Faded Dream: Visually invisible qualities of typography

The graphic designer often disregards the visually invisible qualities of typography. When typography applied with the same level of design planning and conceptual consideration as other design elements, it has the power to evoke an emotional response from the viewer and become part of a specific design aesthetic applied to a specific culture or subculture. Graphic designer needs to see the visibly invisible conceptual meaning and connotations of typefaces. Because when applied appropriately, typography processes the same visual power of the image and chosen design aesthetic to speak directly to a specific culture.

“Type is the bridge between writer and reader, between thought and understanding. Type is message bearer: an art form that impinges upon every literate being and yet for most of its history it has conformed to the old adage that good typography should be invisible; it should not distract with its own personality. It was only at the end of the nineteenth century that designers slowly realized that they could say as much with their lettering as writers could with their words. Forms, of course, carries as much as meaning as content”. There are so many questions about type. Why do they heights of letter vary between typefaces? Who makes typefaces? Don’t they all look the same?

Letterforms and typographic elements contain hidden conceptual meanings and strong emotive qualities. These meanings are often “visually” invisible, but still evoke and emotive response from the viewer. The graphic designer often disregards the visually invisible qualities of typography. When applied with the same level of design planning and conceptual consideration as other design elements, typography has the power to evoke an emotional response from the viewer and become part of a specific design aesthetic applied to a specific culture or subculture.

I want to discuss serous issues in graphic design field nowadays, which is conceptual power of typography often disregards by graphic designer. The purpose of the discussion is to insist on “graphic designer should apply typography with the same level of design planning and conceptual consideration as other design elements because typography has the power to evoke an emotional response from the viewer and become part of a specific design aesthetic applied to a specific culture or subculture.” To support that statement, three strong main points will be discussed with examples, which are first, Typography has conceptual elements. Second, There are graphic designers who cannot see visually invisible quality of typography. Third, Appling typography as expressive art form makes the design more powerful.

Whatever we do: students of graphic design, educators, design writers, must become acculturated to looking beyond our own backyard to develop an enriched understanding of graphic design in its least material forms. However, we are facing heavy issue that became a purpose of the discussion; “graphic designer should apply typography with the same level of design planning and conceptual consideration as other design elements because typography has the power to evoke an emotional response from the viewer and become part of a specific design aesthetic applied to a specific culture or subculture.”

I have tried to write out in the most rudimentary fashion some notions that I hope will help to challenge some of our most cherished assumptions and aspirations about graphic design’s role in the world. My aim has not been to trample them in the dirt, but to suggest that the process of making them achievable must involve a more thoroughgoing interrogation of the kinds of values and ideals that can sometimes blind us to our own fallibility. The three objections I have raised are derived from a very particular source: Typography has conceptual elements, There are graphic designers who cannot see visually invisible quality of typography, and Appling typography as expressive art form makes the design more powerful.

Graphic designer needs to see the visibly invisible conceptual meaning and connotations of typefaces. Because when applied appropriately, typography processes the same visual power of the image and chosen design aesthetic to speak directly to a specific culture.