https://doi.org/10.25145/b.2COcommunicating.2020.

028

252 COmmunicating COmplexity

Tania Quindós, Elena González-Miranda

Universidad del País Vasco/
Euskal Herriko Unibertsitatea (UPV/EHU)

Typography and Geometry in

an information graphic

Graphic designers need to structure page and later we will focus on small
and build with proportions the linguistic details of the letters, essential signs in
and iconographic signs of the visual our daily communication. We will carry
systems we carry out. We also need to out an inventory with concepts such
systematize, organize in a hierarchy, as the golden section, the spreading of
position and measure our designs, in the module in the grid, the proportions
areas such as visual identity, editorial of the alphabet, units of measurement,
design, or new informative formats sequences, construction patterns as
to make easier the understanding of well as other systems of interchangeable
complex contents. parts (Bringhurst 2014 , Cheng 2006,
Elam 2014). This knowledge applied with
To achieve this, we apply concepts good criteria makes the relationship
that derive from a field of knowledge between the components harmonious and
with origin in Geometry. The history consistent.
of Graphic Design is responsible
for referencing very significant As a practical goal or a “graphic
models or processes. We can mention conclusion”, we want to dump this
milestones such as Harry Beck’s information into an infographics where
conceptual innovation in 1933 by using this content inventory is visualized
a single 45 degree angle on the London based on three interconnected areas:
underground map (Rendgen 2012); or page, calligraphy and type design.
Rosarivo’s method for achieving the This diagram will be illustrated
divine typographic proportion on the with examples of our teaching and
page (Catopodis 2014). We can also professional experience and can be used
highlight the technical innovation for as educational material and inspiration
the generation of the curves and paths for the community of students and
developed by Pierre Bézier, incorporated professionals in graphic design, type
in the programs with vector tools and design and information design in general.
that every graphic designer or type
designer currently dominates (Bringhurst
2014).

This contribution shows the preliminary

results of a study that examines and
revitalizes the links between these two
disciplines. Through the bibliographical
study of several authors, with this
project we wish to identify, classify and
propose certain mathematical-geometric
procedures and knowledge related to
the construction of our visual culture.
We will start from the proportions of the
 253
TYPOGRAPHY AND GEOMETRY LETTER SKELETON

CALLIGRAPHY
AND GEOMETRIC SHAPES
The skeleton is the structure of

IN AN INFORMATION GRAPHIC
a letter; is a constructive determinant Geometric shapes in which different calligraphic
of its morphology styles are inscribed

Graphic designers need to structure and build with proportions BIBLIOGRAPHY

the linguistic and iconographic signs of the visual systems we
carry out. We also need to systematize, organize in a hierarchy, Bringhurst, R. (2014) Los elementos del Skeleton of letter «a» in italic and copperplate calligraphy
position and measure our designs, in areas such as visual estilo tipográfico. México D.F.: Fondo de
identity, editorial design, or new formats for information to Cultura Económica.
make easier the understanding of complex contents. Catopodis, M. (2014) Tipometría: las
medidas en diseño gráfico. Valencia:
To achieve this, we apply concepts that derive from a field of Campgràfic Editors.
knowledge with origin in the Geometry. The history of Graphic Cheng, K. (2006) Designing type. London: 20º
45º 45º
Design show us very significant models or processes. We can Laurence King Publishing Ltd.
mention milestones such as Harry Beck’s conceptual innovation Corbalán, F. (2010) La proporción áurea.
in 1933 by using a single 45 degree angle on the London El lenguaje matemático de la belleza.
underground map (Rendgen 2012) or the Golden section Barcelona: RBA Editores.
(Bringhurst 2014). Also important is the Rosarivo’s method Costa, J. (1998) La esquemática. Visualizar la
for achieving the divine typographic proportion on the page información. Barcelona: Paidós Ibérica.
(Catopodis 2014). We can also highlight the technical innovation Elam, Kimberly (2014) La geometría del
for the generation of the curves and paths developed by Pierre Diseño. Estudios sobre la proporción y la Baseline
Bézier, incorporated in the programs with vector tools and that composición. Barcelona: Gustavo Gili.
Proportions and nib angles for
most graphic or type designers dominate. Germani-Fabris (1973) Fundamentos del different styles: Uncial, Gothic, Italic and Copperplate
proyecto gráfico. P.G. Prontuarios Gráficos.
The current contribution shows the preliminary results of a Barcelona: Ediciones Don Bosco.
study that examines and revitalizes the links between these González-Miranda, E. and Quindós T. (2015)
two disciplines, Typography and Geometry. In our project we Diseño de iconos y pictogramas. Valencia:
have identified, classified and proposed certain mathematical- Campgràfic.
geometric procedures and knowledge related to the Henestrosa, C., Meseguer, L. and Scaglione,
construction of our visual culture, after retrieving information J. (2015) Cómo crear tipografías. Del boceto TOOL AND NIB ANGLE
through the bibliographical study of several authors. a la pantalla. Madrid: Tipo e Editorial. Maintaining the angle of the nib
Müller-Brockmann, J. (1982) Sistemas de according to the calligraphy style, is
We have started with an inventory of basic concepts related to retículas. Un manual para diseñadores essential to set up consistent texts
Geometry. The study of these concepts have been extended to gráficos. Barcelona: Gustavo Gili.
three interconnected areas: Calligraphy, Typography and Page Novarese, A. (2009) El signo alfabético.
Design. In a second step, we have organized this information Valencia: Campgràfic Editors.
into an infographics that has been illustrated with examples of Purvis, Alston W. (2015) Historia del diseño
our teaching and professional experience. gráfico. Barcelona: RM Verlag.
Rendgen, S. (2012) Information Graphics.
In conclusion, proportion, symmetry, balance and precision are Köln: Taschen. PROPORTIONS
very important variables for graphic designers. This knowledge San Martín, M. (2011) Diagraphics. In calligraphy, we use the width of the nib
applied with good criteria make harmonious and consistent Barcelona: Maomao Publications. to create the guidelines that define the
VVAA (2013) Geometry makes me happy. proportions of the letters
the relationship between the components. In this way, welfare
is produced in the receiver’s mind and the graphic objects Madrid: Index Book.
become more pleasant and accesible.

ROMAN PROPORTIONS
The Roman Capitals are models
of proportion of the classic
uppercase typographies
NOTE: This contribution has been financed in part
by theUniversity of the Basque Country, UPV / EHU.
Tania Quindós was granted by UPV / EHU for her
Doctoral Thesis project on Pictograms and Typography.

PROPORTIONS VISUAL
PERCEPTION

PAGE
MODULAR GEOMETRIC
GRAPHICS SHAPES

trajan
GRID OF SQUARES SIMETRY VISUAL
The grid allows us to organize the METRICS
POINT
graphic elements harmoniously. LINE
The height of the spacing (leading) PLANE 1 2
1

is the height of its basic module

2

COMPOSITION
To organize the elements on
the page, we can consider different GUIDELINES
principles of composition This lines define the heights
of the letters in a typeface

TYPOGRAPHIC GRID
The diagonal The rule of thirds The modules allow the designer
and the center to articulate and hierarchize the OPTICAL ADJUSTMENTS
information in a flexible and Size and shape visual compensations to
consistent way optimize signs for the human eye

Futura / Minion

The Golden Section

BÉZIER CURVES
Vector graphics method to draw
curves with precision. (Paul de
Estia velesciet quamet elitectaeces dolut mod quunt pore magnias sequia quiatio
Casteljou and Pierre Bézier, 1962)
officiunto toribus, seque velignatas soluptatiis minctem oluptati blabo. Aces et
TYPOGRAPHY

volorepere magnatibus ea est, sandus dunt fugiatem. Id ullabor epuditatur?

ANCHOR POINT
Estia velesciet quamet elitectaeces
dolut mod quunt pore magnias sequia DIRECTION HANDLES

TIPOgraphy
quiatio officiunto toribus, seque
velignatas soluptatiis minctem olup- Outline
tati blaboepuditatur aborpor atiurit Rosarivo method to reach the divine typographic Capline
omnihicae nient quo. proportion, based on the works of Gutenberg
Ascender line

x-height

Faccusam doleni dis nis ullam fuga. Nequi bla ium raessi ipis et odionse
quaturitae ducitium eum que vellaborrum ipis earuptur? Pe ius, intius volorporibus
voluptat est verit ut aborum quia num eum sit ut asLabo. Ebis apicia comnisquide
Baseline
vel magnatisi re non re, officitia sumet fuga. Ut derrum ventiis dem. Qui te autatias
sequae deligendunt alique solora voluptatium eos atem sum faceat exerchil mosam
sit, omnit maion nobitatur?
Descender line
Futura
Minion
Modular and Baseline Grids Studies by Jan Tschichold on the proportions
in medieval manuscripts

Poster font: Univers

1 2
1
2

PROPORTIONS VISUAL GEOMETRIC VISUAL POINT, LINE SIMETRY MODULAR SKELETON NIB ANGLE TOOLS PROPORTIONS GUIDELINES OPTICAL BÉZIER CURVES TYPOGRAPHIC COMPOSITION GRID OF
PERCEPTION SHAPES METRICS AND PLANE GRAPHICS ADJUSTMENTS GUIDES SQUARES

Tania Quindós Universidad del País Vasco / Typography and Geometry in Geometry
[email protected] Euskal Herriko Unibertsitatea an information graphic Typography
Elena González-Miranda (UPV/EHU) Info-graphics
[email protected] Visual Design Teaching