30/5/2024-10/6/2024 (Week 6-8)
Liu Yitong / 0370907
Typography / Mr. Max Goh Wei Lok
TASK 2 / Text Formatting & Expression
Typography / Bachelor of Creative Media Design / Taylors University
LECTURES
Typo_5_Understanding
1. Understanding letterforms
The uppercase letterforms below suggest symmetry, but in fact, it is
not symmetrical.(more noteworthy is the fact that each bracket connecting the serif to
the stem has a unique arc).
Fig.1.1 Baskerville 'A'
A close examination shows that the width of the left slope is thinner
than the right stroke. 
Fig.1.2 Univers 'A'
The intricacies of each individual letter form are neatly demonstrated
by examining two seemingly lowercase "a" similar sans-serif fonts –
Helvetica and Univers.
Fig.1.3 left: Helvetica 'a'; right: Univers 'a'
2. Maintaining x-height
Fig.1.4 Maintaining x-height
· Counterform (or counter)—the space describes, and often contained, by
the strokes of the form.How well you handle the counters when you set type determines how
easily we can read what's been set.
4. Contrast
Fig.1.5 Form and Counter
The design principle of Contrast is also applied in typography. The
simple contrasts produces numerous variations:
small+organic/large+machined;small+dark/large light.
Each device comes with its own pre-installed font selection. Which is based largely on its operating system. The problem is that each differs a little bit.
Static typography
Fig.3.2 Sketch
The final digitized sketches are #1, #2, and #3.
Fig.1.6 Contrast
Typo_6_Screen&Print
· Different medium
Once a publication was edited, typeset and printed, it was
done.
· Print Type Vs Screen Type
Type for Print
It's the designer's job to ensure that the text is smooth,
flowing, and pleasant to read.
Good typefaces for print are Caslon, Garamound and Baskerville.
these typefaces are elegant, intellectual and highly readable when
set at small font size. Their neutrality and versatility makes
typesetting with them easy.
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. （DO NOT use them on paper.
There is no clear-cut rules in typography and most of the time
it's subject to the sensibility of the designer.）
Hyperactive Link/hyperlink
A hyperlink is a word, phrase, or image that you can click on to
jump to a new document or a new section within the current
document. ( Whether it is text or an image, the arrow should
change to a small hand pointing at the link.)
Font Size for screen
16-pixel text on a screen is about the same size as text printed
in a book or magazine;this is a copunting for reading
distance.
System Fonts for Screen/Web Safe FontsEach device comes with its own pre-installed font selection. Which is based largely on its operating system. The problem is that each differs a little bit.
Open Sans, Lato, Arial, Helvetica, Times New Roman, Times,
Courier, New, Courier, Verdana, Georgia, Palatino, Garamond.
Pixel Differential Between Devices
Fig.1.7 Pixel Differential Between Devices
· Static Vs MotionStatic typography
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.
Motion Typography
Temporal media offer typographers opportunities to“dramatize”type,
for letterforms to become “fluid”and “kinetic”(Woolman and
Bellantoni, 1999).
On-screen typography has developed to become expressive, helping to
establish the tone of associated content or express a set of brand
values.
INSTRUCTION
TASK
Text Formatting & Expression
Create a two-page editorial spread using only type & minor
graphical elements, containing the heading, subheading, & body
content provided.
I went scouring a little for editorial spreads or just general
graphical layouts that I found interesting.
Fig.3.1 Various layout inspirations
I have chosen the first text which is Unite to "visualise a better world"Then I started to sketch out
the layout of the title.
Sketch
According to the references found, I began to try to draw
sketches, and finally presented these sketches.
Fig.3.2 Sketch
Digitization
Fig.3.3 Digitization draft
With these drafts, I struggled to imagine how to express visulise
and finally settled on a way to use shadows and small patterns to
suggest the eyes.
After getting Mr. Feedback, I fine-tuned the title and started the
layout.
Fig.3.4 Different layouts and blocked out
Fig.3.4 Different layouts and blocked out
After getting feedback from Sir,he chose one of them as my final
work.
Fig.3.5 Final layout (without grids)
Fig.3.5 Final layout (with grids)
HEAD
Font/s: Univers LT Std Extra Black(visualise) Bold Condensed
(unite to) Condensed(a better world)
Type Size/s: 93 pt (visualise), 50 pt (unite to), 50 pt (a better
world)
BODY
Font/s: Futura Std book (text), Futura Std Heavy Oblique (Lead-in
text)
Type Size/s: 10 pt (text), 14 pt (Lead-in text)
Leading: 12 pt (text), 16 pt (Lead-in text)
Paragraph spacing: 12 pt (text)
Characters per-line: 35 characters
Alignment: Left justified
Margins: 10 mm (top, bottom, left, right)
Columns: 6
Gutter: 5 mm
Fig.3.6 Final layout PDF (without grids)
Fig.3.7 Final layout PDF (with grids)
HEAD
Font/s: Univers LT Std Extra Black(visualise) Bold Condensed (unite to) Condensed(a better world)
Type Size/s: 93 pt (visualise), 50 pt (unite to), 50 pt (a better world)
BODY
Font/s: Futura Std book (text), Futura Std Heavy Oblique (Lead-in text)
Type Size/s: 10 pt (text), 14 pt (Lead-in text)
Leading: 12 pt (text), 16 pt (Lead-in text)
Paragraph spacing: 12 pt (text)
Characters per-line: 35 characters
Alignment: Left justified
Margins: 10 mm (top, bottom, left, right)
Columns: 6
Gutter: 5 mm
FEEDBACK
Week6
· General feedback：This week we learned more about typography and chose one of the
three articles in class as the main assignment for the
exercise2.
· Specific feedback：In the draft title, I chose three to digitize, focusing on the
expression of the word visualise, and sketch No. 1 is not bad,
can reflect the view from an Angle with the eye. The layout of
sketch number two is good, and sketch number three can be
digitized.
Week7
· General feedback：In this week's class, I learned more about the use of Ai
skills, and I can know how to restore my sketches and ideas
more concisely and aptly.
· Specific feedback： Mr. Max choose the digitization of number one and number two was selected
for improvement and for the next step
Week8
· General feedback：This week was self-directed Study Week, during which I finished my final layout using Id. From feeling helpless using Id for the first time, I am becoming more and more proficient now
· Specific feedback： Mr. Max chose the first layout as my final work, and made valuable suggestions for its improvement
REFLECTION
Experience
In this task I got an opportunity to use what I learned from Task 1, because it was a combination of two exercises from Task 1.It's slightly different from the previous task, I try to sketch the title first and then digitize it in the Ai, which I think is a difficult process for creative design, but still fun.We participated in feedback sessions by providing feedback to our classmates and getting input from them.
Observations
I made a lot of changes to my title and layout through feedback, and the process was very helpful for me to learn new things from it. At the same time, I can learn a lot of skills while my husband gives feedback to the students
Findings
As with the steps of the previous task, we should first sketch out our ideas and continue digitizing the title and layout. The most challenging part of this process is actually the sketching phase, which is still a little difficult for me to draw compelling sketches ,But more skilled than before.The use of Ai and Id is also comfortable.This assignment helped me improve a lot. I also understand the rules when making caption expressions and create layouts.
FURTHER
READING
Fig.4.1 Typographic-Systems-Book-Kimberly-Elam
I have read part of this book in the last few weeks.I learned that designers can use a more fluid way to create typographic information through the eight systems of typographic organizations.The eight systems— axial, radial, dilatational, random, grid, transitional, modular, and bilateral.
Project elements and project
Fig.4.2 Axial System,Radial System and Dilatational System
Axial System All elements are organized either to the left or right of a single axis.
Radial System All elements extend from a point of focus.
Dilatational System All elements expand from a central point in a circular fashion.
Fig.4.3 Random System Grid System and Transitional System
Random System Elements appear to have no specific pattern or relationship.
Grid System A system of vertical and horizontal divisions.
Transitional System An informal system of layered banding.
Fig.4.4 Modular System and Bilateral System
Modular System A series of non-objective elements that are constructed as standard-ized units
Bilateral System All text is arranged symmetrically on a single axis.
Constrains and Options
Fig.4.5 line breaks, leading and word and letter space
It introduced line breaks, leading and word and letter space separately.
The Circle and Composition
The circle is a wildcard element, which means that it can be used anywhere in the composition.The circle, particularly in the restrained one size, one weight compositions, gives the designer a tool to guide the eye; create a pi vot point, tension, and emphasis; or contribute to visual organization or balance.
In the one size, one weight series of compositions the place-ment of the circle can dramatically change the composition: squeezing the circle between lines of text can create ten-sion;close proximity to a line or word can create emphasis; aligning the circle with lines gives a sense of organization.
Nonobjective elements
Fig.4.6 Rule Series, Circle Series and Tone Series
Rule Series
Rules can both organize and emphasize a message. Single-weight rules of equal length function primarily as elements of organization. When there is a change in weight, the rules also create a rhythm and guide the eye downward. Altering the length of the rules creates a strong diagonal. Changes in rule weight create a hierarchy by guiding the eye to the largest volume of black.
Circle Series
The circle can act as a nonobjective pivot point or as an element that creates hierarchy. The examples show ways in which the circle draws the eye to a single word, making that word the first read in the composition.
Tone Series
The simple use of tone can dramatically alter the hierarchy of a message. The eye is drawn to the largest volume of black on a white background or the largest volume of white on a black background. Words or portions of words can be emphasized, giving the message a sense of visual punctuation.
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