TYPOGRAPHY ✿ TASK 1: EXERCISES ✿
03.04.23 - 29.03.23
week 1 - week 4
✿ TAN JIA JIA 0350577 ✿
Bachelor of Design (Honours) in Creative Media
✿ LECTURES ✿
Lecture 1 / Typo_0_Introduction
Lecture 2 / Typo_1_Development
Lecture 3 / Typo_3_Text_P1
Lecture 4 / Typo_4_Text_P2
Lecture 5 / Typo_4_Basic
Lecture 6 / Typo_5_Understanding
Lecture 7 / Typo_6_Screen Print
Lecture 1 / Typo_0_Introduction
In this lecture, Mr. Vinod introduced to us "Typography", and said that
typography is important in design. He first defines typography as the art
and technique of arranging type in order to make written language legible,
readable, and appealing when displayed. He then goes on to the history of
typography, from the early days of handwritten calligraphy to the
development of movable type and printing presses, to the digital age of
modern typography. After knowing the history of typography, Mr. Vinod also
told us about the different elements of typography, for example, font,
typeface, size, spacing, and alignment. An effective and visually
appealing design will create when these elements work together. Finally,
he provides some tips for working with typography, such as appropriate
typefaces, using contrasting fonts, and ensuring proper alignment and
spacing.
Lecture 2 / Typo_1_Development
Early letterform development: Phoenician to Roman
Figure 2.1 4th century B.C.E
Figure 2.2 Phoenician to Roman
Early writing involved using materials such as wet clay and stone with
tools like sharpened sticks and chisels. The forms of uppercase
letterforms that have been used for nearly 2000 years evolved from these
materials and tools, and are comprised of simple combinations of straight
lines and pieces of circles.
Figure 2.3 Direction of Writing the Greek
Figure 2.4 Greek fragment, stone engraving.
The Greeks altered the direction of writing by developing a style called
"boustrophedon", which alternated the direction of reading between right
to left and left to right. This change in direction also resulted in a
change in the orientation of the letterforms used.
Hand script 3rd – 10th-century C.E.
Figure 2.5 4th/5th century: Square capitals
Square capitals with added serifs were the written version found in Roman
monuments, and the stroke variety was achieved through a reed pen held at
an angle of about 60°.
Figure 2.6 Late 3rd – mid 4th century: Rustic capitals
Rustic capitals, a compressed version of square capitals, allowed for
faster writing and twice as many words on parchment but were slightly
harder to read, with the pen or brush held at an angle of about 30°.
Figure 2.7 4th century: Roman cursive
Square and rustic capitals were reserved for official documents, while
everyday transactions were written in a simplified cursive hand, marking
the beginning of lowercase letterforms.
Figure 2.8 4th - 5th century: Uncials
Uncials, which incorporated some elements of Roman cursive hand and
were possibly named after being one inch high, are more legible than
rustic capitals at small sizes due to their broad forms.
Figure 2.9 C. 500: Half-uncials
Half-uncials, which marked the beginning of lowercase letterforms with
ascenders and descenders, were developed from the cursive hand, 2000 years
after the creation of the Phoenician alphabet.
Figure 2.10 C. 925: Caloline minuscule
Charlemagne's edict of 789, entrusted to Alcuin of York, resulted in the
standardization of ecclesiastical texts through the use of both Majuscules
and minuscules, capitalization, and punctuation, setting the calligraphy
standard for a century.
Blackletter to Gutenberg’s type
Figure 2.11 Phoenician to Roman
After the dissolution of Charlemagne's empire, regional variations of
Alcuin's script emerged, such as the vertical Blackletter or Textura in
northern Europe, the open and round hand known as Rotunda in the south,
and the humanistic script in Italy based on Alcuin's minuscule.
Text type classification
Figure 2.12
1 – 1450 Blackletter
2 – 1475 Oldstyle
3 – 1500 Italic
4 – 1550 Script
5 – 1750 Transitional
6 – 1775 Modern
7 – 1825 Square Serif / Slab Serif
8 – 1990 Serif / Sans Serif
Lecture 3 / Typo_3_Text_P1
Text/Tracking: Kerning and Letterspacing
Figure 3.1 Without kerning and with kerning
Kerning is the automatic adjustment of space between letters, while letterspacing
refers to adding space between the letters.
Tracking involves adjusting the spacing between characters in a word or sentence and
is typically used in large paragraphs of text.
Figure 3.2 Normal tracking and loose tracking.
Designers typically letter space uppercase letters, but there is resistance
to letterspacing lowercase letters within the text as their counter forms
are necessary for maintaining the line of reading.
Figure 3.3 The difference between normal tracking and loose tracking
Text/Formatting Text
Figure 3.4 Flush left
Flush left known as "ragged-right" or "left-aligned" text, resembles
handwriting by starting each line at the same point but ending where the last
word ends, and keeping the spacing between words consistent, resulting in an
even appearance.
Figure 3.5 Centered
Centered text format assigns equal weight to both ends of a line, adding a
pictorial quality to non-pictorial text by transforming it into shapes, but
requires adjusting line breaks to avoid a jagged appearance.
Figure 3.6 Flush right
Flush right text format emphasizes the end of a line and is useful in
situations such as captions where a strong orientation to the right is needed
to clarify the relationship between text and image.
Figure 3.7 Justified
Justified text format creates a symmetrical shape by adjusting spaces between
words and letters, but may cause "rivers" of white space that require careful
attention to line breaks and hyphenation to avoid.
Text/Texture
The texture of typefaces is influenced by their x-height and stroke width,
with those having a larger x-height or heavier stroke producing a darker
appearance, and understanding these differences is crucial for creating
effective layouts.
Figure 3.8 Anatomy of a typeface
Text/Leading and Line Length
Type size: Text type should be large enough to be read easily at arm's length-
imagine yourself holding a book in your lap.
Leading: Text that is set with tight spacing between lines can cause readers
to lose their place easily by encouraging vertical eye movement, while loose
spacing can create distracting striped patterns that take away from the
content.
Line Length: The appropriate leading for text depends on both the type size
and line length. Shorter lines need less leading, longer lines need more. A
line length of 55-65 characters is recommended as extremely long or short
lines impair reading.
Figure 3.10 Tight leading and Loose leading
Figure 3.11 Different leading
Type Specimen Book
A type specimen book displays typefaces in different sizes for choosing the
appropriate typeface. It is a reference for determining type, size, and other
factors. However, for on-screen reading, the final version must be considered
rather than relying solely on the specimen book or screen preview.
Figure 3.12 Sample specimen book
The compositional requirement for text is that it should be able to fill a
page or screen as a cohesive whole. Ideally, the text should have a consistent
middle gray value throughout rather than appearing as a series of stripes.
Lecture 4 / Typo_4_Text_P2
Indicating Paragraph
There are many ways to indicate paragraphs in written text, but one example is
the pilcrow, which was commonly used in manuscripts but is not used very often
anymore.
Figure 4.1 The polcrow
Line space: Using a consistent line space (leading) and paragraph
spacing, such as 12pt, can ensure cross-alignment across columns of text.
Figure 4.2 Paragraph spacing
Leading: Refers to the vertical space between lines of text, measured from
baseline to baseline, and is a critical aspect of text formatting that affects
the readability and appearance of the text.
Figure 4.3 line space vs leading
Indentation: In formatting text, the indent is usually made the same size as
either the line spacing or the point size of the text.
Figure 4.4 Standard indentation
Figure 4.5 Extended paragraph indentation
Widows and Orphans
Traditional typesetting considers widows and orphans as unacceptable mistakes.
Designers dealing with large amounts of text in various media such as
websites, books, magazines, newspapers, and journals must take great care to
avoid these mistakes.
A widow: In typesetting refers to a short line or single word at
the end of a paragraph or column, creating an awkward gap that designers aim
to avoid by adjusting spacing or the number of words.
An orphan: In typesetting is a short line or a single word at
the beginning of a new column that appears separated from the rest of the
paragraph, which designers avoid by adjusting the layout to fit the entire
paragraph or text in the same column or by reducing the spacing between the
lines.
Figure 4.6 Widows and Orphans
Highlighting Text
The process of highlighting text within a column of text requires different
kinds of contrast for different types of emphasis, and some simple examples
are provided.
Figure 4.7 Italic, Bold, Color
The example describes how the sans serif font "Univers" is reduced by 5
points to match the x-height of the serif typeface, calculated by dividing 8
by 7.5. This maintains a consistent x-height ratio and creates a harmonious
look between the fonts.
Figure 4.8 Bold sans
To highlight text by placing a field of color at the back of the text, it's
important to maintain the left reading axis of the text (right example) to
ensure the best readability.
Figure 4.9 Field of color
In typography, it's sometimes necessary to extend certain elements outside
the left margin of a column of text, instead of indenting them, to maintain
a strong reading axis.
Figure 4.10 Typographic element
Quotation marks, like bullets, can create an indent that breaks the left
reading axis, and this is shown in a comparison between an indented quote at
the top and an extended quote at the bottom.
Figure 4.11 Quatation marks
Figure 4.12 Quatation prime
Heading with Text
Subdivisions in a chapter are labeled A, B, and C based on importance, and a
typographer's job is to ensure they are clear to readers and show their
relationship to each other.
"A" heads are used to signify a distinct separation or break between
different topics within a section of text.
Figure 4.13 A head examples
"B" heads are considered less important than "A" heads and are used to
introduce new supporting arguments or examples related to the current topic
being discussed.
Figure 4.14 B head examples
"C" heads highlight specific facets of material within B-head text, with the
C-heads followed by at least an em space for visual separation.
Figure 4.15 C head examples
Cross Alignment
Aligning headlines and captions with text type can reinforce the page's
structure and vertical rhythms. The given example demonstrates this by
aligning four lines of caption type (led 9 pts.) with three lines of text
type (leaded to 13.5 pts).
Figure 4.16 Cross Alignment
Lecture 5 / Typo_4_Basic
Describing Letterforms
Baseline: The imaginary horizontal line upon which most
characters sit, providing a foundation and visual anchor for text.
Median: The imaginary horizontal line that sits in the middle
of lowercase letters, such as "x" or "o".
X-height: the height of the lowercase letters, excluding ascenders and
descenders, based on the height of the letter "x"
Stroke: The main line or lines that form the shape of a letter.
Apex/Vertex: the highest point where two diagonal strokes meet
in uppercase letters, such as "A" or "V".
Arm: A horizontal or upward-sloping stroke that is unattached on one
or both ends, such as in the letter "T" or "E".
Ascender: The part of a lowercase letter that extends above the
x-height, such as in the letters "b" or "d".
Barb: A small, pointed extension that appears at the top or
bottom of a diagonal stroke, such as in the letters "J" or "q".
Beak: A small, pointed extension that appears at the end of a
terminal or stroke, such as in the letter "a" or "c".
Bowl: The curved or round shape that encloses a circular or
curved shape in a letter, such as in the letters "b" or "d".
Bracket: A curved or angled line that connects the stem and
serif of some typefaces, such as in the letter "G" or "J".
Cross Bar: A horizontal stroke that connects two vertical
strokes, such as in the letter "H" or "A".
Cross Storke: A horizontal or diagonal stroke that crosses a
vertical stroke, such as in the letter "t" or "f".
Crotch: The junction where two strokes meet at a sharp angle,
such as in the letter "v" or "Y".
Descender: The part of a lowercase letter that extends below
the baseline, such as in the letters "g" or "y".
Ear: A small decorative stroke or flourish that is attached to
the upper or lower part of some characters, such as in the letters "g"
or "q".
Em/en: the width of a typeface's uppercase "M" or lowercase
"n", respectively, and is used as a unit of measurement for spacing
and alignment in typography.
Finial: A tapered or curved end of a letterform stroke or
serif, such as in the letters "c" or "f".
Leg: a downward or upward-sloping stroke that is attached to a
stem or serif, such as in the letters "K" or "R".
Lignature: A combination of two or more letters into a single
glyph, such as in the letters "fi" or "fl".
Link: A curved stroke that connects two parts of a letter, such
as in the letter "g" or "j".
Loop: A rounded or oval-shaped stroke that is either closed or
open and is found in letters such as "e" or "g".
Serif: A small, decorative line or stroke that is added to the
end of a letter's main strokes, such as in the letters "Times New
Roman".
Shoulder: A curved stroke that connects the stem and the arm or
bowl of a letter, such as in the letters "h" or "n".
Spine: The main, curved stroke that runs vertically through a
letter, such as in the letter "S" or "C".
Spur: A small projection or stroke that extends from the main
stroke or serif, such as in the letters "b" or "h".
Stem: The main, vertical, or diagonal stroke of a letter, such
as in the letters "l" or "k".
Stress: The amount of pressure or emphasis placed on the main
strokes of a letter, typically defined as either vertical, horizontal,
or diagonal, such as in the letters "O" or "S".
Swash: An elegant, decorative flourish or extension of a
letterform, such as in the letters "Q" or "T" in certain typography
styles.
Tail: A descending stroke or loop that extends below the
baseline of a letter, such as in the letter "y" or "g".
Terminal: The end point of a stroke or curve in a letter, such
as in the letters "a" or "c".
Figure 5.1 Descirbe letterforms
The Font
The full font of a typeface has more than just letters, including
numerals and punctuation marks. To effectively use type, it is
important to have access to the full font and know how to use it.
Uppercase: Specific characters that are included as capital
letters in a typeface, such as accented vowels, c cedilla, n tilde,
and a/e and o/e ligatures.
Lowercase: Lowercase letters include the same characters as
uppercase.
Small Capitals: Uppercase letterforms are drawn to the
x-height of the typeface. Small Caps are commonly found in serif fonts
as part of the expert set. Type software has a style command to
generate small caps, but they should not be confused with real small
caps.
Figure 5.2 Uppercase
Figure 5.3 Lowercase
Uppercase Numerals: Numerals are designed to match the
style and weight of uppercase letters in a font. They are typically
used for display purposes, such as in headings or titles, and can
add a sense of elegance and sophistication to a design.
Lowercase Numerals: Smaller versions of the numbers used in
written text, usually below the baseline and often slightly taller
than lowercase letters. They are commonly used in conjunction with
lowercase letters in text settings.
Figure 5.4 Numerals
Italic: A typeface style that slants the letters to the
right, creating a cursive or calligraphic appearance. It is commonly
used for emphasis, titles, and captions.
Figure 5.5 Italic
Punctuation, miscellaneous characters: To standard
punctuation marks, different typefaces can have unique miscellaneous
characters, so it's important to be familiar with all the characters
available in a font before choosing it for a specific project.
Ornaments: Flourishes are used in invitations and
certificates, and are usually part of a larger typeface family. Some
traditional typefaces contain ornamental fonts as part of the
family.
Figure 5.6 Punctuation, Ornaments
Describing Typeface
Roman: A classic serif font characterized by its upright,
traditional letterforms with bracketed serifs.
Book: A medium-weight serif font commonly used for body text
in printed materials.
Italic: Features slanted and stylized letterforms, often used
to convey emphasis or contrast to the regular or Roman typeface.
Oblique: Slants the regular (upright) version of a font,
without altering the letterforms.
Boldface: Variation that has thicker strokes than the regular
version of the same typeface.
Light: A font weight that is thinner than the regular weight
of a particular typeface.
Thin: Has a very light stroke weight and is often used for
delicate or minimalist design purposes.
Condense: With narrow spacing between letters, allowing for
more characters to fit in a given space.
Extended: The characters are horizontally stretched or
widened compared to the regular version of the typeface.
Figure 5.7 Typefaces
Comparing Typefaces
The 10 typefaces mentioned in the slide represent 500 years of type
design, with designers striving to achieve two main goals: readability
and contemporary aesthetics.
Figure 5.8 Typefaces
Lecture 6 / Typo_5_Understanding
Understanding Letterforms
The uppercase letter forms appear symmetrical but are not.
Baskerville stroke form shows two distinct stroke weights,
and each bracket connecting the serif to the stem has a unique arc.
Univers is a popular typeface with a consistent design across
a range of weights and styles, making it easy to use and maintain
legibility at small sizes. It is versatile and popular for corporate
design, publications, and advertising, and has been used by many
well-known brands.
Figure 6.1 Baskerville, Univers
When comparing the lowercase an of the sans-serif typefaces
Helvetica and Univers, it is easy to see the differences in
character. The complexity of each individual letterform can be
observed by examining how the stems finish and how the bowls meet
the stems. This reveals a palpable difference in character between
the two typefaces.
Figure 6.2 Helvetica, Univers
Maintaining X-Height
The x-height is a measurement for the size of lowercase letters, but
curved strokes like those in 's' need to rise above or sink below
the median or baseline to appear the same size as vertical and
horizontal strokes.
Figure 6.3 Maintaining X-height
Letter / Form / Counterform
Recognizing specific letterforms, it's important to develop a
sensitivity to the counter form or space described by the strokes of
the form, especially in letterforms like lowercase 'r' that lack
counters. When letters are joined to form words, the counter form
includes the spaces between them. Proper handling of counters when
setting type is important for ensuring words hang together well and
are easily readable.
Figure 6.4 Counterform 1
Examining the form and counter of a letter in close detail is a
rewarding way to understand its balance and unique characteristics.
It provides insight into the letter-making process and helps to
develop a good feel for achieving the balance between form and
counter.
Figure 6.5 Counterform 2
Constract
The principles of graphic design apply to typography, and one of the
most powerful dynamics in design is contrast, which can be applied
to type. Rudi Ruegg devised a format for illustrating examples of
contrast in typography.
Figure 6.6 Constract
Lecture 7 / Typo_6_Screen&Print
Typography in Different Medium
Typography varies across different mediums such as print, web,
mobile, motion graphics, and signage. The choice of typeface and
font size is influenced by the medium's specific requirements such
as legibility, readability, screen size, and distance. Typography in
each medium is used to enhance communication and the overall design
of the content.
Print Type VS Screen Type
Type for Print
The typefaces Caslon, Garamond, and Baskerville are commonly used
for print as they possess an elegant and intellectual quality while
remaining highly readable even at small font sizes. These typefaces
are considered good choices for print typography.
Univers is a classic and versatile typeface that is easy to use and
has a neutral quality, making it a popular choice for typography.
Type for Screen
Web typefaces are optimized and modified to improve readability and
performance on digital environments through taller x-height, wider
letterforms, open counters, and reduced stroke contrast.
In addition to modifications such as taller x-height and wider
letterforms, web typefaces also require more open spacing,
especially for smaller sizes, to improve character recognition and
overall readability on digital platforms like e-books, e-readers,
and mobile devices.
Hyperactive Link
Hyperlinks are clickable elements like words, phrases, or images
that allow users to jump to new documents or sections within the
current document. They are commonly found on web pages and are
usually blue and underlined by default.
Font Size for Screen
16-pixel text on a screen is equivalent to the size of the text in a
book or magazine when reading at a close distance. Books are
typically set at 10 points, but if read at arm's length, at least 12
points are needed, which is similar to 16 pixels on most screens.
Figure 7.1
Web Safe Fonts
Different devices have different pre-installed fonts based on their
operating system, which can cause issues when designers use obscure
or paid fonts that are not available on all devices. In such cases,
the font may default to a basic one like Times New Roman, which can
make the website look unattractive. However, web-safe fonts appear
on all operating systems and are a safe choice for designers.
Open Sans, Lato, Arial, Helvetica, Times New Roman, Times, Courier
New, Courier, Verdana, Georgia, Palatino, Garamond.
Pixel Differential Between Devices
Screens used by various devices such as PCs, tablets, phones, and
TVs come in different sizes and have different-sized pixels,
leading to differences in the proportion of text displayed. Even
within a single device class, there will be variations. For
example, 100 pixels on a laptop will look different than 100
pixels on a 60" HDTV.
Figure 7.2 Pixel Differential between Devices
Static Vs Motion
Static typography is limited in its ability to express words, with
traditional characteristics such as bold and italics providing only
a small part of its expressive potential. Despite this, static
typography is used in a variety of designs, from billboards to
fliers, and the emotional connection it creates with the audience is
closely tied to its level of impact and impression.
Figure 7.3 Static Typography
Motion Typography
On-screen typography is used in music videos and ads, moving to
the rhythm of the soundtrack, and establishing the tone or
conveying brand values. In title sequences, it prepares the
audience for the film's mood.
✿ INSTRUCTION ✿
MI_GCD60104_TYPOGRAPHY_BDCM_2023.pdf
✿ 1.0 TYPE EXPRESSION ✿
In Exercise 1, we were given 7 words (Destroy, Split,
Surprise, Love, Silence, Party, Pause) to make type
expressions. We have to choose 4 words from these 7 words to
sketch out the meaning of the words.
1.1 Sketches
I have chosen the words Pause, Split, Party, and Love to type
expression.
Figure 7.1 Sketches
Pause - For designs 1 and
2, I change "A" to the play icon, and "U" to the pause icon.
For designs 2 and 3, I added a circle around "U" which I
change to the pause icon.
Split - For designs 1 and
2, I divided the word into top and bottom. For designs 3 and 4,
I separated them to left and right, and also use the "thunder"
to make it look like the word had split by the thunder.
Party - For design 1, I
used a different font to let it look more freedom and happiness
to show "party". For design 2, I try to add some lines to show
the word is shaking.
Love - For design 1, I
wrote my word in the shape of a heart. For designs 2 and 3, I
changed the letter "o" to a heart and a ring. For design 4, I
draw a heart after the letter "e".
1.2 Digitization
After getting feedback from the teacher, I started digitizing
them in Adobe Illustrator.
1. Pause: I changed the
letter "U" to the "pause" button in the video. Besides, the
letter "A" I had to rotate it becomes a "play" button.
Figure 7.2 Pause
2. Split: I try to make it
look cut by something in the first design. For the second and
third designs, I separated the word into two. For the last design,
I changed the letter "L" to thunder.
Figure 7.3 Split
3. Party: In the first
design, I added some elements to make it look like the word is
dancing. For the second and the last designs, I rotate the letter
"A" and add some elements above it, so it looks like a firework.
Figure 7.4 Party
4. Love: I added a "diamond"
above the letter "O" so it looks like a ring. But in the last
draft, I changed the letter "O" to a heart shape.
Figure 7.5 Love
Final Outcome of Digitization
After the feedback on week 3, I chose the final outcome for the
next session.
Figure 7.6 Final Outcome
Figure 7.7 Final Outcome in pdf
1.3 Animation
We need to select one of these four words to create an
animation. Prior to starting the animation, it is necessary for
us to watch the animation tutorial prepared by Mr. Vinod to
learn how to create it. After watching the tutorial video, I
commenced my own attempts at creating the animation.
I try to do three of the words, which are "pause", "split", and
"party" to choose one from them.
1. Pause
Figure 7.7 Pause.gif
2. Split
Figure 7.8 Split.git
3. Party
Figure 7.9 Party.gif
After getting feedback from Mr. Vinod, I had to add more slides
for "Split" so it gets smoother.
Final Design
Figure 7.10 Final Design for split.gif
✿ 2.0 FORMATTING TEXT ✿
Exercise 2 for Typography is the format of a large body of text
by emphasizing information hierarchy and spatial arrangement.
Factors that are considered include type choice, size, line
length, leading, paragraph spacing, kerning, alignment, and
others.
2.1 Kerning and Tracking Exercise
Based on the recorded tutorial by Mr. Vinod, I started to
practice kerning and tracking with my name using the font
required by Mr. Vinod which is: Bembo. Std, ITC Gramond Std,
Janson Text LT Std, Adobe Calson Pro, ITC New Baskerville Std,
Bodoni Std, Serifa Std, Futura Std, Gill Sans, and Univers LT
Std.
Figure 8.1 Without Kerning
Figure 8.2 Kerning 1
For Exercise 2, Mr. Vinod provided us a text with the title "I
am Helvetica". I copied the text and follow the step taught by
Mr. Vinod to create a new A4 size document to start my
exercise.
Figure 8.4 example follows the recorded tutorial.
In Figure 8.4, I followed the step in the recorded tutorial.
Margin and Column:
Top: 12.7mm
Bottom: 50mm
Left: 12.7mm
Right: 12.7mm
Column: 4
Font: Univers LT Std
Font Size: 9pt
Leading: 11pt
In the recorded tutorial Typo_Ex Type Formatting 3:4, I learned how to
show the Baseline Grid.
Figure 8.5 Step to show Baseline Grid.
After I created the Baseline Grid, I start to adjust my text.
Figure 8.6 Before adjustment.
Figure 8.7 After adjustment.
Final Outcome
Head
Font/s: Gil Sans
Type Size/s: 35 pt
Leading: 42 pt
Paragraph spacing: 0
Body
Font/s: Bembo Std
Type Size/s: 11 pt
Leading: 13 pt
Paragraph spacing: 11 pt
Characters per line: 48
Alignment: left justified
Margins: 30 mm top, 20mm left + right + bottom
Columns: 2
Gutter: 5 mm
Figure 8.8 Final outcome in jpeg
Figure 8.9 Final outcome in pdf
Figure 8.10 Final outcome with the grid in jpeg
Figure 8.11 Final outcome with the grid in pdf
✿ FEEDBACK ✿
Week 2
General Feedback: The sketches should be small, with no color
allowed, no graphic shapes, only the fonts given by Mr. Vinod. Don’t
make judgments when the idea is flowing.
Specific Feedback: the sketches of “party” can’t use color.
Because color is dangerous when you are trying to learn something
fundamental. For the sketches of “love”, the shape of a heart is not
allowed, but the 3 sketches will be better because of the element.
Week 3
General Feedback:
During the third week, there was a break and therefore, there were no
physical classes. However, Mr. Vinod conducted an online
meeting at 8 am on that day to ensure that students could receive the
necessary support and guidance. In that meeting, Mr. Vinod provided
feedback and opinions to everyone who was present.
Specific Feedback: Mr. Vinod provided me with feedback on the words "Pause," "Love," and
"Party." He suggested that the letter "A" in Figure 7.2 did not need
to be rotated since the letter "U" already adequately represents the
meaning of "pause." For the word "Party" in Figure 7.4, he suggested
using an irregular font arrangement to represent the jumping of
letters instead of lines. Regarding the word "Love" in Figure 7.5, he
suggested replacing the capital letter "L" with a lowercase "l."
Week 4
General Feedback: Mr. Vinod said we need to have a last frame for our animation. Besides,
he said the principle is to express what is being expressed, not an
animation of existing expressions. Act out being expressed, don’t add an
action over an action that has battering on the current expression.
Specific Feedback: Because of the number, I got a much smoother
“split”, and it gets to be smoother. Overall is good. For the design
“party”, had to express exactly what need to be expressed. The only
consternation is the word gets a little distorted and Mr. Vinod doesn’t
think it needs to, for the letter “R” and letter “Y”, become slanted. And it
doesn’t need perspective. In conclusion, Mr. Vinod suggested I use “split”
as my final design.
Week 5
General Feedback: Firstly, central alignment should be avoided if
there is too much text, as it can become difficult to read. Instead, the
text should ideally be arranged in lines of around 50 characters each.
Secondly, it's important to avoid using different font sizes for different
parts of the text, such as using a small font size for "I am" and a big font
size for "Helvetica". Bold should be reserved for headings, and not used for
the body text. Additionally, it's best to avoid using Futura Std for the
body text. Finally, cross-alignment is a must to ensure a visually pleasing
layout. By keeping these guidelines in mind, it's possible to create a
well-formatted page that is easy to read and visually appealing.
Specific Feedback: Mr. Vinod suggested I change the font size or not,
but the font must not be bold, because it is hard to see it. The only bold
to use is when the background is in black.
✿ REFLECTIONS ✿
Experiment
In the first exercise, we had two tasks. The first task was type expression,
where we needed to use design to express the meaning of the typeface.
Designing these four typefaces took a long time and required various forms of
research. The second task was formatting text, which was more technically
challenging as we needed to learn how to use InDesign. Through this exercise,
I learned how to use Adobe Illustrator and InDesign, which will be very
helpful for me in the future.
Observation
Every week's class is guided by Mr. Vinod. He evaluates each of our
assignments and provides us with advice on whether modifications are needed.
In this process, we can also reference the designs of other students. I think
this part is particularly good because we can clearly see where we went wrong
and also reference the designs of other classmates.
Finding
Typography is the art and technique of arranging type to make written language
legible, readable, and visually appealing. It involves the use of different
typefaces, sizes, spacing, and line lengths to create an aesthetic and
readable text. Typography plays a crucial role in various fields such as
graphic design, advertising, and publishing, where visual communication is
essential. Good typography can greatly enhance the readability and aesthetic
appeal of written content and can also convey tone and mood. Typography has a
rich history dating back to the invention of movable type, and with the advent
of digital technologies, typography has become even more versatile.
✿ FURTHER READING ✿
Figure 9.1 The Vignelli Canon
"The Vignelli Canon" is a book written by Massimo Vignelli, a renowned
Italian designer who has worked in various fields, including graphic design,
product design, and architecture. The book aims to provide a comprehensive
guide to design principles and philosophy.
In the book, Vignelli shares his vision for good design and emphasizes the
importance of simplicity, typography, grids, color, and the role of design
in society. He believes that a design should be stripped down to its
essential elements, and designers should use typography to create a visual
hierarchy that guides the viewer's eye through the design. Vignelli also
advocates for the use of grids to create balanced and harmonious layouts,
and for color to create visual impact and communicate meaning.
Moreover, Vignelli argues that design has a responsibility to serve society
and improve people's lives. He encourages designers to be mindful of the
social and cultural context in which their designs are created and to create
designs that are both beautiful and functional.
Overall, "The Vignelli Canon on Design" is a valuable resource for designers
looking to deepen their understanding of design principles and create
effective designs that serve the needs of society.
Figure 9.2 Instrument for Designer
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