CIP: Collection

Sensitivity in Typography/Type.

Massimo had quite an interesting statement. While his opinion on type is restricting, I feel that what he is saying isn’t entirely incorrect. I found that quite often when working with type, you have to be considerate of the spacing. Spacing letters or even having space around the word or sentence can affect the over all outcome, yes. However, there are other traits to the style of the type face, you must take for granted.

You can simply write out the word ‘Hello’ with Arial’s type face at a size of 12. Once you start to play around with the preferences, such as the italics or making it bold, you’ll start to see some sensitivity behind the ‘Hello’.
Of course, this is just my view on typography in general and in reflection to what I’ve learnt during this lesson, but after we were given our first task of looking in to layout designs with in a chosen book, I started to pick up various kinds of thoughts on how the headings are presented on a page, or how having a specific themed book or a book aimed at a certain audience can limit you in to how you need or have to present the type.

If your book is aimed at students, for example and the students are in Secondary school, you need to take in to consideration whether the text is going to be formal; if it’s going to be casual? What affect do you want to achieve from the text? Do you want your audience to take the contents of the book seriously? And these were just a few of the questions, that I thought while looking at the book ‘Illustration Next’.


My thought for that lesson:

Type/typography cannot function without considering type face; its style and the emotion conveyed behind the word (s) that is going to be formed in to typography. Without the consideration of emotion, layout, tracking, kerning, leading, positioning, size, colour, weight, hierarchy and scale, font faces and style; it allows the designer to work out what is working correctly or not. It’s simple craft man ship of a designer.

I composed with in a word document, a part of the line as a reflection to the text.


Taking in consideration of what was mention with in my thought, but i also tried to be playful with the placing and wording of the text. ‘Craft man’ could be taken as an actual ‘craftman’ when prnouncing it, but it could also be taken jokingly as if a hippie-like person were to say it ‘craft maaaan’. Either way, it depends on the eyes of the viewer and how they read this piece of writing.

I also quickly drew out a little illustration of a blacksmith crafting together the letter ‘F’.


after that, I thought it would be a good idea to try and reflect on Massimo’s view with in Word as well.


From the research task, I tried to look at film posters, as they are quite bold in the way that they try to capture the meaning or feeling behind the type.

An excellent example that works strongly is the ‘Why so serious’ film poster, which is from the film ‘Batman: The Dark Knight’.


The type exaggerating that visual, as if the words were written and smeared down with blood helps to convey this feeling of mystery, tension.

It’s also a reminder of the famous scene that fans remember the most from the film:

WARNING: It’s not safe for the fainthearted.


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