the function of formality
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TYPOGRAPHY THROUGH THE
HUMAN BODY
TH
E F
UN
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ION
OF
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AL
ITY
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The Function of Formality
TYPOGRAPHY THROUGH THE
HUMAN BODY
The Functionality of this bookPublished and design by Maritess Desiderio
Printed in USA
Copyright ©2010 by Maritess Desiderio
All rights resevered. No part of this book may be reproduced in any form without writen permission in writing fron the copyright owners, except by a reviewer who may quote brief passages in a review.
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Desdicated to the Peet's Coffee and Tea down the street. I wouldn't have finished this book without thee!
And to the video-game -playing Erik Kristianson... Yes you Erik... Grrr!
"That which has no limitations, has no form."
—Leonardo da Vinci
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Forming Funct ions
Leonardo da Vinci
How do the body and letterforms relate?
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Typography is the art and technique of arranging type, type design, and modifying type glyphs. Type glyphs
are created and modified using a variety of illustration techniques. The arrangement of type involves the selection
of typefaces, point size, For the usability or human factors practitioner, typography is generally considered in very
functional terms. Whether it's road signs on a highway, warning labels on medication or data captions in a software application, the focus is on the appropriate visual clarity, legibility and
structural hierarchy. Anthropomorphic treatment of typography has me thinking of letters as actors with characteristics, rather than inert symbols. More specifically, some of the basic principles of
ergonomics could be mapped to typographical elements, and that typography and anthropometry (the study of human body measurements) are curiously related, at least metaphorically.
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The fundamenTal principle of anThropomeTrics is ThaT alThough people need To conducT The same Types of behaviors and Tasks, They vary greaTly in Their physical characTerisTics. The same is True for differenT Type faces - while They vary greaTly in Their physical characTerisTics and appearance, each musT represenT and allow The assembly of The same seTs of characTers inTo words. ThaT is, any fonT (english fonT, more specifically), is a variaTion on represenTing The 26 leTTers of The alphabeT, eTc.
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For the usability or human factors practitioner, typography is generally considered in very functional terms. Whether it's road signs on a highway, warning labels on medication or data captions in a software application, the focus is on the appropriate visual clarity, legibility and structural hierarchy. Anthropomorphic treatment of typography has me thinking of letters as actors with characteristics, rather than inert symbols. More specifically, some of the basic principles of ergonomics could be mapped to typographical elements, and that typography and anthropometry (the study of human body measurements) are curiously related, at least metaphorically.
But a more striking similarity between ergonomics and
typography arises when one considers the rules that
govern f it .
The four factors in within humans in general and typography
reachclearanceposturestrength
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Typography is the art and technique of arranging type, type design, and modifying type glyphs. Type glyphs are created and modified using a variety of illustration techniques. The arrangement of type involves the selection of typefaces, point size, line length, leading (line spacing), adjusting the
The fundamental principle of anthropometrics is that although people need to conduct the same types of behaviors and tasks, they vary greatly in their physical characteristics. The same is
true for different type faces - while they vary greatly in their physical characteristics and appearance, each must represent and
allow the assembly of the same sets of characters into words. That is, any font (English font, more specifically), is a variation
on representing the 26 letters of the alphabet, etc.
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without order, taken from many papers which I have copied here, hoping afterwards to arrange them according to the subjects of which they treat; and I believe that I shall have to repeat the same thing serveral times; for which O reader blame me not...”
Any of hese those fourt inputs can be applied to assess the ergonomic fit of any person in any context. But they are also metaphorically comparable for assessing the characteristics of a type:
“This is to be a collection
Typography is the art and technique of arranging type, type design, and modifying type glyphs. Type glyphs
are created and modified using a variety of illustration techniques. The arrangement of type involves the selection
Truth be told...
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Strength is the visible impact as conveyed by contrast
As a basic example, we can visually compare Arial Black with an italicized version of Times New Roman. While both examples are at the same type size (13 pt), Arial Black clearly has greater reach and strength, while Times New Roman has a slanted posture.Clearance is physical space, or in the case of type, white-
space. A type with more space around the letters has greater clearance.
Reach can refer to the size of the typeface. For example a taller type would have a greater "reach" or expanse than a condensed one.
thickness and boldnessof line
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Posture is the degree of alignment, such that a very slanted type would have a greater postural deviation than a a more
linear type.
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The relationship
Digitization opened up typography to new generations of visual designers and lay users.
even more direct.
between ergonomics and letter forms
is
In the case of the roman alphabet, our lower case is largely the result of scribes finding a faster, more ergonomic way to write. The characters themselves are molded from the natural rhythms of the human hand, tempered by the need for differentiation among characters.
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Perhaps an interesting mental exercise, but
anything more to it? I've just begun
to examine this interrelationship, but I think there may be inspiration here for
typographers. Gaining an understanding
of human physical characteristics, and
how they vary, could influence the design
and application of typography, not for
functional purposes as much as creative and
exploratory endeavors. Conversely, my interest
in typography may lead to new ideas for
addressing ergonomic issues - but if not, I will
have gained a better understanding of an
intriguing, ubiquitous design niche.
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The question of perfection is always an interesting one, and this is as true in design as anything else. However, the question of what constitutes perfection is certainly up for debate. In this article, we will look at both this
question and the concept of the golden ratio, as we formulate the notion of an imperfect perfection.Yet, even as we strive for perfection at some level, the question that invariably arises is: what is perfection? Or, more specifically, what is perfection in design? There are all kinds of philosophical and theoretical treatises on
the nature of perfection, specifically in the realm of aesthetics, many of which have been briefly summarized
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In Western culture,
well known examples of a study of perfection in proportion is Leonardo’s very famous Vitruvian Man
probably one of the most
Accompanied by a variety of notes, this particular drawing visualizes Leonardo’s own theoretical concept of
of The perfecT
HUMAN MALE
TheproporTioms
Obviously, these proportions are meant to represent the ideal human body, and are very rarely actually replicated in the real world.t
is not to evaluate the validity of Leonardo’s (and Vitruvius’) theories, but rather to highlight them as a well known example of the theory and concern over proportion in perfection and beauty.
They cer tainly don’t represent me.
So beauty isn't always in the inside...
Individual letter tiles where the words are formed by assembling single letter tiles in the desired order were reasonably widespread.
?
. . .or both?
Beauty or Balance
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T G G A G G C T A G G A G G A G G G C T G G A G G T G G A G G G A G G G A A C C C A C C T G A G G T C A A C G A A C C C A C C T G A G G T C A A CA G G A G G G C T A G G A G G T G G A G G G G C T A G C T G A G G G C T C C C A A A C T A G T C C C A T T G C C C A A A C T A G T C C C A T T GG A T C C A C A A A C T A G C T C C A A A A C T C G A T C C A C T C C C A A A C T A G A G G G A T C C C A A A C T A G C T C T C C T A C A T T A T AA G G G A T C C C A A A C T A G C T C C A A A T A C T C G A T C C A C A A A C T A G C T C C A A T C C A A A A C A G G G A T C C C A A A C T A G C TA A C T C G A T C C A C A A A C T A G C T C C A A A A G G G A T C C C A A A C T A G C T A C T C G A T C C A C A A A C T A G C T C C A T T T A C G AA A A A C T C G A T C C A C A A A C T A G C T C C A A A A C T C G A G G G A T C C C A A A C T A G C T A T C C A C A A A C T A G C T A C C G A T G TC C A A A A A C T C G A T C C A C A C C C T G A G G G C T C C C A A A C T A A G G G A T C C C A A A C T A G C T G C T C C A A A A C A C T A G C G CT C G A T C C A C A A A C T A G C T C C A A A A C T C G A T C C A C A A A C T A G G G A T C C C A A A C T A G C T A G C T C C A A A A C C C A A A TA C T C A G G G A T C C C A A A C T A G C T G A T C C A C A A A C T A G C T C C T A G A G G A G G G C T A G G A G G T G G A G G G G G C T C C A TC T A G C T C C T A G G A G G A C A G G G A T C C C A A A C T A G C T T A G C T C C T A G G A G G A C T A G C T C C T A G G A G G A T C T G A T C CC A A A A A C T C G A T C C A C A A A C T A G C T C A G G G A T C C C A A A C T A G C T C A A A A C T C G A T C C A C A A A C T A G C A G G T G G TT C C A A A A A C T C G A T C C A C A C C C T G A G G G C T C C C A G G G A T C C C A A A C T A G C T A A A C T A G C T C C A A A A C T A C A T A TA A A A A C T C G A T C C A C A A A C T A G C T C C A A A A A C T C G A T C C A C A A A C T A G G G A T C C C A A A C T A G C T A C T T A C A T T AC C A A A A A C T C G A T C C A C A A A C T A G C T C C A A A A C T C G A T C C A C A A G G G A T 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C C A A A A C T C G A T C T C C A G G G A T C C C A A A C T A G C T A C AC A C A A A C T A G C T C C A A A A A C T C G A T C C A C A A A C T A G C T C A A A A A C T C G A T T C C A G G G A T C C C A A A C T A G C T A C AC C A C A A A C T A G C T C C T A G G A G G A G G G C T A G G A G G T G G G G G A G C T A G C T C C C C T A G G G A T C C C A A A C T A G C T G GC C T A G C T C C T A G G A G G A C T T A G G A G G A C T A G C T C C T A G G A G G A C T A G C T C C T A G A G G A T C C A A A A A C T C C C C T GG A T C C A C A A A C T A G C T A G C T C C T A G G A G G A C T C T C C A A A A A C T C G A T C C A C A A C T A G C T C C A A A A A C T C C C C T GG A T C C A C A C C C T G A G G G C T C C C A A C T A G C T C C T A G G A G G A C T A C T A G C T C C A A A A C A A A A A C T C G A T C C A T G G AA G G G C T C C C A A A C T A G C T C C A A A T A C T C G A T C C T A G C T C C T A G G A G G A C T C A C A A A C T A G C T C C A A T C C A A A A CA A C T C G A T C C A C A A A C T A G C T C C A A A A C T C G A T C C A C A C T A G C T C C T A G G A G G A C T A A C T A G C T C C A T T T A C G AA A A A C T C G A T C C A C A A A C T A G C T C C A A A A C T C G A T C C A C A A A C T A G C T C C T A G G A G G A C T C T A G C T A C C G A T G TC C A A A A A C T C G A T C C A C A C C C T G A G G G C T C C C A A A C T A G C T C C A A C T A G C T C C T A G G A G G A C T A A C A C T A G C G CT C G A T C C A C A A A C T A G C T C C A A A A C T C G A T C C A C A A A C T A G C T C C A A C T A G C T C C T A G G A G G A C T A A C C C A A A TA C T C G A T C C A C A A A C T A G C T C C T A G A G G A G G G C T A G G A G G T G G A G G G G C T A G C T C C T A G G A G G A C T G C T C C A TC T A G C T C C T A G G A G G A C T A G C T C C T A G G A G G A C T A G C T C C T A G G A G G A T C C T A G C T C C T A G G A G G A C T T G A T C CC T A G C T C C T A G G A G G A C T C A A A A A C T C G A T C C A C A A A C T A G C T C C A A A A C T C G A T C C A C A A A C T A G C A G G T G G TT C C A A A A A C T C G A T C T A G C T C C T A G G A G G A C T C C A C A C C C T G A G G G C T C C C A A A C T A G C T C C A A A A C T A C A T A TA A A A A C T C G A T C C A C A A A C T C T A G C T C C T A G G A G G A C T A G C T C C A A A A A C T C G A T C C A C A A A C T A C T T A C A T T AC C A A A A A C T C G A T C C A C A A A C T A G C T C C A C T A G C T C C T A G G A G G A C T A A A C T C G A T C C A C A A A T A G C T A G C T C AT C C A A A A A C T C G A T C C A C A A A C T A G C T C A A A A A C T C T A G C T C C T A G G A G G A C T C G A T C C A C A C C T G T A C A T T A TA G G G C T C C C A A A C T A G C T C C A A A A A C C G A T C C A C A A A C T A C T A G C T C C T A G G A G G A C T G C T C A A A A T A C A T T A TA C T T T G G A G G C T A G G A G G A G G G C T G G A G G T G G A G G G A G G G A C C T A G C T C C T A G G A G G A C T C C A C C C T C T A A AG A G G G C T C C C A A A C T A G C T C C A T A A A C T C G A T C C A C A A A C T A T C T C C C T A G C T C C T A G G A G G A C T A A A A T G C T CA C T C G A T C C A C A A A C T A G C T C C A A A A C T C G A T C C A C A A A C T G C T C C A A A C T A G C T C C T A G G A G G A C T T A G C T C TA A C T C G A T C C A C A A A C T A G C T C C A A A A A C T C G A T C C A C A A A T A G C T C C A A A C T A G C T C C T A G G A G G A C T G G G A AA A A C T C G A T C C A C A C C C T G A G G G C T C C C A A A C T A G C T C C A A A A C T C G A T C T C C T A G C T C C T A G G A G G A C T C A C AC C T A G C T C C T A G G A G G A C T A C A A A C T A G C T C C A A A A A C T C G A T C C A C A A A C T A G C T C A A A A A C T C G A T T C C A C AC C A C A A A C T A G C T C C T A G C T C C T A G G A G G A C T C T A G G A G G A G G G C T A G G A G G T G G G G G A G C T A G C T C C C C T G GC T A G G A G G A C T A G C T C C T A G G A G G C T A G C T C C T A G G A G G A C T A C T A G C T C C T A G A G G A T C C A A A A A C T C C C C T GG A T C C A C A A A C T A G C T C C A A A A A C T C G A T C C A C T A G C T C C T A G G A G G A C T C A A C T A G C T C C A A A A A C T C C C C T GG A T C C A C A C C C T G A G G G C T C C C A A A C T A G C T C C A A A A C C T A G C T C C T A G G A G G A C T A A A A A C T C G A T C C A T G G AA A C T C G A T C C A C A A A C T A G C T C C A A A A C T C G A T C C A C A A A C T C T A G C T C C T A G G A G G A C T A G C T C C A T T T A C G AA A A A C T C G A T C C A C A A A C T A G C T C C A A A A C T C G A T C C A C A A A C T A C T A G C T C C T A G G A G G A C T G C T A C C G A T G TC C A A A A A C T C G A T C C A C A C C C T G A G G G C T C C C A A A C T A G C T C C A A A A C C T A G C T C C T A G G A G G A C T A C T A G C G CC T A G C T C C T A G G A G G A C T T C G A T C C A C A A A C T A G C T C C A A A A C T C A A T C C A C A A A C T A G C T C C A A A A C C C A A A TA C T C G A T C C A C A A C T A G C T C C T A G G A G G A C T A C T A G C T C C T A G A G G A G G G C T A G G A G G T G G A G G G G G C T C C A TC T A G C T C C T A G G A G G A C T A G C T C C C T A G C T C C T A G G A G G A C T T A G G A G G A C T A G C T C C T A G G A G G A T C T G A T C CC A A A A A C T C G A T C C A C A A A C T A G C T C C A A A A C C T A G C T C C T A G G A G G A C T T C G A T C C A C A A A C T A G C A G G T G G TT C C A A A A A C T C G A T C C A C A C C C T G A G G G C T C C C A A A C T C T A G C T C C T A G G A G G A C T A G C T C C A A A A C T A C A T A TA A A A A C T C G A T C C A C A A A C T A G C T C C A A A A A C T C G A T C C A C A C T A G C T C C T A G G A G G A C T A A C T A C T T A C A T T AC C A A A A A C T C G A T C C A C A A A C T A G C T C C A A A A C T C G A T C C A C A A A C T A G C T C C T A G G A G G A C T T A G C T A G C T C AT C C A A A A A C T C G A T C C A C A A A C T A G C T C A A A A A C T C G A T C C A C A C C T C T A G C T C C T A G G A G G A C T G T A C A T T A TA G G G C T C C C A A A C T A G C T C C A A A A A C C G A T C C A C A A A C T A G C T C A A A A T C T A G C T C C T A G G A G G A C T A C A T T A TA C T T T G G A G G C T A G G A G G A G G G C T G G A G G T G G A G G G A G G G A C C C A C C C T C T A G C T C C T A G G A G G A C T C T A A AG A G G G C T C C C A A A C T A G C T C C A T A A A C T C G A T C C A C A A A C T A T C T C C A A A A T C T A G C T C C T A G G A G G A C T G C T C
Typography is the art and technique of arranging type, type design, and modifying type glyphs. Type glyphs are created and modified using a variety of illustration techniques. The arrangement of type involves the selection of typefaces, point size, line length, leading (line spacing), adjusting the spaces between groups of letters (tracking) and adjusting the space between pairs of letters (kerning).
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Tthe distance from the hairline to the bottom of the chin is
The length of a man’s outspread arms (arm span) is equal to his height
of a man'sheight
one-tenth
is one-sixth of a man’s height
the distance from the bottom of the neck to
the hairline
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We also see this same concept of balance within the Vitruviun Man’s own proportions.
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Typography is the art and technique of arranging type, type design, and modifying type glyphs. Type glyphs
are created and modified using a variety of illustration techniques. The arrangement of type involves the selection
of typefaces, point size, line length, leading (line spacing), adjusting the spaces between groups
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The image of the Vitruviun Man also places an emphasis on symmetry. Although there are probably few people (if any) in the world who are perfectly symmetrical between their left and right sides, there is a generally held assumption that
such balance is ideal, and something to be desired. I’ve seen entire articles and tutorials about retouching photos in order to improve the symmetry of a face – reshaping eyes, noses, teeth so that they balance each other properly. There’s also
the matter of removing scars, blemishes and other so-called “imperfections” – a word that is very telling in and of itself.
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It’s interesting to note that these proportions are based on perfect fractions, thereby breaking
the body down over a grid of equally proportioned segments – something that should sound very
familiar to most designers.
And, of course, the grid does very much the same thing for a design’s layout that the Vitruvian
proportions do for the idealized male anatomy. The grid consists of a number of equally spaced
and equally sized units, which in turn allows for the elements contained within those units to
maintain an identical proportion to each other. At its fundamental core, the grid is a means of
enforcing one form of perfection onto a design.
Yet, if this form of perfection is found in repeated, fractional proportions, where every
measurement is ultimately a multiplication of a single, common denominator, then what do me
make of other theoretical concepts like the golden ratio?
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As the Golden Section is found in the design and beauty of nature, it can also be used to achieve beauty and balance in the design of art. This is only a tool though, and not a rule, for composition.
The Golden Section was used extensively by Leonardo Da Vinci. Note how all the key dimensions of the room and the table in Da Vinci's "The Last Supper" were based on the Golden Section, which was known in the Renaissance period as The Divine Proportion.
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Instructor:
Class
Institution
Cover Stock:
Text Stock:
Typeface:
Software:
Bindery:
Address:
Phone:
Ariel Grey
Typography 3_4
Academy of Art University
Strathmore Drawing Paper
Strathmore Drawing Paper
Centaur and Akzidenz Grotesk
Adobe Creative Suite 5 Design
Binding Systems, Inc.
3040 Cutting Blvd.
Richmond, CA 94804
510-235-6677
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