29/10/2024 - 05/11/2024 (Week 6 - Week 7)
Samantha Kristalyn / 0373905
Typography / Bachelor of Design (Honours) in Creative Media
Task 2 - Typographic Exploration & Communication
JUMPLINKS
INSTRUCTIONS
LECTURES
Lecture 5: Typo_5_Understanding
1. Understanding Letterforms
Occasionally, uppercase letterforms tend to look visually symmetrical—even at times where they are not. For example, the varying stroke weights
in Baskerville's uppercase 'A' are immediately noticeable. In contrast, the
uppercase 'A' in Univers might initially seem symmetrical, but closer
examination reveals that the left slope is slightly thinner compared to the
right one.
These differences are intentional, designed to achieve both internal
harmony and individual character.
Fig. 1. 1. 1, left: Baskerville's uppercase 'A'; right: Univers'
uppercase 'A', (26/10/24)
The intricacy of individual letterforms becomes evident when comparing the
lowercase 'a' in Helvetica and Univers, two sans-serif typefaces that may
seem similar at first glance. Observing how the stems are finishes and how
the bowls connect to the stems highlights the distinct character
differences between the two.
Fig. 1. 1. 2, left: Baskerville's lowercase 'a'; right: Univers'
lowercase 'a', (26/10/24)
2. Maintaining x-height
Curved strokes, like those in the lowercase 's', must extend slightly above
the median or below the baseline to visually appear equal in size to the
horizontal and vertical strokes they connect with.
Fig. 1. 1. 3, Maintaining the x-height of curved strokes,
(26/10/24)
3. Forms / counterforms
Understanding the space surrounding a letterform is just as important as
analyzing the shapes of the letter itself. This balance is crucial for
ensuring both the readability and the legibility of the text.
Careful examination of the relationship between form and counterform offers
valuable insight into how this balance is achieved, while also highlighting
the distinctive characteristics of each letterform.
Fig. 1. 1. 4, left: Helvetica Black; right: Baskerville,
(26/10/24)
4. Contrast
When managing multiple sets of information simultaneously, it is essential
to distinguish between them effectively. One of the most practical methods
for achieving this is through the use of contrast.
Contrast can be created using various elements, such as font styles, sizes,
weights, or colors. By strategically applying these differences, designers
can establish a clear hierarchy, making it easier for readers to navigate
and process information. Effective contrast not only enhances readability
but also ensures that design remains visually engaging and
cohesive.
Fig. 1. 1. 5, Contrast, (26/10/24)
PRACTICAL
Week 6
We were assigned to create a combination of what we have learned from the
few previous exercises on Task 1.
1. Research & references
Before creating sketches, I did my research on the web and looked for
references on Pinterest. I found these two posters that helped me in making
the sketches for 'bauhaus.'
Fig. 2. 1. 1, left: Colorful bauhaus poster reference; right: B&W
bauhaus poster reference, (27/10/24)
Accessible links:
I ended up prioritizing on creating the sketches for the keyword 'bauhaus'
since it is one of the keywords that can be interpreted in several ways
easily. I only used one other keyword which was 'unite' since I got a few
ideas on how to sketch and visualize it along the way.
2. Sketches
Before I digitalize the layout and creating it on the Adobe applications, I
sketched the ideas of my type expressions first. I ended up with these six
sketches:
Fig. 2. 1. 2, Initial sketches for the type expression headlines,
(27/10/24)
3. Digitalization
I decided to digitalize the first, third and fifth sketch; followed up with
newer ideas from the other texts provided; such as the word 'code' and
'build' on Adobe Illustrator.
I ended up with 5 type expressions that I could utilize on my layouts
later.
Fig. 2. 1. 3, Digitalized heading designs on Adobe Illustrator,
(27/10/24)
However, I wasn't satisfied with most of the results; so I ended up using
both of the designs of the keyword 'bauhaus.' I entered the type expression
and the text onto a landscape A4 document. After receiving feedback from Ms.
Vitiyaa, I referred to the golden ratio to revise my second layout before
finalizing it.
Week 7
On this week, I focused on revising and improving my work after receiving
both general and specific feedbacks from Ms. Vitiyaa. I made a few changes
according to the advices that were given.
4. Revision
Before having to revise my work, this was what it looked like:
Fig. 2. 1. 4, First two initial layouts made in Adobe InDesign ,
(28/10/24)
Based on the feedbacks that I have received, the body text should be tidied
up and moved around so it can improve the aesthetic and readability for the
readers. I was told to focus on the arrangement and to improvise by using
the Golden Ratio theory.
So, after doing further research and edits, here is how my final work
turned out:
Fig. 2. 1. 5, Revised layouts, (05/11/24)
I tidied up the body text and moved the subheadings around to create
more harmony. After a few trials and errors, I could totally say that
the revised version of the layouts looks much better than the previous
ones.
Fig. 2. 1. 6, Final layouts (without grid) PDF, (05/11/24)
Fig. 2. 1. 7, Final layouts (with grid) PDF, (05/11/24)
After contemplating between the two layouts for quite some time— I have
decided on giving this one the title of my 'final' work.
Fig. 2. 1. 8, Final layout work (without grid) PDF, (05/11/24)
Fig. 2. 1. 9, Final layout work (with grid) PDF, (05/11/24)
HEAD
Fonts: 'Bauhaus': Futura Std Extra Bold Condensed; 'The Role of', 'Thought on Modern Culture': Futura Std Book
Type size/s: 88pt, 57pt
Leading: 0pt
Paragraph spacing:0pt
BODY
Font: Futura Std Book
Type size/s: 8pt
Leading: 10pt
Paragraph spacing: 10pt
Average characters per-line: 45-50
Alignment: Left aligned
Margins: 12,7mm (top, left, right, bottom)
Columns: 2
Gutter: 5mm
CAPTIONS
Font: Futura Std Book
Type size/s: 12pt
Leading: 15pt
Paragraph spacing: 15pt
FEEDBACKS
Week 6:
Week 7: General Feedback: We have to finish Task 2 by today and also finish our Task 2
e-portofolio. Furthermore, we also have to submit our work on the Facebook
post of the Typography Facebook group. We were also told to watch the
lecture video that will help guide us on the next upcoming task.
Specific Feedback: The headlines of both of my layouts are already
okay. However, on the first layout, the paragraph on the right looks too
lonely so I'll have to move the text around to tidy it up. On the second
layout, Ms. Vitiyaa said that I should refer to the golden ratio so it can
look more clean; the second layout looks pretty messy and all over the
place.
REFLECTIONS
Experience
Working on this task was both creative and technical. Designing type
expressions in Adobe Illustrator allowed me to explore how letterforms can
convey emotions or themes. Other than that, in refining text layouts in
Adobe InDesign, it was required for me to adjust meticulously; using
kerning and tracking to balance the readability and aesthetics.
Integrating these elements challenged me to create a cohesive design where
form and function worked harmoniously.
Observations
From this task, I have observed that the type expressions that were made
from Adobe Illustrator are bold and artistic meanwhile the InDesign
layouts tend to focus more on structure and clarity. The challenge was
blending these elements seamlessly without compromising either. Small
adjustments; such as kerning or alignment, greatly impacted the
composition's balance, ensuring the expressive and functional elements
complemented each other well.
Findings
This task highlighted the importance of hierarchy and consistency in
typography. Type expressions can draw attention, but they must be able to
guide the reader effectively within the overall layout. I also learned
that using the Golden Ratio rule can help in creating an effective,
aesthetic, and readable layout. Combining workflows from both Illustrator
and InDesign proved critical for achieving a polished and professional
outcome.
FURTHER READING
The Fundamentals of Typography by Gavin Ambrose and Paul Harris
The Fundamentals of Typography by Gavin Ambrose and Paul Harris is a
comprehensive guide that explores the principles and practices of
typography in design.
The book explores the history, principles, and applications of
typography, providing a comprehensive foundation for students and
designers in learning about the art and science of typography. The book
begins by tracing the evolution of type, from its origins in handwritten
scripts and early printing techniques to modern digital typography. It
emphasizes the importance of understanding letterforms and their anatomy,
offering insights into how elements; such as x-height, ascenders, and
serifs influence the readability and aesthetic appeal of type.
A significant portion of the book focuses on the principles of
legibility, readability, and hierarchy. Ambrose and Harris discuss how
typefaces, sizes, spacing, and alignment work together to create visual
clarity that can later help guide the reader's attention. Grids and white
space are highlighted as crucial tools for organizing and balancing text
in both print and digital media. The authors also delve into typographic
hierarchy, explaining how the strategic use of headings, subheadings, and
body text creates order and emphasis in design.
The book goes beyond traditional practices, exploring experimental
typography and its role in pushing creative boundaries. Case studies and
practical examples help illustrate the impact of type in various contexts,
from branding and editorial design to advertising and digital interfaces.
With its accessible language and visual aids, The Fundamentals of
Typography serves as both a theoretical and practical resource, empowering
the readers to create effective and aesthetically pleasing typographic
designs.
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