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Basics Typography 01: Virtual Typography by Matthias Hillner

By Matthias Hillner

"Basics Typography: digital Typography" addresses a essentially new kind of typographical communique. The publication explores the visible association of phrases and letters within the context of multimedia. right here, this association isn't easily a spatial positioning of textual content details it's also sure through time. The expanding use of relocating, digital kind might help to harmonise this time-based presentation of phrases on reveal. The booklet touches on paintings from numerous designers, together with Channel four and Pentagram layout. this may offer an outstanding advent to the most recent tools in typographical and visible verbal exchange.

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Additional resources for Basics Typography 01: Virtual Typography

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This cognitive stage is particularly interesting in the context of transitional information such as virtual typography. Where the time-span for perceiving information is very limited (due to the transitional nature of the information, for example), the viewer needs to set, and possibly reset, his or her focus of attention quickly. Classification Following the cognition of information, a process of classification takes place. Here the viewer separates typographic from graphic or photographic information.

3 Intelligibility Intelligibility is the degree to which words or sentences appear familiar and are comprehensible. Considering the fact that information does not necessarily consist of legible or intelligible signs, we may claim that Dadaist typography (as discussed on pages 18–21) was perfectly informational. Dadaist collages provided text information, often without explicitly communicating any message, yet the information was both recognisable (classifiable) as well as readable (decodable). However, it was often devoid of any syntax (orderly structure) so that the words and letters did not always convey any meaningful message.

4 Novelty value Designers usually try to achieve user satisfaction through clarity and ease of information access. But it is the challenge attached to navigating information landscapes that makes them exciting. Any new kind of text presentation asks for a new mode of perception. At first glance, an information landscape looks strange and obscure. The reader must re-orientate to extract the information; a fascinating process. If we are correct in assuming that virtual typography has a fundamentally new aesthetic quality, then we may expect to find it in the certain strangeness of its visual presentation, and this strangeness evolves from its time-based disposition.

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