Typography - Task 2 - Typography Exploration & Communication
26/9/2022 - 10/10/2022 / Week 5 - Week 7
Azriq Anwar Bin Saprudin / 0353272
Typography / Bachelor of Design (Hons)
in Creative Media
Task 2: Typographic Exploration & Communication
LECTURES
Week 5 - Lecture
Uppercase letterforms are not symmetrical, despite their appearance,
since they have varied slope and stroke widths.
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| Fig 1.1 Small Differences in Uppercase Letterforms, Week 5 26/9/2022 |
The lowercase 'a' of two seemingly similar sans-serif typefaces, Helvetica
and Univers, shows how complex it is between the two letterforms. The
difference of how the letterforms' stems end and how the bowls meet them
stems rapidly exposes the distinct character differences between the
two.
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Fig 1.2 Small Differences in Lowercase Letterforms, Week 5
26/9/2022 |
To look the same size as the vertical and horizontal strokes they adjoin,
's' must rise above the median or sink below the baseline.
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| Fig 1.3 Overshooting in Lowercase, Week 5 26/9/2022 |
COUNTERFORM
Identifying unique letterforms is equally as important as recognising the
counter. To put it another way, the positive and negative spaces that
surround or make up the letters are both equally significant.
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Fig 1.4 Positive & Negative Spaces Between Letterforms, Week 5
26/9/2022 |
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| Fig 1.5 Examination of Letterforms, Week 5 26/9/2022 |
WAYS OF DISPLAYING CONSTRAST
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Fig 1.6 Different Methods To Show Contrast, Week 5
(27.04.2022) |
WEEK 6
PRE-RECORDED LECTURE
PAST IDEOLOGY OF TYPOGRAPHY
Because typography was only available on paper, an item could not be
re-edited after it was published. As a result, good type was a
byproduct of highly competent typesetters and designers.
TODAY'S IDEOLOGY OF TYPOGRAPHY
Typography appeared not just on paper but also on screen. The kind,
on the other hand, is determined by how the page is formed, such as a
website.
PRINTTYPE vs SCREENTYPE
Prior to the screen, the font was designed for print. Caslon,
Garamond, and Baskerville are ideal typefaces for print because of
their adaptability and high readability at tiny sizes.
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| Fig 1.7 Different Methods To Show Contrast, Week 6 (04.05.2022) |
TYPE FOR SCREEN
Screen typefaces have qualities that improve reading and
performance on the screen. Taller x-height (reduce ascenders and
descenders), bigger letterforms, more open counters, heavier thin
strokes and serifs, lower stroke contrast, and changed curves and
angles for some designs are among the characteristics. Furthermore,
greater wide spacing aids in character identification, which is
ideal for e-books, e-readers, and mobile devices.
FONT SIZE FOR SCREEN
On a screen, 16-pixel text is optimal. Because books are read from
a few inches away, type is set at ten points. If it's at length, 12
points is an excellent score. With that in mind, if you choose 12
points for print, 16 points is the optimum choice for the
screen.
INSTRUCTIONS
For Task 2, we were to design a two-page layout using one of the three texts
that were provided. No images or colours were allowed. The idea behind the
headlines, however, may be further expressed using tiny graphic components
like lines and dots. Although we were permitted to use Adobe Illustrator for
the typeface on the header, Adobe Indesign is required for the structuring of
the body text.
Week 5
I chose the first option titled 'The Impact of Bauhaus in Modern Culture'.
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| Fig 1.1 Layout Sketch, Week 5 1/10/2022 |
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| Fig 1.2 Digitization of Sketch, Week 5 2/10/2022 |
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| Fig 1.3 Headline Expression, Week 5 2/10/2022 |
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| Fig 1.4 Final Layout with grids JPEG, Week 6 9/10/2022 |
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Type Size: 11pt (Body Text)
Leading: 11pt
Paragraph Spacing: 3.881mm
Characters per line: 50 - 60
Alignment: Left Aligned
Margins: 10mm (Top, Bottom), 15mm (Left, Right)
Columns: 4
Gutter: 5
Fig 1.6 Final Layout with Grids PDF, Week 7
Fig 1.7 Final Layout PDF, Week 7
FEEDBACK
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REFLECTIONS
Experience
Task 2 was simpler for me to complete after completing Task 1 - Exercises due to gaining the knowledge from Task 1. The struggle was getting the layout right as the challenge is to make the flow of text go smoothly throughout the page.
Observations
One specific challenging part was fitting the headline into the rest of the body texts. It's more challenging because compared to Task 1, we were given a limited number of choices on the words and we have to work around it.
Findings
I find that creating layouts is far more intricate than I thought as there is a need for a flow of text for readers to follow so they can read it in the best way possible.
FURTHER READING
.png) |
| Fig 2.1 The Vignelli Canon by Massimo Vignelli (2010) |
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| Fig 2.2 The Vignelli Canon, Page 22 |
I learned that regardless of style, design is a single discipline that may be applied to a wide range of topics. The discipline of design transcends all styles. Every style needs discipline to be expressed.
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| Fig 2.3 The Vignelli Canon, Page 24 |
In this page, I learned that to achieve a potent expression, there are countless options. For instance, a difference in scale on the same page in graphic design can have a significant influence. Light and bold font contrast to produce impressions that are visually dynamic. This strategy has worked well for us in graphic design. Light can be manipulated in three dimensions by using various textures and materials to different, effective ends. An impressive range of options are offered by shifting scale and contrasting sizes.
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