Typography - Task 2: Typographic Exploration and Communication
Shema Goldie Angwen / 0372129
Typography
Typography
Bachelor of Design (Hons) in Creative Media / Taylor's University
Task 2: Typographic Exploration and Communication
Task 2: Typographic Exploration and Communication
TABLE OF CONTENTS
LECTURES
-PRE-RECORDED LECTURES-
The uppercase letterforms suggest symmetry, but it is not symmetrical. Two different stroke weights of the Baskerville stroke form; more noteworthy is the fact that each bracket connecting the serif to the stem has a unique arc.
The uppercase letterforms may appear symmetrical but when it is seen in more details the left slope is thinner than the right stroke, they are not equal in weight. 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.
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.
X height generally describe the size of the lowercase letterforms. Curves 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.
Counterform-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 the counters are handled determines how well the words hang together.
Contrast
The most powerful dynamic in design. The simple contrast produces numerous variations: small + organic/large + machined; small+dark / large light.
Figure 1.1: X-Height, Counterforms, Contrast
INSTRUCTION
TASK
Task 2 'Editorial Text' (Week 6)
Ms. Vitiyaa assigned us a new task and instructed us to start doing the research and sketch. There are 3 text options of text provided and I chose the third one which is "Unite to visualise a better world". She also instructed us to watch the video tutorial for Task 2.
Layout Research
I searched for references on Pinterest, and these are the designs I found interesting. I think these designs match the 'Unite' text.
Figure 2.1: Layout Research
Sketches
After doing some visual research, I created these sketches using GoodNotes app to bring my ideas to life. I tried to make each letter unite, just like the word 'Unite' itself. My goal was to catch the viewer's eye the moment they see it and encourage them to read the text because of the appealing layout.
Figure 2.2: Sketch
This is my first sketch, and when I showed it to Ms. Vitiyaa, she said that it looks 'untie' instead of 'unite'. So I decided to make another one, keeping in mind that it should appear as 'unite'.
Here is the new sketches:
In the first layout, I focused on connecting the headline which is the 'Unite' letters with the body text to convey a sense of unity. I wanted the text to emphasize the idea of unity through its design.
In the second layout, I layered each 'unite' letter so they appear close together, to create a sense of unity.
In the third layout, I designed a staircase-like form to symbolize unity, combining the headline, lead-in text, and body text to form the letter 'U' (representing 'Unite') as the overall layout.
Figure 2.3: The New Sketches
Digitaling Process
For Layout #1, I digitized the headline, lead-in text, and body text using Adobe InDesign. For Layouts #2 and #3, I created the headline in Adobe Illustrator, then placed it into Adobe InDesign, where I continued working on the lead-in text and body text.The Outcomes
Layout #1
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Figure 2.4: Layout #1
HEADLINE
UNITE
- Typeface: ITC New Baskerville Std
- Font: ITC New Baskerville Std Roman
- Type Size: 395 pt
TO VISUALISE A BETTER WORLD
- Typeface: Futura
- Font: Futura Medium
- Type Size: 36 pt
LEAD-IN TEXT
- Typeface: ITC Garamond Std
- Font: ITC Garamond Std Light
- Type Size: 19,5 pt
BODY
- Typeface: ITC Garamond Std
- Font: ITC Garamond Std Book Codensed
- Type Size: 8,5 pt
- Leading: 11 pt
- Paragraph Spacing: 11 pt
- Characters per line: 50-60 characters
- Alignment: Left
- Margins: Top - 16 pt, Bottom - 13 mm, Left - 6 mm, Right - 6 mm
- Columns: 3
- Gutter: 5 mm
Layout #2
Figure 2.5: Layout #2
HEADLINE (Done in Adobe Illustrator)
- Typeface: ITC New Baskerville Std
- Font: ITC New Baskerville Std Roman
LEAD-IN TEXT
- Typeface: Janson Text LT Std
- Font: Janson Text LT Std 56 Italic
- Type Size: 19,5 pt
BODY
- Typeface: ITC Garamond Std
- Font: ITC Garamond Std Book Condensed
- Type Size: 8,5 pt
- Leading: 11 pt
- Paragraph Spacing: 11 pt
- Characters per line: 50-60 characters
- Alignment: Left
- Margins: Top - 19 pt, Bottom - 21 mm, Left - 6 mm, Right - 6 mm
- Columns: 3
- Gutter: 5 mm
Layout #3
Figure 2.6: Layout #3
HEADLINE (Done in Adobe Illustrator)
- Typeface: ITC New Baskerville Std
- Font: ITC New Baskerville Std Roman
LEAD-IN TEXT
- Typeface: Janson Text LT Std
- Font: Janson Text LT Std 56 Italic
- Type Size: 18 pt
BODY
- Typeface: ITC Garamond Std
- Font: ITC Garamond Std Book Condensed
- Type Size: 8,5 pt
- Leading: 11 pt
- Paragraph Spacing: 11 pt
- Characters per line: 50-60 characters
- Alignment: Left
- Margins: Top - 8 pt, Bottom - 5 mm, Left - 6 mm, Right - 6 mm
- Columns: 3
- Gutter: 5 mm
From the three layouts, I chose Layout #1.
Final Submission (Week 7)
Corrections
Ms. Vitiyaa asked us to print the final layouts on A3 paper so she could make corrections directly on the paper. For Layout #1, Ms.Vitiyaa mentioned that the last line in that paragraph was too loose:
Figure 2.7: Correction of Layout #1 Printed on A3 (Scanned by Camscanner)
Revised Layouts based on Feedback from Week 7
Layout #1 (Revised)
Figure 2.8: Final Outcome Without Grid (jpeg)
Figure 2.9: Final Outcome With Grid (jpeg)
Figure 2.10: Final Outcome Without Grid (pdf)
Figure 2.11: Final Outcome With Grid (pdf)
FEEDBACK
WEEK 6
General Feedback
Ms. Vitiyaa informed us that we need to buy A4 graph paper and 3 thick marker pens for next week's class.
Specific Feedback
Ms. Vitiyaa mentioned that the layout I made looks 'untie' instead of 'unite,' so I decided to start all over.
WEEK 7
General Feedback
Ms. Vitiyaa reviewed all of our Task 2 and gave us feedback. She also instructed us to begin working on Task 3.
Specific Feedback
Ms. Vitiyaa told me that she liked all of my layouts and said that she was proud of my work. However, she provided some notes. For Layout #1, she pointed out that the last line of the paragraph in the middle is too loose, so I decided to revise it. As for the second layout, she mentioned that it is quite mainstream.
REFLECTION
Experiences
I enjoyed working on this task because now I am quite familiar with the software. It feels like I have gained a better understanding of it even though I only started learning it two months ago. I am also satisfied with the final outcome of this task because of Ms.Vitiyaa's good feedback.
Observations
I observed that creating a layout requires a good hierarchy to catch the viewer's attention. I also noticed that it is important to match the typeface with the body text.
Findings
I found that I need to pay more attention to orphans and margins to create a good layout. I also discovered how important it is to convey the message clearly through a well-designed layout. I also learned that looking at references helps me to come up with new ideas.
FURTHER READING
Figure 3.1: Typographic Design: Form and Communication by Rob Carter
Chapter 3: Legibility
Letterforms must be designed with clarity, each being distinct within the alphabet. The contrast among individual characters makes it possible for the reader to decipher written information without confusion. The most legible typefaces are those timeless examples characterized by three qualities upon which legibility is dependent: contrast, simplicity, and proportion.
Letters can be clustered into four groups, according to their contrasting properties. These are letterforms with strokes that are vertical, curved, a combination of vertical and curved, or oblique.
Figure 3.2: The four groupings
In typography, attention to detail is an ever-present need. Every letter, word, and line of type is a matter of detail, of which it is the designer’s responsibility to be alert and aware.
Figure 3.3: Experimental typography exploring manipulation of type.
(Text: Ann Zwinger; Designer: Rob Carter)
Figure 3.4: Typographic Details
Chapter 4: The Typographic Grid
When typographic elements are introduced into space, they create subliminal divisions, and these divisions create spatial structure.
Divided space is perceived as a system of proportional relationships. To work effectively with the typographic grid is to understand that it also is a system of proportions. A grid ratio, which is a mathematical relationship between two or more grid measurements, governs the size and placement of typographic elements.
Figure 3.5: Typographic Grid
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