Typography | Task 2 Typographic Exploration & Communication

27/5/24 - 14/6/24（week 6 - week 8）

Gao Yuan Yi 0373945

Typography

Task 2  Typographic Exploration & Communication

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Lecture

Week 5 

Typo_5_Understanding

1. Understanding letterforms

The uppercase letter forms below suggest symmetry, but in fact it is not symmetrical. lt is easy to see the two different stroke weights of the Baskerville stroke form (below); more noteworthy is the fact that each bracket connecting the serif to the stem has a unique arc.

Fig.1.1 Baskerville 'A'

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. Both Baskerville (previous) and Univers (below) demonstrate the meticulous care a type designer takes to create letterforms that are both internally harmonious and individually expressive.

Fig.1.2 Univers 'A'

The complexity of each individual letterform is neatly demonstrated by examining the lowercase 'a' of two seemingly similar sans-serif typefaces—Helvetica and Univers. A comparison of how the stems of the letterforms finish and how the bowls meet the stems quickly reveals the palpable difference in character between the two.

Fig.1.3 Left: Helvetica  Right: Univers

2. Maintaining x-height

X-height: The size of the lowercase letterforms. Curved strokes, such as in 's', 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.

Fig.1.4 Median and baseline

3. Form/Counterform

Counterform (or counter)—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. How well are the counters handled determines how well the words hang together—how easily we can read what's been set.

Fig. 1. 5 Form/Counterform

We could examine the counterform of letters by enlarging each letter and analysing them. It could give us a glimpse into the process of letter-making.

Fig. 1. 6 Form/Counterform

4. Contrast

The design principle of Contrast is also applied in typography. The simple contrasts produce numerous variations: small+organic / large+machines; small+dark / large+light, etc.

Fig. 1. 7 Contrast in typography

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INSTRUCTIONS

Task 2  Typographic Exploration & Communication

For Task 2, we were given three text options to express typographically the content provided in a 2-page editorial spread (200mm x 200mm per page). We are not encouraged to use images, but some very minor graphical elements, i.e. line, shade, etc. are allowed to help with content. 

1. sketches

At first, I created six different sketches, two of tnem were approved to used as digitisation. I was asked to do two more sketches and one of then was approved to used as digitisation.

Fig. 2. 1 Sketches

2. Digitisation

I completed four digitisations before the tutor. I tried different typefaces to compare each of them and then chose a better one as my first digitisations. 

Design#1: I tried to distort the arrangement of the letters and made the word 'Unite' as the shape of letter U. 

Fig . 2. 2 First digitisations - Design#1

Design#2: I adjusted the spacing and position of the letters U, N, I, T and E to make the word UNITE seem to be bent upwards to form a round arc.

Fig. 2. 3 irst digitisations - Design#2

Design#3: This design is similar as #2. I was wandering which one is better so I made both design by Adobe Illustrator and decided to ask tutor in the tutorial.

Fig. 2. 4 First digitisations - Design#3

Design#4: I tried to change letter O in the word 'world' as the shape of the earth in order to emphasise the meaning of the word 'world'. 

Fig. 2. 5 First digitisations - Design#4

Final Digitisation

Fig. 2. 6 Type Expression Digitisation - Design#1

Fig. 2. 7 Type Expression Digitisation - Design#2

Fig. 2. 8 Type Expression Digitisation - Design#3

Fig. 2. 9 Initial Layouts (Blocks)

Fig. 2. 10 Initial Layouts #1

Fig. 2. 11 Initial Layouts #2

Fig. 2. 12 Initial Layouts #3

Final Editorial Spread

Fig. 3. 1 Final Editorial Spread

Fig. 3. 2 Final Editorial Spread (PDF)

Fig. 3. 3 Final Editorial Spread (Grids) (PDF)

Margins: 10 mm

Gutter: 10 mm

Head

Font: Futura Std

Body

Font: Futura Std

Type Size: 11 pt

Leading: 13 pt

Paragraph spacing: 6 mm

Characters per-line: 50-60

Alignment: left justified

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FEEDBACK

Week 6

General Feedback:

At first, two of my six sketches were approved to used as digitisation. I was asked to do two more sketches and one of then was approved to used as digitisation.

Week 7

Specific Feedback:

Design#1:It's better not to deform the letters. The letters can be symmetrical with the help of auxiliary lines.

Design#2:Move 'to visualise a better world' part down so that it is on a horizontal line with letters U and E. 

Design#3:It is similar with #2. Design#2 is better then #3 as a digitisation. 

Design#4:Ensure that the earth pattern is consistent with the size of the letters W, R, L and D. Try to make 'Unite to visualise a better' part bigger or smaller, and then compare the two to choose the most suitable design.

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REFLECTIONS

Experience

The course of Typography improves our ability by recording lecture videos and cooperating with face-to-face tutorial. I think this teaching model can better save time and ensure the quality of our learning. By recording lecture videos, I learned the basics of typesetting and practised and applied this knowledge in face-to-face tutorial. This is a good exercise of our self-learning ability.

In Task 2, I learned how to design titles, covers and layouts. And I have completed all the video lectures and have a deeper understanding of fonts and typesetting.

Observations

In the past few weeks of study, I can get detailed and helpful feedback after studying the weekly course. This has greatly improved my learning efficiency and guaranteed my learning quality. After a few weeks of practice, my technology of using adobe has improved, and I am very happy about it.

Findings

I think I still have shortcomings in layout design, which may be because I have rarely paid attention to these problems before. I still need to improve in layout design and title design.

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FURTHER READING

Fig. 4. 1 Typographic design: Form and communication (2015)

Based on the list of recommended readings in the module information booklet, I did some further reading with the book "Typographic design: Form and communication".

Reference:

Carter, R., Day, B., Meggs, P. B., Maxa, S., & Sanders, M.

(2015). Typographic design: Form and communication.

Hoboken, New Jersey: John Wiley & Sons, Inc.

This book provides readers with a concise and comprehensive overview of information, vocabulary, tools and effective methods used in layout design practice.

A grid is a skeletal framework used by designers to organizeinformation within a spatial field, It is a system characterized bythe dualities of freedom and constraint, simplicity and complexity.It provides a strategy for composing text and other visualinformation in two- and three-dimensional space, including thoseof printed materials, flm, computer screens, built environments.and typographic installations. Grid systems aid designers inmaking information clear and optimally accessible highlydesirable traits in a world increasingly inundated by visual noise.When used effectively, typographic grids provide form and spacewith proportional harmony and aesthetic beauty. The final result isclearer and more accessible communication.

Fig. 4. 2 Chapter 4 The Typographic Grid-Background, page 66

The grid as we know it today is rooted in the earliest written forms, from columnar cuneiform tablets impressed by the Mesopotamians as early as 3000 BCE, to  hieroglyphic writing on papyrus.

Fig. 4. 3 Chapter 4 The Typographic Grid-The Square, page 70

A square subdivided into a 256-unit grid of smaller squares displays an enormous range of proportional possibilities. The language of the horizontal and the vertical was elevated to spiritual status by practitioners of the de Stijl movement. In his studied paintings, Piet Mondrian sought to reveal proportions of perfect harmony, proportions that could also be infused into the designs of everyday living.

Fig. 4. 4 Chaper 4 The Typographic Grid-Single Column Grids, page 71

When text appears as a simple, linear narrative, as in the traditional novel or exhibition panel, it is often best to set it as a single block. There exist many ways to orient single text blocks to pages (or other spatial fields). These choices are most often related to budget constraints, standard paper sizes, and the function of typographic information. Some designers still find it rewarding to revisit the golden section from time to time. But more often than not, alternative approaches to proportions are developed. The designer’s own intuitive sense of proportion is nurtured through  observation and practice.

Fig. 4. 5 Chapter 4 The Typographic Grid-Multicolumn Grids. page 74

An elemental grid is based upon a Cartesian coordinate system of intersecting, perpendicular axes. It consists of rectangular modules defined by a network 

of horizontal and vertical lines.