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Typography - Task2 / Typographic Exploration & Communication

31/5/2024 - 14/6/2024 (Week6-Week8)
Amber Tan Jing Jing (0372746)
Typography / Bachelor of Design in Creative Media / Taylors University
Task 2

TABLE OF CONTENTS

3. Task

LECTURES

Week5 

Typo_5_Understanding

1. Understanding letterforms
  • The uppercase letter forms may appear symmetrical, but a close examination shows that the width of the left slope is thinner than the right stroke.
Figure 1.1 Univers typeface
  • The complexity of each individual letterform is neatly demonstrated by examining the lowercase 'a' of two seemingly similar sans-serif typefaces—Helvetica and Univers.
Figure 1.2 Difference between two letterforms"a"

 2. Maintaining x-height
  • Curved strokes must rise above the median (or sink below the baseline) in order to appear to be the same size as the vertical and horizontal strokes they adjoin.
Figure 1.3 Curved strokes extending over lines

3. Form / Counterform
  • The space describes, and often contained, by the strokes of the form. When letters are joined to form words, the counterform includes the spaces between them. 
Figure 1.4 Counterform
4. Letters / Contrast

Figure 1.5 Example of Contrast


Week6

Typo_6_Screen & Print

1. Print Type vs Screen Type

Type for Print
  • Casion, Garamond, Baskerville are the most common and good typefaces that is used for print because of their elegant and intellectual but also highly readable when set at small font size.

Figure 1.6 Example of Print Type

Type for Screen
  • Typefaces intended for use on the web are optimized and often modified to enhance readability and performance onscreen in a variety of digital environments. 
  •  This can include a taller x-height, wider letterforms, more open counters, heavier thin strokes and serifs, reduced stroke contrast, as well as modified curves and angles for some designs.
  • Hyperlinks are found in nearly all Web pages, allowing users to click their way from page to another. 
  • Text hyperlinks are normally blue and underlined by default. When you move the cursor over a hyperlink, whether it is text or an image, the arrow should change to a small hand pointing at the link.
  • 16-pixel text on a screen is about the same size as text printed in a book or magazine; this is accounting for reading distance. 
  • If we read books pretty close they are typically set at about 10 points.
  • If we were to read them at arm's length, we'd want at least 12 points, which is about the same size as 16 pixels on most screens.
  • Open Sans, Lato, Arial, Helvetica, Times New Roman, Times, Courier New, Courier, Verdana, Georgia, Palatino, Garamond are safe to use for all websites. 

Pixel Differential Between Devices


Figure 1.7 Example of Pixel between devices

2. Static vs Motion
  • Static typography has minimal characteristic in expressing words. Traditional characteristics such as bold and italic offer only a fraction of the expressive potential of dynamic properties.
  • Temporal media offer typographers opportunities to "dramatize" type, for letterforms to become "fluid" and "kinetic" (Woolman and Bellantoni, 1999). Film title credits present typographic information over time, often bringing it to life through animation. Motion graphics, particularly the brand identities of film and television production companies, increasingly contain animated type.

INSTRUCTIONS


Task 2 - Editorial Spread

Before sketches, I look at Pinterest to find more inspiration.

Figure 2.1 Picture References

I use Adobe Illustrator to do some simple sketches.
Figure 2.2 7 simple sketches (30/5/2024)


Figure 2.3 Type Expression before correction (30/5/2024)

Figure 2.4 Final Type Expression (7/6/2024)



Figure 2.5 6 Layouts (14/6/2024)


Figure 2.6 6 Layouts(Blocks), (14/6/2024)

Head
Font: Futura Std

Body
Font: Futura Std
Font size :10 pt
Text Leading :12 pt
Paragraph spacing :12 pt
Line Length (55–65/50–60 characters)
Alignment: left justified

Margins: 10 mm
Gutter: 5 mm

Final Editorial Spread 

Figure 2.6 Final Editorial Spread-JPEG (14/6/2024)

Figure 2.7 Final Editorial Spread-PDF (14/6/2024)

Figure 2.8 Final Editorial Spread(Grids)-JPEG(14/6/2024)


Figure 2.9 Final Editorial Spread(Grids)-PDF(14/6/2024)


FEEDBACK

Week 6
General feedback : We need to come out with 6 sketches.
Specific feedback : Sketch#2 the 'A' is too sharp. Sketch#3 is difficult to see, can't express the meaning of the word well. Sketch#4 and #5 are similar design, so I can choose sketch#5. Then, Mr Max want me to design one more and let him see.

Week 7
General feedback : We need to come out with 6 layouts.
Specific feedback : Sketch#1and Sketch#2, make the triangle the same size as the letter. Then, post the final editorial layout on Facebook before 17Jun.

REFLECTION

Experience
Through this exercise, I really learn more about editorial spread.  I think the more challenging part is sketches. We do the sketches in the class. It is a little bit too rushed for me. So, I was very nervous that time. I wasn’t particularly satisfied with my first design. After sir’s advice, I feel that my sketches are much more pleasing to the eye. Before completing this exercise, I also look at many people's work and learn from them. I really enjoy working on layouts. I can have many different ideas to do the layouts. I think the layout is more interesting part for me because I can present the same article in different layouts. 

Observations
Through this exercise, I found myself indecisive about the number of columns to use. It was because when I put the title and text together, the layout looks empty. I wanted to try to make the whole picture not look too empty, so I tried to see which columns were suitable with my text. When I struggled with deciding on the number of columns, I looked at the work of others and learned from their approaches.

Findings
Through this exercise, made me understand better the importance of editorial spread. I know that effective visual design and layout can attract readers. Without editorial spreads, it may cause the content to be arranged in a messy manner and making it difficult to effectively convey detailed information and affecting the reader's reading experience and understanding.

FURTHER READING

Typography Design Form And Communication

Figure 3.1 Typography Design Form And Communication

1. Typography in Time and Motion (pg155 - pg169)

While motion can be simulated in printed works by means of repeated letterforms, uneven baselines, changes in direction, or inventive page formats such as flipbooks, kinetic typography gives designers the opportunity to communicate with behaviors or actions as well as with visual form. Time becomes the most significant structural element in the design, with the designer determining a sequence and pace for the message.

Beyond the basic considerations of typography, the designer decides how type moves and behaves, adding a “voice” to the message. Similar to listening to a person speak, type in motion can convey tone and inflection. And the pace at which the piece unfolds—quickly, slowly, or with dramatic pauses—establishes a mood. Moving type, coupled with sound and images, enables the typographic designer to explore narrative as a means of expressive communication.

Figure 3.2 Example of three-dimensional space 

A designer of a motion sequence establishes the way that type and other visual elements move. Behaviors can be regular, inconsistent, or in-between, depending on the message. There are many ways type can move between two points, starting with simple scrolling. Basic scrolls can move type in a single line from right to left, like the marquees featuring news headlines in Times Square, or from bottom to top, like traditional film credits. In addition to moving in horizontal and vertical directions, type can also rotate or move diagonally. If a three-dimensional space is established, type may move forward, toward the viewer, from a vanishing point in the background on the z-axis. This mimics movement in physical space, similar to how a train comes into view from down the track. 


 












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