The Depth of Words: Exploring Linear Perspective in Printed Typography

When letters are combined linearly, we see several different and functional variations of form unique to the print environment. This visual perspective of typographic form creates printed pages that explore the notion of the elements; linear application of typographic form to standard printed materials. The linear perspective of typographic elements, while undeniably obvious and realized insofar as we experience printed materials in three dimensions, creates a comprehensive experience for the viewer and an aesthetic beauty that can exist only on the printed page.Linear perspective has since become a basic tool to build, measure, and critique art. Without it, form and structure of art and design will lose not only the dynamic qualities of three dimensions but also a sense of reality.

The primary argument of this research process is that the discussion on modern Typography must initiate from an evaluation of linear perspective and the unexpected impact which this has on the beholder. This is to say that there will invariably be certain elements on the printed page that impact not just the comprehensive information and message of the viewer, but also the emotional experience made possible by its visual presentation. This discussion will apply the way of seeing the linear perspective to Typography, such as visual ray, circle of view, cone of vision, vanishing point, vertical lines, geometry, size, format, line of sight, depth, breadth, height, and relations of form, line, and viewer.

My interest in linear perspective began in Seoul, South Korea in 1993 drawing and sculpture courses, which were the first to introduce me to the vanishing point. I learned how to draw perspective and feel the sense of distance and three-dimensional quality of sculpture. I continued to practice perspective drawing during a BFA degree program. Even though my major was Graphic Design, I remained inspired by an ambition to draw, so I made Drawing my minor. In order to fulfill my interest in linear perspective, I reviewed many studies and examples of artwork related to perspective and tried to read all the books on perspective listed in school. During my MFA degree program, I acquired great knowledge of Graphic Design from SCAD, but linear perspective was not a part of that learning process. This absence would compel the focus of the present study, which applies linear perspective to the typography discipline. I believe that it is impossible to understand the typographic structure of an object in Graphic Design without being aware of the perspective and the elements of depth, length, height, distance and space which comprise the object in question. And these elements provide the dimensional quality that we claim to perceive. Linear perspective of typography allows readers and viewers to experience uniquely realistic and kinetically dynamic creations and qualities on print.

Linear Perspective
Typography in the book set linearly, but, the perspective of linear line of Typography will be changed by visual ray, circle of view, cone of vision, vanishing point, vertical lines, geometry, size, format, line of sight, depth, breadth, height, and relations of form, line, and viewer..

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.

This visual perspective of typographic form creates printed pages that explore the notion of the elements, linear application of typographic form to standard printed materials. Linear perspective of typographic elements, while undeniably obvious and realized in the print environment, creates an experience for the viewer and a beauty that can exist only on the printed pages.

Paper is usually rectangular, and contains invisible square grids. When designer die cut the paper, it might not be that square. But we assume that paper contains squares on a flat surface. Straight lines of typography on flat paper may sound boring and we may think all of printed linear typography on paper seems be just a group of straight lines. But when you turn the pages, and your point of sight is on the end of paragraph on the page, you are accidentally focused. Those lines are not simple lines at all. Printed papers are not strong enough to hold their flat surface still. They are always in a state of bending, folding, and tearing. This is because paper is one of the more unreliable materials in terms of maintaining its initial shape and state. So when you turn on the pages, you can experience another curved line of perspective as you manipulate the medium which contains this instance of linear typography. So linear lines of typography on printed-paper can affect the viewer’s perception by their form, which may often occur to the viewer unexpectedly.

There are many ways to experience perspective of linear typography in print. With a fuller understanding of innovative ideas concerning vanishing points and vertical lines and other perspective elements of linear typography on print, this experience of perspective can be more interactive and dynamic for the viewer. With the viewer’s minimal knowledge of perspective and the experimental challenge of understanding perspective of linear typography, the form, structure and application of linear typography can create several exciting perspectives of type on the printed page. By creating more personal interactive readings and perspective views on the print, readers must understand the constancy of vertical lines and the implications of the vanishing point. Also, with a fuller understanding of the relative impact of depth, breadth, and height in perceiving objects, perceived objects and symbols will be much more dynamic and beautiful than before. So, in resolution, the research here contends that when letters are combined linearly we see several different and functional variations of form unique to the print environment. This visual perspective of typographic form creates printed pages that explore the notion of the elements, linear application and typographic form on standard printed materials. Linear perspective of typographic elements, while undeniably obvious and realized in the print environment, creates an experience for the viewer and a beauty that exists only on the printed page.