MIL

DEFINITION, CHARACTERISTICS, FORMATS, AND TYPES, SOURCES,

ADVANTAGES, LIMITATIONS AND VALUES TEXT AS VISUAL
● Type, Typeface and Typography
a. Type (text) - used for letterforms—alphabet, numbers, and punctuations
b. Typeface (design of the font) - the design of all the characters referenced above
c. Typography - designing with type
● Type Classification
a. Humanist (ex. Centaur) - developed to mirror the hand-drawn latin letterforms
of intellectuals and scribes of the time
b. Old Style (ex. Goudy Old Style) - based on roman proportions
c. Transitional (ex. Times New Roman) - designed to function as large bodies of
continuous book-scale text, and large-scale display settings
d. Modern (ex. Modern No. 29) - used for large-scale titling and display purposes
e. Slab Serif (ex. Bookman Old Style) - they are one of the fonts that can work for
dark backgrounds if the color is white or light
f. Sans Serif Grotesque (ex. Franklin Gothic) - used in signwriting and architectural
lettering
g. Sans Serif Neo-Grotesque (ex. Arial) - can work in both small and large displays
h. Sans Serif Geometric (ex. Montserrat) - developed to reflect the simplicity of
pure geometric form and are void of any historical reference and past tradition
i. Sans Serif Humanist (ex. Calibri) - compatible with classic Serif typefaces
j. Glyphic (ex. Trajan) - majority of these do not offer lowercase forms
k. Script (ex. Calligraphy) - appears to be handwritten rather than sculpted or drawn
l. Decorative (ex. Algerian) - limited use at larger display rather than for text setting
m. Blackletter (ex. Goudy Text) - it is used to communicate religious or political contexts,
as well as to communicate a sense of the past
● Text as Visual
1. Display Type - illustrate meaning by choice of font, type, size, and weight
2. Symbolisation - type can stand in for objects
3. Form Matching Content - position and forms in type arrangement must
reflect meaning and, as always, try to avoid cliches

SELECTION CRITERIA: DESIGN PRINCIPLES, AND ELEMENTS

● Alignment
a. Left-justified - avoid extremely long words that create an excessively
ragged right-hand margin
b. Right-justified - rarely used for lengthy text setting since it creates reduced
readability and difficulty for the reader in identifying the beginning of each line
c. Centered - effective when used on a minimal number of text lines that occur on
a single page
● Readability and Legibility
a. Readability
 - longer line lengths create eye strain; shorter line lengths wastes text settings
- continuous all caps are difficult to read so use lowercase
b.Legibility
- most legible typefaces are ‘Garamond’, ‘Baskerville’ and ‘Bodoni’ because they
posses simplicity, proportion, and contrast
- readers focus on words and not on the typeface so follow the “form follows
functions”
● Emphasis and Hierarchy
a. Contrast
- use different size, weight, width, and
color b. Italic
- when used with continuous text, it allows reader to immediately understand
with the emphasize idea
c. Position
- different types of information such as headers, footers, captions, footnotes,
and page number rely on position to send the message of what they are
d. Size
- title, subtitle, introductory paragraph, or pull-quote can be set in a larger size to
create emphasis
e. White Space
- providing sample white space reinforces the ease and accessibility of any text
setting
f. Visual Cues
- use indents, line spacing, type style, and variations in weight, size, and color
● Selection Criteria
a. By Context
- history
- application
- forms and anatomy
- client’s taste
- understand the content
- audience’s taste
● For Visual Harmony
- use text types
- display types
- readability and legibility
- cap height and X-height
- contrast
- size
- pairing typefaces

PRINCIPLES OF GRAPHIC DESIGN

● Alignment
- the act of keeping design objects in line
● Balance
- a concept based on human perception and the complex nature of the
human senses of weight and proportion
● Types of Balance
a. Symmetrical Balance
- it is achieved by arranging elements on either side of the center of a composition
in an equally weighted manner
b. Asymmetrical Balance
- a design that looks balanced despite a lack of symmetry
● Contrast
- is to say “a small object next to a large object will look smaller”
● Emphasis
- placing elements on the page in positions where the eye is naturally drawn
● Movement
- it is creating an instability, making motion to blur the image
● Proportion
- it is the relationship of two or more elements in a design and how they compare
with one another
● Proximity
- closeness or distance of individual design elements
● Repetition
- repeating a sequence; having it occur more than a few times
● Rhythm
- a strong, regular, repeated pattern of movement
● Unity
- it creates a feeling of wholeness
● White Space
- areas of a design void of text or graphics

ELEMENTS OF DESIGN
● Visual Design Elements
- the building blocks or basic units in the construction of a visual image
1. Line - it can create a shape or outline
2. Shape - are enclosed objects that can be created by line or created by color
and value changes that define their edges
3. Value - the degree of light and dark in a design
4. Texture - it is the way of a surface feels or is perceived to feel
5. Color - it is determined by its hue (name of color), intensity (purity of the
hue), and the value (lightness or darkness of hue)
6. Form - a figure having volume and thickness