User:Jvue07/Modern typography
Curts Notes
[edit]MODERN TYPOGRAPHY
Be very careful to keep your language neutral. Phrases like "It is a balanced and simple typeface that is easy to read and legible." are definitely not neutral, that's an opinion. But you can reword it to make it sound less like opinion, something like, "The priorities of sans-serif type designers included simplicity, balance, and legibility..." or something to that effect. Keep it straightforward and as factual as you can, that's what will have the best chance of not getting deleted/reverted.
I think making note of modern typography's influence on the International Style is a wise addition. I don't know if you need a whole new paragraph, or if you could even just say that in the lead paragraph (and add the relevant wikilinks)...
Design concept
[edit]Modern typography reflected a modern, universal method of communication. This design concept assumes passive, almost automatic – subconscious visual experience. It counts on rationality of both, graphic designer/producer of the message and the audience that is receiving the message. The act of perception that is involved is the simple act of seeing; the reader is passive, detached and objective. "[Typographic style and layout] do not obstruct the transmission of meaning." Jan Tschichold codified the principles of modern typography in his 1928 book, New Typography. He later repudiated the philosophy he espoused in this book as being fascistic, but it remained very influential.
Typeface
[edit][edit] The hallmark of early modern typography is the sans-serif typeface. "Because of its simplicity, the even weight of its lines, and its nicely balanced proportions, sans serif forms pleasing and easily distinguished word patterns — a most important element in legibility and easy reading."
Objective
[edit][edit] The Modern typography states as its first objective to develop its visible form out of the functions of the text. For modernist designers it is essential to give pure and direct expression to the contents of whatever is printed: "Just as in the works of technology and nature, 'form' must be created out of function. Only then can we achieve typography that expresses the spirit of modern man. The function of printed text is communication, emphasis (word value), and the logical sequence of the contents". "The trend in modern typography is definitely toward simplicity and legibility, employing forms that comply with the natural inclination of the human eye to seek harmony and ease."
////This portion definitely needs to include any aspect of the Swiss style of typography or the International style typography
This needs to be rewritten as such:
Design concept
[edit]Modern Typography reflects a modern, universal method of communication. This design concept assumes passive, almost automatic – subconscious visual experience. It counts on the rationality of both, graphic design and production of the message as well as the audience that is receiving. It features high contrast, thin strokes, and long or no serifs– for example, Times New Roman font.
When considering the perspective of the reader, the act of perception involved is the simple act of seeing; the reader is passive, detached and objective. The goal is to effectively communicate a message while still enhancing readability and evoking a certain tone or appearance to the reader. Aiming to be legible, clear and authentic– both the reader and the text, in other words, the verbal and visual elements, simultaneously come together to help shape our understanding of whatever needs to be consumed.
"[Typographic style and layout] do not obstruct the transmission of meaning." Jan Tschichold codified the principles of modern typography in his 1928 book, New Typography. He later repudiated the philosophy he espoused in this book as being fascistic, but it remained very influential.
Objective
[edit]Modern Typography’s first objective is to develop visible form out of the functions of the text. The goal is to take ideas, concepts, and verbal usage and transform them into something perceptible.
For modernist designers, it is essential to give pure and direct expression to the contents of whatever is printed: "Just as in the works of technology and nature, 'form' must be created out of function. Only then can we achieve typography that expresses the spirit of modern man. The function of printed text is communication, emphasis (word value), and the logical sequence of the contents". Indicating that modernist expression is to communicate content logically by emphasizing key details through hierarchal information.[1] Asymmetrical layouts and Sans-serif typefaces were used as effective ways to organize information to clearly communicate. This prompted contemporary printers to order elements on a geometric grid for printing.[2] This would later influence the Swiss style, also known as the International style typography.[2]
With the combination of typeface and typography, and in this case, in terms of modernity, modernists in general use these aspects to force clearer ideas upon viewers in expressive ways. "The trend in modern typography is definitely toward simplicity and legibility, employing forms that comply with the natural inclination of the human eye to seek harmony and ease." This not only aesthetically engages the reader/viewer but displays communication in an effective, comprehensible manner.
Typeface
[edit]Typeface remains the groundwork for design concepts. The hallmark of early modern typography is the sans-serif typeface. "Because of its simplicity, the even weight of its lines, and its nicely balanced proportions, sans serif forms pleasing and easily distinguished word patterns — a most important element in legibility and easy reading." This legibility and easy readability standard remains a top priority when it comes to Modern Typography.
The essence of Modern Typography was for it's visible form to be developed out of the functions of the text.[1] Modern Typography like Sans-serif follows common typeface conventions such as establishing tone and personality, enhancing readability and comprehension, conveying specific emotions, and helping various brands, assignments, and/or courses of action to build their brand identity; all while competing to remain appealing to readers and viewers.
References
[edit]History of Modern Design, David Raizman
Letter Perfect: The Art of Modernist Typography, David Ryan
Swiss Graphic Design: The Origins and growth of an International Style, Richard Hollis
- ^ a b Tschichold, Jan; Tschichold, Jan; Tschichold, Jan (1998). The new typography: a handbook for modern designers. Weimar and now (1. paperback print ed.). Berkeley: Univ. of California Press. ISBN 978-0-520-07147-6.
- ^ a b Raizman, David Seth (2011). History of Modern Design (2nd ed.). Pearson Prentice Hall.