Baird, Tarah Butts, Theodore Carpenter, Nicholas Gundersen, Sydney Hard, Scott Hillman, Lauren Leigh Jensen, Leah Kienitz, Rebecca Magleby, Trevor Miller, Randi Parrish, Meredith Petersen, Jared Peterson, Hailey Porras, Orlando Schwanke, Kelsey Sharp, Benjamin Smith, Tanner Summers, Kalie TYPE/IMAGE LEXICON TERMS & CONCEPTS FOR CRITIQUE EDITORIAL DESIGN TYPOGRAPHY TYPESTYLES HIERARCHY Serif / Roman Hierarchy is achieved through VISUAL COHESION / CONTINUITY TYPESETTING Serif typefaces possess emphasizing significant content When working with content across Typographic Proximity finishing strokes or ‘feet’. Serif within a design while minimizing the attention needed for other multiple pages one must combine a Proximity is a Gestalt principle typefaces are referred to as elements. Strategies include the consistent overall visual approach which states that objects that ‘Roman’ typefaces. with elements of surprise and effective use of: are spaced in proximity to each change. This method for achieving Sans Serif / Grotesque / Gothic Scale continuity can be referred to in other are perceived as a group. Fonts without (sans) finishing Contrast several different ways including: This should always be taken strokes. Grotesque is a Visual Weight Rhythm / Pacing into consideration when German term for Sans Serif grouping information with type. Color Unity with Variety and Gothic, an American term Line Length for the same. Repetition / Change GRIDS The length of a line should be Slab Serif / Egyptian Although evidence of typographic TYPOPHOTO RELATIONSHIPS comfortable to read. Too short Slab Serifs have thick, square breaks up words or phrases, grids trace back to medieval Separation ended serifs. manuscripts, the use of the modern too long and the reader must When type and image operate Monospace grid finds its roots in Constructiv- search for the beginning of independent of each other. ism and DeStijl; being further each line. Proper length is Based on typewriters, letters in monospace typefaces all developed at the Bauhaus in Fusion between 30-70 characters. Germany before being codified by conform to a specific physical When type and image blend to Tracking / Letterspacing the Swiss as a basis for the form a unity width, in contrast to typical International Typographic Style. Overall spacing between letters typefaces, where each Fragmentation in a line of text. character is a different width. Active vs. Passive Grid Use When type and image disturb Kearning They are spaced perfectly even Active grids employ engaging or disrupt each other. Space between two specific which can create nicely aligned use of whitespace, unexpected Inversion letterforms in a word. columns of text. placements and allow modules Form of fusion—when type and Leading / Linespacing Typeface Appropriateness to suggest intriguing shapes. image trade places. Type takes Space between lines of text. One should always consider Hangline on pictoral properties (Type as the appropriateness of a Hanglines are horizontal grid Image) or image takes on Orphan chosen typeface for the lines that text and other typographic qualities. When one line from a paragraph either starts on the message or visual feel one is visual elements descend or last line of a column or ends attempting to achieve. ‘hang’ from. PUBLICATION DESIGN ELEMENTS on the first line. This condition Columns Title is to be avoided. Columns are the vertical base COMPOSITION for grid systems. Divided by Subtitle Widow When the last word of a gutters that are typically Lead-in text paragraph is on its own line. VISUAL BALANCE spaced at around 1 pica, grids Drop-cap This condition is to be avoided. Symmetry can be anywhere from 1-6 When the first letter of an A classical approach to columns and provide a Smart Punctuation cohesive structure for multiple article or chapter descends Smart Punctuation refers to balance which aligns object on multiple line. This traces back an axis while reflecting from page layouts as well as single the act of properly using items compositions to medieval illuminated such as quotation marks, side to side. manuscripts. rather than using prime marks Asymmetry Baseline Grid Body copy (inch marks) in their place. Asymmetrical designs are The Baseline Grid is a Standard body copy is 8-9 pt generally more active than horizontal grid that keeps all Hanging Punctuation lines of text evenly spaced and Subhead symmetrical ones. Balance is Punctuation should be hung properly aligned ensuring a Typically bold, while matching achieved by placing contrast- outside of the vertical edge of a consistent ‘baseline’. the size of body copy, followed justified line of type. The left ing elements in counterpoint by no extra linespace. for left justified, and on both to each other, allowing the eye to wander while achieving Pull quote edges for fully justified overall stability. MISCELLANEOUS Small amounts of text pulled paragraphs. Typesetting programs do not ‘hang’ Economy of Scale from the body copy and set at WHITESPACE increased scale. punctuation by default. A general theory that objects Whitespace can be used to add Caption Hyphen (-) should be scaled up to the emphasis to elements by Typically smaller in size than Joins words and breaks exact size that they need to be appropriately framing type, images in order to function properly, the body copy, 5.5-7 pt. syllables. or objects. Avoid creating focal and no more. Folio En Dash (–) points with whitespace, which may Repeating line of text that Indicate ranges and can be be termed as ‘empty space’. Captive Audience read as ‘to’. The width of an n. Understanding the difference indicates page number along Figure / Ground with additional cues which Em Dash (—) in constraints between design Also known as ‘positive and that is targeted at an audience may include publication title, Break, interrupt or punctuate a negative space’, deals with the whose attention is a given, as or chapter. sentence. The width of an m. interaction between an object opposed to design situated in and its surrounding space. a visually competitive environment. Sources: Graphic Design the New Basics, Lupton; Graphic Design Referenced; Gomez, Vit; Designing with Type, Craig; Type, Image, Message, Skolos, Wedell VISUAL COHESION / CONTINUITY When working with content across multiple pages one must combine a consistent overall visual approach with elements of surprise and change. This method for achieving continuity can be referred to in several different ways including: Rhythm / Pacing Unity with Variety Repetition / Change TYPOPHOTO RELATIONSHIPS Separation When type and image operate independent of each other. Fusion When type and image blend to form a unity Fragmentation When type and image disturb or disrupt each other. Inversion Form of fusion—when type and image trade places. Type takes on pictoral properties (Type as Image) or image takes on typographic qualities. PUBLICATION DESIGN ELEMENTS Title Subtitle Lead-in text Drop-cap When the first letter of an article or chapter descends multiple line. This traces back to medieval illuminated manuscripts. Body copy Standard body copy is 8-9 pt Subhead Typically bold, while matching the size of body copy, followed by no extra linespace. Pull quote Small amounts of text pulled from the body copy and set at Economy of Scale increased scale. A general theory that objects Caption should be scaled up to the Typically smaller in size than exact size that they need to be the body copy, 5.5-7 pt. in order to function properly, and no more. Folio Repeating line of text that Captive Audience indicates page number along Understanding the difference with additional cues which in constraints between design may include publication title, that is targeted at an audience or chapter. whose attention is a given, as opposed to design situated in a visually competitive environment. Sources: Graphic Design the New Basics, Lupton; Graphic Design Referenced; Gomez, Vit; Designing with Type, Craig; Type, Image, Message, Skolos, Wedell THEORY TERMS & CONCEPTS (FROM TEXT GLOSSARY).