1. Deconstruction, weighting and E books galore!
Typography
Deconstruction, weighting and E books galore!

2. Aim of session: to understand what typography is, how it is used in design and how it can be applied to your project.

3. What is typography?
Typography is the means by which a written idea is given visual form.
This can affect readability and reaction; how the ‘reader’ feels toward it.
Your choice of typeface and how you make it work with your layout, grid, colour scheme, design theme and so on will make the difference; you want your work to be memorable, but for the correct reasons!

4. Type
Type size is the vertical size of the body of a typographical character including the space above and below its strokes.
Different type sizes are used within a design to indicate a hierarchy of importance as we tend to read larger type sizes first.
Legibility is a type characteristic that allows us to distinguish between letter forms through the physical traits inherent in a typeface; shape/counter size/stroke contrast/type weight

5. Anatomy
Typefaces and type families can be classified according to inherent characteristics. Many typefaces created in the last 500 years would have originally been cast in metal.
The digital age has increased typeface availability exponentially and has made it easier to create new or alter old typefaces.

6. Serif fonts have little strokes called serifs attached to the main part of the letter.
Because of their classic look, they're a good
choice for more traditional projects. They're also common in print publications.

7. Sans serif-Sans serif fonts don't have that extra stroke—hence the name, which is French for without serif.
This style is considered more clean and modern than serif fonts. Also, it tends to be easier to read on computer screens, including smartphones and tablets.

8. Hierarchy and scale
In order to guide the reader, then, headings are usually large, sub-headings are smaller, and body type is smaller still.
Size is not the only way to define hierarchy – it can also be achieved with colour, spacing and weight.
 Alternating the size of your copy, headlines, and graphics is a good way to direct your readers’ attention to the most important information.
It also helps readers differentiate between main sections and pull quotes/ tips

9. Scale can be both objective and subjective:
Objectively scale refers to literal dimensions of a physical object or the literal correlation between a representation and the thing it depicts. (i.e maps). Subjectively scale refers to the impression of an objects size.
Scale depends on context ; lettering can burst off the edges conveying a surprising sense of scale. Likewise a small isolated element can punctuate a surface, drawing importance from the large space surrounding it.

10. Spacing
Let­terspac­ing (also known as char­ac­ter spac­ing or track­ing) is the ad­just­ment of the hor­i­zon­tal white space be­tween the let­ters in a block of text. Un­like kern­ing, which af­ fects only des­ig­nated pairs of let­ters, let­ terspac­ing af­fects every pair.
Low­er­case let­ters don’t or­di­nar­ily need let­ terspac­ing. Nor do cap­i­tal let­ters when they ap­pear at the be­gin­ning of a word or sen­ tence, be­cause they’re de­signed to fit cor­ rectly next to low­er­case let­ters. But when you use cap­i­tal let­ters to­gether, that spac­ ing can look too tight.

11. Weight
Mono weight refers to a single width through out the letter; so your vertical and horizontal lines all have the same weight. Altering this will change the emphasis on the letter itself.
You can add weight simply by thickening all the lines of the letter or the width.

12. Weight
The weight on the one hand determines how bold the typeface looks, how heavy the strokes making up the characters are.
The traditional weights are Regular and Bold, with Light and Black being the outward extensions on the weight scale, and sometimes a Semibold in between.

15. Application:
In applying these ideas to ‘the story of me’ you need to consider how to use these rules and consider the audience and the medium:
E books are digital- ease of reading should be paramount.
Who are you aiming your story at and how can this be reflected in your typography? Always consider your audience.

16. To consider:
Fonts: The correct typography choice can either enhance or detract from your overall message. So take some focused time to think through the typography that you use.
A mixture of typography can help organise your design, and often ‘opposite’ text creates interest; but ensure it is correct for what you are trying to convey and what you wish to emphasise. Remember that adding weight and colour as well as altering one typeface can add depth and coherence to the design.
Colours: The colours that you choose for your e-book should adhere to your company's or your personal brands style guide or be reflective of the message you are trying to convey.
Page Layout: The last key component of a well-designed e-book is page layout. Make sure that you are making the content easy for your reader to consume. Use headers, sub-headers, bullet points, short paragraphs and font-weight variation for emphasis. This will enhance your readers’ overall experience and will effectively break up intimidatingly long content sections.

17. Task Create a word document titled “Typography ”
Introduction: Explain what typography is (its function). Find examples of serif, sans serif font and explain what these terms mean. Explain how hierarchy, scale, spacing and weight function.
Find an example of an e-book. What type of publication is it? What audience is it for? How is this reflected in the design and layout?
Take 3 pages:- The front cover and two in text pages
Dissect the layout using the terminology learnt today; discuss font, scale and hierarchy, weight and spacing.
Write an evaluation: remember to evaluate the task as a whole and how you can apply what you have learnt to your project.
REMEMBER: reference all images and quotations taken from other sources. Please format you work clearly and include the bibliography at the end of the task.