Hello. Welcome to part 3, which is about typography, about designing with type. And, first things first, let's begin with a discussion about hierarchy and contrasts. Now I'm going to start with a rather provocative, I think, statement that there is no such thing as too much text. Well, maybe sometimes there is. But most of the time when people say, it's too much text, what they mean is actually there's too much monotony. Or maybe there's not enough white space. Or maybe that the margins are not wide enough. And these are all typographical problems that could be fixed. I promise that you can actually have a lot of text on a page without it looking like it's too much text. This is what typography is all about. Now, couple of centuries ago, this is what the newspaper looked like. Which is, of course, too much text and contemporary newspapers do not look like this. And it's not like they have any less text, but they have much more white space and this is what contemporary design is all about. It's about scanability rather than readability. We do not design for reading anymore, instead we design for scanning. We provide people with various visual cues for them to orient on a page. And actually choose what to read without reading everything. Before that was, you either read everything or nothing. Now, the goal of designers is to provide the reader with a choice. This is how people read, they began reading the paragraph and down they drop it all together and jump to the next paragraph or to the next bullet point etc., etc. So what we are trying to do is, we are trying to optimize the page for jumpability, if you will. We're trying to create this visual hierarchy saying that, okay, these are the crucial points you absolutely have to read. And those things are optional, and if you don't want to read them, if you don't have enough time, well okay, you don't have to. So this is what people traditionally call too much text and I will try to improve it without deleting anything. A magician's job, if you will. Thing number one, let us create the second black point. In the previous design, it was just one big black dot on a page. These are two black dots. One of them is actually quite readable. I can actually read the header now, which I think is an improvement. This is a much more, dramatically more, scanable page than it was before. The second thing, we still have this big black second dot, and let's break it into four separate things. And I think this is an improvement as well. Now, we can jump from one paragraph to another. Before that we had either all or nothing, now we have a choice. Now, as long as we're here, please do not just hit enter after the paragraph. This is not a way to go. Just use proper dialogue boxes in PowerPoint or maybe Apple Keynote. This is even easier, they are right there on the right side of the page, typically. Next, we have four bullets and let's make bullets really, really visible. The functional meaning of a bullet is to provide a target, forgive me this military language, for the eye to jump to. If you don't want to read the whole paragraph, the bullet is the mark. Okay, I'm big and bright and black and jump to me, the bullet sort of says. And they should be separate. Do not conflate bullets with the rest of the text. Now, let's decrease a font size so slightly. And it actually improved readability, you see more white space actually means better readability. What I'm going to do next, I'm going to decrease the font size, just a tiny little bit, let's have a look. Oops, the readability actually improved even though the text size got smaller. This is because the contrast between the main bullet text and the header became better and the contrast between white space and the main body text improved. Now we have more white space and the page itself looks, well, lighter. We can additionally increase the contrast by making the header much bigger and brighter. And the next stage is, I think absolutely critical, we can work with the three. We can create an additional logical level. Before that we had just two logical levels, the header and the main bullet text for bullets. Now we have three, we have header, sub-header, and the main body text, which provides orientation for the reader. And then we can further increase the contrast. And this is where we can stop for a second, because I think this is a nice stopping point, and we can compare it to what it was before. And I think this is a bit of an improvement. And we've achieved everything by just working with contrasts and visual hierarchy. Now, I don't know if you've noticed but this space, this space, this space and this space, they're all different. This is the space between two lines, this is between two paragraphs, this is between the header and the main body text. And this is between the main body text and the screen border, something we used to call margin when we had printed page. And this is what visual hierarchy is all about, it's about increasing the amount of space between elements. This is how we communicate meaning. This is how we communicate importance of different things on a page. And this is how we apply our principle. Focus, we work with the tree first. We ask ourselves, what's more important, what's the second most important, what's the third most important? Then we create those contrasts between headers, sub-headers and main body text. And, well, here we have almost nothing to delete, so this part doesn't quite work, but the hierarchy and contrasts are key to this part. Thank you.
