The Rhetoric of Typography: Effects on Reading Time, Reading Comprehension, and Perceptions of Ethos - Eva Brumberger


Brumberger argues that typography has been overlooked, and thus? does not play a significant enough role in the discussion of visual rhetoric. Furthermore, the argument predicts typeface has the ability to shape readers’ interaction with a document.

Typography is the art and technique of arranging type and type design. In traditional typography, text is composed to create a readable, coherent, and visually satisfying whole that works invisibly, without the awareness of the reader. Brumberger’s article explains that distractions and anomalies will increase the likelihood of confusion; the key is clarity and transparency. Credibility is removed if the writer, designer or organization ‘mismatches’ typeface, thereby “alienating readers.” (16)

Brumberger makes effective use of other critics’ work, and this helps to create a well constructed argument, (though I did feel somewhat overwhelmed by the extensive use of parentheses’ – visual pun intended!). I found Brumberger’s discussion of “typeface persona” particularly relevant. The notion of “appropriateness” (17) in typeface is something I think many websites succeed at, but where others fail, the mistakes are glaringly obvious. One can understand why an eighteenth century historic website would be inclined to use a font type reminiscent of the time period to make it appear more authentic, it would simply create an unreadable text.
Text set in lower case is more legible than text set all in upper case, presumably because lower case letter structures and word shapes are more distinctive. Additionally, contrast is important. Black is easier to read on a white/light coloured background, far easier to read than negative or reversed images, e.g. white on black. The use of italics is less easy to read, versus standard upright type; these conventions are important as they create a more readily? understandable text.
I am reminded of a scene from the film ‘American Psycho,’ (based on the novel by Bret Easton Ellis) in which an unhinged Patrick Bateman becomes enraged by the business card of a colleague. He and several workmates share business cards as if bragging about conquests, their attitudes pompous and judgemental. A man disliked intensely by Patrick shows off his business card, and he becomes visibly sickened with jealousy. What is so bizarre about the whole yuppie mentality of the men is that the cards look almost identical. All are set on white, cream, ivory, even bone coloured card, and the font types are all strikingly similar, yet the men see tackiness in some and supreme elegance in others. The whole scene is absurd and personifies yuppie culture, but effectively illustrates the importance of typography and the very nuances that determine success or failure.