confused typography. The safest course is to block the
texts into shapes analagous to and harmonious with
the more dominant blocks of the illustrations. Natu
rally, there are exceptions, but they occur only when
contrast can he achieved without making the whole
composition too tricky and the typographic mass too
difficult to read.
Layout Classification ThreeIn all-type layouts, the
fourth dimension exerts its most comprehensive influ
ence because in these advertisements, the typography
is the layout. The majority of all-type layouts are
cut-and-dried affairs, exhibiting small attempt at inge
nuity. An all-type layout can he designed so that it
is not a mere paneling of obvious text blocks; it can
he planned to express movement, to capitalize inter
esting, eye-catching contrasts of divisional elements.
Headlines, too, can he so treated that initials or special
words have a provocative, illustrative effect, minimiz
ing the loss of attention value caused by the absence
of an illustration.
lost for Layout BalanceOn a rough tracing of
your contemplated layout, indicate the shape of the
dlustration by a dark pencil tone. Use a lighter pencil
tone to represent the typographic mass, and similar
tone-units for the headline, signature and other ele
ments. The more important the element, the darker
the tone, all white space left as is. Now examine the
general layout. Do the hlocked-in elements balance,
do they harmonize in shape, in value? Is there a mov-
mg pattern to the arrangement, rhythm, cohesiveness?
In Conclusion While the first three dimensions
concern themselves with the appearance of type (size,
style, weight), its appropriateness and legibility, the
fourth dimension of modern typography interprets the
layout-function of the typographic mass and governs its
influence, as in integral unit, on the final composition.
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Wardrobe trunk pictured
yearsis a marvel of t r
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