The rhetoric of type : an exploration of the experiential and iconic nature of letterforms

Abstract

The ability to select and apply type sensitively is an art form that requires an astute knowledge of the communicative complexity of letterforms. However, as a designer and design educator, I have observed that many designers frequently select and apply typefaces inappropriately or arbitrarily because they are simply unaware of the complex meanings underlying letterforms, as well as the power of the communicative choices they make. Many designers with even a basic understanding of type still tend to prefer to use illustration, illustrative graphics, icons or photography as their primary media of communication. In the event that type is indeed used, designers tend to choose clean typefaces because they appear to detract less from the communicative aspects of other rhetorical texts already at play in their design. In other instances, letterforms may be chosen to achieve an array of elaborately intricate design layouts that are often superficially strewn across decorative, trite and eye-candied designs. From these observations, I have therefore dedicated my study to delineating and discussing two default modes or methods used for selecting and applying type type as experiential form and type as iconic form in order to illustrate the powerful, yet intricate communicative facets of the letterform. The first mode relates to how designers select type based on a typeface s experiential form. By this, I refer to the connotations that we derive from our physical and sensual perceptions of letterform shapes. I refer to George Laukoff s experiential metaphor theory, as well as sound-image symbolism theory (synesthesia) in order to identify reminiscent and intuitive letterform perception. The second describes several ways in which designers invoke symbolic connotation by selecting iconic typefaces. Here, I investigate historical and cultural narratives woven into iconic typefaces and how these narratives may be signified, resignified and repurposed. As a means of understanding the interconnected nature of meaning embodied by the letterform, my final objective is to highlight letterform communication from a visual rhetorical perspective. By conducting an in-depth case study of the Fraktur typeface (as communicating at once experientially and symbolically), I stress several tensions that exist as a result of overlapping meaning and the interconnected nature of the two default modes of type selection. I thereby argue that designers need be aware of the communicative implications of their default modes or strategies to typeface selection. My point of departure is that a more holistic approach to selecting and applying typefaces could be followed and that rhetorical theory may provide an analytical framework for such an inclusive perspective. I maintain that if the communicative complexity of letterforms is viewed from a visual rhetorical perspective, where rhetorical intricacies of meaning embodied in the letterform are thoughtfully and holistically considered (where designers may question their default modes of type selection), designers can be more strategic in directing meaning through type.