|| 04/04/24 – 09/05/24 (Week 1 – Week 5)
|| Sun Jia Yi / 0370449
|| Typography / Bachelor of Design (Hons) in Creative Media
|| Task 1: Exercises
TABLE OF CONTENTS
3.1 Research
3.2 Ideation
3.3 Final Outcome
1. LECTURES
Lecture 0: Introduction
Typography: the skill and method of setting type such that written text is
intelligible, aesthetically pleasing, and legible.
The evolution of typography :
Calligraphy(the way of writing) - lettering ( arrangement and
composition of letters) - typography
Font : individual font or weight within the typeface
Typeface: entire family of fonts/weights sharing similar characteristics
Figure 1.3: Example for terminology, Week 1 (26 April)
Lecture 1: Development
The Development of typography:
1) Early letterform development : Phoenician - Roman
Writing was once accomplished by using a pointed stick to scratch on wet
clay or a chisel to carve on stone. Subsequently, the shape of capital
letters changed to include both round and straight elements.
Figure 1.4: Evolution from Phoenician letters , Week 2 (01 May)
The Writing system of the Phoenicians was left-to-right (Semitic). On the
other hand, the Greeks created a literary style known as "boustrophedon."
The text lins change between reading left to right and right to left. The
letterforms' orientation also altered at the same time.
Figure 1.5: Boustrophedon, Week 2 (01 May)
Figure 1.6: Timeline of letter development, Week 2 (02 May)
2) Hand script from 3rd- 10th centery C.E.
Square capitals: A typeface added at the end of the major strokes found
in written versions of Roman monuments.
Figure 1.7: Square capitals, Week 2 (02 May)
Rustic capitals: Compared to square letters, these capitals allow for
twice as much words on a page and enable for faster writing. They are
more difficult to read, though.
Figure 1.8: Rustic capitals , Week 2 (02 May)
For writings with some intended performance, both caps were set
aside.
For regular transactions, lowercase letterforms were created to
expedite the process.
Figure 1.9 development of lowercase letterforms, Week 2 (02
May)
Roman cursive hand was known for its unicals, particularly in the
forms of the letters A, D< E, H, M, U and Q.
Figure 1.10 Uncials, Week 2 (02 May)
The formal beginning of lowercase letterforms, complete with
ascenders and descenders, may be traced back to half-unicals, which
appear 2000 years after the Pheonician alphabet.
Figure 1.11 Half-Uncials, Week 2 (02 May)
Charlemagne is credited with standardising all religious
scriptures. To establish the standard calligraphy for a centery, one
uses major, minor, capital, and punctuation.
Figure 1.12 Caloline Miniscule, Week 2 (02 May)
3) Blackletter to Gutenberg's type
Following the fall of Charlemagne's dominion, Blackletter
became more and more common in northern Europe. Guternberg
created a negative impression, or brass matrix for every
letterform.
Figure 1.13 Blackletter Textura , Week 2 (02 May)
4) Text type Classification
Figure 1.14 Text type classifications , Week 2 (02 May)
Lecture 2:Basic
1) Describing letterforms
Figure 2.1 Describing
letterforms- PDF , Week 3 (08 May)
2) Basic/ The front
A typeface's whole font has many more characters than just 26
letters, numbers, and a few punctuation marks. Since it offers
more alternatives, a font family with a good variety of
typefaces should be chosen.
-
Uppercase
-
Lowercase
-
Small Capitals: Small Caps are primarily found in serif fonts
as part of what is often called expert set.
Figure 2.2 Small Capitals , Week 3 (08 May)
Uppercase numbers: These numbers have the same kerning width and
height as uppercase letters.
Figure 2.3 Uppercase Numerals , Week 3 (08 May)
Lowercase Alphabet: This set of characters has ascenders and
descenders and is x-height. When using both capital and lowercase
letterforms, they work best.
Figure 2.4 lowercase Numerals , Week 3 (08 May)
Figure 2.5 Italic, Week 3 (08 May)
Figure 2.6 Italic V.S. Roman, Week 3 (08 May)
Punctuation & Miscellaneous Characters
Figure 2.7 Punctuation & Miscellaneous Characters, Week 3
(08 May)
Ornaments: Applied as accents to certificates or invitations. They
are typically offered as a font within a wider family of
typefaces.
Figure 2.8 Ornaments, Week 3 (08 May)
3) Basic/ Describing typefaces
-
Roman: The inscriptions on Roman monuments are the source of
the capital letters. "Book" is the name for a little lighter
stroke in roman.
-
Italic: So named because the shapes are based on handwriting
from the fourteenth century in Italy. On the other hand,
oblique fonts are based on the roman form.
-
Boldface: Distinguished from roman forms by a thicker stroke.
It can also be referred to as "semibold," "medium," "black,"
"extra bold," or "super," depending on the proportions of the
stroke widths in the typeface. The boldest version of several
fonts is called "Poster."
-
Light: Compared to the roman version, a lighter stroke.
'Thin' strokes are much lighter.
-
Condensed: A form of the roman form; styles that are very
condensed are sometimes referred to as
"compressed."
-
Extended: A Roman typeface in an expanded version.
4) Basic/ Comparing typefaces
500 years of type design are represented by the ten fonts. Modern
aesthetics and ease of reading were priorities for their
designers. These fonts, which have survived for decades or even
centuries, are a reflection of the ways that we read, write, and
print.
.png)
]
Figure 2.9 Ten typefaces, Week 3 (08 May)
Typefaces differ not just in x-height but also in stroke widths,
line weight, and general feeling, all of which imply distinct
applications and emotions. A restricted selection of fonts is
favoured by many designers; others stick to only one or two
throughout their careers.
Lecture 3: Text (Part 1)
1) Text/Tracking :kerning and Letterspacing
The term "kerning," which is sometimes misinterpreted as
"letterspacing," describes the automatic modification of the spacing
between letters.
The act of adding space between letters is known as
letterspacing.
The addition and subtraction of space within a word or sentence
is called tracking.
Figure 3.1 Words with
& without kerning , Week 3 (10 May)
Kerning is frequently used in headlines to add extra space
when a letter is used all uppercase. The capital words would
appear more polished as a result.
Figure 3.2 Kerning of uppercase letters ,
Week 3 (10 May)
Word readability will decline when letterspacing increases.
This is so because words are recognisable through patterns and
shapes. The letterform and counterform that appear in between
the strokes are crucial in typography.
Lowercase letterforms need a counterform made in between
letters to keep the line of reading consistent, but uppercase
letterforms are meant to stand alone.
Figure 3.3 Normal. tight and loose tracking ,
Week 3 (10 May)
Figure 3.4 Comparison , Week 3 (10 May)
2) Text/Formatting text
Flush left:
This arrangement most nearly resembles the uneven feel of
handwriting. Every line begins at the same location and ends
at the end of the word that comes before it. The text has
constant word spacing throughout.
Rough right will come from flush left. It is crucial to
guarantee that the ragged right is smooth as a
result.
Figure 3.5 Flush left, Week 4 (13 May)
Centered:
This format forces the text to be symmetrical, giving equal
weight and worth to either end of any line. content fields are
transformed into shapes, giving the content a graphical
appearance.
Since centred text is difficult to read, it should only be
used sparingly for short texts.
Figure 3.6 Centered, Week 4 (13 May)
Flush right:
In this arrangement, a line's end is more important than its
beginning.
In circumstances such as captions, it may be helpful. There
must also be smooth ragging.
Figure 3.7 Flush right, Week 4(13 May)
Justified:
The text is forced to take on a symmetrical shape by this
font. It is accomplished by altering the amount of space
between letters and words.
There may occasionally be "rivers" created by the ensuing
oppenness of lines. Line breaks and hyphenation are therefore
necessary to fix this issue.
Figure 3.8 Justified, Week 4 (13 May)
Typography's fundamental idea is clear. Text usually needs to
stand out more than type.
Interference is type that draws the reader's attention to
itself before they can reach the actual words. It must be
stayed away from.
3）Text /Texture
Various fonts are appropriate for various messages. For
instance, a larger stroke width or greater x-height results in
a darker mass than a smaller stroke width or lighter
stroke.
Figure 3.9 Typeface structure, Week 4 (13 May)
4)Text/ Leading and Line Length
Encouraging easy, extended reading is the aim of text
typesetting. A field of writing should also take up the same
amount of space on the page as the photograph.
Text type should be large enough to read at a distance of one
arm's length.
Leading: A tightly packed text block promotes vertical eye
movement, which makes it easy for a reader to lose their
place.
Length of Line: Longer lines require more leading; shorter
lines require less. As a result, it's wise to keep line
lengths between 55 and 65 characters.
Figure 3.10 Bad examples of leading, Week 4 (13
May)
Lecture 4: Text(part 2)
1) Text/ Indicating Paragraphy
a. Pilcrow
Rarely used anymore, remnant of mediaeval
manuscripts.
Figure 4.1 Pilcrow, Week 4 (13
May)
b. Line spacing(leading)
A leading that is 2–3 points larger than the typeface is
often 12–12.5–13 points if the typeface is 10 points. To
align with the primary cross, the line spacing and leading
must match.
Cross alignment: When the text lines are aligned and two
columns of text are positioned next to one another.
.jpeg)
Figure 4.2 Line spacing(leading), Week 4 (13 May)
Different between line space & leading:
-Leading is the space between two sentences.
-Line spacing is the space between the base line to the
other descender.
Figure 4.3 Different between line spacing and
leading, Week 4 (13 May)
c. Standard indentation
The indent is the text's point size or the same size as the
line spacing.
Left alignment or flush left should not be utilised when
indenting text (no ragging in the right).The normal
indent will create a first-line indent of 1/2 inch. Place
the insertion point at the very beginning of the paragraph
you want to indent. Press the Tab key. On the Ruler, you
should see the first-line indent marker move to the
right
by 1/2 inch.
Figure 4.4 Standard indentation, Week 4
(13 May)
d. Extended paragraphs
Using this strategy typically results in large text
columns. It is selected for important compositional
or practical purposes, such as academic
writing.
Figure 4.5 extended paragraphs,
Week 4 (13 May)
2) Text/ Windows and Orphans
There are two mistakes a designer should never
make: widows and orphans.
Widows is a single, brief line of text that appears
at the conclusion of a text column.
At the beginning of a new column, there is a brief
line of text called "Orphans."
Figure 4.6 Windows and Orphans, Week
4(13 May)
Both widows and orphans are regarded as grave
errors in the justified text. Text that is ragged
left and flush right is somewhat more understanding
of widows. Orphans are still not forgiven.
The fix for widows is to use fake line breaks to
rebreak the line ends across the paragraph. Next,
tweak the kerning and letterspacing, but only within
± 3 (in Adobe Illustrator and Adobe InDesign). in
order to prevent any paragraph's last line from
being conspicuously short.
To prevent orphans, meticulous typographers ensure
that no text column begins with the last line of the
paragraph before it.The solution is to make the
column's lines shorter.
3) Highlighting text
There are several methods for emphasising:
-
Make the change to italic.
-
Put more boldness (bold or medium) to it.
-
Set the font style to bold.
-
Alternate the text's cyan, magenta, and black
colours. Because yellow is difficult to read, it is
utilised.
-
Organise a coloured area behind the text.
-
Put certain typographic components in place.
Figure
4.7 Change to Italics, Week 4(13 May)
Figure 4.8
Change the boldness(bold and medium), Week 4(13
May)
.jpeg)
Figure 4.9 Change the typeface
to bold, Week 4(13 May)
Figure 4.10 Change the colour of the text,
Week 4(13 May)
Figure 4.11 Place a fid of colour in the black of the
text, Week 4(13 May)
Figure 4.12 Place certain typographic elements,
Week 4(13 May)
It may be necessary to decrease the word point sizes
(by 0.5 points) when switching from serif to sans serif
typefaces. The reason behind this is that sans serif
fonts tend to seem larger than serif fonts.
Figure 4.13 difference with sans serif fronts and
serif fonts, Week 4(13 May)
To maintain the text's visual coherence, the number's point
size is likewise lowered by 0.5 points.
Figure 4.14 Reducing of point size of number Week
4(13 May)
Similar to bullets, quotation marks can break the left
reading axis and produce a noticeable imprint. Make a
comparison between the longer quotation at the bottom and
the indented quote at the top.
Figure 4.15 Using of quotation marks, Week 4(13
May)
4) Text/ Headline within text
A typographer finds it crucial to comprehend the
information hierarchy. The responsibility of a
typographer is to ensure that the reader understands
exactly what each of these heads represents in terms
of prominence within the text and how they relate to
one another.
These have been labelled (A, B, and C) in the
accompanying images based on their relative relevance.
a. A Head
A head denotes a distinct division between the subjects
covered in a section. The 'A' heads in the following
instances are bold, small-cap, and positioned bigger
than the text. A head is "extended" to the left of the
text in the fourth example.
Figure 4.16 A Head, Week 4(13 May)
b. B Head
A heads get priority over B heads. B heads provide a
fresh defence or illustration of the subject at hand.
They shouldn't make as many interruptions to the text
as A heads do.
Figure 4.17 B Head, Week 4(13 May)
c. C head
Certain aspects of the content in the B head text are
highlighted in the C heads. They do not significantly
impede the reading's flow. For visual
separation, there should be two spaces between the C
head and the text.
Figure 4.18 C Head, Week 4(13 May)
Organising a list of subheadings is referred to as
hierarchy.
Figure 4.19 Example of hierarchy, Week 4(13
May)
5) Text/ Cross Alignment
The architectural feeling of the page is
reinforced and the complementary vertical
rhythms are articulated when headlines and
captions are cross-aligned with the text
type.
Figure 4.20 Cross Alignment, Week 4(13
May)
2. INSTRUCTIONS
Document 2.1 Module Information Booklet (MIB) of
Typography
Task 1: Exercises (20%)
For exercise 1, we are given a set of words to create type
expressions of. Those words are
-
Balance
-
Jump
-
Roll
-
Crash
-
Flow
-
Spark
-
Time
-
Swim
-
Open
-
Spark
-
Swing
-
Dash
-
Kick
No graphical elements are allowed, we are limited to only 10
typefaces including Adobe Caslon Pro, Bembo, Bodoni, Futura,
Gill Sans, Garamond, New Baskerville, Janson, Serifa and
Univers. Mr Vinod mentioned the designs have to be simple and
memorable.
3. PROCESS WORK
(a) PROCESS WORK FOR TYPE EXPRESSION
3.1 Research
Words I choose: Roll, Swim, Jump and Open.
Roll
Definitions:
[verb]
-
move in a particular direction by turning over and
over on an axis.
- (of a vehicle) move or run on wheels.
[noun]
-
a cylinder formed by winding flexible material
round a tube or by turning it over and over on
itself without folding.
-
a movement in which someone or something turns
or is turned over on itself.
Figure
3.1.1 References for the word "roll", Week 1 (26/04/2024)
Swim
Definitions:
[verb]
-
propel the body through water by using the limbs, or (in the
case of a fish or other aquatic animal) by using fins, tail, or
other bodily movement.
-
be immersed in or covered with liquid.
[noun]
- an act or period of swimming.
-
a pool in a river that is a particularly good spot for fishing.
Figure 3.1.2 References for the word "swim", Week 1 (26/04/2024)
Jump
Definitions:
[verb]
-
push oneself off
a surface and into the air by using the muscles in one's legs
and feet.
-
(of a person) move suddenly and quickly in a specified
way.
[noun]
-
an act of jumping from a surface by pushing upwards with one's
legs and feet.
- a sudden involuntary movement caused by shock or surprise.
Figure 3.1.3 References for the word "jump", Week 1 (26/04/2024)
Open
Definitions:
[adj]
-
allowing access, passage, or a view through an empty space; not
closed or blocked.
-
exposed to the air or to view; not covered.
[noun]
-
outdoors, especially in an exposed or unprotected
setting.
-
a championship or competition with no restrictions on who may
compete.
[verb]
-
move (a door or window) so as to leave a space allowing access and
vision.
- unfold or be unfolded; spread out.
Figure 3.1. 4 References for the word "open ", Week 1 (26/04/2024)
3.2 Ideation
1. Sketches
Roll
-
For this word expression my idea is trying to express the
movement, where the viewer can immediately see the rolling
movement. By inspired the reference I found: the roll cake,
roll a word and the roll number.
Swim
-
My idea for the swim is to express my design through the
flow generated by the motion of the swim itself and the
fluidity that comes with the fluid.
Jump
-
About jump I wanna express the tendency that
automatically develops when people make movements, from
low to high to low again. As well as the direction of
movement from top to bottom when people are dancing.
Open
-
For open I chose a series of actions such as people
opening doors, opening coconuts, folding cell phones,
etc. to support and inspire my design.
.png)
Figure 3.2. 1, sketch compilation on the chosen 4 words, Week 1
(26/04/2024)
Last attempt on sketches based on feedback
given
Figure 3.2. 2, sketch compilation on "JUMP", Week 1
(26/04/2024)
2.Digitisation
Designs that Mr Vinod approved:
ROLL:Sketch 1
SWIM: Sketch 3
JUMP: Sketch 5 and 3
OPEN: Sketch 4
After watching Mr Vinod tutorial in using Adobe
Illustrator, I started to digitise the words. Cuz Mr
Vinod said cannot do the extension about the word, and
some of the word meaning is not strong. So I just
changed my sketch.
Rough design:
Figure 3.2. 4, sketch compilation on "roll", Week 2
(02/05/2024)
This is because I changed my sketch after taking Mr.
Vinod's advice. I thought it was important to have a
simple yet memorable visual arrangement, so I decided
to go with the design below. With this in mind, I have
tried to make the design original and simple while
also fitting the purpose of the expression
"jump".
Figure 3.2. 5. sketch compilation on "swim", Week 2
(02/05/2024)
For swim, the previous design didn't quite bring out
the meaning of swim it didn't look like a swim, so I
made adjustments. This is because after listening to
Mr. Vinod's advice I changed my sketch I thought it
was important to have a simple yet memorable visual
arrangement so I decided to go with the design above.
My idea is put the small circle into the S and then
looks like a man is swimming. For the tweak just
change the size and position of the font to achieve
the effect. With this in mind, I tried to keep the
"swim" expression.
Figure 3.2. 6. sketch compilation on "roll", Week 2
(02/05/2024)
For roll, the previous designs were all in one
way to convey the meaning of the text so I made
adjustments. After listening to Mr. Vinod's advice
I changed my sketch I thought it had to be an
impactful yet memorable visual arrangement so I
decided to go for the above design. For the tweak
just change the size and position of the font to
achieve the effect.
Figure 3.2. 7. sketch compilation on "open ", Week 2
(02/05/2024)
For open, the previous design didn't explain
the meaning of open well and it was too
complicated, so I chose the above idea: my
idea is to flip the "p" over and connect it to
the "O" to make it look like a key. And the
"E" and "N" are like a door. The whole design
looks like a key to open a door. It looks very
simple but it can emphasize the meaning of
"open".
3.3 Final Outcome
Figure 3.3. 1. Final Type Expression - JPEG, Week 3
(10/05/2024)
Figure 3.3. 2. Final Type Expression - PDF, Week 3
(10/05/2024)
Type Expression Animation:
I choose to animate "jump" because I thought
animating it would show the jumping feeling I was
trying to create with the placement of the
letters.
3.4 Final Animated Type Expression
Figure 3.4. 1. Final Animated Type Expression “jump" -
GIF, Week 4 (14/05/2024)
Figure 3.4. 2. "jump" Animation Frames, Week 4
(14/05/2024)
(b) PROCESS WORK FOR TEXT FORMATTING
In Exercise 2, we will create a final layout that addresses
different aspects of text formatting, such as word spacing,
leading, paragraph spacing, alignment, and so on. This exercise
will help us practice and develop skills in spatial organization
and information hierarchy. Adobe InDesign will be used for this
exercise.
3.5 Kerning and Tracking
Figure 3.5. 1 without kerning, Week 5 (16/05/2024)
Figure 3.5. 2. with kerning, Week 5 (16/05/2024)
3.6 Layouts
Figure 3.6. 1. Layout reference, Week 5 (16/05/2024)
Figure 3.6. 2. Layout reference, Week 5 (16/05/2024)
Figure 3.6. 3. Process about layouts. Week 5 (16/05/2024)
Figure 3.6. 4. Sketch Layout. Week 5 (17/05/2024)
After the Mr Vinod feedback I did more exploration and
make a change to my layout. The key message we got from
the feedback is minimalism is the key. Also the spacing is
important.
FINAL text Formatting Layout
HEAD
front/s: ITC Garamond Std
Type size/s: 72 pt
Leading: 14 pt
Paragraph spacing: 0
BODY
Front/s: Jason Text LT STD - 55 Roman
Type Size/s: 11 pt
Leading: 13 pt
Paragraph spacing: 0 pt
Characters per-line: 19
Alignment: left justified
Margins: 12.7mm Left, 12.7mm Right ,12.7mm top , 12.7mm
bottom
Columns: 5
Gutter: 10mm
Figure 3.6. 5. Final Text-formatting Layout(JPEG). Week 5
(18/05/2024)
Figure 3.6. 6. Final Text-formatting Layout (PDF). Week 5 (18/05/2024)
Figure 3.6. 7. Final Text-formatting Layout with grids (JPEG). Week 5
(18/05/2024)
Figure 3.6. 8. Final Text-formatting Layout with grids (PDF). Week 5
(18/05/2024)
5. FEEDBACK
5.1 Type Expression
Week 1
General Feedback: The blog is setting down.
Week 2
General Feedback: Try not to rely on graphical elements.
The idea should be simply. Just change the word size or front also
the position to achieve the expression.
Specific Feedback: For "open" Mr Vinod likes idea no 4.
Please put the further reading part. Make sure all of the PDF file
can see in the blog.
Week 3
General Feedback: Use less graphical elements, decide
which ideas to use. When all 4 words are combined, make sure it
has a balanced black and white and powerful impressions. Complete
the white spaces. Avoid stretching text. Experiment with various
fonts. Over the following 48 hours, work on improving, reworking,
or exporting them; after that, set one of them to motion.
Specific Feedback:
Jump (make the change the NO. 4 looks good but lookes like more
meaningful )
Open (NO.4 is good can keep going )
Roll (can not do the extension.)
swim (the idea didn't match the word meaning )
Week 4
General Feedback: Export the file properly. The four text
expressions look good. The jump GIF needs to be fixed.
Specific Feedback: need to make the simple about the GIF
"jump" .
General self-reflection for type-expression:
1. Do the expressions match the meaning of the words? Is the idea
strong? ✓
2. Are the explorations sufficient?✓
3. Are the expression well crafted (crafting/lines/shapes)?
✓
4. Do they sit well on the art board? ✓
5. Are the composition engaging? Impactful? ✓
6. Are there unnecessary non-objective elements present? ✓
7. How can the work be improved? ✓
5.2 Text-Formatting.
Week 5
General Feedback: Export the file properly. The four
text expressions look good. The jump GIF needs to be
fixed. Make sure the text is easy to read, 50 - 60 words
minimum ( 60% content, 40% space ).
Specific Feedback: The space between two sentences is too big. Put more space on
paragraphy. Make sure the kerning appropriately
done.
General self-reflection for type-expression:
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 established using baseline grids?
✓
6. Are widows and orphans present? ✓
6. REFLECTION
6.1 Experience
I learned the fundamentals of typography from this
practice. I found it a little challenging to come up with
ideas during the drawing phase because there were no graphic
elements or abstract font designs, and we were limited to
using 10 typefaces. Coming up with original ideas was part
of the problem because we were unable to select the text we
wanted, and I knew that many of my ideas would be extremely
similar to those of my classmates. It took me some time to
become acquainted to Adobe Illustrator throughout the
digital phase. It took some time to become acquainted to the
processes in the second week of the hands-on training
because of the altered formatting and
organisation. The text formatting exercise proved to be pretty difficult as
well; the most annoying aspect was determining the baseline grid
and correctly kerning it. Not only did it take me a while to
compose anything I loved, but I also knew I couldn't be very "out
there" or difficult. All things considered, this project is a
fantastic and useful method for teaching students how to work
within constraints, investigate textual expression, and organise
and structure content.
6.2 Observations
Throughout this exercise, I've noticed that a lot of design
elements work well with typography. For example, alignment can
be used to establish visual weight and hierarchy, letters can
be used to represent different shapes or images, and movement,
proportion, contrast, and value can all be used to produce
distinct visual effects. Additionally, the instructor
requested us to share our progress in the Facebook comments
section at the start of each typography class, which was a
terrific way to learn. My favourite part was that I also got
to see some amazing ideas from other people. In addition, our
instructor consistently cautioned us against depending on his
evaluations for comfort; that being said, he provided
excellent, comprehensive comments.
6.3 Findings
It takes some time to absorb, comprehend, and commit to memory
all of the terms associated with typography, I've discovered. I
learned that in order for us to keep improving, there are a lot of
details to consider when working with typography, and I should
review my work numerous times. I also discovered that intricate
and sophisticated design processes go into creating even the most
basic fonts, including Helvetica, Univers, Baskerville, and other
iconic fonts. When creating and organising a typeface, there are
numerous factors to take into account.
7. FURTHER READING
1) The Vignelli Canon
Figure 7.1. The Vignelli Canon. Week 5(19/05/2024)
As I read, I learned that the author was inspired to produce this
book because he noticed that contemporary designer work lacked the
fundamentals of typography.
I did some study on the author, who is a well-known modern designer
of the 20th century.
Massimo Vignelli was an Italian graphic designer who spent most of
his working life in New York. Born in Milan in 1931, he studied
architecture before branching out into the world of design,
including graphics, furniture, interiors and signage.
Design is one was his motto — and that of his wife Lella, with
whom he worked throughout his life. For the Vignellis, whether a
visual identity, sign, chair or cup, the problem and solutions
were the same. They designed with the same discipline, coherence
and emphasis on function.
Figure 7.2. Author: Massimo Vigrelli. Week 5(19/05/2024)
Three important aspects in Design
1. Semantics
It's vitally necessary to investigate and clarify the current design
before beginning any work. Depending on the topic and goals, the study may
focus on the market, product, or history. The research component is
crucial because, in addition to using their gut instinct, designers should
channel their research to arrive at a deliberate characterization of the
problem.
2. Syntactics
"God is in the details" . The discipline that regulates the appropriate
use of grammar in phrase creation and language articulation, known as
design, is the fundamental component of syntax.
3. Pragmatics
No matter how syntactically and semantically sound we believe our
designs to be, they are all for naught if no one can comprehend the end
product or its meaning. The outcome will be clear when the aim is clear.
Complexity without being burdensome.
Figure
7.3 Text formatting, Week 5(19/05/2024)
-
Strong meanings may be communicated with simple font, size,
weight, and positioning decisions on the page.
-
The illustration above does a great job of capturing the essence of
"jump."
.png)
.png)
.png)
.png)
]
.png)
.jpeg)
.jpeg)
.jpeg)
.jpeg)
.jpeg)
.jpeg)
.jpeg)
.jpeg)
.jpeg)
.jpeg)
.jpeg)
.jpeg)
.jpeg)
.jpeg)
.jpeg)
.png)
.png)
.png)
.png)
Figure 3.2. 1, sketch compilation on the chosen 4 words, Week 1
(26/04/2024)
.jpeg)
.png)
.png)
Comments
Post a Comment