Graphics Reference
In-Depth Information
the publication and to differentiate between these types of content. There are changes
in type size, grid and colour, of both the text and the page background. We also em-
ployed three different typefaces - a serif face, a sans serif face and a typewriter-style
face - each of which acts as a visual device in communicating the different types of
content. In order to allow for the extensive footnotes, two of the columns in the three-
column grid are used for the transcript, while the third is used for the notes. The notes
appear in the highlight colour and employ the typewriter-style typeface, giving a hint
to their purpose. Within the main text, the word or phrase relevant to the note is high-
lighted in blue and this, along with the proximity of the note, eliminates the need for
numbering, thereby reducing visual clutter.'
At the start, a series of essays use the full width of the page and appear in the serif
typeface Galaxie Copernicus. The middle section, the transcripts, uses the sans-serif
face Aperçu. The back section of the topic, which includes a timeline and other re-
sources, uses a tinted background and makes use of the typewriter-style face Elemen-
ta. New sections are denoted by a page of fully bled colour.
Outcome
The project is a good example of a simple and elegant use of colour, typeface and
grid structure to add order and hierarchy to a design. The text-only topic could have
appeared rather daunting and visually unappealing to read. Hyperkit have, however,
produced a piece that is pleasing to the eye and easy for the audience to navigate and
decode. The understanding of the content and the need for the extensive footnotes has
been interpreted visually to strong effect. The rationale for the proximity of position-
ing and colour-coding means the need for a key or numbering system is no longer
necessary, making for pages that are less text-heavy and clearly show what is import-
ant.
