Week 1 Mr Vinod asked us to joined the Typography (TDS) Facebook Group so that we could know all the updated announcements and information. We are required to download the 10 typefaces as we will use throughout this module. Then, we had some time to watch the e-portfolio briefing video. He teached us how to set up our e-portfolio on Blogger and create a label for Typography module. Mr Vinod also explained the module booklet clearly to us. We are asked to list out some words and voted as Task 1. We need to hand in the sketches by next week.
Week 2 Mr Vinod introduced himself and showed us some of his works. Then, he gave feedback based on our last week's assignments. He said that we could compare our own work with the excellent work from others so that we could learn something and improved ourselves. Mr Vinod said that we must utilise the knowledge gained and exercise our own judgement although it might be right or wrong. Creative work is about risk taking, we learn whenever we make mistakes or not.
Week 3 Its online class this week. Mr Vinod gave feedback based on our last week's assignments and e-portfolio. He asked our own opinions before giving feedbacks. We are allowed to ask if we have questions.Then, he gave us some time to fix our designs. We should upload them in e-portfolio and reply the Facebook post. At the end of the class, we are asked to watch specific lecture so that we will be more familiar in next class. We are also asked to choose the favourite artwork and express it as assignment this week.
Week 4 Mr Vinod gave feedback based on our last week assignment and e-portfolio. We are asked to follow the video and download the file before doing the formatting text. Feedback sheet should be submitted before the class ended. E-portfolio should be done before next week.
Week 5 Mr Vinod gave feedback based on our last week assignment. We were given some time to adjust our design in class. Then, we had chance to vote our e-portfolio deadline. We should summit our Task 1 e-portfolio by next Friday. Mr Vinod also gave some explanation on the new task.
Lecture 1: Typo_0_Introduction From this lecture, Mr Vinod introduced Typography which is a fundamental skill and widely used in our daily life. For example, Typography is applied in animation, graphic design, new media, etc. Typography has evolved over 500 years, from calligraphy then lettering and finally Typography.
Typography: The creation of the typefaces or type families. Wikipedia.com describes it as " the art and technique of arranging type to make written language legible, readable and appealing when displayed.
Font: Refers to the individual font or weight within the typeface. Eg. Georgia Regular, Georgia Italic and Geor Bold.
Example of Fonts
Typeface: Refers to the entire family of fonts/weights that share similar characteristics/styles. Eg. Georgia, Arial, Times New Roman, Didot and Futura.
Lecture 2: Typo_1_Development 1.Early Latterform Development: Phoenician to Roman In ancient times, writing meant scratching into wet clay with sharpened stick or carving into stone with a chisel.
The uppercase letterforms are the only letterforms for nearly 2000 years. The forms of uppercase letterforms evolved out of the materials and tools, the forms are simple combination of straight lines and pieces of circles.
Left: Evolution from Phoenician Letter Right: Pheonicians votive stele Carthage
Writing and Reading Directions Pheonician wrote from right to left.
The Greeks wrote from right to left and left to right alternately, the reading direction is same as writing. The Greek developed the style of writing called 'boustrophedon' ( how the ox ploughs).
Greeks writing style 'boustrophedon'
Change the Direction of letterforms
Etruscan and Roman carvers working in marble painted letterforms before inscribing them. To prevent mistakes, a change in weight from vertical to horizontal happened.
Evolution from Pheonician to Roman
2. Hand script from 3th- 10th Century C.E.
Square capitals can be found in Roman monuments. These letterforms have serifts added to the finish of the main strokes.
Square Capitals (4th or 5th century)
Rustic Capitalsarecompressed version of square capitals. These letterforms are easier and faster to write, but slightly difficult to read.
Rustic Capitals (Late 3rd - mid 4th Century)
Development of Lowercase Letterforms
Writting in cursive hand in which forms were simplified for speed. Both square and rstic capitals were typically reserved for documents of some intended performance.
Roman Cursive (4th Century)
Uncials incorporated some aspects of the Roman cursive hand, especially in the shape of the A, D, E, H, M, U and Q. Uncials are small letters, the the broad forms of uncials are more readable at small sizes than Rustic Capitals.
Uncials (4th-5th century)
Half-uncialsis a further formalization of the cursive hand, it marks the formal beginning of lowercase letterforms, replete with ascenders and descenders.
Half-uncials (C.500)
Standardization of Calligraphy Charlemagne, the first unifier of Europe since the Romans, standardize all ecclesiastical texts. The monks rewrote the texts using majuscules (uppercase) and miniscule (lowercase). Capitalization and punctuation set the standard for calligraphy for a century.
Caloline miniscule (C. 925)
3.Blackletter to Gutenberg's Type With the dissolution of Charlemagne's empire came regional variations upon Alcuin's script.
Textura : Condense strongly vertical latterform, popular in northern Europe. Rotunda：A rounder more open hand, popular in southern Europe.
Blackletter (Textura)
Gutenberg's skills marshaled them all to build pages that accurately mimicked the work of the scribe's hand.
42 line bible, Johann Gutenberg, Mainz
4. Text Type Classification
Lecture 3 : Typo_2_Basic
1. Describing letterforms
Baseline: The imaginary line the visual base of the letterforms.
Median: The imaginary line defining the x-height of letterforms.
X-height: The height in any typeface of the lowercase 'x'.
Stroke: Any line that defines the basic letterform.
Apex/ Vertex: The point created by joining two diagonal stems (apex above and vertex below).
Arm: Short strokes off the stem of the letterform, either horizontal (E, F, L) or inclined upwark (K, Y).
Ascender: The portion of the stem of a lowercase letterform that projects above the median.
Barb: The half-serif finish on some curved stroked.
Beak: The half-serif finish on some horizontal arms.
Bowl: The rounded form that describes a counter. The bowl may be either open or closed.
Bracket: The transition between the serif and the stem.
Cross Bar: The horizontal stroke in a letterform that joins two stems together.
Cross Stroke: The horizontal stroke in a letterform that joins two stems together.
Crotch: The interior space where two strokes meet.
Descender: The portion of the stem of a lowercase letterform that projects below the baseline.
Ear: The stroke extending out from the main stem or body of the letterform.
Em/en: Originally refering to the width of an uppercase M, and em is now the distance equal to the size of the typeface. An en is half the size of an em.
Finial: The rounded non-serif terminal to a stroke.
Leg: Short stroke off the stem of the letterform, either at the bottom of the stroke (L) or inclined downward (K,R).
Ligature: The character formed by the combination of two or more letterforms.
Link: The stroke that connects the bowl and the loop of a lowercase G.
Serif: The right-angled or oblique foot at the end of the stroke.
Shoulder: The curved stroke that is not part of a bowl.
Spine: The curved stem of the S.
Spur: The extension the articulates the junction of the curved and rectilinear stroke.
Stem: The significant vertical or oblique stroke.
Stress: The orientation of the letterform, indicated by the thin stroke in round forms.
Swash: The flourish that extends the stroke of the letterform.
Tail: The curved diagonal stroke at the finish of certain letterforms.
Terminal: The self-contained finish of a store without a serif. Terminals may be flat, flared, acute, grave, concave, convex or rounded as a ball or a teardrop (see finial).
Describing Letterforms
2. Fonts
Uppercase and lowercase
Small capitals: Uppercase letterforms draw to the x-height of the typeface.
Small Capitals (Top)
Uppercase Numerals (lining figures): Same height as uppercase letters and are all set to the seme kerning width.
Uppercase Numerals
Lowercase Numerals (old style figures/ text figures): Set to x-height eith ascenders and descenders.
Lowercase Numerals
Italic: The forms in a italic refer back to fifteenth century Italian cursive handwriting.
Punctuation, miscellaneous characters: Can change from typeface to typeface. It is important to be acquainted with all the characters available in a typeface before choosing the appropriate type for a particular job.
Punctuation, miscellaneous characters
Ornaments: Used as flourishes in invitations or certificates.
Ornaments
3. Describing Typefaces
Some, all or combination of these styles may be found within one type family.
Roman: The uppercase forms are derived from inscriptions of Roman monuments. Book: A slightly lighter stroke in Roman.
Italic: Based on fifteenth century Italian handwriting. Oblique: Based on roman form of typeface.
Boldface: A thicker stroke than a roman form. Semibold, Medium, Black, Poster
Light: A lighter stoke than the roman form. Thin: Even lighter strokes.
Condense: A version of the roman form. Compressed: Extremely condense styles.
Extended: An extended variation of a roman font.
Describing typefaces
4. Comparing Typefaces
The 10 typefaces represent 500 years of type design. Each typeface brings different feelings, it tells us what we bring to the discussion of appropriateness in type choices.
10 Typefaces
Lecture 4: Typo_3_Text_P1
1. Tracking: Kerning and Letterspacing
Kerning: The automatic adjustment of space between letters.
Letterspacing: Add space between the letters.
Tracking: The addition and removal and removal of space in a word or sentence.
Without Kerning and with Kerning
Normal tracking is easy to read and suitable to use in a large number of texts.
Loose tracking and tight tracking reduce the readability of the pattern that form the words.
Normal Tracking, Tight Tracking and Loose Tracking
Uppercase letterforms are drawn to be able to stand on their own, whereas lowercase letterforms require to the counterform created between letters to maintain the line of reading.
2. Formatting Text
Flush Left: This format most closely mirrors the asymmetrical experience of handwriting. Each line starts at the same point but ends wherever the last word on the line ends. Spaces between words are consistent throughout the text, allowing the type to create an even gray value.
Flush Left
Centered: This format imposes symmetry upon the text, assigning equal value and weight to both ends of any line. It transforms fields of text into shapes, thereby adding a pictorial quality to material that is non-pictorial by nature. Its important to amend line breaks so that the text does not appear too jagged, as centered type creates such a strong shape on the page.
Centered
Flush right: This format places emphasis on the end of a line as opposed to its start. It can be useful in situations (like captions) where the relationship between text and image might be ambiguous without a strong orientation to the right.
Flush Right
Justified: This format imposes a symmetrical shape on the text like centering. It is achieved by expanding or reducing shapes between words and letters. This format can occasionally produce 'rivers' of white space running vertically through the text. Careful attention to line breaks and hyphenation is required to amend this problem whenever possible.
Justified
3. Texture
It is important to understand the different textures of these typefaces. Type with a relatively generous x-height or relatively heavy stroke width produces a darker mass on the page than type with a relatively smaller x-height or lighter stroke. Sensitivity to these differences in colour is fundamental for creating successful layouts.
Anatomy of A Typeface
The differences in gray values can be seen in different typefaces. The typeface with middle gray value is the best in a particular layout.
Different Typefaces Show the Different Gray Values
4. Leading and Line Length
Type size: Should be large enough to be read easily at arm's length.
Leading: Available space of the typeface.
Line length: The number of characters or words per line. A good rule of thumb is to keep line length between 55-65 characters.
Tight Leading and Loose Leading
Different Leading in Adobe Jenson Typeface
5. Type Specimen Book
A type specimen book shows samples of typefaces in various different sizes. It provides an acccurate reference for type, type size, type leading, type line length etc.
Sample Type Specimen Sheet
Compositional requirement: Text should create a field that can occupy a page or a screen. An ideal text should have a middle gray value.
It is often useful to enlarge type to 400% on the screen to get a clear sense of the relationship between descenders on one line and ascenders on the line below. The best screen is an electronic approximation of the printed page. Judging type on the screen is accurate if designing for screen.
Lecture 5: Typo_4_Text_Part 2
1. Indicating Paragraphs
There are several options for indicating paragraphs:
The 'pilcrow'(¶) : A handover from mediaval manuscripts seldom use today.
The 'Pilcrow'
'Line space' (leading*): The line space is same as the paragraph space to ensure cross-alignment across columns of text.
Line Space
Leading: The space between two sentences.
Line space: The space from the baseline of one sentence to the descender of next sentence.
Line Space vs Leading
Identation: Another way to indicate paragraph spacing is to create identation. Typically the indent is the same size of the line spacing or the same as the point size of the text.
The method of extended paragraphs creates unusually wide columns of text.
Left: Standard Identation
Right: Extented Paragraph Identation
2. Widows and Orphans
There are two unpardonable gaffes in tradisional typesetting -- widows and orphans.
Widow
A short line of type left alone at the end of a column of text. The solution to widow is to rebreak the line endings so that the last line of any paragraph is not noticeably short.
Orphan
A short line of type left alone at the start of new column. Avoid it by reducing the column width and introducing a second line on the top so that have at least two lines.
Widow and Orphan
3. Highlighting Text
Examples to highlight text:
Use the same typeface but different fonts (Italic/ Bold) or colour
Use the sans serif font (Univers) Reduce the point size of the highlighted text by 0.5 point as sans serif typefaces tend to look larger.
Placing a field of colour
Place certain typographic elements
Use quatation marks Prime is not a quote. Prime indicate feet and inches.
4. Headline Within Text
There are many kinds of subdivision within text of a chapter. The following visuals have been labeled (A, B and C) according to the level of importance.
A head indicates a clear break between the topics within the section.
1. Bold
2. Extended to left
3. Larger than Text
4. Small Caps
B head is subordinate to A heads. B heads indicate a new supporting argument or example for the topic at hand.
1. Small Caps
2. Italic
3. Bold Serif
4. Bold San Serif
C heads highlight specific facets of material within B head text. C heads in this configuration are followed by at least an em space for visual separation.
1. Small Caps
2. Italics
3. Bold Serif
4. Bold San Serif
5. Cross Alignment
Cross aligning headlines and captions with text type reinforces the architectural sense of the page - the structure - while articulating the complimentary vertical rhythms. The example shows one line of headline type cross-align with two lines of text type and four lines of headline type cross-align with five lines of text type.
The uppercase letterform below suggest symmetry, but in fact, it is not symmetrical. Both Baskerville and Univers are internally harmonious and individually expressive.
Baskerville: Two different stroke weights is clear, each bracket connecting the serif to the stem has a unique arc.
Univers: A close examination shows that the width of the left slope is thinner than the right stroke.
Left: Baskerville 'A'
Right: Univers 'A‘
The complexity of each individual letterform is neatly demonstrated by examining the lowercase 'a' of two seemingly similar sans-serif typefaces - Helvetica and Univers. A comparison of how the stems of the letterforms finish and how the bowls meet the stems quickly reveals the palpable difference in character between the two.
Left: Helvetica 'a'
Right: Univers 'a''
2. Maintaining x-height
The x-height generally describe the size of the lowercase letterforms. Curved strokes, such as in 's', must rise above the median (or sink below the baseline) in order to appear to be the same size as the vertical and horizontal strokes they adjoin.
Median and Baseline
Lowercase maintaining x-height
3. Form/ Counterform
The space describes, and often contained, by the strokes of the form. When the letters are join to form words, the counterform includes the spaces between them. How well the counters are handled determines how well words hang together - how easily we can read what's been set.
Form/ Counterform
One of the most rewarding way to understand the form and counter of a letter is to examine them in close detail. It gives us a glimpse into the process of letter-making.
Close Details of Letter
4. Contrast
Simple contrasts produce numerous variations:
small + organic / large + machined
small + dark / large + light
Contrast in Typography
Lecture 7: Typo_6_Screen & Print
Typography in Different Medium
In the past, typography was viewed as living only when it reached paper. Today, typography exixts not only on a paper but on a multitude of screens. It is subject to many unknown and fluctuating parameters, such as operating system, system fonts, the device and screen itself, the viewport and more.
1. Print Type Vs Screen Type
Type for print The type was designed intended for reading from print long before we read on a screen. Designers should ensure that the text is smooth, flowing and pleasant to read.
Good typefaces for print - Caslon, Garamond, Baskerville
Type for Print
Type for screen Typefaces intended for use on the web are optimized and often modified to enhance readability and performance on screen in a variety of digital environments.
Examples of adjustments: Taller x-height/ reduce ascanders and descenders, wide letterforms, more open counters, heavier thin strokes and serifs, reduced stroke contrast, modified curves and angles.
Another important adjustment: More open spacing ( especially for typefaces intended for smaller sizes )
All of these factors serve to improve character recognition and readability in the non-print environment (web, e-books, e-readers, mobile devices)
Type for Screen
2. Hyperactive link/ Hyperlink A word, phrase, or image that can click on to jump to a new document or a new section within the current document. Hyperlink are found in nearly all Web pages. Text hyperlinks are normally blue and underlined by default.
3. Font Size for Screen 16-pixel text on a screen is about the same size as text printed in a book or magazine; this is accounting for reading distance. Because we read books pretty close - often only a few inches away - they are typically set at about 10 points. If we read them at arm's length, we'd want at least 12 points, which is about the same size at 16 pixels on most screens.
4. System Fonts for Screen/ Web Safe Fonts Web safe fonts: Open Sans, Lato, Arial, Helvetica, Times New Roman, Times, Courier New, Courier, Verdana, Georgia, Palatino, Garamond
5. Pixel Differential Between Devices The screen used by our PCs, tablets, phones and TVs are not only different sizes, but the text you see on-screen differs in proportion too, as they have different sized pixels.
Pixel Differential Between Devices
6. Static Vs Motion
Static Typography Static typography has minimal characteristic in expressing words. Traditional characteristics such as bold and italic offer only a fraction of the expressive potential of dynamic properties.
Static Typography
Motion Typography Film title credits present typographic informations over time, often bringing it to life through animation and motion graphics. Type is often overlaid onto music videos and advertisements, often set in motion following a rhythm of a soundtrack. It establishes the tone of associated content or expresses a set of brand values. In title sequences, typography must prepare the audience for the film by evoking a certain mood.
"Seven" (1995) title credits - film by David Fincher, showing motion typography
INSTRUCTIONS
TASK 1 (EXERCISE 1: Type Expression)
For this exercise, we were given six words to make type expressions. We are required to choose four words from these six words: Speed, Shatter, Melt, Blur, Dance, Throw and Kill, and sketch the words. We must take clear pictures if we sketch on paper.
1. Sketches I have chosen the words Dance, Kill, Shatter and Throw for the type expression sketches.
Fig. 1.1 Type expression sketches (Dance), Week 1 (4/4/2023)
Fig. 1.2 Type expression sketches (Kill), Week 1 (4/4/2023)
Fig. 1.3 Type expression sketches (Shatter), Week 1 (4/4/2023)
Fig. 1.4 Type expression sketches (Throw), Week 1 (4/4/2023)
2. Digitisation
1.Dance
Fig. 1.5 Digitisation Process for Dance, (Week 2, 11/4/2023)
I used the font Bodoni MT Black Italic in digitising the word Dance. I made the alphabets in a circle, trying to create someone holding others hand and dancing.
2. Kill
Fig. 1.6 Digitisation Process for Kill, (Week 2, 11/4/2023)
I used the font Univers LT Std Thin Ultra Condensed in digitising the word Kill. I made ' i ' as the bullet and killed other alphabets.
3. Shatter
Fig. 1.7 Digitisation Process for Shatter, (Week 2, 11/4/2023)
I used the font Bembo Std Bold Italic in digitising the word Shatter. I used the knife tool to make the word shatter.
4. Throw
Fig. 1.8 Digitisation Process for Throw, (Week 2, 11/4/2023)
I used the font ITC New Baskerville Std Bold Italic in digitising the word Shatter. I let ' r ' throw the ' o' into ' w'.
First Attempt
Fig. 1.9 Digital Type Expressions ---- JPG (Week 2, 11/4/2023)
Second Attempt
Fig. 1.10 Second Attempt of Digital Type Expressions ---- JPG (Week 3, 18/4/2023)
Final Type Expressions
Fig. 1.11 Final Type Expressions ---- JPG (Week 3, 18/4/2023)
Fig. 1.12 Final Type Expressions ---- PDF (Week 3, 18/4/2023)
3. Animation We have to choose one of the final type expressions to make an animated type expressions. I choose the word throw to do animation. We have to follow the animation tutorial video recorded by Mr Vinod. In the video, Mr Vinod guided us step by step using Adobe Illustrator and Photoshop to make animation.
Fig. 1.13 Attempt #1 of animated Throw, (Week 3, 23/4/2023)
Fig. 1.14 Attempt #2 of animated Throw, (Week 4, 25/4/2023)
Final Animated Type Expression
Fig. 1.15 Final Animated Type Expression 'Throw' --- GIF, (Week 4, 25/4/2023)
TASK 1 (EXERCISE 2: Text Formatting)
For this exercise, we have to create a final layout of text formatting.
1. Kerning and Tracking Exercise
We are assigned to work with kerning and tracking our name using the specific 10 typefaces. We are allowed to use different fonts in a typeface.
Fig 2.1 Process Text Formatting (Week 4, 27/4/2023)
Fig 2.2 Left:Text Formatting with Kerning (Week 4, 27/4/2023) Right:Text Formatting without Kerning (Week 4, 27/4/2023)
2. Text Formatting
I started working using Indesign after watching the tutorial video which recorded by Mr Vinod.
Fig 2.3 Process of Text Formatting (Week 4, 29/4/2023)
Fig 2.4 Layout #1 (Week 4, 29/4/2023)
Fig 2.5 Layout #2 (Week 4, 29/4/2023)
Fig 2.6 Layout #3 (Week 5, 2/5/2023)
Final Layout
HEAD
Font/s: Univers LT Std
Type Size/s: 30 pt
Leading: 32 pt
Paragraph spacing: 0
BODY
Font/s: Univers LT Std
Type Size/s: 9 pt
Leading: 11 pt
Paragraph spacing: 11 pt
Characters per-line: 58
Alignment: left justified
Margins: 20 mm top, 80 mm bottom, 12.7 mm left + right
Columns: 4
Gutter: 5 mm
Fig 2.7 Final Layout -- JPG (Week 5, 2/5/2023)
Fig 2.8 Final Layout -- PDF (Week 5, 2/5/2023)
Fig 2.9 Final Layout -- JPG with Grids (Week 5, 2/5/2023)
Fig 2.10 Final Layout -- PDF with Grids (Week 5, 2/5/2023)
FEEDBACK
Week 2
Genaral Feedback: Take photo in the sunlight if skectching on the paper. Skectches should be thumb nail size. Just draw the ideas and select the best one later. Less distortion and graphical elements for clear visual communication.
Specific Feedback: Make sure the words are readable and legible. Try to have less and simple distortion. The word ' throw ' can be in a line and just throw an alphabet. ' Shatter ' should be more pieces and the three design seems to be the same idea.
Week 3
General Feedback: Sizing and placements are important. Occupied a better space and make it more engaing and impactful. Use the 10 typefaces given.
Specific Feedback: The act throwing of "o" should be more visuable. The words are off centre, they should be sit well on the artboard so that it is balance. Dance can be more action-packed. Shatter could be like something fall and broken.
Week 4 General Feedback: Its more suitable to pause for a few seconds before the GIF loops. Specific Feedback: It will be better to make more frames as it is too fast. Make the motion blur at the beginning or the end. Pause a few seconds before it loops.
Week 5
General Feedback: Alignment is important in design. Make sure the paragraphs are smooth while using left alignment. Reduce 0.5 point size for those particular text so that the capital letters don't stick out. Half close eye to see the x-height.
Specific Feedback: It is better to develop my ownself and try different alignment. It is more suitable to select an image that is appriopriate to the title. Point size and line length is good. Cross alignment is great as just following the video.
REFLECTIONS
Experience The excercises let me learned the basic of typography. We completed Task 1 step by step every week and get feedback from Mr Vinod to adjust our work. I learn a lot by comparing my works with others' good work and the feedback given by Mr Vinod. Coming up with unique idea is quite challenging as sometimes I have similiar idea with others. The exercises are quite interesting for me. I gained new knowledge through the exercises. Its my first time using Adobe Illstrator and Indesign. I am not familiar with them at all. The tutorial video recorded by Mr Vinod helps me a lot in my learning progress.
Obsevations I observed that typography is really important in designs. It is often seem in our daily life and almost everything need it. Good typography brings good look and feel for viewers. We can also get information clearly from good typography.
Findings I noticed that typography has lots of rules. We had to remember them and always think carefully while designing and arranging our works. I also found that we have to manage our time well so that we can done our work in time and make it excellent. Reading and observing in daily life is also significant for us. We should always compare our works with the good designs so that we could improve ourselves. Ask immediately when have questions is also an effective way in learning.
FURTHER READING
The Vignelli Canon by Massimo Vignelli (2010)
Massimo Vignelli wrote this book so that it could become a useful instrument for a better understanding of typography in Graphic Design.
Semantics
Semantic, in design, means to understand the subject in all its aspects. We have to search for the the real meaning of the subject and its semantic roots before starting a new assignment to better understand and find the best direction for the development of a new design.
Design
that has no meaning, stripes and swash of color
splashed across pages for no reason whatsoever, is producing visual pollution that degrading our environment just like all other type of pollutions.
Syntactics
This defines the discipline
that controls the proper use of grammar in the
construction of phrases and the articulation of a
language, Design. The syntax of design is provided
by many components in the nature of the project.
In graphic design, for instance, they are the overall
structure, the grid, the typefaces, the text and
headlines, the illustrations, etc. The appropriate relationship of the various syntactical elements of the project provides consistency of a design.
Pragmatics
Communication is significant in design. It is
important to understand the starting point and all
assumptions of any project to fully comprehend
the final result and measure its efficiency. Clarity of intent will translate in to clarity of result
and that is of paramount importance in Design.
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