TYPOGRAPHY [ TASK 2: TYPOGRAPHIC EXPLORATION & COMMUNICATION ]
24.10.23 - 07.11.23 / Week 5 - Week 7
Bachelor of Design (Hons) in Creative Media / Typography / Taylor's University
Task 2: Typographic Exploration & Communication
OUTLINE
Recorded Lectures
Class Summary
- WEEK 6
- WEEK 7
Instruction
- TASK 2: Typographic Exploration & Communication
- Experience
- Observations
- Findings
RECORDED LECTURES
1 // Typo_5: Understanding
2// Typo_6: Screen & Print
Lecture 1 - Typo_5: Understanding
- Letters / Understanding letterforms
The capital letter formations appear symmetrical, but they are not. The Baskerville stroke form has two stroke weights and each bracket linking the serif to the stem has a distinct arc.
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| L1_1. The uppercase letterform |
- Letters
Baskerville and Univers are examples of type designers' efforts to create harmonious and expressive uppercase letter shapes, despite their symmetrical appearance.
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| L1_2. The uppercase letterform |
The intricacy of each letterform, evident in the lowercase 'a' of two seemingly comparable sans-serif typefaces, is revealed through their stem termination and bowl-to-stem correspondence.
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| L1_3. The lowercase letterform |
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| L1_4. The lowercase letterform |
- Letters / Maintaining x-height
The x-height measures the size of lowercase letterforms, with curved strokes rising above the median or sinking below the baseline to appear the same size as adjacent vertical and horizontal strokes.
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| L1_5. x-height for lowercase letterforms |
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| L1_6. x-height for lowercase letterforms |
- Letters / Form / Counterform
Acknowledging individual letterforms and the counterform, the space between strokes is crucial for creating words. It's especially useful with letterforms lacking counters, as managing counters effectively influences the clarity of the set.
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| L1_7. Counterform |
Detailing a letter provides insight into its shape, counter, balance, and unique qualities, revealing the letter-making process and a satisfying understanding of its shape and counter.
The 'S' feeling remains consistent throughout the expansion, but the 'g' loses identity as individual pieces are evaluated without the full letterform context.
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| L1_8. Counterform |
- Letters / Contrast
Graphic Design principles directly apply to typography, with fundamental contrasts resulting in various variants like small versus organic, small versus machined, and small versus light.
Lecture 2 - Typo_6: Screen & Print
- Typography in Different Medium
Typography, once considered only on paper, has evolved to be found on various devices and is influenced by factors like operating systems, typefaces, screen size, and viewport. Today, our experience with typography varies depending on the website's presentation.
Type for Print:
- Typefaces like Caslon, Garamond, and Baskerville are commonly used for print due to their graceful, intellectual traits, readable nature, and adaptability.
- These classic fonts are easy to understand and make typesetting a breeze.
Type for Screen:
- Typefaces optimized for web use include taller x-height, bigger letterforms, open counters, heavier strokes, lower stroke contrast, and adjusted curves and angles.
- These modifications enhance character recognition and readability in digital environments like the web, e-books, and mobile devices.
Hyperactive Link / hyperlink:
- Hyperlinks are text or image links on websites, allowing users to navigate between pages by clicking. Typically blue and underlined, they transform into arrows pointing to the link.
Font size for screen:
- Text on a 16-pixel screen is similar to printed text in a book or magazine, with reading distance typically set at 10 points, and at arm's length, at least 12 points.
System Fonts for Screen / Web Safe Fonts:
- Each device has its pre-installed fonts, influenced by its operating system. Windows-based devices have one font family, MacOS uses another, and Google's Android uses another. If a designer chooses an obscure font, it may revert to a simple variety, while web-safe fonts are found on all operating systems.
Pixel Differential Between Devices:
- Modern devices' displays vary in size and proportion due to varying pixel sizes, resulting in significant variance within each device class.
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| L2_1. Different screens' physical size and PPI |
- Static typography conveys text effectively, using dynamic attributes like bold and italic. It's used in various contexts like billboards, posters, and fliers, influencing the audience's emotional connection and impression.
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| L2_2. Examples |
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| L2_3. Examples |
Motion Typography:
- Typographers can manipulate type in temporal media, creating fluid and kinetic letterforms. Film title credits often use animation, with animated type increasingly used in motion graphics.
- Type is often used in music videos and advertising, enhancing the visual experience and conveying brand values, tone, and atmosphere, while also preparing the audience for the film.
CLASS SUMMARY
WEEK 6
In this class, we got feedback from our previous works. Ms. Hsin encouraged us to upload jpeg files on Facebook, checking each other's designs. She walked around the class and gave several pieces of feedback to people who wanted it, including me, like she did before.
WEEK 7
In this class, we needed to finish our work. So we made the final inspection. Also, we got an announcement that we need to prepare graph paper and more than three different marker pens for Task 3.
INSTRUCTION
Module Information Booklet (MIB) of Typography
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TASK 2: Typographic Exploration & Communication
We did horizontal sorts of design settings in Task 1: Exercises, but this time we started with diagonal types.
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| Fig. 2.1.1 Attempt 1 without grids (Week 5 / 24.10.2023) |
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| Fig. 2.1.2 Attempt 1 with grids (Week 5 / 24.10.2023) |
HEAD
Font/s:
Headline - Gill Sans Light
Byline - Janson Text LT Std 56 Italic
Type Size/s:
Headline - 66 pt, 28 pt
Byline - 14 pt
Leading:
Headline - 79.2 pt, 33.6 pt
Byline - 16.8 pt
Paragraph spacing: -
BODY
Font/s:
Body text - Futura PT Light
Type Size/s:
Body text - 11 pt
Leading:
Body text - 11 pt
Paragraph spacing: 11 pt
Average Characters per line: 59 characters
Alignment:
Headline - Left aligned
Byline - Left aligned
Body text - Left aligned
Margins: 20 mm top, 26.5 mm left, 27 mm right, 18.5 mm bottom
Columns: 4
Gutter: 6 mm
And on WEEK 6, I got feedback from Ms. Hsin and changed my work.
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| Fig. 2.1.4 Attempt 2 with grids (Week 6 / 31.10.2023) |
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| Fig. 2.1.5 Attempt 2 with grids (Week 6 / 31.10.2023) |
HEAD
Font/s:
Headline - Gill Sans Light
Byline - Janson Text LT Std 56 Italic
Type Size/s:
Headline - 66 pt, 28 pt
Byline - 14 pt
Leading:
Headline - 79.2 pt, 33.6 pt
Byline - 16.8 pt
Paragraph spacing: -
BODY
Font/s:
Body text - Futura PT Light
Type Size/s:
Body text - 11 pt
Leading:
Body text - 11 pt
Paragraph spacing: 11 pt
Average Characters per line: 59 characters
Alignment:
Headline - Left aligned
Byline - Left aligned
Body text - Left aligned
Margins: 22 mm top, 26.5 mm left, 28 mm right, 18.5 mm bottom
Columns: 4
Gutter: 6 mm
Fig. 2.1.6 Attempt 2 with and without grids (Week 5 / 24.10.2023)
After finishing my first work, I started to make another one, which was a diagonal line.
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| Fig. 2.1.7 Attempt 3 with grids (Week 6 / 31.10.2023) |
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| Fig. 2.1.8 Attempt 3 without grids (Week 6 / 31.10.2023) |
HEAD
Font/s:
Headline - Gill Sans LTD Ultra Bold Condensed, Letter Gothic Std Medium, Letter Gothic Std Bold Slanted
Byline - Gill Sans LTD Light
Type Size/s:
Headline - 83 pt, 46 pt, 43 pt
Byline - 18 pt
Leading:
Headline - 99.6 pt, 55.2 pt, 51.6 pt
Byline - 21.6 pt
Paragraph spacing: -
BODY
Font/s:
Body text - Bembo Std Regular
Type Size/s:
Body text - 11 pt
Leading:
Body text - 11 pt
Paragraph spacing: 11 pt
Average Characters per line: 59 characters
Alignment:
Headline - Left aligned
Byline - Right-aligned
Body text - Left aligned
Margins: 23 mm top, 22.5 mm left, 20 mm right, 20 mm bottom
Columns: 2
Gutter: 2 mm
Fig. 2.1.9 Attempt 3 with and without grids (Week 6 / 31.10.2023)
FEEDBACK
WEEK 6
Specific Feedback: It would be better to change the angle to make it easier to adjust the angle with other texts by fitting it perfectly instead of decimal points. The design was good, but it would be good if I tried to make a horizontal one more.
General Feedback: The overall design and angle were good, but it needed to be modified.
WEEK 7
Specific Feedback: The overall design and angle of Attempt 2 are good, but it would be better if it was designed at an angle that makes it easier for people to read.
General Feedback: It would be better to level the angle of the paragraph.
REFLECTION
Experience
It was nice to be able to keep making new designs over the week. First of all, it was good to be able to recognize what I lacked and grow by listening to the feedback of the Lecturers.
Observations
I first noticed that people who look at the design may feel uncomfortable depending on the direction and angle of the writing. I thought it would be okay if the design was pretty and the meaning was well expressed. It was meaningful because I felt like I learned an important element in designing.
Findings
As I've said before, learning new things and being able to learn is very grateful. The things I learned this time will help my future life and future job. And if I keep looking at the design, my eyes get used to it and I don't seem to know if the design is bad or not. So from now on, I should take some time to check the design by dividing it instead of making it all in a day.
FURTHER READING
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| TypographyBasics |
Since the first scribes lettered books by hand millennia ago, computer typography has been a fundamental goal. If typography makes the text on the page difficult to read, the reader will not get the information they need. The significance of order and structure in book design is emphasised by Jan White, a well-known book designer. These essential notions may make a reader's life simpler and a designer's job easier. By knowing about typefaces, computer fonts, and various computer font settings, a designer may build a report that is not only easy to read but also contains important information.
As I read it, I thought it was fun because there were parts that I learned from the Recorded lecture.
Font Styles and Families
Computer typefaces offer bold and italic variants, but not all fonts were designed for bold and italic use. Designers often use "bold-a-bold" to make bold versions stronger, altering characters' personalities. Some typefaces are available in plain form. Older programs, such as Microsoft Word, QuarkXPress, PageMaker, and FrameMaker, do not know whether a font has a bold or italic variant and allow users to apply whichever style formatting they want. The question is whether the font style exists and can be printed.
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