Text, Image and Typography Part 3: Research task 2 Choosing a typeface

 In Exercise 3, you have to choose a typeface for the text, but how do you choose a typeface? In ​Notes on Book Design​, Derek Birdsall describes clearly how you can choose a typeface that is appropriate for your text. Read the section ‘​on choosing a typeface​’ in the book, ​Notes on Book Design​, and use this as an approach in Exercise 3.

So after reading this section a picked a few relevant and informative sentences and paragraphs to refer too throughout this part. This is Derek's take on the use of typography writing from experience in his designs.

Numerous quotations, especia ll y of poetry, and titles
of pictures or publications might suggest a face with
a distinguished italic, e.g. Van Dij ck or Joanna.
Peculiar sorts may suit a particular text - see the
Poliphilus asterisk, the square brackets of Bell,
and the capital Q,, the ampersand and the deliciously
generous brackets of Van Dij ck italic.

Many degrees of sub-headings will call for a good
relationship between capitals, small caps and italic,
if not also a related or contrasting bold.

The 'colour' of a typeface - the relative greyness/
blackness on a page of text - may be a factor in the
choice of paper and vice versa.

Paragraph indents should normally be a minimum of
the type size plus leading. I sometimes use a doubl e
indent for poetry or long quotations (see page 173 ) .
Alternatively, paragraphs may be set full out and
spaced by a half or full line space (see pages 88-9).
In contrast to the main text, unjustified setting o f
captions and footnotes will give an appropriate change
in texture and tone. The characteristics of commonly
occurring words or phrases, particularly in caption s ,
may be a guide to the choice of type size . The name of a
Gallery, e.g.
The National Gallery of Art, Washington
would ideally be sized to fit in one line.

link

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