{"id":14537,"date":"2022-11-24T22:48:21","date_gmt":"2022-11-24T22:48:21","guid":{"rendered":"https:\/\/fabiohaagtype.com\/?p=14537"},"modified":"2022-11-25T15:51:09","modified_gmt":"2022-11-25T15:51:09","slug":"omgs","status":"publish","type":"post","link":"https:\/\/fabiohaagtype.com\/en\/omgs\/","title":{"rendered":"OMg\u2019s"},"content":{"rendered":"\n

The \u2018x\u2019 factor in corporate typeface design often is the \u2018g\u2019.<\/h4>\n\n\n\n

People don\u2019t want to see fonts. They really just want to read. That\u2019s it. To read. But here we are, designing different typefaces every day, living in an apparent contradiction. On the one hand, people want to read, but on the other, brands want to be recognized through any written word. We don\u2019t need quantum physics to reconcile these two opposites, which need to coexist in a corporate typeface. One that exists to be seen and read at the same time.<\/p>\n\n\n\n

Theories and science of the reading process explain that these are, quite literally, opposites: legibility comes from the familiarity with which the letterforms are within what we are used to reading, and as such, the typeface will be invisible, transparent as a crystal goblet. To get our attention, it needs to do the exact opposite: escape convention. The distinct shapes spark our attention, and precisely because they are different, they make the letterforms less legible.<\/p>\n\n\n\n

The letter \u2018g\u2019 allows us to escape convention, to draw attention, but with controlled damage to readability. A study by John Hopkins University<\/a> pointed out that most people are unaware that there are two constructions for the letter \u2018g\u2019 in everyday life. The \u2018one-story\u2019 construction is best known because it is the one we learn to draw in school and the one we use in handwriting. As for the \u2018two-story\u2019 construction, despite being extremely common around us since the 15th century, people have great difficulties even pointing out which is the correct form.<\/p>\n\n\n\n

\"\"<\/figure><\/div>\n\n\n\n
\"\"
Johns Hopkins University, 2018<\/figcaption><\/figure><\/div>\n\n\n\n

\u201cThey don\u2019t entirely know what this letter looks like, even though they can read it,\u201d<\/em> said co-author Gali Ellenblum, a graduate student in cognitive science. \u201cThis is not true of letters in general\u2026\u201d<\/em>, which is exactly why it becomes such a wild card to play in a corporate typeface. In the letter \u2018g\u2019, we can explore designs different from the usual construction because there is more than one. Exploring intermediate routes between the two is an exciting recipe. <\/p>\n\n\n\n

\"\"<\/figure><\/div>\n\n\n\n

The letter \u2018g\u2019 also has the advantage of always being used within a word, and not in isolation, between sentences, as many vowels often are. Because the entire shape of the word has priority in the reading process (and not the ones of each separate letter), even if the letter \u2018g\u2019 is unusual, the damage to readability is reduced by its context within the word.<\/p>\n\n\n\n

It is true that the letter \u2018a\u2019 also has two constructions, with one or two stories, of similar origin to the \u2018g\u2019. However, the one-story version of the letter \u2018a\u2019 can easily be mistaken for the letter \u2018o\u2019, and to make matters worse, it is often used alone in many languages. <\/p>\n\n\n\n

\"\"<\/figure><\/div>\n\n\n\n

It might work well for display and headlines, but poorly at small sizes. You\u2019ll be able to see it, but it won\u2019t be as easy to read. Which is, after all, why you\u2019re still here.<\/h4>\n\n\n\n

\ud83d\udd17
A letter of the alphabet we can read but not write? It\u2019s a \u2018g\u2019 thing. Jil Rosen, HUB John Hopkins University, 2018.<\/a><\/p>\n\n\n\n

The devil\u2019s in the g-tails: Deficient letter-shape knowledge and awareness despite massive visual experience. Wong, K., Wadee, F., Ellenblum, G., & McCloskey, M. Journal of Experimental Psychology: Human Perception and Performance, 2018.<\/a><\/p>\n\n\n\n

A Guide to Understanding What Makes a Typeface Accessible. Gareth Ford Williams, Medium, 2020.<\/a><\/p>\n\n\n\n

The Crystal Goblet, or Printing Should be Invisible. Beatrice Warde, 1930.<\/a><\/p>\n\n\n\n

How does typeface familiarity affect reading performance and reader preference? Sofie Beier and Kevin Larson, Information Design Journal, 2013.<\/a> <\/p>\n","protected":false},"excerpt":{"rendered":"

The \u2018x\u2019 factor in corporate typeface design often is the \u2018g\u2019. People don\u2019t want to see fonts. They really just want to read. That\u2019s it. To read. But here we are, designing different typefaces every day, living in an apparent contradiction. On the one hand, people want to read, but on the other, brands want […]<\/p>\n","protected":false},"author":2,"featured_media":14541,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[115,97],"tags":[],"class_list":["post-14537","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-blog","category-ideas"],"acf":[],"yoast_head":"\nOMg\u2019s - Fabio Haag Type<\/title>\n<meta name=\"description\" content=\"he \u2018x\u2019 factor in corporate typeface design often is the \u2018g\u2019.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/fabiohaagtype.com\/en\/omgs\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"OMg\u2019s - Fabio Haag Type\" \/>\n<meta property=\"og:description\" content=\"he \u2018x\u2019 factor in corporate typeface design often is the \u2018g\u2019.\" \/>\n<meta property=\"og:url\" content=\"https:\/\/fabiohaagtype.com\/en\/omgs\/\" \/>\n<meta property=\"og:site_name\" content=\"Fabio Haag Type\" \/>\n<meta property=\"article:publisher\" content=\"https:\/\/www.facebook.com\/fabiohaagtype\/\" \/>\n<meta property=\"article:published_time\" content=\"2022-11-24T22:48:21+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2022-11-25T15:51:09+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/fabiohaagtype.com\/wp-content\/uploads\/2022\/11\/Artigo-g-Cover.png\" \/>\n\t<meta property=\"og:image:width\" content=\"2192\" \/>\n\t<meta property=\"og:image:height\" content=\"1136\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/png\" \/>\n<meta name=\"author\" content=\"Fabio Haag\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:creator\" content=\"@fabiohaag\" \/>\n<meta name=\"twitter:site\" content=\"@fabiohaag\" \/>\n<meta name=\"twitter:label1\" content=\"Written by\" \/>\n\t<meta name=\"twitter:data1\" content=\"Fabio Haag\" \/>\n\t<meta name=\"twitter:label2\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data2\" content=\"4 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\/\/fabiohaagtype.com\/en\/omgs\/#article\",\"isPartOf\":{\"@id\":\"https:\/\/fabiohaagtype.com\/en\/omgs\/\"},\"author\":{\"name\":\"Fabio Haag\",\"@id\":\"https:\/\/fabiohaagtype.com\/#\/schema\/person\/79988c8694c21c07ac695f8d9b6d1d40\"},\"headline\":\"OMg\u2019s\",\"datePublished\":\"2022-11-24T22:48:21+00:00\",\"dateModified\":\"2022-11-25T15:51:09+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\/\/fabiohaagtype.com\/en\/omgs\/\"},\"wordCount\":596,\"image\":{\"@id\":\"https:\/\/fabiohaagtype.com\/en\/omgs\/#primaryimage\"},\"thumbnailUrl\":\"https:\/\/fabiohaagtype.com\/wp-content\/uploads\/2022\/11\/Artigo-g-Cover.png\",\"articleSection\":[\"Blog\",\"Ideas\"],\"inLanguage\":\"en-US\"},{\"@type\":\"WebPage\",\"@id\":\"https:\/\/fabiohaagtype.com\/en\/omgs\/\",\"url\":\"https:\/\/fabiohaagtype.com\/en\/omgs\/\",\"name\":\"OMg\u2019s - 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