Chapter 2 Reflection

     I felt like the most amount of learning I did was when reading Chapter 2. The chapter began with a preface that explained to me that the majority of the chapter would be covering the fundamentals of typography and some of the language that is attached to it. I was eager to begin reading this chapter, as I didn't know much about the technical language that comes along with designing typography and using it as an potent communicative tool. I mean, how am I supposed to produce any sort of communicative, successful typographic designs if I can't effectively communicate to those around me how the design should look?

      Page 33, as seen on the right, was the most helpful page I had read in the book. It gave clear, definitive examples of vocabulary and differences in typefaces that ultimately gave me a strong foundation for future critiques or analyzations.
     Page 45 also shed a light on four to eight different possible options for letters, and how their weight changes may not be constricted to changing drastically throughout the different fonts within the family. For example, the photo below shows how Avant Garde only really changes in stroke, rather, other fonts vary in numerous ways. This idea leads to the concept of Proportion, and how changing a typestyle to make it either thicker or thinner is simply another method for connecting these type families.
Page 44 contained a bit of math involved with the concept of an em, which I had to look up in the back of the book. I was unsatisfied with that definition, so I chose to Google my question and click myself into an oblivion until I could scrupulously understand the true meaning of an em. In doing so, I saw a side of this design startled me slightly. Anyhow, this startled me and excited me at the same time. It made me curious to know what was to come for me in this class and in my understanding of typography.