COMMON TYPOGRAPHIC

DISEASES
Various forms of dysfunction appear among
populations exposed to typography for long
periods of time. Listed here are a number of
frequently observed afflictions.

Typophilia
An excessive attachment to and fascination with the shape of letters often to the exclusion of
other interests and object choices. Typophiliacs usually die penniless and alone.
Typochondria
A persistant anxiety that one has selected the wrong typeface. This condition is often paired
with optical kerning disorder (OKD) the need to constantly adjust and readjust the space
between letters.
Typophobia
The irrational dislike of letterforms often marked by a preference for icons dingbats andin
real fatal casesbullets and daggers. The fears of the typophobe can often be quieted (but not
cured) by steady doses of Helvetica and Times Roman.
Typothermia
The promiscuous refusal to make a lifelong commitment to a single typefaceor even to
five or six as some doctors recommend. The typothermiac is constantly tempted to test
drive hot new fonts often without a proper license.
Typophilia Typochondria

An excessive attachment to and fascination with A persistant anxiety that one has selected the wrong
the shape of letters often to the exclusion of typeface. This condition is often paired with optical
other interests and object choices. Typophiliacs kerning disorder (OKD) the need to constantly
usually die penniless and alone. adjust and readjust the space between letters.

COMMON
TYPOGRAPHIC
DISEASES
V arious forms of dysfunction appear among populations exposed to typography for long periods of
time. Listed here are a number of frequently observed afflictions.

Typophobia Typothermia

The irrational dislike of letterforms often marked
by a preference for icons dingbats andin real
fatal casesbullets and daggers. The fears of the
typophobe can often be quieted (but not cured)
by steady doses of Helvetica and Times Roman.
The promiscuous refusal to make a lifelong com-
mitment to a single typefaceor even to five or
six as some doctors recommend. The typother-
miac is constantly tempted to test drive hot new
fonts often without a proper license.
Common
Typographic
Diseases
Typophilia
An excessive attachment to and fascina-
tion with the shape of letters often to the
exclusion of other interests and object
choices. Typophiliacs usually die penni-
less and alone.
Typophobia
The irrational dislike of letterforms often
marked by a preference for icons ding-
bats andin real fatal casesbullets and
daggers. The fears of the typophobe can
often be quieted (but not cured) by steady
doses of Helvetica and Times Roman.
Various forms of dysfunction
appear among populations ex-
posed to typography for long
periods of time. Listed here
are a number of frequently ob-
served afflictions.
Typochondria
A persistant anxiety that one has select-
ed the wrong typeface. This condition is
often paired with optical kerning disor-
der (OKD) the need to constantly adjust
and readjust the space between letters.
Typothermia
The promiscuous refusal to make a life-
long commitment to a single typefaceor
even to five or six as some doctors rec-
ommend. The typothermiac is constantly
tempted to test drive hot new fonts
often without a proper license.
Common
Typographic Diseases
Typophilia
An excessive attachment to and fascination with
the shape of letters often to the exclusion of other
interests and object choices. Typophiliacs usually die
penniless and alone.
Typophobia
The irrational dislike of letterforms often marked by a
preference for icons dingbats andin real fatal cas-
esbullets and daggers. The fears of the typophobe
can often be quieted (but not cured) by steady doses of
Helvetica and Times Roman.
Various forms of dysfunction appear among
populations exposed to typography for long
periods of time. Listed here are a number of
frequently observed afflictions.
Typochondria
A persistant anxiety that one has selected the wrong
typeface. This condition is often paired with optical
kerning disorder (OKD) the need to constantly adjust
and readjust the space between letters.
Typothermia
The promiscuous refusal to make a lifelong com-
mitment to a single typefaceor even to five or six
as some doctors recommend. The typothermiac is
constantly tempted to test drive hot new fonts often
without a proper license.
Graphic Design
Introduction
Design may be considered as an instrument of organization. It must
perform in response to human needs. Design is an urgent requirement,
not a cosmetic addition. Graphic design can save time by presenting
information more clearly. It enhances communication, it helps people to

Basic Concepts
understand a given message and accelerates learning. Design is finding the
best solution to a problem within the limitations of the problem. Graphic
designers communicate and express themselves in four distinct ways. They
need to have a working knowledge of typography, illustration, photography/
video, and symbolism.

and Principles
To design is much more than simply to assemble, to order, or even to edit; it is to
add value and meaning, to illuminate, to simplify, to clarify, to modify, to dignify, to
dramatize, to persuade, and perhaps even to amuse. To design is to transform prose into
poetry. Design broadens perception, magnifies experience, and enhances vision. Design
is the product of feeling and awareness, of ideas that originate in the mind of the designer
and culminate, one hopes, in the mind of the spectator. --Paul Rand

The Each design problem has unique

differences and an infinite number of Spacing Letters and words need to be spaced
in a logical, consistent manner to
Graphic possible visual solutions. The process to
generate alternate visual solutions to a
appear optically correct, and achieve
optimum readability.
Design problem can be described as follows:
In letter-spacing there are three
Process Definition of needs --> criteria and
limits of the design problem (problem
standards.
1) Minimum space is used between
identification) --> Production of many cursive (oo) letters, or between inclined
preliminary sketches (thumbnails) --> (xy) letters.
Refinement of selected sketches (roughs) 2) Medium space is used between vertical
--> Analysis of roughs --> Selection/ and cursive letters (lo).
decision --> Implementation (and 3) Between vertical letters (ll) maximum
preparation for print). space is used.

After problem identification, the Good word-spacing is achieved by

process follows a cyclic pattern from making all space intervals between words
preliminaries through refinement, "look" the same. Words must not appear
analysis, and selection to implementation. to run together or be spaced so widely
The process grows by constantly as to appear to be separate units. One
checking backwards. In the design system is to imagine a lower case "n"
process, the establishment of priorities between words. This gives a moderate
is essential. Designers must be able to word-spacing.
judge and gauge the relative importance
of factors as they relate to one another.
Priorities set the functional and visual
Typography Typography is designing with type, not
the designing of type. It involves:
1) choosing and using type.
criteria in communications.
2) the application of design principles to
the setting of type: the arrangement, style,
Perception Visual perception involves a complex
interplay of both inborn and learned and general appearance of matter printed
with type.
and responses to visual stimuli. The Gestalt
laws of perception summarize tendencies
Composition that appear to be innate or inherent Layout Composition with Type and Images
Layout involves the following set of
in our biological heritage and which
interrelated basic design principles:
undoubtedly serve as the basis for our
concept of composition in visual art. Balance
Balance is created by moving around
Figure-Ground
"optical weights", big and small items,
Tendency toward figure-ground: There
dark and light items, varieties of shapes.
is a tendency to interpret visual data as
objects against a background, or more Proportion
precisely, figures against a ground. Good proportion is achieved by deciding
on space between image and type,
Similarity
between type and the edge of the paper,
Similarity facilitates grouping: Objects
between columns of type, between type-
which resemble one another tend to be
size, line- length and leading, between
seen as belonging together.
different visual elements, etc.
Proximity
Sequence
Proximity facilitates grouping: Objects
Sequence is created by directing the
placed close together tend to form a figure.
viewer, for example, through the use
Closure of lines, real or implied; by arranging
Tendency toward closure: Missing visual images in such a way that an edge or a
information is filled in by the brain. force from one flows into an adjoining
The eye closes the open parts of a figure one. One does not leave to chance the
because it wants to see a whole rather order in which the viewer perceives the
than a collection of unrelated parts. items in the layout.
Continuity Unity/Harmony
Tendency toward continuity: An Unity and harmony are achieved by
interrupted linear figure is similarly filled "fitting" all visual elements, type,
in by the brain. illustrations, and photos into the style/
mood of the layout.
Contrast
The Grid The grid is an underlying structure
organizing data. It articulates space Contrast is achieved through
according to a pattern of oppositions: differentiation in size, color, and shape.
vertical and horizontal, top and bottom, Giving the same graphic emphasis to
rectangular and diagonal, and left several elements will make them compete
and right. If used well it provides for attention.
perceptual organization, coherence and Symbolism
consistency. A well-conceived grid alone A symbol is a representation, verbal or
will not ensure effective design. It is an visual, of a concept, object, idea, etc., the
organizational tool, and must be used meaning of which is mutually agreed
creatively to maximize communications upon. In graphic design, the effective use
potential. Grids can help answer of symbolism, combining and relating
compositional questions such as balance, symbols, enhances the expression of
proportion, sequence, unity/harmony, ideas. It creates recognition, association
and contrast. and meaning.

Introduction
Design may be considered as an
instrument of organization. It must
perform in response to human needs.
Design is an urgent requirement,
not a cosmetic addition. Graphic
design can save time by presenting
information more clearly. It enhances
communication, it helps people to
understand a given message and
accelerates learning. Design is finding
the best solution to a problem within
the limitations of the problem. Graphic
designers communicate and express
themselves in four distinct ways. They
need to have a working knowledge of
typography, illustration, photography/
video, and symbolism.
Graphic Design Basic
Concepts and Principles
Spacing
Letters and words need to be spaced in
a logical, consistent manner to appear
optically correct, and achieve optimum
readability.
In letter-spacing there are three standards.
1) Minimum space is used between cursive
(oo) letters, or between inclined (xy) letters.
2) Medium space is used between vertical
and cursive letters (lo).
3) Between vertical letters (ll) maximum
space is used.
Good word-spacing is achieved by making
all space intervals between words "look"
the same. Words must not appear to run
together or be spaced so widely as to
appear to be separate units. One system
is to imagine a lower case "n" between
words. This gives a moderate word-spacing.
The Grid
The grid is an underlying structure
organizing data. It articulates space
according to a pattern of oppositions:
vertical and horizontal, top and
bottom, rectangular and diagonal, and
left and right. If used well it provides
perceptual organization, coherence and
consistency. A well-conceived grid alone
will not ensure effective design. It is an
organizational tool, and must be used
creatively to maximize communications
potential. Grids can help answer
compositional questions such as balance,
proportion, sequence, unity/harmony,
and contrast.
The Graphic Design Process
Each design problem has unique differences and
an infinite number of possible visual solutions. The
process to generate alternate visual solutions to a
problem can be described as follows:
Definition of needs --> criteria and limits of
the design problem (problem identification)
--> Production of many preliminary sketches
(thumbnails) --> Refinement of selected sketches
(roughs) --> Analysis of roughs --> Selection/decision
--> Implementation (and preparation for print).
After problem identification, the process
follows a cyclic pattern from preliminaries
through refinement, analysis, and selection to
implementation. The process grows by constantly
checking backwards. In the design process, the
establishment of priorities is essential. Designers
must be able to judge and gauge the relative
importance of factors as they relate to one
another. Priorities set the functional and visual
criteria in communications.
Typography
Typography is designing with type, not the
designing of type. It involves:
1) choosing and using type.
2) the application of design principles to the
setting of type: the arrangement, style, and
general appearance of matter printed with type.
Layout
Composition with Type and Images Layout involves the
following set of interrelated basic design principles:
Balance
Balance is created by moving around "optical
weights", big and small items, dark and light items,
varieties of shapes.
Proportion
Good proportion is achieved by deciding on space
between image and type, between type and the edge
of the paper, between columns of type, between type-
size, line- length and leading, between different visual
elements, etc.
Sequence
Sequence is created by directing the viewer, for
example, through the use of lines, real or implied; by
arranging images in such a way that an edge or a
force from one flows into an adjoining one. One does
not leave to chance the order in which the viewer
perceives the items in the layout.
Unity/Harmony
Unity and harmony are achieved by "fitting" all visual
elements, type, illustrations, and photos into the style/
mood of the layout.
Contrast
Contrast is achieved through differentiation in size,
color, and shape. Giving the same graphic emphasis to
several elements will make them compete for attention.
Symbolism
A symbol is a representation, verbal or visual, of a
concept, object, idea, etc., the meaning of which is
mutually agreed upon. In graphic design, the effective
use of symbolism, combining and relating symbols,
enhances the expression of ideas. It creates recognition,
association and meaning.
Perception and Composition
Visual perception involves a complex interplay
of both inborn and learned responses to
visual stimuli. The Gestalt laws of perception
summarize tendencies that appear to be innate
or inherent in our biological heritage and which
undoubtedly serve as the basis for our concept
of composition in visual art.
Figure-Ground
Tendency toward figure-ground: There is a
tendency to interpret visual data as objects
against a background, or more precisely, figures
against a ground.
Similarity
Similarity facilitates grouping: Objects which
resemble one another tend to be seen as
belonging together.
Proximity
Proximity facilitates grouping: Objects placed
close together tend to form a figure.
Closure
Tendency toward closure: Missing visual
information is filled in by the brain. The eye
closes the open parts of a figure because it
wants to see a whole rather than a collection of
unrelated parts.
Continuity
Tendency toward continuity: An interrupted
linear figure is similarly filled in by the brain.
"To design is much more than simply to
assemble, to order, or even to edit; it is
to add value and meaning, to illuminate,
to simplify, to clarify, to modify, to
dignify, to dramatize, to persuade,
and perhaps even to amuse. To design
is to transform prose into poetry.
Design broadens perception, magnifies
experience, and enhances vision. Design
is the product of feeling and awareness,
of ideas that originate in the mind of the
designer and culminate, one hopes, in
the mind of the spectator."
--Paul Rand