Improve your typography with “typographic contrast”

Having just spent a week in various countries through out Europe I found myself studying the design techniques of thee various different cultures as well as how it compares to that of the US. Interestingly enough I found myself able to look at the typography of design completely independent of the message (as I did not know the language). This is an oddly effective way to see what techniques of displaying and using type were effective, for what reasons, and why.

With out knowing what anything said I could easily identify even subtle cues as to what was the most important element in type, what was secondary information, and what was practically meta data. This hierarchy of visual importance in regards to type can also be referred to as typographical contrast.

What is “Typographical Contrast”?

Simply put it is the grouping of two typographical elements, then using different methods of traditional design to create contrast. The contrast places emphasis on the important element of type, letting the secondary element command less attention. The result is an improvement in the communication of the overall design message.

If we look at traditional forms of contrast then we have:

• Size
• Color
• Spacing
• Shape

All of which can be used with type to improve our typography on the web. To keep this post short an interesting I will be offering some examples, explain what I did, and move on.

1. Size

This is probably the most common use of typographic contrast and is quite common on blogs and other content that has a time relevance. Many blogs uses this method to provide additional information for those who are interested, but kept it subtle enough where it doesn’t distract or command your attention.

My blog, for example uses large headlines with smaller type for supportive data. The headlines are large as it is the most important element of type in it’s area. However there is additional content that is of value, it simply is less important (in this case the number of comments, posted date, and author).

The concept is pretty simple, make the most important element of type larger while and supportive type can be smaller. See the example below:

Size Contrast

By contrasting large type with small type we get a visually interesting typographical design and it is functional. The most important element commands the most attention, while the secondary element is subtle yet legible. This dynamic builds a visual hierarchy.

2. Color

Color is another common way to develop some contrast between typographical elements. The most common way that we see this in design is having some type lighter than others. Obviously lighter text (when dealing with a light background) has less energy and thus less visual attention. This creates a contrast between it and any darker element.

I have also seen great examples where black is contrasted with color, or the richness or vibrance of colors is used to develop a level of contrast.

Color Contrast

Again this establishes a visual hierarchy as the most important elements will command the most visual attention (and I might note that the lighter type element doesn’t necessarily have to be the at a lower visual importance.)

3. Spacing

The use of spacing can be a tricky technique to master. However when done properly it creates a rich contrast and interesting typography in design. The spacing of type itself can obviously be altered in three traditional ways, letter spacing, line spacing, and word spacing. To be honest I have only see spacing work effectively in line spacing and letter spacing, however I would be more than happy to be corrected in terms of the use of effective word spacing in typographic contrast.

Space can also be altered simply in the placement of type. Right justified vs left, indented vs on the same rule, etc… Any time you alter the typical placement of type you will create tension and visual interest (and thus contrast).

Spacing Contrast

Space works best when used in conjunction with other techniques. It is a tricky technique to master because depending on the situation more space can either increase or decrease the visual weight.
It can either thin the text out, removing visual interest and attention; or it can also cause the element to take up more space more than thinning it out which could cause it to have more visual interest and attention.

4. Shape

When I refer to shape I am talking about either using different typefaces or italic, bold, etc caps vs lowercase, etc… Really altering and playing with the shapes of two different typographic elements.

This can range from something as simple as coupling a serif with a san-serif, or as dramatic as a decorative font with an ultra-simple font.

When used effectively it can be a nice balance between legibility, style, and visual interest.

Contrasting with Shape

Shape probably has the most capability to create typographic contrast. Because of this you also must be careful of how you use it, it is really easy to create some “cool” design elements that really detract from everything else on the page because they simply command too much attention.

5. Putting them all together

After you have worked with the different individual elements for some time you can start to work them together for an even richer experience. This is another situation where you really want to ensure that you balance the interaction and relationship between the two type elements and everything else in the composition. It is easy to create a lot of visual contrast using all possible elements, only to end up detracting from the rest of the composition.

Contrasting Everything

You may notice that I was able to play with the different elements to increase contrast in one way, but decrease it in another. For example make the type bigger, but lighten it; or make it smaller but a brighter color. A thinner font but played with the spacing.

You can create some very powerful typographic contrast by playing with these elements. Every adjustment you make alters the message a little bit, and by balancing the message and communication with visual impact it enrichens the visual experience.

Any thoughts on other ways to increase typographic contrast? How about some good examples?

Using Grids for Spatial Awareness

In my last post I talked about the importance of spatial awareness and some basic details about what “spatial awareness” actually is. I alluded to the fact that the best way to refine your designs spatial awareness is to use a grid system, that way all of your placement and spacing of objects and elements is based on the same mathematical system. While subtle, this can have a profound impact on the quality of the design that you are creating.

The first step is developing or downloading a grid for use in photoshop and your mock-up. With so many quality grid PSD’s out there it might not make sense to create your own over adapting one that has been fleshed out already.

Here are some grids you can try:

• Designified 960px Grid
• Critical Web Sample Grids
• Blueprint CSS Grid

I have gotten used to and like the blueprint grid, as I have adapted the use of blueprint and quite like it.

Next Steps

After you have opened up your grid rather than starting to design like you normally would it pays to spend some time to just block up elements and the space that they will use. This will help you see how the visual weight of elements will effect the page in addition to how space is used (and not used, remember that negative space is just as important as positive).

From here you should have a good idea of how elements relate to each other, how does grouping effect elements relationships, etc.

Lets look at the detail closer

As you can see all of the margins, spacing, gutters, etc are all a multiple of the same initial gutter. This creates a very balanced and polished design that would likely feel very different had we just tried to eyeball the spacing.

When two elements have some relationship to each other I only use one length of the gutter (or none), where if elements are of different content/context they use three gutter lengths. This visual separation tells the user that the elements are not related, but by keeping the rhythm of the design consistent it never feels like an element is out of place.

It works for Typography as well

Last year there was a lot of discussion and awareness of the “baseline grid” in typography. Simply put, developing a baseline grid for type ensures that all of the type regardless of size lines up on the same grid. Using these sorts of grid systems helps you develop that baseline grid as well. Here we can see a close up example of two type areas and sizes on the page and how they line up in addition to the spacing and awareness of other elements.

So pay attention to spacing

Even if you are not looking to do a very organized content intensive site the use of grids to help plan and space out your elements will create a much more polished and clean design. The time it takes to actually create proper spacing will pay for itself as your portfolio and quality of work improves dramatically over time.

If you have any tips/hints/resources/ideas related to grids and space feel free to leave a comment below.

Spatial Awareness in Design

Have you ever come across a design that is so simple, so clean, yet so beautiful that it makes you wonder “How are they able to do so much with so little?” If so, then you are probably subconsciously realizing the special awareness of the design. Huge, Inc is a perfect example of the “less is more” approach with outstanding spatial awareness.

What is Spatial Awareness

Spatial awareness is simply the understanding and use of space in an effective way on your canvas. It sounds simple but it really requires a high level of mastering to get correct. This could be taking advantage of whitespace, or even grouping elements close together to create tension.

Those designers who can harness and use space to their advantage will find that elements can be placed in all sorts of unconventional ways, yet still work. Often times beginning designers place elements based on what “looks” or “feels” right, however that is not the best way to use space as accuracy and consistency is very low.

How can I use Spatial Awareness?

The first step to great spatial awareness in a design is developing a grid system. A grid divides your canvas up into small sections consisting of margins, columns, modules, flowlines and spatial zones. The canvas then ends up looking like a a series of boxes with columns (I found an example on google images here).

With this grid you can now find where elements should and can be placed on the page in a way that activates and takes advantage of space. Because you are using space in a consistant mathamatical way the overall composition of the design feels much more consistant and unified.

Taking it to the Next Level

These same principals of consistency can be applied to the typography as well. Because the grid will dictate margins for any element on the page (if a column is 18 pixels in width, then the margins of headings should be 9px/18px/27px/36px/etc…). The line heights off all type should also follow the structure and rules of the grid.

All of these steps to better map out your designs will be a subtle but noticeable improvement in your design over the tried and passable “eyeball it” methods. Note: There are times where you want to break the grid, some designs actually benefit from the chaotic and unstructured feel. However you have to make a decision as a designer that it is in fact what should be done.

I will be posting more about spatial awareness and using grid systems in the future, stay tuned.

Have any experiences with grids or spatial awareness? Post them here!