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Five minute guide to better typography

pierrickcalvez.com

81–90 of 133 posts

Re: Five minute guide to better typography

#81
post #36

Earlier quoted context omitted.

I agree that typography could be an exact science, but I think starting with mathematics would be the wrong choice. Rather, it would be better to devise perceptual experiments and back fit a mathematical model to the results. The excellent LAB color space was created this way. Scientists used experiments - for example the MacAdam ellipse to measure what colors are distinguishable - then backfit a model to that. It in…

Edwin Land also made tremendous contributions to color science through empirical measurements and finding the deeper "mathematical" models[1]. Besides his scientific achievements, he was a real renaissance man, a tour de force of human intellect. Unfortunately, Josef Albers's pseudoscience[2] and artistic non-sense get most of the credit[3] when it comes to color theory. [1] https://news.harvard.edu/gazette/story/201…

Credit for color science goes to the scientists, credit for artistic effects using color goes to the artists. There's plenty to go around.

Jan Koenderink's book on color measurement looks good.

Re: Five minute guide to better typography

#83
post #34

It's a quest of mine to understand this subject mathematically. I'm convinced that typography is an exact science, it's just easier to use intuition than find the formulae that govern it. Like catching a baseball versus understanding gravity and drag. For example, when aligning that header, they're moving the leftmost pixels into alignment with the body's leftmost pixels. The correct state is well-defined, it's just…

Frank Blokland is working in this direction. I don't think every aspect of typography is amenable to being reduced to a mathematical model, but some things are.

http://www.lettermodel.org

Re: Five minute guide to better typography

#84
post #81

Earlier quoted context omitted.

Edwin Land also made tremendous contributions to color science through empirical measurements and finding the deeper "mathematical" models[1]. Besides his scientific achievements, he was a real renaissance man, a tour de force of human intellect. Unfortunately, Josef Albers's pseudoscience[2] and artistic non-sense get most of the credit[3] when it comes to color theory. [1] https://news.harvard.edu/gazette/story/201…

Credit for color science goes to the scientists, credit for artistic effects using color goes to the artists. There's plenty to go around. Jan Koenderink's book on color measurement looks good.

The problem isn't that he used color to make interesting new art. I think he explored new areas of color which were not known before - and I applaud his artistic efforts.

However, Josef Albers went beyond his art to make false claims about color theory, how the human brain perceives color and made broad generalizations - based on anecdotal evidence and intuition. He went unchallenged for the most part. See the criticism linked in my original post.

I just checked the book "Color for the Sciences" that you had mentioned. I think I am going to purchase this one! Thanks.

Re: Five minute guide to better typography

#85
post #34

It's a quest of mine to understand this subject mathematically. I'm convinced that typography is an exact science, it's just easier to use intuition than find the formulae that govern it. Like catching a baseball versus understanding gravity and drag. For example, when aligning that header, they're moving the leftmost pixels into alignment with the body's leftmost pixels. The correct state is well-defined, it's just…

I am an artist of all sorts and have done a lot of design work but my foremost qualification on this subject is having been raised by a mother who was a sign painter and a bit of OCD.

You will not find reusable mathematical solutions. I really wish, but I was actually pleasantly surprised at how many of the tips in this article I can imagine being reusable. Concepts are as far as it goes. Typefaces are amazing how they are so engrained into our senses. They correlate below the visual interpretation. They are abstractions of sound. They may feel like geometry but they are far too sensitive. They will always be poetic, rife with the imperfections and emotional toils of aesthetics, and a weakness for contextual influences.

Re: Five minute guide to better typography

#86
post #67

Earlier quoted context omitted.

Colour codes are hexadecimal numbers, 000000 is basically zero, and is for black. FFFFFF is 16777215 and is white. The more the numerical value of the colour the lighter it is, the lower the darker (well, not exactly, but kind of).

Right, but to be pedantic, the OP's original statement was ambiguous. "more thant[sic] #333 on white"... You could interpret this many ways. A) You could interpret "#333 on white" to refer to the contrast ratio of "#333/#fff", which according to this calculator [1] is 12.6. In this case "more" is referring to a higher contrast ratio. "#000 on #fff" would fit - even though "#000" is less than "#333" - because the cont…

I'm the OP, and yes, I should've worded that out better.

Re: Five minute guide to better typography

#87
post #34

It's a quest of mine to understand this subject mathematically. I'm convinced that typography is an exact science, it's just easier to use intuition than find the formulae that govern it. Like catching a baseball versus understanding gravity and drag. For example, when aligning that header, they're moving the leftmost pixels into alignment with the body's leftmost pixels. The correct state is well-defined, it's just…

As someone who does research in the sciences, my eye for typography (which in my humble opinion is well above average, at least for an amateur) is based completely on intuition. I'm sure you can study it scientifically, but to be honest a lot of it is like doing art -- you can train yourself to do it well, and sure there is some scientific aspect to it, but having a good eye and a good sense of style is all you'll really need. Of course, practice also helps.

I know what looks good and I design things that way. If you asked me to explain it and justify my choices, I could, and a lot of people are like "does that really matter?" or "wow, I didn't even notice" when I point out subtle details like leading, kerning, etc. Yes, you could pick up books that teach you about these topics in detail and learn the finer points of graphic design from there, but that won't give you imagination or the creativity necessarily. The spark just comes from absorption. Much like supervised machine learning, you do not learn any explicit formula for doing things, but rather you learn a model based on what you've seen, and you use it to rationalize how future things you make might be or might not be. I realize those sound very similar, but the difference is in that actual "learning process".

I personally think habit will take you further than scientific study in this area. It's an art. The more time you spend immersed in it, the better you'll get at finding what works and what doesn't. That's not to say that there aren't "rules", as in a science, but perhaps they are more flexible than you might imagine. :)

Re: Five minute guide to better typography

#88
post #34

It's a quest of mine to understand this subject mathematically. I'm convinced that typography is an exact science, it's just easier to use intuition than find the formulae that govern it. Like catching a baseball versus understanding gravity and drag. For example, when aligning that header, they're moving the leftmost pixels into alignment with the body's leftmost pixels. The correct state is well-defined, it's just…

Your example of catching a baseball is apt, but disproves your point.

From afar (where gravity and drag would dominate), it's been fairly conclusively shown that humans primarily rely on the so-called gaze heuristic to meet the ball at the appropriate point.[1] In the gaze heuristic, you continually adjust your position so that the ball stays at a fixed point relative to the horizon or some other reference point. If you keep doing this, you will meet the ball. Studies have shown that if you disrupt this process--such as by removing reference points or the ability for people to continually move so that their position, the ball, and the reference stay relatively fixed--people suck at catching the ball.

Now, we could argue that this heuristic itself has rules, and in studying the rules we can master them. But the salient point is that, especially in this case, the human is an active participant in the heuristic. Moreover, it works because it trades a nearly infinite number of variables (the heuristic still works even as winds change) for a few simple variables which are intrinsically dependent on context--specifically, context other than those things directly acting upon the ball. And the gaze heuristic isn't the only heuristic used to catch a ball, just the one that works best from afar. The brain simultaneously applies many heuristics, most of which we don't even understand, yet.

Ultimately there's irreducible complexity here and no optimal solution. There's a trade-off. And because our environment is constantly changing (e.g. display material, lighting, and the place and time people read evolve over the years) the trade-offs will change. To be sure there's science involved, but it will never be an _exact_ science in the sense of being able to create a perfect font or completely enumerate a set of typographical rules.

[1] I think I learned this from "Rationality for Mortals: How People Cope with Uncertainty" by Gerd Gigerenzer.

Re: Five minute guide to better typography

#90
post #34

It's a quest of mine to understand this subject mathematically. I'm convinced that typography is an exact science, it's just easier to use intuition than find the formulae that govern it. Like catching a baseball versus understanding gravity and drag. For example, when aligning that header, they're moving the leftmost pixels into alignment with the body's leftmost pixels. The correct state is well-defined, it's just…

> I'm convinced that typography is an exact science

Kerning and metrics are, for example, two parts of typography that lend themselves to formalization and automation. See for example the great results of Igino Marino's ikern: http://ikern.com/k1/ http://ikern.com/k1/collaboration/

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