Drucker explains the advent of typography through the graphic art movement of the late nineteenth century. She explains typographic ennunciation as either marked or unmarked.
Three Important Aspects:
- Marked and unmarked typography both came about with the invention of printing. While they shared this origin, they both had distinct features that evolved out of specific traditions.
- Marked text “had its most vibrant spurt of development in the domain of advertising, where manipulation, practically for its own sake, motivated the development of a wide range of typefaces, styles, and conventions governing their use” (95). This visual element became the defining feature.
- Unmarked text found a base in literary production and “‘appear to speak themselves’ without the visible intervention” (95).
of author or printer.
Two Misunderstood Aspects:
- What is the involvement of typeface in literary texts? If the visual elements of typography can influence the feel of the medium, wouldn’t everything become marked text?
- I don’t understand how unmarked texts seem to be defined by their lack of need for the reader’s interaction. I suppose they appear to show the un-involvement of the writer/author/printer in the reading process, but how does that affect the reader?
- With the ever increasing amount of typefaces and graphic ability produced by computers, how will future texts define themselves stylistically, and what effect will that have on readers?