MEDIA AND INFORMATION LITERACY QUARTER 4 LESSONS

LESSON 1.1 & 1.2: TEXT INFORMATION &
MEDIA
Definition, Characteristics, Format and Types,
Sources, Advantages, Limitations and Values
Text as Visual
TYPE, TYPEFACE & TYPOGRAPHY
TRANSITIONAL (Bell MT, Perpetua, Times New
Roman)
• Greatly influenced by improvements in
printing technology
• Designed to function as large bodies of
continuous book-scale text, and large-
scale display settings

- Type is the descriptive term used for

letterforms – alphabet, numbers, &
punctuation – that, when used together,
create words, sentences, and narrative
form.
- The term typeface refers to the design of MODERN (Modern No. 20)
all the characters referenced above, unified • used for large-scale titling and display
by common visual elements and purposes
• Not effective if sizing is small.
characteristics.
• Needs additional leading, kerning,
- Typography is designing with type.
generous margins, and ample white
space for enhanced readability.
TYPE CLASSIFICATION

HUMANIST (ex. Centaur)

• developed to mirror the hand-drawn
Latin letterforms of intellectuals and
scribes of the time.
• Limited in their practical applications.
SLAB SERIF (Bookman Old Style, Century,
Playbill, Rockwell)
• Designed for new large-scale display
needs instead of book-scale text
settings.
• They are one of the fonts that can work
for dark backgrounds if the color is
OLD STYLE (ex. Goudy Old Style, Minion Pro, white or light.
Palatino Linotype)
• Based on Roman proportions
• Limited in their practical applications.
MEDIA AND INFORMATION LITERACY QUARTER 4 LESSONS
SANS SERIF GROTESQUE
(Franklin Gothic, Letter Gothic,
Haettenschweiller) )
• Can work in both small and large
displays.
• Used for signwriting and architectural
lettering.
SANS SERIF NEO-GROTESQUE (Arial, Impact)
• Function more effectively in small text
compared to other Sans Serifs.
• Can work in both small and large
displays.
SANS SERIF GEOMETRIC
(Agency FB, Bauhaus 93, Berlin Sans FB, Century
Gothic, Montserrat, Tw Cen MT)
• Developed to reflect the simplicity of
pure geometric form and are void of
any historical reference and past
tradition.
• Suited for large-scale tilting and display
purposes
SANS SERIF HUMANIST (Calibri, Myriad,
Trebuchet, Gill Sans)
• Good for continuous texts but is
generally smaller than other Sans Serifs.
• Compatible with classic Serif typefaces.
GLYPHIC (Trajan, Charlemagne, Lithos)
• Based on Roman inscriptional lettering.
• Primarily used for titling and display
purposes.
• Majority of these do not offer
lowercase forms.
SCRIPT
(Vivaldi, Kuenstler Script, Edwardian Script,
Brush Script, French Script, Lucida Calligraphy,
Monotype Corsiva, Blackladder, Comic Sans,
Freestyle Script, Kristen, Lucida Handwriting,
Mistral, Papyrus, Pristina, Rage, Segoe Script,
Viner Hand)
• Appears to be handwritten rather than
sculpted or drawn.
• Decorative and for text-scale settings.
• They were traditionally used for tilting
and display purposes
DECORATIVE
(Broadway, Copperplate, Algerian, Cooper
Black, Curlz, Forte, Gabriola, Jokerman, Stencil)
• Limited use at larger display rather than
for text setting
Blackletter (Goudy Text, Bastard, )
• Used as display-style for contemporary
applications.
• It is used to communicate religious or
political contexts, as well as to
communicate a sense of the past.
MEDIA AND INFORMATION LITERACY QUARTER 4 LESSONS
TEXT AS VISUAL
DISPLAY TYPE
• Illustrate meaning by choice of font,
type, size and weight.
• Smaller type is meant of reading.
• Display type exploits the specific
characteristics of a given typeface.
SYMBOLISATION
• Type can stand in for objects.
• Objects that resemble images can
replace letters.
FORM MATCHING CONTENT
Positions and forms in type arrangement must
reflect meaning and, as always, try to avoid
clichés.
1. Verbs indicate action
2. Word repetition
3. Overlapping of characters
4. Distorting characters to break them up,
blur or roughen them.
5. Outlining or shadowing type.
6. Setting type along a curved path or
circle
LESSON 1.3 & 1.4: Text Information & Media
Selection Criteria
Design Principles and Elements
ALIGNMENT
Left-justified
• Readability is optimum and an even
visual texture and color is brought to
text settings
• Avoid extremely long words that create
an excessively ragged right-hand
margin.
Right-justified
• Rarely used for lengthy text settings
since it creates reduced readability and
difficulty for the reader in identifying
the beginning of each line.
• Effective in short text settings such as
with captions where a smaller dynamic
visual element to a oage composition
may be needed.
Centered
• Rarely used for setting of dense,
continuous text since it is difficult to
read due to the lack of a common
starting point.
• Effective when used on a minimal
number of text lines that occur on a
single page.
READABILITY AND LEGIBILITY
READABILITY
• Longer line lengths create eye strain;
shorter line lengths wastes text settings.
• A character of 60 to 72 characters per
line is recommended for optimum
readability.
• When line spacing is disproportionate
to type size and continuous text lines
appear separate, readability is
minimized; when line spacing is
reduced, words could overlap.
• Continuous all caps are difficult to read
so use lowercase
LEGIBILITY
MEDIA AND INFORMATION LITERACY QUARTER 4 LESSONS
• Most legible typefaces are Garamond,
Baskerville & Bodoni because they
possess simplicity, proportion and
contrast.
• Know the effectivity of a typeface
before using.
• Readers focus on words and not on the
typeface so follow the “form follows
function”.
EMPHASIS & HIERARCHY
CONTRAST
• Use different size, weight, width, and
color.
• Use multiple typefaces to imply visual
separation and emphasis to the reader.
• The inherent contrast between Serifs
and Sans Serifs is visually effective.
ITALIC
• When used with continuous text, it
allows reader to immediately
understand with the emphasize idea.
• It is also used to convey spoken word
and are traditionally use for quotations
or words in other languages.
POSITION
 Different types of information such as
headers, footers, captions, footnotes,
and page numbers rely on position to
send the message of what they are.
SIZE
• Title, Subtitle, Introductory Paragraph,
or pull-quote can be set in a larger size
to create emphasis.
• The reader’s eye will naturally got to
the largest sized type before proceeding
to other relatively smaller types.
WHITE SPACE
• Providing ample white space reinforces
the ease and accessibility of any text
setting.
• Adding vertical white space above or
below a heading
VISUAL CUES
• Use indents, line spacing, type style,
and variations in weight, size, and color.
• Indents are simple and effective way of
creating visual emphasis within any text
setting.
SELECTION CRITERIA
BY CONTEXT
• Accord the type to the design by
knowing its history. Is your design
modern or classic?
• Consider the application of the type. Is
it for print or digital? Is the design
consisting of many number?
• Forms and Anatomy of a font to make
the font legible.
• Accord to client’s taste
• Understand the content before
choosing the type.
• Base it on the audience’s taste.
FOR VISUAL HARMONY
• Use Text types for continuous texts like
in novels.
• Use Display Types for large displays like
billboards.
• Consider Readability and Legibility
• Consider Cap Height and X-height by
giving enough white space between
lines.
• Observe Contrast
• Use correct Size
• Pairing Typefaces involves 2 to three
fonts but never more than that.