SURVEY & RESEARCH APPLIED TYPOGFRAPHY 1018

SURVEY & RESEARCH
APPLIED TYPOGRAPHY

NAME: SITI NURFARISHA NAZIHA BT MOHD NOOR
NO.PELAJAR: 09DRG20F1018
CLASS: DRG3A

TYPOGRAPHY SYNTAX

EXAMPLE OF TYPOGRAPHY
SYNTAX

The top two photos are great examples of
typographic syntax. Both use the "i" in similar ways to
communicate two different ideas. They are simple,
effective and don't rely on any illustration to
communicate effectively.

MEANING OF TYPOGRAPHY
SYNTAX

• Typographical syntax, also known as orthotypography, is the aspect of
typography that defines the meaning and rightful usage of typographic
signs, notably punctuation marks, and elements of layout such as flush
margins and indentation.

• Typographic syntax is arranging the actual letterforms to enhance the
meaning of the word. You can rotate them, stack them, make them varying
sizes, replace letters with numbers or symbols or other letters.

ELEMENT OF TYPOGRAPHIC
DESIGN

EXAMPLES OF TYPOGRAPHIC
SYNTAX

• CONTRAST
• WHITESPACE
• ALIGNMENT
• CONSISTENCY
• HIERARCHY
• TYPEFACE
• COLOUR

CHARACTERISTIC • Legibility describes how easily individual
OF TYPOGRAPHIC characters can be distinguished from one
another. The selection of cases influences the
DESIGN legibility of typography because using only
uppercase letters (all-caps) reduces legibility.

• Readability refers to how easy it is to read the text
as a whole, as opposed to the individual
character recognition described by legibility.

WHAT IS?

THE LETTER

• Our initial discussion of typographic
syntax addresses the intrinsic
character of the individual letter. This
well-drawn form, exhibiting subtlety
and precision, is the unit that
distinguishes one family of type from
another. It exists in various weights,
sizes, and shapes.

WORD

• the potential to express an idea,object, or
event.

• By definition, a word has the potential to
express an idea, object, or event. Word
signs are independent of the things they
represent, yet by design they can be made
to signify and reveal their meaning.

https://www.coursehero.com/file/29559642/Typography/

LINE

• In its most basic form, a line of type
consists of a single point size and a single
weight extended horizontally over a
specific line width.

• Lines of type can be arranged
symmetrically or asymmetrically. The
viewer/reader must sense a clearly
established relationship between
individual lines of type and the
surrounding space.

COLUMN AND MARGIN

• COLUMN
• As an extension of the spatial qualities

inherent in single letters, pages also
possess form and counterform
relationships due to the interaction of
columns and their surrounding spaces.
• MARGIN
• Margins not only frame parts within pages,
they also contain supportive elements
(marginalia) such as running heads, folios,
and captions.

IDENTITY TYPOGRAPHIC SPACE

POSITIVE FORM AND VOID

• The structure of typographic space can be
defined by alignments and form-to-void
relationships that establish a composition's
underlying spatial order.

• This substructure is developed and enhanced
through optical adjustment .

VISUAL HIERARCHY

• A visual hierarchy is an arrangement of
elements in a graduated series, from the
most prominent to the least prominent, in
an area of typographic space.

• When establishing a visual hierarchy, a
designer carefully considers the relative
importance of each element in the
message, the nature of the reader, the
environment in which the communication
will be read, and the need to create a
cohesive arrangement of forms within the
typographic space.

ABA FORM

• The primary structural pattern of music is
the three-part form of statement-
departure-return (ABA).

• The unifying components (the two A's)
function as repetition, while the middle
component (the B) functions as contrast.

THE TYPOGRAPHIC GRID SYSTEM

• A grid is a skeletal framework used by designers to
organize information within a spatial field.

• It provides a strategy for composing text and
other visual information in two- and three-
dimensional space, including those of printed
materials, film, computer screens, built
environments, and typographic installations.

• Grid systems aid designers in making information
clear and optimally accessible – highly desirable
traits in a world increasingly inundated by visual
noise.

• When used effectively, typographic grids provide
form and space with proportional harmony and
aesthetic beauty. The final result is clearer and
more accessible communication.

THE TYPOGRAPHY MESSAGE

• The typographic message is verbal, visual, and
vocal. While typography is read and interpreted
verbally, it may also be viewed and interpreted
visually, heard and interpreted audibly. It is a
dynamic communication medium.

• In this sense, early twentieth-century typography
became a revolutionary form of communication,
bringing new expressive power to the written word.
Consider the concrete poem “ping pong” .

• As these words are repeated, they signify the sound
of a bouncing ping-pong ball, and the circular
letters p, o, and g reflect the shape of the ball. The
full impact of this poem is achieved when it is read
aloud. By hearing the sounds and viewing the
typographic forms, the typographic message is
strengthened.

FUNCTION AND EXPRESSIONS

• In typography, function is the purposeful
communication of information to a specific
audience. Although the range of possible
typographic design solutions is infinite, the
appropriateness of asolution always depends
upon the purpose for which it was intended.
Varying degrees of formal reduction or
elaboration can be effective when solving
specific typographic problems.

• expressionism, accomplishes its purpose through
formal elaboration and ornamentation, creating
visual impact.

REFERENCE

• 3: Syntax and Communication - Typographic Design: Form and
Communication, 5th Edition [Book] (oreilly.com)

• https://en.wikipedia.org/wiki/Typographical_syntax
• http://what-when-how.com/Tutorial/topic-453nt0/Typographic-Design-Form-

and-Communication-114.html
• https://learning.oreilly.com/library/view/typographic-design-

form/9780470648216/14_ch06.html#ch006-sec001