CONTRASTE

Contrast: In the analysis of letterforms, this usually refers to the

degree of contrast between the thick strokes and thin strokes of a
given letter. In faces such as Gill Sans and Helvetica, there is no
contrast. In Romantic faces such as Bulmer and Bodoni, the contrast
is high [1].
The form of the letters themselves contribute much to legibility or
its opposite [2]. The aesthetics and legibility of a typeface
depend on the combination of contrasting forms: round and
straight, broad and narrow, large and small, thin and thick, etc [3].
Typography that cannot be read by everybody is useless. Even for
someone who constantly ponders matters of readability and
legibility, it is difficult to determine whether something can be read
with ease, but the average reader will rebel at once when the type is
too small or otherwise irritates the eye; both are signs of a certain
illegibility already [4]. Some typefaces that work well at large
sizes look too fragile when reduced [5].
Combining two values in accordance with the laws of contrast
changes and enhances the effect of both values. Round tree-tops
look rounder if there are angular buildings near them; a warm colour
looks warmer if it is combined with a cold colour.
Thinking in terms of contrasts is not a confused way of thinking, for
even contrasts can be united in a harmonious whole. There are
concepts which become real only through their opposite, e.g.
above, in conjunction with below, horizontal in conjunction
with vertical, etc. Values combined with equal values result
in unrelieved monotony. The relationship between the printed
and the unprinted area must be one of tension, and this tension
comes about through contrasts [6].
Consistency is one of the forms of beauty. Contrast is another. A fine
page, even a fine book, can be set from beginning to end in one
type in one size. It can also teem with variety, like an equatorial
forest or a modern city [7].
In combining contrasting values, care must be exercised that the
uniform effect of the whole remains unaffected. If the contrasts are
violent, such as light and excessively dark, or large and excessively
small, one element can be so dominant that the balance between it
and the contrasting value is upset, or never comes into being at all
[8]. Violently contrasted thick & thin forms & enormous blobs might
be amusing to meet if they were the unaided efforts of some
sportive letter designer. But having become common forms, they
are about as dull as Robots would be if they all had red noses [9]. It
is essential to give pure and direct expression to the contents of
whatever is printed; just as in the works of technology and nature,
form must be created out of function [10].

TRADUO

Contraste: na anlise das formas tipogrficas, esse termo

normalmente se refere ao grau de diferena entre os traos grossos
e finos de determinada letra. Em fontes romnticas como a Bulmer
e a Bodoni o contraste alto. J em fontes no-moduladas, tais
como a Gill Sans e a Futura, ele baixo ou inexistente.
REFERNCIAS

[1] Bringhurst, Robert. 2004. The Elements of Typographic Style.

3rd ed. Vancouver: Hartley and Marks Publishers. Original edition,
1992
[2] Tschichold, Jan. 1991. The Form of the Book: Essays on the
Morality of Good Design. Vancouver: Hartley & Marks. Original
edition, 1975
[3] Ruder, Emil. 2001. Typographie: A Manual of Design. Verlag
Arthur Niggli AG. Original edition, 1967
[4] Tschichold, Jan. 1991. The Form of the Book: Essays on the
Morality of Good Design. Vancouver: Hartley & Marks. Original
edition, 1975
[5] Lupton, Ellen. Pensar com tipos: guia para designers,
escritores, editores e estudantes. Trans. Stolarski, Andr. So Paulo:
Cosac Naify, 2006. DG 6/285
[6] Ruder, Emil. 2001. Typographie: A Manual of Design. Verlag
Arthur Niggli AG. Original edition, 1967
[7] Bringhurst, Robert. 2004. The Elements of Typographic Style.
3rd ed. Vancouver: Hartley and Marks Publishers. Original edition,
1992
[8] Ruder, Emil. 2001. Typographie: A Manual of Design. Verlag
Arthur Niggli AG. Original edition, 1967
[9] Gill, Eric. 1936. An Essay on Typography. London: Sheed &
Ward. Original Ed., 1931.
[10] Armstrong, Helen. Graphic Design Theory: Readings from the
field. New York: Princeton Press, 2009.