Web Designer Philippines

Orientation
A line of type that is upside-down on a page is very noticeable, but also difficult to read. On a printed page, the reader would simply turn the page around, but that’s not quite so easy with a monitor.

Type that runs up or down the page vertically is impossible with HTML text, but can be easily implemented with a GIF, JPG, or PNG. Used sparingly, it can be effective in a horizontal world. Balanced with other typographic attributes, size, weight, and colour, a headline on its side like this can be prominent or recessive. Of course, this is true for any line of type, but the sideways orientation is acting as a visual foil, contradicting the natural flow and bring attention to itself. As it spans a certain number of lines and paragraphs of related body text, it also has the effect of further unifying them.

Position
As with the maverick type style, a line of type that is in an unusual position will stand out. Breaking the regular geometry of a page with an indent or hanging indent will draw the attention to that element, even overriding the natural top down flow. A common exercise for students of typography is to take a piece of information, such as an exhibition flyer, and to do various layouts using only one prioritizing technique on each — weight, size, color, position, etc. Any element that looks as if it doesn’t belong for some reason will draw attention to itself.
Remember: Like all hard and fast rules, grids are meant to be broken!

Space
A line of 8-point type in the middle of a blank page dominates the page completely. On a page full of 12-point type, it gets lost. Not only are the relative type sizes important, but the space that surrounds the type is significant too.
The effective counter play between solid and void areas is one of the finest skills used in modern architecture, abstract painting, and typography, and requires a substantial amount of training and experience. At its simplest level, isolating typographical elements in space is a sure way to give them emphasis.

Priority Used Creatively
Converting priority of information into typographic emphasis successfully is one of the most basic skills of typographic design. It works at both functional and aesthetic levels and can be achieved with a little common sense.

Creative typographers use a whole gamut of techniques to prioritize information and make a page more visually interesting. Even within the confines of HTML, a little imagination can prove fruitful and be visually rewarding.

Much has been written about the death of typography as we know it — that, with the boom of the Web, old typesetting traditions are abandoned in favor of a more democratic approach to an information-based medium. But I always wondered what those programmers of the early Web browsers had been smoking when they chose the standard fonts for displaying text on the web. Up until the time when the tag was introduced, a designer’s choice for specifying typefaces on the web was limited to Times for proportional and Courier for monospaced type.