This week we’re talking about type design. What is it?
I’ll tell you what it isn’t. It’s not designing typefaces or fonts. That’s designing typography, the art of designing fonts. We can get into that at a later date.
No, we’re discussing type design, and that’s designing with type, the art of designing with typographical forms. Above are examples of type design.
Good designers know two things about type design—
1) they know that type forms, both letterforms and words, are shapes
2) they know that as shapes, these forms are parts, or pieces, of design
Some designers don’t regard type forms as shapes. But they are every bit as important in design—especially in type designs (such as logos)—as any other shape or color.
Non-designers would appreciate type forms as shapes merely by taking large type examples and flipping them upside down, looking at the curves, the proportions, and how one part flows into another.
Type has shapes. Elementary speaking, that’s what distinguishes one font family from another. Gill Sans looks entirely different from Myriad. Times Roman does not look at all like Bembo. Of course.
But up close, enlarged and examined closely, the type forms you look at are unique. As art, they are no longer “type”. They no longer have stems, ascenders and descenders, kerns or serifs. Looking at them as art, now they’re shapes. And as shapes, we can rotate them, reverse them, enlarge or reduce them and skew them. Place them where and how we want them to appear anew.
Does the design we assemble with these shapes have to spell something? No. The design can be abstract, without reference to anything else. It can stand alone as the art it is.
But of course it can spell something if the designer intends that. Like a logo or the title of a book.
Remember the thing I said in my “Tenets of Good Design, Part 1”? Design is intentional. Every example you see above is an intentional design. The designers worked the type forms well to achieve the effects they wanted to see on paper or on the computer screen. The placement, the proximity of the shapes, the way the shapes work together make these designs successful.
This is what I wish more designers would see when they do type designs.