Munari introduces a new way of seeing type as nothing more than shapes. It reminds me of the amount of human innovations that are only significant to us, but carry no meaning to other species. With language development, we have formed associations with words and letters. To us, they can convey heaps of information in which we find value, both through diction and underlying connotations, but to all else, they are just marks on a page. The written language has transformed the way in which we communicate, which has, in turn, informed the underlying connotations associated with certain styles and presentations of words and letters. The use of accentuations and punctuation can significantly alter the message these shapes carry. The idea of seeing them as shapes can transform the way we interpret them, as it allows us to take a closer look at stroke weight, fluidity, spacing, color and other factors that add to the implicit gestural quality of mark-making. I find negative space to be an essential characteristic in designing type. For example, there is a specific technique involved in bolding characters. It does not always entail equal distribution of extra pixels around the outline of the letter, but rather, adding more pixels in certain areas to preserve the style of the letter and the respective connotations. Furthermore, the size of the triangular negative space at the center of the ‘A’, for example, needs to be preserved to maintain legibility, and hence, the horizontal line of the ‘A’ needs to remain at the same level when bolding the letter. This is a good example of the intricacy of type in terms of design, such as stroke weight and spacing, that becomes prevalent when considering type as shapes. Employing this analytical lens can allow us to get a stronger grasp of how these factors can inform the mood of the type we design and present, in order to form harmony between the meaning of the shapes and of the words the strokes represent. Munari's excerpt has allowed me to see type as a vessel for both the explicit and implicit.

Heeya Mody - Munari's Excerpt Response

Typography exists everywhere in the design world and also plays an essential role in many cases. One of the examples in the reading indicates that the shape of the words would totally change the expression and communication ways. For example, the author says “One of the effects of the total lack of punctuation in the last chapter of Joyce’s Ulysses is that it changes our reading speed.” It reminds me how I change my view to critic the typography while I am reading the magazine or newspaper after I learn certain rules from typography. I will see the columns of the paragraph as different patterns and how small adjustments would much improve the readability and reading experience. Of course, also the aesthetic appreciation. The experienced good designer would manage them much better under different needs and circumstances. As the reading shows the example which is really tiring to the eyes. I hope I can have a better understanding of the typography that I can have the chance to go back to the old age, we still need to use handmade physical word cubes, and use them to make the typography and printing.

For the text, when we change the curve, open space, line weight, shape, and other small elements in the letter or world would change the meaning and function of the text. As designers, we need to make so many versions to fine-tune the best design although normal people might not notice the precise changes. However, it definitely will affect the receiving feeling. Like you change certain beats or notes in the melody.