TYPOGRAPHY ✿ TASK 2: TYPOGRAPHIC EXPLORATION & COMMUNICATION ✿
TYPOGRAPHY ✿ TASK 2: TYPOGRAPHIC EXPLORATION & COMMUNICATION ✿
03.04.23 - 29.03.23
week 5 - week 7
✿ TAN JIA JIA 0350577 ✿
Bachelor of Design (Honours) in Creative Media
✿ LECTURES ✿
Please refer to Task 1.
✿ RECAP ✿
During week 5, Mr. Vinod introduced us to new design software, Adobe InDesign.
He first taught us the basics, such as kerning and tracking. Once we were
familiar with all the tools, Mr. Vinod began briefing us on Task 2, which
involves typographic exploration and communication. The task requires us to
create a title that is both creative and meaningful, allowing us to explore
its significance.
The requirement of task 2 is as follows:
- 200mm x 200mm per page.
- 10 typefaces
- Graphic elements are allowed (line, shade)
- No images allowed.
- In Greyscale.
✿ INSTRUCTIONS ✿
Figure 1 Module Information Booklet
✿ DESIGN PROCESS ✿
1.0 RESEARCH
Mr. Vinod had given us three different texts with different titles: "The Role
of Bauhaus Thought on Modern Culture," "A Code to Build on and Live By," and
"Unite to Visualize a Better World." All of the texts include lead-in text.
After researching all the texts, I have chosen the second text, "A Code to
Build on and Live By," as my editorial text, as it is easier for me.
I started conducting research on the internet to assist me with brainstorming.
I focused my research on "coding posters" to examine the ideas that designers
had been used in their posters as references.
Figure 2.1 Poster design "Times"
Figure 2.2 Coding cards
2.0 IDEATION
I started working on sketches, paying particular attention to the title that
needed to be explored. I put in extra effort to refine the title in my
sketches.
Figure 3.1 Sketches 1
Figure 3.2 Sketches 2
3.0 LAYOUT
Based on the sketches, I proceeded to draw the title using Adobe Illustrator.
I combined both sketches into a single design.
Figure 4.1 Title by using AI
After finalizing the title design, I focused on formatting the text.
Considerations such as font styles, sizes, alignment, spacing, and visual
hierarchy were carefully taken into account. The aim was to create an engaging
and visually pleasing composition that effectively conveyed the intended
message.
Figure 4.2 Final Outcome 1
During week 6, I received some feedback from Mr. Vinod through an online
class, When formatting the text, it is important to avoid placing the title in
the middle as it may become obscured when the book is combined. It is best to
keep the title concise and avoid exaggeration. Additionally, ensure there is a
reasonable gap of at least 5mm to maintain visibility. It is crucial to avoid
placing the title in the middle of making it too small to prevent it from
disappearing. So I decided to redo the task from the start again.
Figure 4.3 Sketches 3
In the modified design, I had to move the position of the title from its
original central placement to the left side. Moreover, to infuse an element of
coding aesthetics, I cleverly repurposed the letters "A" and "y" as symbolic
representations of the commonly used coding brackets "<" and ">". This
creative incorporation adds a touch of familiarity and playfulness to the
overall design, connecting it to the coding realm and evoking a sense of
curiosity and intrigue.
Figure 4.3 Title by using AI
After finalizing the new title design, I proceeded to the next step: formatting the text. Instead of having paragraphs staggered, I opted for an aligned left arrangement to ensure a neat and organized appearance. Additionally, I strategically placed the "lead-in text" near the title and increased its size, ensuring that readers immediately notice it upon viewing the content. This deliberate placement aims to grab their attention and emphasize its importance within the overall composition.
Figure 4.4 Screenshot of the final outcome
After receiving Mr. Vinod's approval, I will proceed to use this design as
my final design.
Figure 4.5 Final Outcome 2.
3.0 FINAL OUTCOME
Head
Font/s: Serifa Std 45 Light(Small Headline), Univers LT Std 49 Light Ultra
Condensed(Large Headline)
Type Size/s: 31pt (Small Headline), 43pt (Large Headline)
Leading: -
Paragraph spacing: -
Body
Font/s: Bodoni 72 Book (Body), Futura Medium Italic (Subheading)
Type Size/s: 9 pt (Body), 10pt (Subheading)
Leading: 12 pt (Body), 12 pt (Subheading)
Paragraph spacing: 20 pt
Characters per line: 61
Alignment: Left aligned
Margins: 12.7 mm (top+bottom+left+right)
Columns: 2
Gutter: 5 mm
Figure 5.1 Final Outcome without grid in jpg
Figure 5.2 Final Outcome without grid in pdf
Figure 5.3 Final Outcome with grid in jpg
Figure 5.4 Final Outcome with grid in pdf
✿ FEEDBACK ✿
Week 6
General Feedback: When designing, it is advisable to avoid placing
the title in the middle, as it may become obscured or vanish when the book
is bound or combined. It is important to maintain a concise and
straightforward title, without over-exaggeration. Additionally, ensure
there is a sufficient gap of at least 5mm around the title to provide
visual clarity and prevent any unintended overlap or blending with other
elements. These considerations contribute to a well-executed design that
effectively showcases the title and enhances the overall aesthetic appeal.
Specific Feedback: When finalizing the design, it is crucial to
ensure that the title is not placed in the middle or made too small, as
this may result in the title disappearing or being overshadowed.
Additionally, attention should be given to the typesetting of paragraphs
to ensure correct and neat presentation. Proper alignment, spacing, and
readability are key factors in creating a visually pleasing and
professional composition. By addressing these considerations, the final
design will effectively convey the intended message and leave a lasting
impact on the audience.
Week 7
General Feedback: Mr. Vinod provided brief feedback to
everyone, and the corrections made by everyone were acknowledged, except
for a few individuals who struggled to effectively convey the intended
meaning through their titles.
Specific Feedback: Mr. Vinod inquired about the horizontal
orientation of the letter "y" in my design, and I explained my intention
to represent "A" and "y" as the coding symbols "<" and ">". Mr.
Vinod approved of this creative approach after I shared my rationale. My
final outcome did not have any significant issues, and Mr. Vinod agreed
that it could be used as my final outcome.
✿ REFLECTION ✿
Experience
In Task 2, we were given significantly less time compared to Task 1, which
presented us with a greater challenge. However, this assignment was
relatively more favorable as it allowed us to apply the knowledge gained
from Task 1. For instance, we utilized our understanding of type expression
and text formatting. I faced numerous obstacles when designing the headline,
such as feeling unsure about which text to choose to fulfill the task.
Moreover, I ended up completing the assignment on the day before the class.
Through this experience, I learned the importance of not rushing to achieve
perfection within a short timeframe. Additionally, I gained a deeper
understanding of how to utilize InDesign effectively.
Observation
Throughout the assignment, my main observation was the expressive power of
the title. By referring to other designs repeatedly, I discovered that a
simple element was often sufficient to convey the entire essence of a title.
I was particularly impressed by a classmate who used just a single line to
represent the concept of "unite," showcasing their innovative thinking.
During the process of designing the title, it became apparent that it was
important to focus on conveying the meaning of one specific word rather than
creating arbitrary visuals. By doing so, readers would grasp the intended
message of the title and become intrigued to learn more about the book's
content. Therefore, the goal was to emphasize the meaning of a single word,
effectively capturing readers' interest and compelling them to explore
further.
Finding
Through Task 2, I gained a clear understanding of the significance of the
correlation between the headline and the body text. A well-crafted headline
has the power to provide readers with a brief insight into the essence of
the book. If the headline design lacks a connection with the content, it can
appear redundant and overly complex, failing to evoke readers' desire to
engage further. Additionally, I learned that placing the headline in the
middle of a two-page spread would diminish its impact and visibility. It is
essential to carefully consider the interaction between the headline and the
body text, ensuring a logical sequence that guides readers in their reading
journey. Random placement can confuse readers and make it difficult for them
to determine where to start reading.
✿ FURTHUR READING ✿
Figure 6.1 "Grid Systems in Graphic Design" by Josef Müller-Brockmann
"Grid Systems in Graphic Design" by Josef Müller-Brockmann is a seminal
book that explores the use of grid systems in graphic design. Published in
1981, it has become a classic reference for designers seeking to create
visually harmonious and structured layouts.
The book begins by introducing the concept of the grid as a foundational
tool for organizing elements within a design. It explains how grid systems
provide a framework for arranging text, images, and other graphic elements
on a page or screen. Müller-Brockmann emphasizes the grid's ability to
bring order and consistency to designs, enabling efficient communication
and visual clarity.
Figure 6.2 Importance of Grid System in Graphic Design | UX
Collective
Figure 6.3 Grid Systems in Graphic Design – Katherine Small
Gallery
Throughout the book, Müller-Brockmann examines various grid systems and
their applications in different design contexts, including posters,
brochures, magazines, and advertising. He showcases numerous real-world
examples, providing visual demonstrations of how grids can be
effectively employed to achieve balance, rhythm, and readability.
The book covers important aspects of grid design, such as establishing
modular scales, determining column widths and gutters, and ensuring
proper alignment and spacing. It also explores the relationship between
grids and typography, emphasizing the role of grids in creating a
cohesive visual hierarchy and typographic structure.
Müller-Brockmann's writing is accompanied by numerous diagrams,
illustrations, and visual examples, making the book both informative and
visually inspiring. The text is clear and concise, making it accessible
to designers of all skill levels.
"Grid Systems in Graphic Design" is a valuable resource for designers
who want to enhance their understanding and application of grid-based
layouts. It offers practical insights and guidelines that can be applied
to various design projects, helping designers achieve visually appealing
and well-organized compositions.
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