Showing posts with label rules. Show all posts
Showing posts with label rules. Show all posts

Tuesday, March 31, 2009

John Maeda's Laws of Simplicity

Typography II, Journal: March 31

John Maeda is a renowned graphic designer who currently holds the chair of The Rhode Island School of Design President. He has been a strong proponent of simplicity in design and is the author of The Laws of Simplicity, a summation of his thoughts on how and why to strip away the unnecessary parts of one’s design. Maeda has divided up this process, which he refers to as “thoughtful reduction,” into ten “laws” (I think the term “law” isn't really appropriate—I would call them “methods,” “steps,” or even simply “topics,” but I didn't write the book).

Law1_reduce(); Strip away functionality. Question the number of things the product needs to do or how much information the design needs to communicate.



Law2_organize(); “Organization makes a system of many appear few.” A simple grouping of like items can allow large groups of items to be dealt with (physically or mentally) at a time. As one commenter on Maeda's blog said, this concept could be expanded to include abstraction—which is more of a mental organizational tool and perhaps is inherent to the organization process—is no less useful to understand.


#Andrew Stribblehill December 16, 2006

If by organisation, we are talking about aggregation of related objects, I think abstraction is a similar, but potentially more powerful, concept.

I don’t need to worry about how my clean socks are organised, for example, because I know they’re in my sock drawer. Now I only need concern myself with the (less flexible) interactions between me and the sock drawer rather than with individual socks. (It also makes them easier to count, which I see as a hint that it’s a useful abstraction.)

Somewhat related to abstraction are metaphor, allegory and approximation. When applied helpfully, each allows us to work at a higher level by being able to ignore underlying complexity.


#Maeda December 16, 2006

Thanks Andrew, yes, “abstraction” is a good way to frame the entire space of simplicity. It represents the fact that you know where your socks are, thus you do not have to open each drawer to find them. Abstractions work best when they are tacitly understood. Seems kind of odd that abstractions have to be concrete … sort of an oxymoron to mull over on a lazy Saturday :-)





Law3_time(); “Savings in time feel like simplicity.” This rule is so simple it hardly warrants explanation. Suffice it to recant the old comedian's mantra "Brevity is the essence of wit."




Law4_learn(); This one isn't immediately obvious, but is in fact rudimentary: knowledge is power—the power to simplify. The example that Maeda uses is perfect, so I won't tamper with it:
Operating a screw is deceptively simple. Just mate the grooves atop the screw’s head to the appropriate tip—slotted or Phillips—of a screwdriver. What happens next is not as simple, as you may have noted while observing a child or a woefully sheltered adult turning the screwdriver in the wrong direction.

My children remember this rule through a mnemonic taught by my spouse, “righty tighty, lefty loosy.” Personally I use the analogy of a clock, and map the clockwise motion of the hands to the positive penetration curve of the screw. Both methods are subject to a second layer of knowledge: knowing right versus left, or knowing what direction the hands of a clock turn. Thus operating a screw is not as simple as it appears. And it’s such an apparently simple object!





Law5_differences(); Simplicity stands out when compared with complexity. A simple design will shine through a haze of complex competitors. A more intriguing question, which is not addressed in Maeda's blog post, is “how could one incorporate both complexity and simplicity into a design so that the simplicity is properly appreciated.”

Another interesting question, which was raised by a commenter, was whether complexity could shine through a haze of simplicity. The poster posited that it could not. “Complexity can’t eat simple, but the simple can eat complexity.” Intuitively, I think he's right, but it's worth some thought.




Law6_context(); “What lies in the periphery of simplicity is definitely not peripheral.” For whatever reason, that is all there is to this rule. No explanation whatsoever on the site. The comments, however, offer some interesting interpretations and ideas.




Law7_emotion(); “More emotions are better than [fewer].” Apparently the site only has descriptions for the first 5 laws (presumably to promote the sale of the book). One way to interpret this is simply to say that emotion is an engaging experience, and so designing products that your audience can connect with emotionally will, of course, have more impact.




Law8_trust(); “In simplicity we trust.” This seemingly vague and reletively useless rule is actually a meaningful explanation of why simplicity is effective. As one commenter put it, “Trust wants transparency. Transparency wants simplicity.” In other words, if a design is simple—if it doesn't seem like it is hiding anything—it seems more trustworthy and the user/audience will, in theory, be more inclined to interact with it and invest time in it.

But, there is a flipside to this in that complexity can draw people in. It is fascinating and deep. The application is of course paramount in deciding where the design should rest on this continuum, but very rarely, I think should one make something entirely simple or impenetrably complex.




Law9_failure(); “Some things can never be made simple.”




Law10_theOne(); “Simplicity is about subtracting the obvious, and adding the meaningful.” Maeda says that he meant this rule to be a summation of the previous laws. I think it's an elegant way of putting it.





As a closing note, it should be said that these are not only design concerns. The laws of simplicity can—and probably should—be applied to other areas of life.

Tuesday, March 24, 2009

SSSaFOHTW chapters

Typography II, Journal: March 10

Stop Stealing Sheep and Find Out How Type Works chapter summaries

1: Type is everywhere
Type is ubiquitous. It surrounds us, bombards us, whispers to us, encourages us, mocks us, startles us, or just prattles on and on, blithely unaware that we don't give a damn about what it has to say. Type is a method of conveying ideas, and it is one which is used extensively in our culture. Type design is important in facilitating clear, effective communication.

2: What is type
The methods of type creation and the styles and trends in type faces have changed drastically over time, but it is all fundamentally rooted in common ground.

3: Looking at type
In order to use type effectively, you must have an eye for it — you must train yourself to notice a font's shape and details.

4: Type with a purpose
Different type faces have different strengths and meanings, so choosing the right one becomes an important factor in design.

5: Type builds character
All typefaces have a tone that may or may not be appropriate for your project. Training yourself to become sensitive to the character of typefaces will help you make better decisions.

6: Types of type
There are some broad categories that typefaces fall into which can help identify them.

7: How it works
Spacing is also important. Be sure to utilize appropriate leading, tracking and kerning for a typeface. Also, it should be noted that different typefaces work best at different line lengths and sizes.

8: Putting it to work
Placement of type into logical, yet dynamic arrangements can hook the reader and keep him interested.

9: There is no bad type
Typefaces come into and fall out of favor. Fonts are almost never inherently good or bad. For every ugly font, there may very well be a situation in which it could be used quite effectively.

Monday, February 9, 2009

Type Heresey

Commandments | Perversions
I
Thou shalt not apply more than three typeface in a document.
Break the fetters imposed by the use of only three typefaces.

II
Thou shalt lay headlines large at the top of the page.
Let thine eyes be seduced by the hierarchy of type.

III
Thou shalt employ no other type size than 8pt to 10pt for body copy.
Do not forsake smaller or bigger sizes.

IV
Remember that a typeface that is not legible is not truly a typeface.
Be seduced into trying new and expressive typefaces.

V
Honour thy kerning, so that white space becomes visually equalized between characters.
Treat kerning and tracking with total irreverence.

VI
Thou shalt lay stress discreetly upon elements within text.
Entice the reader to sample the delights of your text.

VII
Thou shat not use only capitals when setting vast body copy.
Do not forgo the liberal use of capitals within your text.

VIII
Thou shalt always align letters and word on a baseline.
The Lord designed letterforms to stand side by side, but there is no harm in their being lured away from one another.

IX
Thou shalt use flush-left, ragged-right type alignment.
Yield to the temptation to align text in unusual ways.

X
Thou shalt not make lines too short or too long.
Lure the reader down unfamiliar paths.

Sunday, November 23, 2008

Typography Rules and Terms

-- Parts of the grid: what are the following:
- margin: The whitespace around the edges of a spread
- column: A vertical strip in a grid
- alley: A narrow space between columns used to keep adjacent objects separated
- module: A unit of rectangular space in a grid
- gutter: A space in down the middle of a spread where space is left for the spine/fold of the book or magazine.
- folio: A leaf, which consists of two pages (front or "recto," and the back or "verso")

-- What are the advantages of a multiple column grid.?
Gives needed flexibility for documents with a complex hierarchy.

-- Why is there only one space after a period? Because fonts have spaces that are not the same width as a character, so discerning a space between sentences is not an issue as it was when typewriters were used (typewriters are monospaced)

-- What is a character (in typography)? One letter, number or other symbol.

-- How many characters is optimal for a line length? words per line? ~70, ~15

-- Why is the baseline grid used in design? To create a sense of coherency and order. People like to see things line up.

-- What is a typographic river? A ribbon of white space in the middle of a paragraph that is improperly justified.

-- What is a clothesline or flow line or hangline? An imaginary guideline that multiple objects hang from and that extends across a spread and often throughout an entire magazine.

-- How can you incorporate white space into your designs?
Like this


















-- What is type color/texture? Text can be used as an aesthetic enhancement so that it appears to give the page texture when one views the entire page. It is important to think of your text boxes as fields of textural color as well as text.

-- What is x-height, how does it effect type color? The height of lowercase letters disregarding any ascenders.

-- Define Tracking. Extra space between (many) characters.

-- Define Kerning. Why do characters need to be kerned? What are the most common characters that need to be kerned (kerning pairs)? Usu. small adjustments in the spacing between two characters to make them appear equally spaced. Some character combinations appear unevenly spaced when next to each other, most commonly the capitals 'T,' 'Y,' 'V,' and 'W' (which have negative space underneath their extremities) and lowercase letters or capitals that slant the other way (such as 'A'). Some common "kerning pairs" have recommended kerning settings embedded into fonts and are applied automatically. Examples include AV, WA, Ro, etc. Periods after letters with overhanging right-side parts also present a kerning problem.

-- In justification or H&J terms what do the numbers: minimum, optimum, maximum mean? They are referring to word spacing and represent the range of options the spacing algorithm has (min/max) and the ideal word spacing that it should try to achieve as much as possible (optimum). Values are taken in a percentage of the regular space width.

-- What is the optimum space between words?

-- What are some ways to indicate a new paragraph. Are there any rules? First-line or hanging indent, space between paragraphs.

-- What are the rules associated with hyphenation? Avoid more than two consecutive lines being hyphenated, only hyphenate at a syllable break, avoid hyphenation in non-body text such as callouts.

-- What is a ligature? A character that combines multiple letterforms, such as an ampersand (E and T)

-- What does CMYK and RGB mean? Color spaces utilizing combinations of Cyan, Magenta, Yellow, and Black and Red, Green and Blue respectively. CMYK is an substractive color space and is used in print, RGB is additive and used in monitor and television displays. Using a CMYK space in a computer document will appear on screen as an approximation of what the picture or document will look like printed, though it is technically still displayed with red, green and blue light.

-- What does hanging punctuation mean? Moving the punctuation outside the bounding box so that the overall alignment appears more straight.

-- What is the difference between a foot mark and an apostrophe? What is the difference between an inch mark and a quote mark (smart quote)?
Apostrophes and quotes curve or slant toward the characters they surround, while foot/inch marks are vertical.

-- What is a hyphen, en dash and em dashes, what are the differences and when are they used? An em dash is a dash that is the full width of the character bounding box of the M in a font (or the point size, to put it another way), an en dash is half as wide (approximately the widh of an N), and a hyphen is 1/3 the width of an em dash.
En dashes are used to separate a parenthetical thought in mid text and always is surrounded by spaces. Some style guides recommend use of an em dash, either spaced or not, for this purpose. En dashes are also used in place of a hyphen when running together multiple-word or already hyphenated compound adjectives (such as in non-San Franciscan). Furthermore, the en dash is used to mean "through" in the context of denoting lengths of time and the like. (9:00--10:00)
Hyphens are used to hyphenate words.
Em dashes are often used to separate text, as mentioned earlier.


-- What is a widow and an orphan? A single word left on the last line of a paragraph / One or two words on a new page that are continued from a paragraph earlier in the document.