The achievement of a new today hinges on its capacity to talk to its audience in a voice which can be heard. Brands should compete with different brands, but also with all the ever-changing contexts in. In our new- and – intelligent world, this can be as challenging as humming a tune in Times Square and hoping that pedestrians strolling round the Village will hear and sing together.
Typography is the voice of a new
We frequently say that typography is your “voice” of a new, because it is quite literally the embodiment of these words with which the brand reaches out to the entire world. Typefaces evoke the option of the typeface, and intention, and mood, personality, tonality is crucial. A brand should find its voice, one that is true to its nature and the overall brand promise. This is not a simple task, and for more than a century this has directed designers at the space. Now, however, as the age is maturing, new designers find themselves faced to fix.
For many years the use of typography in new communication was confined to published touch points, while displays had limited capabilities. That situation has changed in recent years thanks to support for web fonts and apps’ distribution. However, this means that the typography of a brand needs to do more than provide voice to its words. It now needs to speak and in a host of situations that we humans haven’t encountered previously. We have never, in our background, talked through one which we wear on our hands, or a system that sits inside our pockets to people. Our fridges haven’t had to write us messages and our cars used to be more machine than consumer electronic equipment.
Typography and electronic brand expression
Though the letterforms that define most of Latin typography have only changed reasonably in design over the course of their background (after all, letters must look just like letters), now’s reading surroundings are changing radically. For brands today, they have to get in touch with their audience by means of a variety of devices and in reading conditions that sometimes could be far from best. Under those circumstances, the clarity of this text is crucial. An company today, as an example, should cater to two prerequisites in its communication: on-brand messaging in its own traditional advertising and networking presence, and the demand for high legibility in its own HMI design. That luminous display in the dashboard isn’t an easy accessory anymore. It’s simultaneously a very powerful brand signal, and a device that needs while we drive down the highway to communicate efficiently and clearly. The exact same can be said for devices. They are a cool accessory and potent brand sign that needs while we go about our everyday lives to communicate. The need for legible communication in wearables is so new that Apple made a whole high-legibility typeface family for this , dubbed “San Francisco.”
And we find that in many instances and there are a variety of requirements for a display’s typography. There is the need for communication that is legible and a battle between brand identity. The typefaces may not be optimized for high legibility. There are two things we can do in order to address a problem, and the solutions to those questions aren’t too much into the future.
Optimising legibility through research
The very first thing we need to do would be to know more about designing interfaces and typefaces which are optimized for legibility. There are a number of typefaces that designers concur are legible, and research has backed this. In addition, we know quite a lot about how to manage typographic questions in UI layout. However, there is a great deal that we do not know to be able to quantify the effects of factors on legibility, and we need more study.
Information is consumed in brief bursts of focus wearables, as smartphones, automotive and electronic dashboards are glanced at hundreds of times per day. The glance is the new currency of the age and we need to know how to design for it. There’s a lack of research to guide design decisions or information is read and retained in glances, despite expanding consumer apparatus obsession. Recent study by Monotype and the MIT AgeLab has looked at the impact of size, weight, width, line length and even light on legibility, however there are a lot more questions to answer.
To that end, the MIT AgeLab together with Monotype have established the Clear Information Presentation (Clear-IP) consortium to drive research that investigates legibility and layout questions related to studying in short glances. The research focus is. The Clear-IP consortium will reach to work together to comprehend information presentation and typographic layout and also to set best practices for quick-glance reading. In a nutshell, their assignment is to scientifically assess the effect of our typographic design choices.
The line of investigation that we can take is to redefine branding typography. Is one typeface family able to answer the two branding and legibility requirements? Sometimes yes, and in other situations, no. This means that our way of branding has to be adjusted, and rather than talking about a typeface, then we need to speak a package to meet different functions based on where they are used. One example is the newly released family, Between, Akira Kobayashi, by Monotype Type Manager. It is a set of three dimensional families connected by design DNA that is common and they change in energy levels that vary to exceptionally energetic. An individual can imagine Between 2 being used for interface layout, while 3 and involving 1 are used for much more expressive typography.
The way ahead is through research and more experimentation on both the layout and scientific foundations. We need more study to guide our understanding of legibility and the reading process, and more layout experimentation to satisfy the functions. This merger of sciences and arts, and the resulting knowledge information, and a brand new design approach will enable brands to talk clearly and with a voice which reaches through the crowds.
