Thursday, December 16, 2010
Tuesday, December 14, 2010
Final Artist: THREE
Andreas Preis:
Unlike the work of Mucha or Perssons, Preis's style is extremely structural and almost architectural. The dramatic angles and cross hatching technique he uses create a harsh, specific look. I thought this style would be fun to experiment with because I have little experience with such as style and I imagined it would stand out against the other two. Preis to me has a strong grasp on perspective and angles within figures that he is able to exaggerate in his portrayals. This ability to select and highlight very structured shapes within an organic free form is one that is not easily attained. I thought mimicking this style would therefor pose an interesting challenge for myself.
Final Artist: TWO
Alphonse Mucha:
I responded to his style because it is so elegant and distictive. His attention to and admiration of fine detail really makes his work pop. But more so, I love his linework. It is so delicate and poetic. It gives his illustrations a sense of idealism. Even the borders of his work is done so elaborately. It compliments the heavenly tone portrayed in his female subject matter. His incorporation of natural elements is the final detail used to emphasize his fondness of organic shape.
Monday, December 13, 2010
My Three Artists : ONE
Stina Persson:
Persson is an Illustrator based in Stockholm Sweden. She does freelance work for a variety of clients including fashion magazines such as Elle, logos for jean companies, branding, and more.
I chose Persson as my first artist because of how I responded to her work. I've been following her online portfolio for the last few months and am always eager to see new work. I especially like the way she played with color. In this painting for example the color is bold and saturated which contrasts beautifully with the stark negative space. I also liked the way she experimented with contrast the tight, crisp edges of white with the loose, flowy look of the paint. In many of her pieces with silhouettes, she conveys strong attitude with her use of shapes and color. This distinct style of hers is one I hope to capture.
Friday, November 26, 2010
Illumination
Illumination is the embellishment or added decoration to manuscript pages, addingt interest and imporatnce, most of which was done by hand. Often times, images/illustrations would be added to the inside of letters that reflected the content int the text. Images may have also been added within the letter itself incorporating it or unifying it to the patterns and imagery surrounding it.
In our next exploration in typography, we will study the different styles of artists of our choosing and experiment with re-creating designs that reflect aspects of their styles. We will create illuminated letters of our own that include embellishments influenced by these artists.
Artist 6: Stina Persson
Word List:
vibrant
saturated
flat
shape
black
bold
expressive
edgy
scribble
color-block
chunky
angular
abstract
cut-out
contrast
aggressive
emotive
loose
noodled
harsh
free-form
editorial
innovative
illustrative
attitude
Artist 5: Jason Thielke
Word List:
line
shapes
monochromatic
dynamic
complex
pattern
silhouette
outline
overlap
elegant
meticulous
planned
intentional
graceful
broken-down
endearing
detailed
geometric
elemental
expressive
movement
shade
Artist 4: Heike Weber
Word List:
organic
warped
dimensional
depth
contrast
space
dynamic
line-work
gradiation
2-dimensional AND 3-dimensional
abstract
free-form
distorted
doodled
spontaneous
curvature
random
unified
movement
rhythmic
flowing
gradual
growth
progression
spilling
connectedness
loopy
bulging
towering
illusion
Artist 3: Andreas Preis
Word List:
cross-hatch
linear
shape
prganic
monochromatic
stern
harsh
angular
repetitive
pattern
masculine
straight
sharp
simple
basic
rough
rugged
Artist 2: Mucha
Word List:
elaborate
organic
curvature
linework
neutral color
expressive
erotic
detailed
ornate
excessive
realism?
delicate
intricate
floral
decorative
pretty
feminine
specific
formal
sophisticated
classy
viney
weaving
S-curve
curling
Artist 1: Mondrian
Word List:
simplistic
minimalistic
primary
linear
architectural
geometruc
sharp
angualr
straight-forward
two-dimensional
repetitive
pattern
color
block
assymmetrical
flat
shape
bold
graphic
mathematical
radical
Monday, November 8, 2010
Sunday, November 7, 2010
Palatino
We began a project focusing on a specific font and analyzing its characters to determine those that are most distinguishing. Once we've gathered information for our fonts, we design a series of posters that display the information in a clear, organized way that is visually engaging and demonstrates a strong hierarchy. This image is an example of the most basic way to present the entire Palatino font.
Motion Graphics
Our class has taken a two week hiatus from our current project to learn and gain experience in motion graphics using the Adobe After Effects software. We created a short video about 30 seconds that animates the five day weather forcast in an interesting and engaging way.While getting familiar with the software was difficult as first as I had no prior experience, I feel I have learned so much in such a short period of time. I have thoroughly enjoyed this short project, more than was intially expected, because it is so different from any project I've done in the past.
Looking forward to similar projects in the future.
Looking forward to similar projects in the future.
Wednesday, October 13, 2010
Hermann Zapf’s Palatino
Palatino : The font
The Renaissance was a cultural movement that spanned roughly the 14th to the 17th century, beginning in Florence in the Late Middle Ages and later spreading to the rest of Europe. The term is also used more loosely to refer to the historic era, but since the changes of the Renaissance were not uniform across Europe, this is a general use of the term. As a cultural movement, it encompassed a resurgence of learning based on classical sources, the development of linear perspective in painting, and gradual but widespread educational reform. Traditionally, this intellectual transformation has resulted in the Renaissance being viewed as a bridge between the Middle Ages and the Modern era. Although the Renaissance saw revolutions in many intellectual pursuits, as well as social and political upheaval, it is perhaps best known for its artistic developments and the contributions of such polymaths as Leonardo da Vinci and Michelangelo, who inspired the term "Renaissance man."
The paintings of the Italian Renaissance differed from those of the Northern Renaissance. Italian Renaissance artists were among the first to paint secular scenes, breaking away from the purely religious art of medieval painters. At first, Northern Renaissance artists remained focused on religious subjects, such as the contemporary religious upheaval portrayed by Albrecht Dürer. Later on, the works of Pieter Bruegel influenced artists to paint scenes of daily life rather than religious or classical themes. It was also during the northern Renaissance that Flemish brothers Hubert and Jan van Eyck perfected the oil painting technique, which enabled artists to produce strong colors on a hard surface that could survive for centuries.
Medieval and Renaissance issues of design and typography have influenced many modern time typographers and book designers. They trace back to the characteristics and styles that represented the Renaissance and Medieval time period. The Renaissance* was typified by an obsession with things "classical,"* in the Greco-Roman* sense, which had major implications for typography. The neo-classical letterforms were somewhat more condensed than the Carolingian shapes, but much rounder and more expanded than the blackletter.
Named after 16th century Italian master of calligraphy Giambattista Palatino, Palatino is based on the humanist fonts of the Italian Renaissance, which mirror the letters formed by a broad nib pen; this gives a calligraphic grace. But where the Renaissance faces tend to use smaller letters with longer vertical lines (ascenders and descenders) with lighter strokes, Palatino has larger proportions, and is considered to be a much easier to read typeface. This font was released in Germany in nineteen-fifteen and was distributed by Linotype.
It remains one of the most widely-used (and copied) text typefaces, has been adapted to virtually every type of technology, and is one of the ten most used serif typefaces.
Palatino Linotype : In 1999, Zapf revised Palatino for Linotype and Microsoft, called Palatino Linotype. This is a version of the Palatino family that incorporates extended Latin, Greek, Cyrillic characters, as well as currency signs, subscripts and superscripts, and fractions. The family includes roman and italic in text and bold weights. It is one of the few fonts to incorporate an interrobang.
Under the collaboration of Zapf and Akira Kobayashi, the Palatino typeface family was expanded. Linotype released the Palatino nova, Palatino Sans, and Palatino Sans Informal families, expanding the Palatino typeface families to include humanist sans-serif typefaces. Palatino nova was released in 2005, while the others were released in 2006. Palatino nova is a redesigned version of this type, created by Hermann Zapf and Akira Kobayashi. This Palatino nova typeface family includes roman and italics in the light, text, medium, and bold weights, a titling face formerly called Michelangelo Titling, and a large and small capital face called Palatino nova Imperial formerly called Sistina.
The Palatino font is considered to be a member of the Old Style, also referred to the Gerald, classification of typefaces. Old style type is a style of font developed by Renaissance typographers to replace the Blackletter style of type and is generally considered "warm" or friendly, thanks to its origins in Renaissance humanism, though it was also influenced in part by Roman inscriptions. Other fonts that fall under this same classification are Bembo, Caslon, Garamond, and Jenson. Each of these meets the same criteria and were all heavily inspired by handwriting, especially of the Renaissance era.
Old style types, although they owe much to the same roots as the typical Humanistic typefaces, show a marked departure from simply mimicking the handwriting of earlier Italian scholars and scribes. It’s from this period, that we can really see type getting into gear. It’s certainly one of the most exciting periods in type history. The Old Style (or Gerald) types start to demonstrate a greater refinement—to a large extent augmented by the steadily improving skills of punchcutters.
The main characteristics of old style typefaces are low contrast with diagonal stress, and cove or "bracketed" serifs (serifs with a rounded join to the stem of the letter). The roman typefaces of the fifteenth and sixteenth centuries emulated classical calligraphy. Sabon was designed by Jan Tschichold in 1966, based on the sixteenth-century typefaces of Claude Garamond. Fonts that fall under this classification have a contrast between the thick and thin strokes that is more pronounced, a shorter “x-height,” and serifs that are described as “sturdy without being heavy.”
Italics at this point were still independent designs, and were generally used completely separately; a whole book could be set in italics. Probably the most famous italic of the period is Arrighi's (1524), which may be seen today as the italic form of Centaur. Likewise, the italic form of Bembo is based on the italic of Tagliente (also 1524). Later or baroque old style type (17th Century) generally has more contrast, with a somewhat variable axis, and more slope of italic. The most common examples are the types of Caslon and Garamond.
Palatino: The designer
German typeface designer Hermann Zapf, who also created Optima, designed Palatino. It was initially released in 1948 by the Linotype foundry. is a German typeface designer who lives in Darmstadt, Germany. He is married to calligrapher and typeface designer Gudrun Zapf von Hesse. He was born in Nuremberg, into turbulent times, marked by the German Revolution in Munich and Berlin, the end of World War I, the exile of Kaiser Wilhelm, and the establishment of Bavaria as a free state by Kurt Eisner. In addition, the Spanish Flu Pandemic took hold of Europe in 1918 and 1919 and killed two of Zapf's siblings. Famine later struck Germany, and Zapf's mother was grateful to send him to school in 1925, where he received daily meals in a program organized by Herbert Hoover. In school, Zapf was mainly interested in technical subjects.
Zapf was not able to attend the Ohm Technical Institute in Nuremberg, due to the new political regime. Therefore, he needed to find an apprenticeship. His teachers, aware of the new political difficulties, noticed Zapf's skill in drawing and suggested that he become a lithographer. Each company that interviewed him for an apprenticeship would ask him political questions, and every time he was interviewed, he was complimented on his work but was rejected. Ten months later, in 1934, he was interviewed by the last company in the telephone directory, and the company did not ask any political questions. They also complimented Zapf's work, but did not do lithography and did not need an apprentice lithographer. However, they allowed him to become a retoucher, and Zapf began his four-year apprenticeship in February 1934.
In 1935, Zapf attended an exhibition in Nuremberg in honor of the late typographer Rudolf Koch. This exhibition gave him his first interest in lettering. Zapf bought two books there, using them to teach himself calligraphy. He also studied examples of calligraphy in the Nuremberg city library. Soon, his master noticed his expertise in calligraphy, and Zapf's work shifted to lettering retouching and improvement of his colleagues' retouching work.
Zapf designed types for various stages of printing technology, including hot metal composition, phototypesetting (also called "cold type"), and finally digital typography for use in desktop publishing. His two most famous typefaces, Palatino and Optima, were designed in 1948 and 1952, respectively. Palatino was designed in conjunction with August Rosenberger, with careful attention to detail. It was named after 16th century Italian writing master Giambattista Palatino. Optima, a flared sans-serif, was released by Stempel in 1958. Zapf disliked its name, which was invented by the marketers at Stempel.
Zapf’s work has been widely copied, often against his will. The best known example may be Monotype's Book Antiqua, which shipped with Microsoft Office and was widely considered a "knockoff" of Palatino. In 1993, Zapf resigned from ATypI (Association Typographique Internationale) over what he viewed as its hypocritical attitude toward unauthorized copying by prominent ATypI members.
Zapf also designed Aldus, which appeared in the D. Stempel AG catalog in 1954. Both Aldus and Palatino were Zapf’s new form of old style typefaces inspired by the Renaissance. Originally intended as the book or text weight for Zapf's Palatino font family, it was instead released as a separate family.
Other types by this designer:
AMS Euler
Aurelia
Edison
Hunt Roman
Kompakt
Marconi
Medici Script
Melior
Mechelangelo
Noris Script
Optima
Orion
Saphir
Sistina
URW Antiqua
URW Grotesk
Vario
Venture
Zaft Essentials
Zaft Renaissance Antiqua
Zapfino
Zapfino Extra
Bibliography
Bringhurst, Robert (2005). The Elements of Typographic Style. H&M Publishers. p. 223.
"History of Typography: Old Style." I Love Typography. 21 Nov. 2007. Web. 04 Oct. 2010.
"Identifont - Hermann Zapf." Identifont. David Johnson-Davies, 2009. Web. 04 Oct. 2010..
"Typedia: Palatino." Typedia: A Shared Encyclopedia of Typefaces. Discovery Media, 2010. Web. 04 Oct. 2010.
Zapf, Hermann. Alphabet Stories: a Chronicle of Technical Developments. 2nd ed. Rochester, NY: RIT Cary Art Graphics, 2007. Print.
The Renaissance was a cultural movement that spanned roughly the 14th to the 17th century, beginning in Florence in the Late Middle Ages and later spreading to the rest of Europe. The term is also used more loosely to refer to the historic era, but since the changes of the Renaissance were not uniform across Europe, this is a general use of the term. As a cultural movement, it encompassed a resurgence of learning based on classical sources, the development of linear perspective in painting, and gradual but widespread educational reform. Traditionally, this intellectual transformation has resulted in the Renaissance being viewed as a bridge between the Middle Ages and the Modern era. Although the Renaissance saw revolutions in many intellectual pursuits, as well as social and political upheaval, it is perhaps best known for its artistic developments and the contributions of such polymaths as Leonardo da Vinci and Michelangelo, who inspired the term "Renaissance man."
The paintings of the Italian Renaissance differed from those of the Northern Renaissance. Italian Renaissance artists were among the first to paint secular scenes, breaking away from the purely religious art of medieval painters. At first, Northern Renaissance artists remained focused on religious subjects, such as the contemporary religious upheaval portrayed by Albrecht Dürer. Later on, the works of Pieter Bruegel influenced artists to paint scenes of daily life rather than religious or classical themes. It was also during the northern Renaissance that Flemish brothers Hubert and Jan van Eyck perfected the oil painting technique, which enabled artists to produce strong colors on a hard surface that could survive for centuries.
Medieval and Renaissance issues of design and typography have influenced many modern time typographers and book designers. They trace back to the characteristics and styles that represented the Renaissance and Medieval time period. The Renaissance* was typified by an obsession with things "classical,"* in the Greco-Roman* sense, which had major implications for typography. The neo-classical letterforms were somewhat more condensed than the Carolingian shapes, but much rounder and more expanded than the blackletter.
Named after 16th century Italian master of calligraphy Giambattista Palatino, Palatino is based on the humanist fonts of the Italian Renaissance, which mirror the letters formed by a broad nib pen; this gives a calligraphic grace. But where the Renaissance faces tend to use smaller letters with longer vertical lines (ascenders and descenders) with lighter strokes, Palatino has larger proportions, and is considered to be a much easier to read typeface. This font was released in Germany in nineteen-fifteen and was distributed by Linotype.
It remains one of the most widely-used (and copied) text typefaces, has been adapted to virtually every type of technology, and is one of the ten most used serif typefaces.
Palatino Linotype : In 1999, Zapf revised Palatino for Linotype and Microsoft, called Palatino Linotype. This is a version of the Palatino family that incorporates extended Latin, Greek, Cyrillic characters, as well as currency signs, subscripts and superscripts, and fractions. The family includes roman and italic in text and bold weights. It is one of the few fonts to incorporate an interrobang.
Under the collaboration of Zapf and Akira Kobayashi, the Palatino typeface family was expanded. Linotype released the Palatino nova, Palatino Sans, and Palatino Sans Informal families, expanding the Palatino typeface families to include humanist sans-serif typefaces. Palatino nova was released in 2005, while the others were released in 2006. Palatino nova is a redesigned version of this type, created by Hermann Zapf and Akira Kobayashi. This Palatino nova typeface family includes roman and italics in the light, text, medium, and bold weights, a titling face formerly called Michelangelo Titling, and a large and small capital face called Palatino nova Imperial formerly called Sistina.
The Palatino font is considered to be a member of the Old Style, also referred to the Gerald, classification of typefaces. Old style type is a style of font developed by Renaissance typographers to replace the Blackletter style of type and is generally considered "warm" or friendly, thanks to its origins in Renaissance humanism, though it was also influenced in part by Roman inscriptions. Other fonts that fall under this same classification are Bembo, Caslon, Garamond, and Jenson. Each of these meets the same criteria and were all heavily inspired by handwriting, especially of the Renaissance era.
Old style types, although they owe much to the same roots as the typical Humanistic typefaces, show a marked departure from simply mimicking the handwriting of earlier Italian scholars and scribes. It’s from this period, that we can really see type getting into gear. It’s certainly one of the most exciting periods in type history. The Old Style (or Gerald) types start to demonstrate a greater refinement—to a large extent augmented by the steadily improving skills of punchcutters.
The main characteristics of old style typefaces are low contrast with diagonal stress, and cove or "bracketed" serifs (serifs with a rounded join to the stem of the letter). The roman typefaces of the fifteenth and sixteenth centuries emulated classical calligraphy. Sabon was designed by Jan Tschichold in 1966, based on the sixteenth-century typefaces of Claude Garamond. Fonts that fall under this classification have a contrast between the thick and thin strokes that is more pronounced, a shorter “x-height,” and serifs that are described as “sturdy without being heavy.”
Italics at this point were still independent designs, and were generally used completely separately; a whole book could be set in italics. Probably the most famous italic of the period is Arrighi's (1524), which may be seen today as the italic form of Centaur. Likewise, the italic form of Bembo is based on the italic of Tagliente (also 1524). Later or baroque old style type (17th Century) generally has more contrast, with a somewhat variable axis, and more slope of italic. The most common examples are the types of Caslon and Garamond.
Palatino: The designer
German typeface designer Hermann Zapf, who also created Optima, designed Palatino. It was initially released in 1948 by the Linotype foundry. is a German typeface designer who lives in Darmstadt, Germany. He is married to calligrapher and typeface designer Gudrun Zapf von Hesse. He was born in Nuremberg, into turbulent times, marked by the German Revolution in Munich and Berlin, the end of World War I, the exile of Kaiser Wilhelm, and the establishment of Bavaria as a free state by Kurt Eisner. In addition, the Spanish Flu Pandemic took hold of Europe in 1918 and 1919 and killed two of Zapf's siblings. Famine later struck Germany, and Zapf's mother was grateful to send him to school in 1925, where he received daily meals in a program organized by Herbert Hoover. In school, Zapf was mainly interested in technical subjects.
Zapf was not able to attend the Ohm Technical Institute in Nuremberg, due to the new political regime. Therefore, he needed to find an apprenticeship. His teachers, aware of the new political difficulties, noticed Zapf's skill in drawing and suggested that he become a lithographer. Each company that interviewed him for an apprenticeship would ask him political questions, and every time he was interviewed, he was complimented on his work but was rejected. Ten months later, in 1934, he was interviewed by the last company in the telephone directory, and the company did not ask any political questions. They also complimented Zapf's work, but did not do lithography and did not need an apprentice lithographer. However, they allowed him to become a retoucher, and Zapf began his four-year apprenticeship in February 1934.
In 1935, Zapf attended an exhibition in Nuremberg in honor of the late typographer Rudolf Koch. This exhibition gave him his first interest in lettering. Zapf bought two books there, using them to teach himself calligraphy. He also studied examples of calligraphy in the Nuremberg city library. Soon, his master noticed his expertise in calligraphy, and Zapf's work shifted to lettering retouching and improvement of his colleagues' retouching work.
Zapf designed types for various stages of printing technology, including hot metal composition, phototypesetting (also called "cold type"), and finally digital typography for use in desktop publishing. His two most famous typefaces, Palatino and Optima, were designed in 1948 and 1952, respectively. Palatino was designed in conjunction with August Rosenberger, with careful attention to detail. It was named after 16th century Italian writing master Giambattista Palatino. Optima, a flared sans-serif, was released by Stempel in 1958. Zapf disliked its name, which was invented by the marketers at Stempel.
Zapf’s work has been widely copied, often against his will. The best known example may be Monotype's Book Antiqua, which shipped with Microsoft Office and was widely considered a "knockoff" of Palatino. In 1993, Zapf resigned from ATypI (Association Typographique Internationale) over what he viewed as its hypocritical attitude toward unauthorized copying by prominent ATypI members.
Zapf also designed Aldus, which appeared in the D. Stempel AG catalog in 1954. Both Aldus and Palatino were Zapf’s new form of old style typefaces inspired by the Renaissance. Originally intended as the book or text weight for Zapf's Palatino font family, it was instead released as a separate family.
Other types by this designer:
AMS Euler
Aurelia
Edison
Hunt Roman
Kompakt
Marconi
Medici Script
Melior
Mechelangelo
Noris Script
Optima
Orion
Saphir
Sistina
URW Antiqua
URW Grotesk
Vario
Venture
Zaft Essentials
Zaft Renaissance Antiqua
Zapfino
Zapfino Extra
Bibliography
Bringhurst, Robert (2005). The Elements of Typographic Style. H&M Publishers. p. 223.
"History of Typography: Old Style." I Love Typography. 21 Nov. 2007. Web. 04 Oct. 2010.
"Identifont - Hermann Zapf." Identifont. David Johnson-Davies, 2009. Web. 04 Oct. 2010.
"Typedia: Palatino." Typedia: A Shared Encyclopedia of Typefaces. Discovery Media, 2010. Web. 04 Oct. 2010.
Zapf, Hermann. Alphabet Stories: a Chronicle of Technical Developments. 2nd ed. Rochester, NY: RIT Cary Art Graphics, 2007. Print.
Sunday, October 10, 2010
Wednesday, September 29, 2010
Monday, September 27, 2010
Wednesday, September 8, 2010
Frutiger
From what I’ve come to learn through articles about Adrian Frutiger, it is safe to say that he has been one of the most influential type-designers of the twentieth and twenty-first centuries. Beginning his work at only the age of sixteen as a student Switzerland, this designer’s ideas were far ahead of his time. Frutiger valued the beauty in simplicity and believed that only the most legible typefaces would be the most successful. He was right. Being a designer from the 1920’s, he predicted the rapid technological evolution and designed fonts that could be applicable to future inventions. A select number of the typefaces Frutiger created are still existent and commonly used in this modern world, such as Univers and Frutiger. It is from these type designs that the artist achieved his status as a great type designer. Throughout his career, Frutiger wrote a series of books while developing designs, each regarding type. These books are often referenced and are still viewed as important influential resources for designers today.
Since the late 1990’s Frutiger has been working collaboratively with Linotype designers on expanding and refining the font families of some of his most popular typefaces. He is constantly developing his work in order to keep it up to date with modern times. In conclusion, Adrian Frutiger’s career has spaned for over sixty years and has drastically impacted the field of design.
Tuesday, August 24, 2010
Type Answers
1. Grid: a network of vertical and horizontal lines that helps organize information.
2. Clarity, efficiency, economy, and continuity: all are benefits of the grid. Designers use grids because they represent an inherent part of the craft of designing. The grid is suited to helping solve communication problems of great complexity and allows the designer to lay out and organize an enormous amount of information. A final benefit of working with the grid is the possibility of collaboration without compromising established visual qualitites from one project to the next.
3. Modular Grid: a grid that divides each area into an individual unit of space contains individual units of space and is comprised of a series of columns and rows.
4. Margins: negative spaces between the format edge and the content, which surround and define the areas where type and images will be arranged.
Columns: vertical alignments of type that create horizontal divisions between the margins.
Grid Modules: individual units of space separated by regular intervals that when repeated across the page, create columns and rows and form the total structure.
Flowlines: alignments that break the space into horizontal bands. They guide the eye across the format and can be used to impose additional stopping and starting points for content.
Gutter: The negative space between pages or columns of text or images.
5. Hierarchy, as applied in design, is defined as a given order that allows the viewer to enter the typographic space and navigate it. it is based on the level of importance the designer assigns to each part of the text.
6. Typographic color refers to the variance appearance of different texts and due to weight, size, and spacial organization. Scale change, for example, chances the typographic color of the elements, introducing light and dark. A single typeface in one weight will appear bolder if set at a larger size. Typographic color deals only with changes in lightness and darkness, or value, not hue. It also describes changes in rhythm and texture. For these reasons, it is strongly unique from chromatic color.
7. One way to differentiate separate text components is through spatial organization. Grouping related items together, or aligning them along an axis, establishes a sense of regularity to them. Designers often use scale change to indicate levels of importance; larger elements appear to advance in space, while smaller elements recede. Finally, typographic color plays an important role in creating hierarchy. Changes in weight, texture, value, and rhythm also signify differences implied by spacial separation. However, if all the elements appear significantly different from each other, then they will appear equally important and the sense of heirarchy is destroyed.
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