD...or should we?

Chapter 11 concludes Williams' book (we still have Chapter 7 in two weeks), and she commands designers to be bold. So I have to ask, when can/should you be bold, and when should you be...more reserved?

Text and Subtext

I want us to start thinking about implicit communication, the communication conveyed outside of standard language. Whenever we approach a communication situation, we have a priori ideas about a speaker/author based on previous assumptions. Also, sometimes a speaker communicates a message he or she did not necessarily intend, but the context creates the meaning for the listener. Sometimes the speaker is trying to be subtle about an implicit communication (e.g., You're a "really" good dancer).

Based on our discussion of assumptions, culture, and experiences, consider the following communication acts and discuss with a neighbor the subtext of the communication. The text is there, but the context clues might present different subtextual meaning(s). Try to discover the subtle, subtextual message/s in the communications. The rows below correspond to the class rows:

• Rows 1 and 4
  
• Rows 2 and 5
• Rows 3 and 6

Next Week

Well, you've successfully dodged the documentary Helvetica. Even I can't figure out how to work it into class.

Make sure you read Chapter 7 in Document Design before coming to class next week (10/29). Chapter 7 in The Non-Designer's Design Book is assigned for two weeks after that (11/12).

For next class, review October 29th's links to graphics and ethics related topics. Don't forget to bring in graphics that you can work with for next week's in-class webpage assignment on digital graffiti and/or doctoring assignment.

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