Chapter three is all about the syntax in typography. It begins with four basic things: the letter, the word, to line, and to column and margin. The letter is the simplest unit. It consists of a relationship between positive and negative space. It is an interaction with the surrounding white space or void, which is inherent in the totality of typographic expression. Form and counter-form relationships that exist in letters also exist in words. Words suggest a union f forming a cohesive whole. In words, equilibrium must be established, using proper spacing and inter-letter relationships. In lines, the configuration and placement of lines of type are significant structural concerns. This section discussed how lines of type can be arranged symmetrically or asymmetrically and the various ways it can be flushed or justified. When discussing columns and margins, the whole page must be considered as an interaction of spaces. Functional clarity and visual beauty are established in the harmonious relationships of these spaces. There are three specific variables related to columns to govern these relationships: the proportion of column to height and width, texture, and tone. Contrasts in column size, shape, texture, and tone are used to distinguish between different kinds of information and to provide visually luminescent pages. Difference in tonality is important to consider in design. Hierarchies leads the eye from on element to the next and finally to the white of the page. The scale and proportion of columns, intervals between columns, and margins and their relationships to one another must me carefully adjusted as determined by the kinds of information’s they support. Visual compensation is achieved by balancing elements against each other, adjusting their sized, wrights, spatial intervals, and other visual properties until unity and equilibrium are achieved. The structure of typographic space can be defined by alignments and form-to-void relationships that establish a composition’s underlying spatial order. Creating visual hierarchy involves balance and need for harmony. Elements have a relationship with characters in size, weight, tone, color, and texture.
Chapter four focuses on legibility. Legibility is an obligation to viewers and typographers and designers must communicate clearly and appropriately. Letterforms must be designed with clarity, each being distinct within the alphabet. Some timeless typefaces that exemplify legibility and functionality are Garamond, Baskerville, and Bodoni. The perception of letter is based upon the form/counter-form relationship, as established in Chapter 3. There is a controversy around the comparative legibility of serif and sans serif fonts. However, it is completely negligible. While individual letter as discrete units, affecting all other spatial and aesthetic considerations, are the basis for discussion of legibility, one reads and perceives words and groups of word and not just letters. There are two important factors in the reading process: word shape and internal pattern. When these internal spaces are altered, the clarity of a word may also be altered. Critical to spatial harmony and legibility is an understanding of the triadic relationship of type, size, line length and interline spacing. When used properly, these variables can improve the legibility of even poorly design letterforms or enhance the legibility of those forms considered highly legible. Three important variables are weight, character width, and italics. Weight can be used to an advantage by providing contrast and clarity between typographic page elements. The shape and size of the page or column can influence the selection of character width. And similar to other situations where type forms deviate from a reader’s expectations, italics impede reading to slow the reading process. New legibility issues have emerged when the digital revolution occurred in typography and design. With all the cool things designers and typographers can do on the computer, legibility and clarity should not be compromised.
