True book design (…) is a matter of tact (tempo, rhythm, touch) alone. (…) choosing rhythmically correct type sizes for titles and headings; and composing genuinely beautiful and graceful part title pages in the same key as the text page — by these means, a book designer can contribute much to the enjoyment of a valuable work of literature. (Tschichold, 1991 [1975]: 9-10)

Letterforms have tone, timbre, character, just as words and sentences do. The moment a text and a typeface are chosen, two streams of thought, two rhythmical systems, two sets of habits, or if you like, two personalities intersect. They need not live together contentedly forever, but they must not as a rule collide. (Bringhurst, 2004: 22)

The aesthetic qualities of these pages depend on the sense of rhythm and timing, of opening and closing, the design of the spaces as they created dramatic relations among visual elements. (Drucker, 1997: 188)

(…) simple placement of the word “dance” (…) suggests the activity in a place, possibly a stage. Breaking the letters apart suggests a dancer moving. Repetition of the word (…) suggests different kinds of rhythm and, in fact, different kinds of dancing. (Kane, 2002: 68)

Well-designed print typography uses hierarchy and composition to create a rhythm that leads the eyes: headlines to pull you in, bodies of text to slow you down, pictures and type to skip over or return to (…) the notion of composing a text in a given space through typography, not as style, but as an integral expression/vehicle for meaning, rhythm, voice, structure.
(Heller, 2005: 186;195)

(…) The typographer may still have some control over other factors of typographic rhythm type size, measure, leading. (Bringhurst, 2004: 193)

What some may praise as personal styles are in reality small and empty peculiarities, frequently damaging, that masquerade as innovations. Examples are the use of a single typeface (…) or the application of seemingly courageous limitations, such as using a single size of type for an entire work, no matter how complex. (…) Only beginners and fools will insist on using it. (Tschichold, 1991 [1975]: 4)

Don’t compose without scale. The simplest scale is a single note, and sticking with a single note draws more attention to other parameters, such as rhythm and inflection. (…) start with one size and work slowly from there. (Bringhurst, 2004: 45)

Extreme contrasts of type size and weight (…) used to establish a visual hierarchy of emphasis determined by an objective assessment of the relative importance of the words. (Meggs & Purvis, 2011)

Areas of continuous type have texture, tone, and rhythm. The forms and counter forms of the typeface are related to the size of the type (…) these aspects combine to give your typography area a certain character (texture, tone and rhythm). (Cloninger, 2006: 139)

To treat rhythm is thus not to add a chapter to the new typography of the subject. It is to think distance as it is written. (Fynsk & Lacoue-Labarthe, 1998: 31)

[1] CORPO DO TIPO – medida que cada símbolo gráfico ocupa na impressão. O corpo do tipo corresponde à largura do tipo (carácter móvel) onde a letra ou o olho do tipo está desenhado. (Faria e Pericão 2008: 323)

Referências Bibliográficas

Bringhurst, Robert. (2004). The Elements of Typographic Style: version 3.0. Hartley & Marks, Publishers.
Cloninger, Kurt. (2006). Hot-Wiring Your Creative Process: Strategies for print and new media designers. New Riders.
Drucker, Johanna. (1997). The Visible Word: Experimental Typography and Modern Art. University of Chicago Press.
Faria, Maria Isabel, e Maria da Graça Pericão. (2008). Dicionário do Livro: da escrita ao livro electrónico. Coimbra: Almedina.
Fynsk, Christopher, e Philippe Lacoue-Labarthe. (1998). Typography: Mimesis, Philosophy, Politics. Stanford University Press.
Heller, Steven. (1998) The Education of a Graphic Designer. Allworth Press [in association with the] School of Visual Arts, 1998
Kane, John. (2002) A Type Primer. Laurence King Publishing.
Meggs, Philip B. and Alston W. Purvis. (2011). Meggs’ History of Graphic Design. John Wiley & Sons, 2011
Tschichold, Jan. (1991). The Form of the Book: Essays on the Morality of Good Design. Vancouver: Hartley & Marks. Original edition, 1975

Inês Ferreira, turma B



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