Wednesday, October 12, 2005

Chapter 5: Type builds character

It is right for everyone in america, we read top to bottom, left to right. Some books are better designed than others. Some cheap paperbacks do not usually represent the state of the typographic art. They could be nicer than they are because it costs no more to observe the basic rule of book layout using a good, legible typefac than to ignore these rules and set the text in whatever the printer happens to have around. Also, the way advertisments are displayed are a lengthy tradition of its style is established as that of the traditional book. Headline on top, attention-grabbing picture underneath, subhead, main copy, logo, pay-offline, address, URL, or telephone number. A designer could take a classic, well-tried typeface, arrange it in a predictable layout, and people may actually read your message.
Depending on the country we live in things might look different. In Europe, this page would look quite different, but with definite similarities within certain countries. You can always teall a German report from a Dutch, British, or Italian one, but they all have one thing in common: the picture.

Forms always have too much copy, so first choose a font thatis narrower than your run-of-the-mill ones. Make sure it is clearly legible, has a good bold weight for emphasis, and has readable numerals. Magazines are perhaps one of the best indicators of a country's current typographical tast; most of them get redesigned often enough to be on top of contemporary cultural inclinations. Magazine publishing is a very competitive business, and design plays a significant role in the way magazines present themselves to the general public.Magazines can look old-fashioned, conservative, trendy, technical and noisy.
One good thing in design is that you can recycle ideas without being accused of petty larceny; people might even admire your interest in things historical. A good thing about today, is that we can look at old ads and recreate them almsot faithfully.


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