Typography | Task 2: Typographic Exploration & Communication

Typography | Task 2: Typographic Exploration & Communication

october29,2023

23/10/2023 - 6/11/2023 | Week 5 - Week 6

Wang Yifan/0368363

Bachelor Of Design (Honours) In Creative Media

Typography

Task 2

SECTIONS

| Lectures ( all lectures in Task 1)

| Instructions

| Feedback

| Reflection

| Further Readings

INSTRUCTION

                                         fig 1.0 Typography Module Information

For this task we had to choose one out of three text options options provided and express the content typographically.

Text options :

• The role of Bauhaus thought on modern culture.
• A code to build on and live by.
• Unite to visualise a better world

Rules :

• No images or drawings.
• Minor graphical elements.
• Explore layout through sketches.
• Create a good layout
• Use adobe Illustration to create the headline.
• Page size : 200mm x 200mm per page ( total length : 400 mm )

Steps :

• Choose a text from the three different options.
• Find out information about the headlines meaning
• Create the headline using adobe Illustrator
• Do the whole layout in indesign.

week5:

Research

before making I look for ideas or references first on Pinterest

Figure 1.0 Initial Type Expression Variations (25/10/2022)

Text Formatting Draft Layouts：

For the following task, we were asked to come up with a few layout using the provided text and place an appropriate image for the article given and provide a caption for it.

                                         Layout Final1.week5(10.24)

                                           Layout Final2 week5(10.24)

                                Layout Final3 week5(10.24)

HEAD 

Fonts : Janson Text LT STD 75 Bold (Headline) , Janson Text LT STD 55 Italic  (Byline) 

Type Sizes : 28pt (Headline) , 10pt (Byline) 

Leading : 36 pt (Headline) , 12pt (Byline) 

Paragraph Spacing : - 

BODY

Fonts : Univers LT STD Roman 55 (Body Text) , Gill Sans MT Italic (Caption) 

Type Sizes : 8pt (Body Text) , 8pt (Caption)

Leading : 11pt (Body Text) , 12pt (Caption) 

Paragraph Spacing : 11pt

Characters per lined : 51 characters 

Alignment : Left aligned 

Margins : 12.7mm , 80mm (bottom) 

Columns : 3

Gutter : 14mm

FEEDBACK

Week 5

General Feedback : We just learned ld this software, I am still pondering now, there are a lot of things I do not understand.

Specific Feedback : The layout for my exercise 2 "I am Helvetica" is interesting as I am using irregularity to layout the texts. Ms Hsin commented that my byline can consider a different arrangement and the caption should be longer to so it is easy to recognise.

Week 6

General feedback: In writing there must be a meaning that you want to convey, you must be able to convey what you have written

Personal Feedback: giving expression to a word, being able to explain in language what you have created, Change the background to gray, then change the word you want to express to white and bold, express it to be like a window

REFLECTION

Experience:Experience: during the 6 weeks of studying typography we have to work hard and think a lot, because when you want to make a design you have to have a lot of creativity to make some designs come alive, when making a design you also need to mean what design you have made, why you make that, what meaning do you want to convey.

Observations: During these 6 weeks working on typography assignments I had to make a lot of designs, and every design that was made had to be a lot of creativity so that the visuals came alive and had a meaning that we wanted to convey.

Findings: In these 6 weeks, what I have learned in typography is that you don't just learn how to make a words, but you have to be able to be creative so that the words come alive, not only that, you have to know what you want to convey, when you make it you have to make a sketch first because it can give you a lot of ideas that you have, and every design we make always gets feedback, because in a design there are flaws that we can find, so when making a design it doesn't have to be 100% good, you still have a process that must be made

FURTHER READING

From the 7 books recommended, I chose Typography reference as my reading material for my further reading.

There are now many books devoted to the art, design, practice, resources, and teachings of typography. Because of that, there is an even greater need than ever for a book like this, an all-in-one comprehensive reference guide to all things typographie. We intend for this book to be a broad, authoritative, complete resource of typographic knowledge.

While many typography books contain wonderfully deep, scholarly, and essential material (more about these later), each has its own point of view, its own strengths and weaknesses, and inclusions and omissions. There is no single volume with it all, presented in an easy-to-nav igate and accessible format. While Typography, Referenced covers every area of typography, it provides breadth rather than depth, for typography is a wonderfully dense and rich topic. For depth, we cite additional sources as needed.

As Typography, Referenced came into being, the book An Incomplete Education by Judy Jones and William Wilson (published by Ballantine Books in 1987) came to mind. The concept of this hefty volume was astonishingly ambi-tious: To encompass and explicate the whole of science, philosophy, religion, political science, music, art, world history, psychology, econom-ics, film, and American studies. In short, 10,000 years of culture in one fell swoop, or everything an "educated" person should know. Its aim was to provide key pieces of information, banishing those embarrassing gaps caused by missed educational opportunities or a lack of retention of what had once been learned.

We hope this book emulates the latter idea, as a single sourcebook in which practitioners and the average person alike can find every aspect of typography, with resources and guides for further research. Typography, Referenced, like An Incomplete Education, strives for breadth and inclusiveness, to cover the essential knowledge of the complex subject of typography, everything that a

"typographically educated" person should know.

This book contains the basic foundations and core concepts of what constitutes

The Past as Inspiration

Typeface design is personal and social at the same time. It sits at the intersection of a designer's desire for identity and originality, the demands of the moment, and the conventions shared by the intended audience. The designer also needs to take into account the constraints of the type-making and typesetting technology, the characteristics of the rendering process (whether printing or illuminating), and the past responses to similar conditions by countless designers. A good visual history of past designs is an essential element of every designer's toolkit.

At the heart of this process is a question-filled dialogue: What are the conditions of use for the new design? How will the success of the design be evaluated?

The wider the typeface family, the deeper the need to test conclusively, not only with documents that highlight the typeface's qualities, but also with documents that approximate a wide range of possible uses.

Even very tight briefs (as in the case of typefaces for corporate clients) can generate an extremely broad range of uses-scenarios that may even change after typeface delivery.

But good designers also understand the constraints of their testing environment. Ironically, the screen is gradually becoming an area of better control than print.

Standardized tests to check the quality of type rendering on screen are increasingly published online for developers and designers to use.

But the limitations of laser printers, the range of quality in digital print-ers, and the loss of wet proofs。

These are the first Roman types, faces originally created between the late-fifteenth century (9) and mid-eighteenth century (10) or patterned after typefaces originally designed during this period.

The axis of curved strokes normally inclines to the left in these designs, so that weight stress falls at approximately eight o'clock and two o'clock. The contrast (230) in character stroke weight is not dramatic, and hairlines tend to be on the heavy side. Some versions, such as the earlier Venetian Old Style designs, are distinguished by the diagonal cross stroke of the lowercase (332)

e. Serifs are almost always bracketed in Old Style designs and head serifs are often angled.

ypographic hierarchy refers to the level of impor tance expressed by a piece of text in its environment, whether print-based oron screen. A variety of factors may indicate hierarchy: letterform size,

letterform weight, letterform design characteristics, text color, text contrast (230) with the background, text position and orientation on the page or screen, and general mass.

These factors exist in relation to each other and also in rela tion to images, margin space, and space between lines on the page. For motion-based screen text, animation characteristics-how long the element is visible, how it moves into, off of, and around the sereen-also affect hierarchy.

The viewers take cues from all of the above factors as they scan the text, making split-second decisions about what to read and in which order. Actually, "read" may not best describe what happens because viewers may actually be apprehending a variety of information at once rather than reading individual components. Indeed, as people become increasingly busy multitaskers, they make fewer hierarchically driven decisions about how much attention to divert to any single task.

Designers must be cognizant of the scant amount oflattention their designs may receive, making it increasingly important to create clear typographic hierarchy.

Each ofthese spreads from the use Law Viewbook is an exemplar ofthe complex arrangement of hierarchical information. It isuseful to observe how the format can be altered to sult the need of the subject matter, yet remain connected to the grid and typographic strueture.

Even though the pages include three typefaces-

Adobe Casion Pro, Century Expanded IT Std, and Avenir-a plethora of shifts in size,

weight, case, slope, and tracking clearly direct the reader's attention to the text in order of its importance. The weight and size of'the display type also serve as a kind of ballast for the pages, providing contrast and visual interest. Adam‹Morioka, Inc, United States.