06:
Layout Design & Typography

The beauty and wonder of “white space” is another modernist myth that is under revision in the age of the user. Modern designers discovered that open space on a page can have as much physical presence as printed areas. In order to help readers make connections and comparisons as well as to find information quickly, a single surface packed with well- organized information is sometimes better than multiple pages with a lot of blank space. In typography as in urban life, density invites intimate exchange among people and ideas. In our much-fabled era of information overload, a person can still process only one message at a time. Given the fierce competition for their attention, users have a chance to shape the information economy by choosing what to look at. Designers can help them make satisfying choices. Typography is an interface to the alphabet. User theory tends to favor normative solutions over innovative ones, pushing design into the background. Readers usually ignore the typographic interface, gliding comfortably along literacy’s habitual groove. Sometimes, however, the interface should be allowed to fail. By making itself evident, typography can illuminate the construction and identity of a page, screen, place, or product.

In the 1980s and early 1990s, many experimental graphic designers embraced the idea of the readerly text. They used layers of text and interlocking grids to create works of design that engaged the reader in the making of meaning. In place of the classical model of typography as a crystal goblet for content, this alternative view assumes that content itself changes with each act of representation.

Typography becomes a mode of interpretation, and the designer and reader (and the designer-as-reader) competed with the traditional author for control of the text. Another model surfaced at the end of the 1990s, borrowed from human-computer interaction (HCI) studies and the fields of interface and usability design. The dominant subject of our age has become neither reader nor writer but user, a figure conceived as a bundle of needs and impairments—cognitive, physical, emotional. How texts are used becomes more important than what they mean. The interactive environment not only provides users with a degree of control and self-direction but also, more quietly and insidiously, it gathers data about its audiences. Text is a game to be played, as the user responds to signals from the system.

Now understanding the implications of a carefully design type interface, the system for design typefaces has also changed. There is a demand to first and foremost of design a legible form for the user (reader), where ideals like balance, weigh, geometry and symmetry have become more apparently and extensively used in the progress of creating a typeface. In addition, a well balanced typeface requires a added system of checking almost essentially like a factory after mass producing a large quantity of products, also require quality control. Adjusting the leading and kerning of each and ever alphabet is significant in how the typeface will function.