Typography
Gbogbo ọrọ náà
Typography is the one part of graphic design that is present in nearly all of it, and the part that separates work that looks designed from work that looks assembled. Most of it is invisible: the reader notices a badly set page immediately and a well-set page not at all. The craft is in decisions of a fraction of a millimetre, repeated thousands of times, that add up to whether somebody keeps reading.
This note works from the letterform outwards: the parts of a character and why they matter, the families type divides into and what each is good at, spacing at every scale from the gap between two letters to the space between two columns, hierarchy built with as few signals as possible, and type used expressively as image. You will set the same words several ways and watch the meaning change.
Ebumnobi
- Arrange and manipulate type, traditional and non-traditional, to communicate ideas and create visual interest
- Use a range of typographic materials, tools, techniques and elements such as letter forms, fonts and typefaces, digital and non-digital methods
Akọmọ Ojú-ẹkọ
Ọ dị na ngwa Green Bridge
Budata ngwa Green Bridge CBT na ekwentị maọbụ kọmputa gị iji nweta akwụkwọ ndụmọdụ zuru oke, ajụjụ mmụta, na ndị ọzọ.
Ayẹwo Ẹkọ
Ekele diri gi maka imecha ihe karịrị na Typography. Ugbu a na ị na-enyochakwa isi echiche na echiche ndị dị mkpa, ọ bụ oge iji nwalee ihe ị ma. Ngwa a na-enye ụdị ajụjụ ọmụmụ dị iche iche emebere iji kwado nghọta gị wee nyere gị aka ịmata otú ị ghọtara ihe ndị a kụziri.
Ị ga-ahụ ngwakọta nke ụdị ajụjụ dị iche iche, gụnyere ajụjụ chọrọ ịhọrọ otu n’ime ọtụtụ azịza, ajụjụ chọrọ mkpirisi azịza, na ajụjụ ede ede. A na-arụpụta ajụjụ ọ bụla nke ọma iji nwalee akụkụ dị iche iche nke ihe ọmụma gị na nkà nke ịtụgharị uche.
Jiri akụkụ a nke nyocha ka ohere iji kụziere ihe ị matara banyere isiokwu ahụ ma chọpụta ebe ọ bụla ị nwere ike ịchọ ọmụmụ ihe ọzọ. Ekwela ka nsogbu ọ bụla ị na-eche ihu mee ka ị daa mba; kama, lee ha anya dị ka ohere maka ịzụlite onwe gị na imeziwanye.
- Two typefaces set at the same point size look like different sizes. The usual explanation is that they differ in: A) Kerning B) x-height C) Leading D) Measure Answer: B
- What is measure? A) The vertical distance between baselines B) The length of a line of type, workably around 45 to 75 characters C) The space between a specific pair of letters D) The height of a capital letter Answer: B
- Rivers appear in a block of text mainly because: A) The typeface has small counters B) Justified setting with a narrow measure and no hyphenation forces uneven word spacing C) The leading is too generous D) The text is ranged left Answer: B
- Which face is a didone, recognisable by extreme contrast between hairline and thick strokes and flat unbracketed serifs? A) Garamond's sixteenth-century types B) Bodoni's late eighteenth-century types C) Gill Sans D) Futura Answer: B
- Why should a designer never horizontally scale a typeface to make it fit? A) It increases the file size B) It destroys the designed relationship between thick and thin strokes C) It prevents the type being printed in spot colour D) It removes the kerning pairs from the font Answer: B
Ọ dị na ngwa Green Bridge
Budata ngwa Green Bridge CBT na ekwentị maọbụ kọmputa gị iji nweta akwụkwọ ndụmọdụ zuru oke, ajụjụ mmụta, na ndị ọzọ.
Ọ dị na ngwa Green Bridge
Budata ngwa Green Bridge CBT na ekwentị maọbụ kọmputa gị iji nweta akwụkwọ ndụmọdụ zuru oke, ajụjụ mmụta, na ndị ọzọ.
Àwọn Ìwé Tó Dáa Láti Kà
Meecha Ajụjụ Ule Ọmarịcha
Ị chọrọ ime ajụjụ ule ọmarịcha gbasara Typography? Budata ngwa Green Bridge CBT iji nweta ajụjụ ule ọmarịcha na nyocha zuru ezu gbasara isiokwu a.
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