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We looked inside some of the posts by dfpoliviayan-blog and here's what we found interesting.
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Response 07
I think Andy de Fiets’s letter was very interesting. I love the part where he found out what a poor man was doing and raised this situation to the level of how Typographic designer should wear. He disgusted by other colleagues’ trainers and American Appeal clothing which I totally agree. If a designer has low expectations to him/herself, then how would he/she expect others to have higher expectations too? If as a designer, one has less requirement to everything around him/her, then it might make clients think he also won’t go into details with his/her work. I once read that Thom Browne eats the same things and do the same exercise every day at the same time. Hence, I believe what makes a great designer is not just about skills, but also a great public figure to make people believe in him/her. After all, every design is the pursuit of beauty.
I won’t say I’m hundred percent with the article “Fellow readers: notes on multiplied languages.” First of all, it is true that someone could be mistaken from the author’s original ideas in a different way of understanding the content and its design. But from another point of view, this is also a creative process. Many great things were created by misunderstood or mistake like Coca Cola was meant to be a medicine for cold and fever. Yet, I would say not every content is fit for this, an operation manual, for example, still needs to be accurate. Other than that, like a novel, I would say there’s no point of taking all the funs from these mistakes.
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马尔智与他的梅伶兰姿/March and His Orchid Hand Patterns of Mei Publish: Shanghai Lexicographical Publishing House Editorial Illustrations: Jiayan He Editorial Design: Jiayan He Editor: Rongli Lv
Response 06
When we designed our own books, I found it’s difficult to think of many small details, especially for foreign designers. We usually go straight to the design, but ignore the details of paragraph indents and styles. I also found similar details in the design of Chinese books. The above is an example of a bilingual book design. I think this book is a good combination of East and West design features. The whole reading experience is very unified and it will not make me feel that I am reading two cultures.
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Response 05
After reading both articles, I feel that as the technology improving and evolving, the boundaries between designers and authors are very thin. As what Andrew Blauvelt mentioned the book Dear Lulu, in the printing business, authors are able to control and design what their books going to look like, what paper they want to use, and even self-print them on demand. I would say it is good for design to evolve into the next level. Andrew Blauvelt also stated on page 226 that “Partly as a reaction to the design limits of print-on-demand publishing, some designers are resorting to purchasing their own digital printing equipment, a circumstance that allows them to control the process to a greater extent.”
An author understands his fundamental and original idea the best, which makes the production process much more efficient. Also, it will give designers and author the freedom to work on their projects without the interfering of others. Just like Ellen Lupton said on page 65: “Designers may not be authors, but they do sell books …”. Which in the following case of David Pearson “has used rich colors and tactile printing techniques to transform the company’s classic blacklist into seductive new commodities” proved the point.
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Response 04
The Ludovico reading mentions that "short-form reading has been digitized, beginning with the early Web. But long-form reading really hasn't...Kindle was in fact designed to "project an aura of bookishness.”My experience of sharing or recommending an e-book to someone feels informal and lack of humanity. Although Kindle has taken the e-book reading experience to a new level, it will never replace the experience to read or share a real book.
The Ludovico reading also said, "There is one feature of paper books that no e-book can convey: their smell."Ironically, products like "The Times of New York Candle" or "Smell of Books spray cans" are designed to help e-book customers feel more comfortable with their new devices. I think it is very hard to say that electronic publishing will kill traditional publishing, especially when it comes to books. Different people have different relationships with books, "how people write, how people read, how books are sold, how people choose which books to buy."
And as we design our book project, I just realize that we are designing a physical book but on a digital interface. When you set up a book in InDesign, you will choose the typeface, create a book cover, etc. All the elements we built are originated from their physical forms. It’s interesting to think about how digital design mimics what we know the best.
"Detail in typography" book provides many detail examples of how to best design with types. (Letters, letterspacing, words, word spacing, lines, line spacing, columns.) I think it could be very useful to print out our design page and to see them on paper while we creating our book project. Sometimes, we need to trust our human retina than the Retina Display on your screen.
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Book design project
“MY LITTLE ROOM” Book design draft PDF
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Response 03
In "The Prints and the Pauper" reading, Keith Houston introduces the history of printing and stories of movable type between east and west. Johannes Gutenberg was known for inventing the mechanical movable type printing press. One thing I found interesting is that: According to the history, Bi Sheng invented movable type in China way ahead of Gutenberg, but why it did not take off as well as it did in Europe? During Song Dynasty, Bi Sheng created and used movable type as a system to print Buddhist scripture. Most of Chinese characters were in square shape and uniform size, so it was not hard to interchange for printing, but it is hard to have widespread success as Gutenberg did in Europe because Chinese is a language with over 45,000 different characters, and due to the complexity process of woodblock printing (cutting from wood), it usually took a day for typographer to cast a new character. Not only because of the complexity process prevent it success globally, but also because printing is also a kind of production, production must consider profit. Of course ancient Chinese see the advantages of movable type printing, but it is not a substitute for the woodblock printing at that time. They need to make great efforts to train workers to recognize more than ten thousands Chinese characters so that they can understand and arrange metal characters according to different radicals and strokes. In Western printing world, typographers only need to know the alphabet, punctuation etc, then they can work with printing technology which greatly improved work efficiency. This is why using movable printing methods in Chinese was far more difficult than the Western equivalent.
The "Typeface as Programme" article talked about the approaches to typefaces as software and Knuth’s early TeX and Metafont as an example of early Parametrized Digital Typesetting. I would say that it is a very tricky question when talking about typefaces. It’s not like any other artworks where their ornamental usages is bigger than their functionalities. Yet, a bad designed typeface could also be unpleasant to watch. People sense beauty from the correct usage of a font. For example, a newspaper will not use comical typefaces to write an article but you can see these fonts all over the Disneyland. Hence, I will say it is because of the beauty that followed by math in a logical order makes the typefaces beautiful, hence, efficient.
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Response 02
Through this week's readings, I think typography is alive, just like different languages that living on this planet. The choice of a typeface is one of the most important elements while we communicate with each other, it not only represents the subject of our writing but also represents who we are and where we from. I also learned different typography history through the readings, Blackletter Fraktur represented as true German script, it was found in all over official Nazi documents. Therefore, when I see different fonts, I will connect the font to its cultural background immediately. For instance, Times New Roman will be connected to the New York Times and it was shown to be the most easily read of the typefaces. Sometimes, I feel typography speaks louder than the actual content, just like Errol Morris showed the impact of how the same sentence written in three different typefaces. We automatically think Comic Sans is less convincing because it is one of the most frequently used typefaces in the world and it was seen a lot in informal text and mostly found in children's books. I think the identity of some typefaces are really strong and obvious, such as San Francisco fonts designed and used by Apple, you don't even need to know the name of the font but you will recognize it when you see it. Each typography represents its own identity, just like my handwritten typeface will represent me.
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Response 01
My view of how design and typography shape our perception of content.
The Facebook and Google article by Kyle Chayka made me think of our ways of getting news information. Many people were used to getting news from these platforms, but not many of them will think if the news is true or fake. There're many reasons of why, but I believed the using of headlines and typography were the main reason. When you think of the word "news", you would not doubt its realness, and when you saw the big bold headline, you would automatically believe its real. Most of the time, we probably think we "know" what happened after we read the news title. It might be the strategy of the news industry, however, it's changing our ways of absorbing information.
Once again, when I read Matt Novak's article about Gorilla Channel, I think people only believe what they want to believe, no matter how ridicules the content was. Also, I think people were more likely to believe in screenshots than long texts. Screenshots were just like court evidence, it looked extra "real" when people posted online.
When I read the article of How We Apologize Now by Lindsey Weber, it reminded me of the effects texts and typography can have. The way of celebrities using note app to wrote their apologies and posted online seem "formal" to the public, but I think this new way of apologies is lack of consideration and humanity.
All of these reading gave us a warning about the power of internet content and how typography effect readers. Words are powerful, not only indicate how we find a perfect word for what we want to say, but also the selecting of fonts, weights, and length. We should always treat our message carefully, especially as designers, we should use our tool thoughtfully, the impact of our visual language could be also harmful.
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