Typography — Task 2 : Typographic Exploration and Communication
4/10/2022 — 18/10/2022 (Week 6 — Week 8)
Rachel Madeline Purwanto / 0356994
/ Bachelor of Design (Hons) in Creative Media
Typography
Task 2:
Exercise 1
❥LECTURES
Week 6 — Typography in Different Medium
Typography exists not on paper but on a multitude of screens. Our experience in typography today changes based on how the page is rendered, because typesetting happens in the browser.
Type for Print — Print Type Vs Screen Type
A good typeface for print-Caslon, Garamond, Baskerville are the most common typefaces that is used for print; due to the elegant and intellectual characteristics and highly readable when set at a small font size.
They are versatile, easy to digest, classic typeface, has neutrality and versatility that makes typesetting with a breeze.
Fig 1.1 Print type Example
Type for Screen
Typefaces intended for use on the web are modified to enhance readability and
performance on screen in a variety of digital environments. This can include a
taller x-height (reduced ascenders and descenders), wider letterforms, more
open counters, heavier thin strokes, and serifs, reduced stroke contrast, as
well as modified curves and angels for some designs
- Font size for screen : typically set to about 10 points. if you are to read them about arm's length, you'd want at last 12 points, which is about the same size as 16 pixels on most screens.
- System Fonts for Screen / Web safe fonts : Open Sans, Lato, Arial, Helvetica, Times New Roman, Times, Courier New, Courier, Verdana, Georgia, Palatino, Garamond
Static Vs Motion
- Static Typography — has minimal characteristic in expressing words. Traditional characteristics such as bold or italic offer only a fraction of the expressive potential of dynamic properties.
- Motion Typography — Letterforms are 'fluid' and 'kinetic', bringing it to life through an animation. (brand identities and televisions often have animated types.
❥INSTRUCTIONS
❥TASKS & EXERCISES
Task 2 — Text Formatting & Expression
Our second task requires us to design a 2-page editorial spread with the
texts provided. Adobe Indesign will be used to create the design and
composition. Adobe Illustrator is allowed to create the type expression for
the headline.
1. Visual Research
Before starting on the sketches for the layouts, I decided to do a little
research to get an idea of how to design the type expression for the Bauhaus
in order for it to go hand in hand with the context of Bauhaus.
Fig 1.1 Inspirations for Bauhaus Text Layout
Bauhaus is a German art school that influenced the emergence of
furniture, and architecture from the early 20th century founded by
architect Walter Gropius. Bauhaus design typically consists of geometric,
abstract style with functional and abstract shapes.
2. Idea Exploration with Sketches
Fig 2.1 Sketches for Layout #1 and #2 Week 6 (4/10/2022)
I came up with these layout sketches on Ibis x Paint and based on the
research above of Bauhaus design tried to utilize geometric shapes for the
first layout to emphasize the expression of the headline further. For the
second one, I tried to go form shapes of a building with the use of lines
to keep it minimalistic.
After receiving some feedback, adjustments were made through the process
of digitization. For the first layout idea sketch, the left and right
spread were imbalanced in terms of composition due to the left spread
being too crowded because of the shapes compared
to the spread on the right, having only lines and text. The second layout
is much more simpler but needs more space for text.
Fig 2.2 Sketches for Layout #3 & #4 Week 6 (4/10/2022)
The first sketch (Layout #1) was dependent on the graphical elements to
express the headline, so I decided to come up with another 2 sketched out
design layout ideas with minimal graphical elements since only a few
graphical elements are allowed to be used. Gray coloured shapes are used
to balance out the black solid colours used for the type expression.
3. Digitisations
Fig 3.2 Type Expression Layouts done in Adobe Illustrator Week 6
(4/10/2022)
All type expressions of layouts were made in Adobe Illustrator.
- For the first layout, the shapes from the idea sketch were removed due to the layout being too crowded with all the shapes, therefore the amount of graphical elements needed to be minimized.
- For the third and fourth layout, I experimented more with the type expressions to try to emphasize the context of the headline by adding shapes within the white spaces of the letters. Gray graphical elements are used to balance out the black coloured fonts and elements.
- The type expression for the 4th layout is made with the headline center aligned with lines leading from the middle to the left, right, up and down to create a sense of hierarchy.
Fig 3.3 Hidden Characters and Alignments for Layout #1 Week 6
(4/10/2022)
Fig 3.4 Hidden Characters and Alignments for Layout #2 Week 6
(4/10/2022)
Fig 3.5 Hidden Characters and Alignments for Layout #3 & #4 Week 6
(4/10/2022)
Fig 3.1 Progress of Layouts Week 6 (4/10/2022)
More graphical elements for 1st, 2nd and 3rd drafts have been removed to
reduce cluttered and crowded layouts and to create visual hierarchy.
Fig 3.2 Blocked out Layout of 4th draft
Fig 4.1 Layout #1
Fonts : Futura Std Light (Headings), Futura Std
Medium Italic (Lead-in text, first paragraph), Futura
Std Medium (body text)
Point Size : 10 pt (body text), 12 pt (lead-in text),
134.84 pt ('B'), 48 pt ('THE, 'ON', OF), 34.97 (MODERN CULTURE')
Leading : 11 pt (body text)
Paragraph Spacing : 3,7 mm (body text)
Line length : 65 (body text)
Fig 4.2 Layout #2
Fonts : Futura Std Light (Heading), Univers LT Std (body
text), Futura Std Medium Italic (lead-in text)
Point Size : 9 pt (body text), 270 pt ('B), 72 pt ('THE),
43.04 pt ('IMPACT OF; ON MODERN CULTURE'), 16 pt (lead-in text)
Leading : 9 pt (body text)
Paragraph Spacing : 2 mm (body text)
Line length : 58 (body text)
Fig 4.3 Layout #3
Fonts : Futura Std Medium, Medium Condensed (heading),
Futura Medium Condensed Italic (lead-in text), Univers LT Std (body
text)
Point Size : 11 pt (body text), 118.22 pt ('O'), 142.93
pt ('BAUHAUS'), 54.36 pt ('THE IMPACT'; 'CULTURE'), 19.8 pt (lead-in
text)
Leading : 12 pt
Paragraph Spacing : 3 mm (body text)
Line length : 53 (body text)
Fonts : Futura Std Medium, Medium Condensed (heading),
Futura Medium Condensed Italic (lead-in text), Futura Std Book (body
text)
Point Size : 12 pt (body text), 72 pt ('THE IMPACT OF';
'ON MODERN CULTURE'), 147.28 (BAUHAUS), 24 pt (lead-in text)
Leading : 12 pt (body text)
Paragraph Spacing : 3 mm (body text)
Line length : 77 (body text)
For the third and second layout I decided to experiment with the
thickness of the fonts and the lines more to create a sense of contrast
between the thin body text and the thick fonts and elements.
Final Outcome of Type Formatting
Fig 5.1 Jpeg of Final Type Format
Fig 5.2 Jpeg of Final Type Format with guides and grids
Fig 5.3 Final PDF of Type Formatting
Fig 5.4 FInal PDF of Type Formatting with guides and grids
❥FEEDBACK
Heading
1. Do the expressions match the meaning of the words?
2. Are the expressions well crafted (crafting/lines/shapes)?
Text
1. Is kerning and tracking appropriately done?
2. Does the font size correspond to the line-length, leading &
paragraph spacing?
3. Is the alignment choice conducive to reading?
4. Has the ragging been controlled well?
5. Has cross-alignment been achieved?
6. Are widows and orphans present?
Week 6
- General Feedback — First layout sketch is unique and has more dynamism than second layout but second layout is much simpler and minimalistic.
- Specific Feedback — First layout sketch for left spread is too crowded, too many elements; makes it imbalanced for left and right spread. Second layout sketch is fine but has lesser space for the text. Second layout isn't readable for a new viewer or won't make sense to the viewer who doesn't know the context of the text.
❥REFLECTION
Exploration : I learnt a lot of new aspects of type formatting through
this project but I'd have to admit it was pretty tough trying to make an
appealing layout while maintaining visual hierarchy as well as to keep all
the typography rules in mind.
Observations : I've observed when creating a layout to make it look
structured and aesthetically pleasing to look at, the object or element at
hand must be aligned to something. This pattern is also repeated in
several of my classmates' type formats where they made sure every text and
element was aligned to something so it won't look out of place.
Findings : I've found that common mistakes such as leaving out a widow and
an orphan or leaving too many hyphens are easily missed out on due to
being focused on the big picture of the design, we often miss details
since both the layout of the type expression and the type settings of the
body of text have to be considered.
❥FURTHER READING
Fig 1.1 Typography Referenced
In the chapter 'Type Design and Development' in the book 'Typography
Referenced' the topic of 'Language of Letters' covers on designing a
letter to a typeface. To design a full alphabet, a designer must balance
complementary and contrasting features across a large character set.
This underlying homogeneity distinguishes typefaces from lettering and
allows integration of of unique features that impart personality and
style while maintaining readability.
A designer works with a small set of letters that allows the rapid
development of ideas while embodying a wide range of strokes to give off
an impression of the face's more distinctive features. The details depend
on a number of factors, such as the designer's experience and skills and
whether they are making an entirely original design or one inspired by an
existing typeface.
There are 4 stages in the early development of Neel Kshetrimayum's Frijky
where the first drawings show main strokes that are too light, leading to
light gray paragraphs. In the next few versions the strokes gain weight
and the curves become less pointed. The highlighted terminals start as
inconsisten outstrokes, but soon change to relatively safe slab serif
shapes. The terminals of the fourth version balance a range of shapes with
enough presence to emphasize the baseline.
Fig 1.2 Four stages of the early development of Neel Kshetrimayum's Frijky
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