The hardened line of text was then ejected from the machine and called a slug. This is interesting because in screenwriting a slugline is a brief line of text used to establish the scene (e.g. INT. BEDROOM – DAY). I suspect that this term was derived from the Linotype slug. The Monotype and Ludlow machines would follow.
Then, display phototypesetting became popular in the 1960s. They utilized photographic paper, a lens, and film negatives to more accurately control letter spacing. Type could also be enlarged or reduced without any loss of quality. These methods would dramatically increase flexibility for designers and decrease the amount of time it took to typeset.
Fast forward to the invention of the computer—over time typesetting became more customizable + easier to manipulate and test out. In addition, for the first time, users were able to interact with type. Later, with the emergence of smartphones, app design simultaneously created a new creative outlet and challenge for graphic designers. This new challenge led to the creation of responsive design. This refers to the differences in layout, programming, and complexity of information that exist between different formats such as phones, tablets, and desktops.
The example I found most interesting in this chapter was 7-25. It demonstrated everything that goes into a super simple search bar seen on pretty much every website. I love this deconstruction of elements because it shows the amount of detail that designers put into their work that more often than not goes unnoticed.
Side note – When looking for elements for my 7 Deadly Sins mood board, I came across this hilarious tweet that I think a lot of us can relate to.
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