CalArts: Funds. of Graphic Design-W2: 2.11 Typographic Composition
Video created by California Institute of the Arts for the course "Fundamentals of Graphic Design". This week we are…www.coursera.org
So here we are back at our business card, waiting to have the information added to it.
So let’s put in our name, email address, phone number. I’m gonna use a fake phone number for this.
And first of all, I’d set it in a fairly regular type face, just so I can have an idea what kind of shape the type makes. Ascenders, descenders, just looking at the kind of texture and the kind of color of the typography.
So I might try setting it in a number of different typefaces first of all, and because this is the readable legible part of the typography, I probably want to keep this fairly simple to begin with.
So the first thing to think about here, is just typeface choice for the information that’s going on your card.
And you can break it down to the decisions that we’ve already looked at.
So you could start out with looking
whether you want a serif or a san serif,
whether it should be heavy or light.
Whether it’s all caps, or upper and lower case.
But generally, just find something that you like the look and feel of.
You can always try a couple of different typefaces. Let’s try some of these out and put them in context of the business card, so we can get an idea of what they’re really gonna look like.
First off let’s look at our alignment.
We can have the type centered.
We can have it range right,
or we can have it range left.
And then you can think about what position it occupies in the card.
So depending where abouts you put it,
is it in the corner?
Is it up at the top?
It can feel very different.
Here, where I centered with a lot of space around it, it feels very even and balanced.
And this has a little more tension here, between the negative space up here and the positive element.
You can think about the scale of your typography within the card.
Should it be very, very small?
Should it be really large and dominant?
And you can play around with it, see which typefaces work at which different scales.
And you can also look at the angle of your typography.
Were used to seeing type being horizontal, but it can also run vertically, it can run at an angle.
Or your card itself might be a vertical or a horizontal card.
If you now introduce your monogram into the design, you also have the same choices for the monogram. You can think about its position, its scale, and its angle.
But one of the more complex things your going to have to think about, is
how the elements interact together?,
how is your monogram going to interact with your other pieces of typography?
We’ll look at composition in more detail in another lesson. But let’s take a very brief look at it, just for the sake of making these cards.
You could think about having a very active composition,
one where there’s a lot of contrast and scales.
And where perhaps the type is divided up into separate elements that also have different scale.
And you can have a great deal of contrast between the size of the largest element, and the size of the smallest element.
You could also think really carefully about how your type interacts with the logo type.
Here you can see, it’s breaking the negative space of the monogram here. Here it’s overlapping, and here it’s sitting quite respectfully around it.
Or for a business care, you might want have more of a static composition.
But still have some scale weight and some contrast between your monogram and the typography underneath.
So here you can see they’re all centered, there’s a lot of even white space around them.
There’s a clear hierarchy between the monogram and the secondary typography.
Or if you wanted to go in a less conventional direction, you could think about having a much more extreme scale contrast.
So here you can see the monogram is actually being blown up to the full size of the card, and the secondary typography is interacting with it and mimicking the lines, the letter forms are creating.
Perhaps the mist important thing to think about, and to remember it’s just to experiment and to enjoy yourself.
Pushing type around and playing with it, getting to really know it. That’s the best way to learn typography.