L’alta leggibilità (non) esiste? Cosa significa progettare un testo graficamente inclusivo
by Perondi Luciano
How to design texts, books, and in general any communicative support looking at maximum inclusivity to make reading increasingly more democratic. Where are we with the scientific evidence on readability? The need for this book stems from the tendency of typography to take as fact elements that emerge from tradition. For example, ‘serifs read better than sans,’ ‘we read better what we read more,’ ‘asymmetrical forms are better for readers with dyslexia,’ etc. It is possible (but not proven) that text forms have adapted to the readers and vice versa the readers shaped their reading to the form of the book, but this does not imply that every typographic adage is necessarily correct; indeed, those listed above seem to be just about all of them wrong. The approach taken in this essay is therefore one that is based on the process called evidence based design, which in brief is to base design choices on what emerges from scientific research, with the aim of creating the best conditions for the user (in this case reader). In essence, to design better, knowing one more thing is better than knowing one less, if only to avoid setting limits that have no reason to be. Added to this is the need to make as widespread as possible a practice, reading, that until only a hundred years ago concerned a very small percentage of people, and to understand how reading can be improved by improving the typography. An essay to discuss the effects of typography on reading in the light of scientific knowledge on the subject.
- Publishing house Nomos Edizioni
- Year of publication 2024
- Number of pages 128
- ISBN 9791259581792
- Foreign Rights Benedetta Tosi, benedetta.tosi@nomosedizioni.it
- Price 24.90
Perondi Luciano
Luciano Perondi has been character designer and graphic designer since 1998. Associate Professor of Design at IUAV Venice in 2018, partner of Alpaca, a designers’ cooperative, and CAST. Often within a theoretical approach, his interests focus on visual studies, writing, typography and information design. From 2003 to 2007 he headed the studio Molotro. From 2005 to 2013 he was a member of the editorial board of the Italian design magazine Progetto Grafico. Director of ISIA Urbino from 2013 to 2016.
