Typography Task 2 / Text Formatting & Expression

24/10/2023 - 2/11/2023 / Week 5 - Week 6

Lim En Yu / 0354452

Typography / Bachelor of Design (Hons) in Creative Media / Taylor’s University 

Task 2: Typographic Exploration & Communication 

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TABLE OF CONTENTS

1. Lectures

2. Instructions

3. Task 2: Typographic Exploration & Communication

4. Feedback

5. Reflection

6. Further Reading

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LECTURES

Week 5 / Understanding

Letters / Understanding Letterforms

Fig 1.1 Baskerville and Univers Uppercase Letterforms

It is easy to see the two different stroke weights of the Baskerville stroke form which is on the left side, while uppercase letter forms  on right side may appear symmetrical, but a close examination shows that the width of the left slope is thinner than the right stroke. Both Baskerville and Univers which is presented above, showcase the detailed effort put forth by type designers to craft letterforms that achieve a balance between internal consistency and individual character expression.

Fig 1.2 Helvetica and Univers Lowercase Letteforms

When examining how the letterforms' stems finish and how the rounded parts connect to the stems, it becomes immediately evident that there is a tangible difference in character between the two.

Letters / Maintaining x-height

Fig 1.3 x-height

Curved strokes, like those found in the letter 's', need to extend above the middle line (or dip below the baseline) to create the visual illusion that they are of the same size as the vertical and horizontal strokes they connect with.

Letters / Form / Counterform

Fig 1.4 Helvatica Black and Baskerville

Studying the form and counter of a letter in meticulous detail is one of the most effective methods for gaining a comprehensive understanding. This close examination not only offers insights into how the equilibrium between form and counter is achieved but also provides a tangible grasp of the distinctive attributes of each letterform. Moreover, it provides a glimpse into the intricate process of creating letters.

Letters / Contrast

The simple contrasts produces mutiple variations: small+organic/large+machined; small+dark/ large light …

Fig 1.5 Contrast

Week 6 / Screen & Print

Typography in Different Medium

1. Print type Vs Sceen type

Fig 1.6 Print Type

Caslon, Garamond, and Baskerville are popular typefaces for print due to their elegant and intellectual qualities, as well as their excellent readability even at small font sizes. These classic typefaces are versatile and easy to work with, making them a great choice for typesetting. Their neutrality and versatility make them ideal for a wide range of print projects.

Fig 1.7 Screen Type

Typefaces designed for online use undergo optimization and adjustments to improve legibility and performance across various digital platforms. These modifications may involve increasing the height of lowercase letters (x-height), narrowing the gaps between ascenders and descenders, widening letter shapes, making counters more open, strengthening thin strokes and serifs, reducing variations in stroke thickness, and altering curves and angles in some designs.

Hyperactive link/ Hyperlink

A hyperlink is a clickable element, which can be a word, phrase, or image, that allows you to navigate to a different document or another section within the same document. Hyperlinks are present on most web pages, enabling users to navigate from one page to another. Typically, text hyperlinks appear as blue and underlined by default. When you hover the cursor over a hyperlink, whether it's text or an image, the cursor should transform into a small hand, indicating it's a link.

Font Size for Screen

Text displayed at 16 pixels on a screen is approximately equivalent in size to text found in printed books and magazines, taking into consideration the typical reading distance. Since we read books at a relatively close range, usually just a few inches away, the text is usually set around 10 points. If you were to read the same text at arm's length, it would be preferable to have a font size of at least 12 points, which is roughly equivalent to 16 pixels on the majority of screens.

System Fonts for Screen/ Web Safe Fonts

Every device is equipped with a default set of fonts, primarily determined by its operating system. The issue lies in the slight variations between them. Windows-based devices have their specific font group, while MacOS devices have a different selection. Google's Android system utilizes its own set of fonts. On the other hand, "web safe" fonts are consistent across all operating systems. These fonts constitute a limited collection that is common to Windows, Mac, and Google systems. 

For example of the fonts: Open Sans, Lato, Arial, Helvetica, Times New Roman, Times, Courier New, Courier, Verdana, Georgia, Palatino, Garamond

Pixel Differences between Devices

The screens employed in our personal computers, tablets, smartphones, and televisions not only vary in physical dimensions but also exhibit text proportions that differ due to variations in pixel sizes. For instance, 100 pixels on a laptop screen are not comparable to 100 pixels on a large 60-inch HDTV. Moreover, even within a specific category of devices, there can be considerable diversity.

Fig 1.8 Pixel Differences between Devices

2. Static Vs Motion

Fig 1.9 Static Vs Motion

Static typography has limited capabilities when it comes to conveying words effectively. Conventional attributes like bold and italic styles provide only a portion of the expressive possibilities offered by dynamic properties.    

Motion Typography

In the domain of temporal media, typographers have the opportunity to infuse typography with a dramatic quality, enabling letterforms to adopt a fluid and dynamic character, as elucidated by Woolman and Bellantoni in 1999. Within the realm of film title credits, typographic details are often displayed gradually, with animation frequently used to breathe life into them. Motion graphics, especially in the context of branding for film and television production companies, are increasingly integrating animated text.

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INSTRUCTIONS

Fig 2.1 Module Information

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Task 2: Text Formatting & Expression

Research

Before I begin with my initial concept for text expression, I sought inspiration on Pinterest to gather ideas that could effectively convey my thoughts and serve as references.

Here are some inspiration I have got from pinterest:

Fig 3.1 Reference for the word "Bauhaus", Week 5 (26/10/2023)

Sketches

Fig 3.2 Sketches, Week 5 (26/10/2023)

For the headline, I decided to focus on the word "Bauhaus" only as it is the main topic of the headline. I have desgined several ideas of "Bauhaus" which all look a bit similar  but with minor differences.

Fig 3.3 Initial ideas of "Bauhaus", Week 5 (26/10/2023)

Layouts Progress

After finishing my designs for healine, I progress with the layouts. At the beginning, I have created several layouts.

Fig 3.4 Layouts Progress, Week 5 (26/10/2023)

After I showing my headline ideas to Ms Hsin Yin, she give me some advices to improve on it. Therefore, I created a new headline which is shown below:

Fig 3.5 New design of headline, Week 6 (31/10/2023)

According to the new design of headline, I created new layouts with it.

Fig 3. 6 New Layouts, Week 6 (31/10/2023)

Fig 3.7 Text formatting progress, Week 6 (31/10/2023)

After getting feedback from Ms Hsin Yin, I have chosen one of the new layouts as the final text formatting and expression and make some minor changes on it.

HEAD

Font/s: Futura Std (Bold)

Type Size/s: 195.2543 pt

Leading: 193 pt

Paragraph spacing: 0

BODY

Font/s: Janson Text LT Std ( 75 Bold, 55 Roman)

Type Size/s: 10 pt

Leading: 12 pt

Paragraph spacing: 12 pt

Characters per-line: 53

Alignment: Left Alignment

Margins: 10 mm top, 10 mm left + 10 mm right + 10 mm bottom

Columns: 2

Gutter: 5 mm

Fig 3.8 Final text formatting and expression (JPEG), Week 6 (31/10/2023)

 

Fig 3.9 Final text formatting and expression (PDF), Week 6 (31/10/2023)

 Fig 3.10 Final text formatting and expression with grids (JPEG), Week 6 (31/10/2023)

 Fig 3.11 Final text formatting and expression with grids (PDF), Week 6 (31/10/2023)

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Feedback

Week 6:

General Feedbcak: Ms Hsin Yin advised us to hypernate the text and also make kerning to evert single line in a praragraph so that it looked more neat and aligned. Other than that, Ms Hsin Yin also checked on our e-portfolio of task 1 while the next day is the deadline.

Specific Feedback: As the headline I chose is related to Bauhaus, Ms Hsin Yin suggest that I should use Futura Std typeface for the word "Bauhaus" in the headline. Ms Hsin Yin also mentioned that instead of the isosceles triangle, I should use equilateral triangle ot match with the "Bauhaus" concept.

Week 7:

General Feedback: Ms Hsin Yin has checked our blog for task 1 once again amd remind all of us that we should add our feedback in the google sheet as an back up for our blog, if not our marks will be deducted.

Specific Feedback: Ms Hsin Yin has give me feedback that stated my e-portfolio for task 1 has already complete and updated.

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Reflection

Experience

For task 2, what I have experienced was basically all about the application of Adobe InDesign. I personally think that it is easier to handle Adobe InDesign compare to Illustrator and Photoshop as the tools is useful and convenient in helping us completing our works. If do not have this assignment, I would not have chance to try out Adobe InDesign.

Observations

Through the grids and guides tool, I able to observe how to make the text aligned to perform a better visual hierarchy. Other than that, I have also observed the way to change the style of a text to make it match with the main concept. For example, Ms Hsin Yin suggest me to change "A" to quadilateral triangle, and separate it in two lines to showcase "Bauhaus" style which is same as the reference.

Findings

In order to create a best and creative layout, we should try out more different type of arrangement and explorations. Different type of layouts express different feeling and meaning. Therefore, not only the typeface and fonts can influence the emotions and perceptions.

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Further Reading

Typography Design: Form and Communication

by Rob Carter, Ben Day, Philip Meggs, Sandra Maxa, Mark Sanders

Fig 6.1 Typography Design: Form and Communication, Week 5 (24/10/2023)

This book reflects a perspective on typography that goes beyond particular technologies or mediums. Understanding the fundamental principles of typography is crucial for effective communication in various settings, whether they are static, dynamic, or kinetic.

Fig 6.2 Improvisational Structures, Week 5 (24/10/2023)

Improvisational structures develop based on the unique elements of information, unlike modular grids, which are pre-established organizational tools. A thorough understanding of the visual content empowers designers to comprehend how different elements relate to one another and to establish visual hierarchies among them.

Fig 6.3 Typographic Syntax, Week 5 (24/10/2023)

In our initial exploration of typographic syntax, we focus on the inherent qualities of each individual letter. The well-crafted form of a letter, characterized by its finesse and exactness, serves as the fundamental unit that sets one typeface apart from another. It is available in different variations encompassing weights, sizes, and shapes.

Fig 6.4 Visual Hierarchy, Week 5 (24/10/2023)

An arrangement of components in a graded sequence, from the most prominent to the least prominent, inside a typographic space is known as a visual hierarchy. A designer carefully evaluates the relative significance of each element in the message, the reader's nature, the setting in which the communication will be read, and the requirement to produce a cohesive arrangement of forms within the typographic space before constructing a visual hierarchy. 

Fig 6.5 Visual Hierarchy in typographic space, Week 5 (24/10/2023)

The requirement for contrast, which adds life and intensity, and harmony, which unites a design, are balanced by designers when they create a visual hierarchy in typographic space. Element relationships can have counterparts or counterpoints, much like in music. Similar components that provide harmony in their spatial connection are known as typographic counterparts. summarising.