29/08/2022 - 30/09/2022 / Week 1- Week 5
Goh Jia Yih / 0342839 / Bachelor of Mass Communication
(Advertising and Brand Management)
Typography/ Task (Exercises/ Task 1)
LECTURES
Week 1: Development of Typography
Early Letterform Development: Phoenician to Roman
- writing meant scratching into wet clay with sharpened stick / carving into stone with a chisel
- the Greeks changed direction of writing, developing a style of writing called 'boustrophedon' which meant that the lines of text read alternatively from right to left and left to right
Figure 1.0: Boustrophedon (07/09/2022)
- Etruscan (then Roman) carvers working in marble, painted letterforms before inscribing them
Figure 1.1: Development from Phoenician to Greek to Roman (07/09/2022)
Hand Script from 3rd to 10th Century C.E.
- Square capitals were written version that can be found in Roman monuments. These letterforms have serifs added to the finish of the main strokes.
- Rustic capitals (compressed versions of square capitals) allowed twice as many words on a sheet of parchment, took far less time to write but slightly harder to read.
- The beginning to lowercase letterforms seen from writings in everyday transactions that were written in cursive hand where forms were simplified for speed
Figure 1.2: Square Capitals (LEFT), Rustic Capitals (RIGHT) (07/09/2022)
- Uncials small letters that are more readable than rustic capitals
- Half-uncials mark formal beginning of lowercase letterforms, 2000 years after the origin of the Phoenician alphabet
Figure 1.3: Uncials and half-uncials (07/09/2022)
Text type classification
Type forms have developed over the years in response to prevailing technology, commercial needs and aesthetic trends.
1450- Blackletter (earliest printing type)
1475- Oldstyle (based on lowercase)
1500- Italic (used to be their own class of type)
1550- Script (attempt to replicate engraved calligraphic forms)
1750- Transitional (a refinement of oldstyle forms)
1775- Modern (rationalization of oldstyle forms)
1825- Square serif / Slab serif (for heavy type in commercial printing)
1900- Sans serif (eliminated serif, referred to gothic and grotesque)
1990- Serif / Sans serif (both serif and sans serif typefaces)
Week 2: Basic of Letterforms
Baseline: The imaginary line of the usual base of the letterform.
Median: The imaginary line defining the x-height of letterforms.
X-height: The height in any typeface of the lowercase 'x'
Figure 1.4: Terms in letterforms (13/09/2022)
Stroke: any line that defines the basic letterform
Figure 1.5: Stroke (13/09/2022)
Apex/Vertex: The point created by joining two diagonal stems.
Arm: Short strokes off the stem of the letterform either horizontal or inclined upwards.
Ascender: Strokes that exceed median line/ The portion of the stem of a lowercase letterform that projects above the median.
Barb: The half-serif finish on some curved stroke.
Beak: The half-serif finish on some horizontal arms.
Bowl: The rounded form that describes a counter.
Bracket: Transition between the serif and the stem
Cross Bar/ Stroke: The horizontal stoke in a letterform that joins two stems together.
Crotch: interior space where two strokes meet
Descender: The portion of the stem of a lowercase letterform that projects below the baseline.
Ear: The stroke extending out from the main stem or body of the letterform
Em: distance equal to the size of the M (—)
En: Half the size of an em (–)
Finial: Rounded non-serif terminal to a stroke
Leg: Short stroke off the stem of letterforms
Ligature: Characters are formed by the combination of two or more letterforms
Stress: The orientation of the letterform, indicated by the thin stroke in round forms
Swash: The flourish that extends the stroke of the letterform
Terminal: Self-contained finish of a stroke without serif
The Font
Uppercase: Capital letters.
Lowercase: Lowercase letters.
Small Capitals: Uppercase letterforms draw to the x-height of the typeface.
Figure 1.6: Small Capitals (13/09/2022)
Uppercase Numerals: Same height as uppercase letters.
Lowercase Numerals: Set to the x-height with ascenders and descenders.
Italic: Refers back to the fifteenth century Italian cursive handwriting.
Punctuation, Miscellaneous characters: All fonts contain standard punctuation marks, misc. characters can change from typeface to typeface.
Ornaments: used as flourishes in invitations / certificates
Describing Typefaces
Figure 1.7: Different typefaces (13/09/2022)
Week 3: Text_Part 1
Kerning: automatic adjustment of space between letters
Letterspacing: adding space between the letters
Tracking: addition and removal of space in a word or sentence
Figure 1.8: Different tracking (16/09/2022)
Text Formatting
Flush left: Closely mirrors the asymmetrical experience of handwriting.
Centered: Symmetry upon the text, assigning equal value.
Flush right: Emphasis on the end of a line as opposed to its start.
Justified: Impose a symmetrical shape on the text, may result openness of lines which produce white space running vertically known as 'rivers'
* Typographers first job is - clear, appropriate presentation of the author’s message.
Text / Leading and Line Length
Type size: Text type should be large enough to read easily at arm's length.
Leading: Tightly arranged text encourages vertical eye movement, making it easy for a reader to lose their place. When type is positioned too loosely, it forms striped patterns that distract the reader's attention away from the content.
Line Length: Appropriate text leading is as much a function of line length as it is of type size and leading. Shorter lines necessitate less leading, while longer lines necessitate more. Keeping a line length of 55-65 characters is a decent rule of thumb.
Figure 1.9: Anatomy of A Typeface (16/09/2022)
Type Specimen Book
- provide an accurate refence for type, type size, type leading, type line, length etc.
- the ideal text has middle grey value
Figure 2.0: Sample Type Specimen Sheet (16/09/2022)
Week 4: Text_Part 2
Indicating Paragraphs
1. Pilcrow ¶
- to indicate paragraph spacing
2. Paragraph space
- should be equal to leading space to have cross-alignment
Figure 2.1: Line spacing vs Leading (22/09/2022)
3. Indentation
- Indent should be the same size as line spacing or the text pt size
- best used when text is justified
4. Extend Paragraphs
- create unusually wide columns of text
Widows and Orphans
Widow - short line of type left alone at the end of a column of text
Orphan - short line of type left alone at the start of new column
Both are unpardonable gaffs. So avoid them especially in justified text. It is somewhat forgiving for flush right/left.
Figure 2.2: Widows and Orphans (22/09/2022)
Highlighting Text
- Italics
-Bold
-Change typeface and make it bold
-Change the colour of text
-Create a box around the text
-Indentation
-Placing elements on the left side of text
-Quotation marks
Headline within Text
- a typographers task is to make sure these heads (subdivision) clearly signify to the reader the relative importance within the text to their relationship to each other (ex: A,B,C)
Cross Alignment
- Cross aligning headlines and captions with text type reinforces the architectural sense of the page - the structure - while articulating the complimentary vertical rhythms.
Week 5: Letters/ Understanding Letterforms
Understanding Letterforms
- reveals palpable difference in character through comparison of how stems of the letterforms finish
Maintaining x-height
- curved strokes such as 's' must rise above median or sink below baseline to appear to be the same size
Figure 2.3: Median and Baseline of letterforms (30/09/2022)
Form/Counterform
- developing a sensitivity to counterform/counter; determines how well words hang together (readability)
Contrast
- one of the most powerful dynamics in graphic design. Contrasts in design can effectively create distinct variations between each other.
Figure 2.4: Contrast in typography (30/09/2022)
Week 6: Screen & Print
- Type was only viewed as living only when it reached paper
- Typography started with being seen through paper, now it’s on multitude of screens
Print Type vs Screen Type
Type for Print
- Good typefaces for print - Caslon, Garamond, Baskerville
- Elegant and intellectual but also highly readable when set at small font size
- Versatile, easy-to-digest classic typeface
Type for Screen
- Typefaces intended for use on the web are optimized and often modified to enhance readability and performance on screen
- Can include taller/shorter x-height, wider letterforms, more open counters, heavier thin strokes & serifs, reduced stroke contrast, modified curves & angles for some design, more open spacing
- Verdana, Georgia are common typefaces made for screens
- Hyperlink: a word, phrase or image that you can click on to jump to a new document / new section within the current document
- Font Size for Screen:16 pixels text on screen is about the same size as text printed in a book or magazine
- pixel sizes are different between devices
System Fonts for Screen / Web Safe Fonts
- Each device comes with its own pre-installed font selection
- 'Web Safe' fonts appear across all operating systems
- Example: Open Sans, Lato, Helvetica, Times New Roman, Georgia, Garamond
Static vs Motion
Static
- Minimal characteristics in expressing words
Motion Typography
- Bring it to life through animation
- Motion graphics, particularly the brand identities of film and television production contain animated type
- Often set in motion following the rhythm of a soundtrack
INSTRUCTIONS
For Exercise 1, we are given a set of words to create type expressions of. Those words are Fire, Shatter, Tall, Ring, Freak and Whisper. No graphical elements are allowed, we are limited to only 10 typefaces which are Adobe Caslon Pro, Bembo, Bodoni, Futura, Gill Sans, Garamond, New Baskerville, Janson, Serifa and Univers.
Sketches
Figure 2.5: Tall (09/09/2022)
Figure 2.6: Ring (09/09/2022)
Figure 2.7: Shatter (09/09/2022)
Figure 2.8: Freak (09/09/2022)
Digitisation
After getting feedback from Mr. Vinod, I started digitizing on Adobe Illustrator.
Figure 2.9: Design process of Tall design (11/09/2022)
Figure 3.0: Digitalised type expressions - Draft 1 (11/09/2022)
After experimenting with different typefaces and designs, this is the version before getting feedback from Mr. Vinod.
Figure 3.1: Type Expression before getting feedback (11/09/2022)
And after receiving comments from Mr. Vinod in the third week, I further improved my detailed design, which included kerning, shadowing, and font selection, etc.
Figure 3.2: Design process of Freak & Shatter design (16/09/2022)
Final Type Expressions
Figure 3.3: Type Expression Final in JPEG (16/09/2022)
Figure 3.4: Type Expression Final in PDF (16/09/2022)
Animation
For animation, I decided to choose the word 'RING' because I think it's the best among all the type expression.
Figure 3.5: Animation frames in Adobe Illustrator (16/09/2022)
Figure 3.6: Timelime in Adobe Photoshop (16/09/2022)
Final Type Expressions Animation
Figure 3.7: Type Expression Animation (16/09/2022)
Type Formatting
For the second exercise, we are tasked with creating one final design layout that covers different aspects of text formatting, such as kerning, leading, paragraph spacing, alignment, and such. This exercise will help us improve our skills of hierarchy and spatial arrangement. This exercise will be completed entirely in Adobe InDesign.
Kerning & Tracking
Figure 3.8: Text Formatting without Kerning (23/09/2022)
Figure 3.9: Comparison example (23/09/2022)
Figure 4.0:
Before and after kerning and point size change for Italics (23/09/2022)
Figure 4.1: Text Formatting with Kerning & Tracking in JPEG (23/09/2022)
Text Formatting Layout
For this task, we are to develop a presentable and interesting layout by following the instructions in Mr Vinod's video "Text-Formatting 1-4A." The results of the few layouts I attempted are shown below.
Figure 4.2: Layout Progress (28/09/2022)
I eventually settled on the top-left layout and made a few tweaks, such as sliding the bodytext up and down on the left and right sides.
Figure 4.3: T
ext formatting layout draft (28/09/2022)
Following Mr. Vinod's feedback, I made some minor typesetting changes.
Figure 4.4: T
ext formatting layout (30/09/2022)
Figure 4.4:
Final text formatting layout in JPEG (30/09/2022)
Final text formatting layout with Guides and Grids in JPEG (30/09/2022)
Figure 4.6:
Final text formatting layout in PDF (30/09/2022)
HEAD
Font/s: ITC New Baskerville Std
Type Size/s: 40pt, 55pt
Leading: 22pt
Paragraph spacing: 22pt
BODY
Font/s: Univers LT Std
Type Size/s: 9pt
Leading: 11pt
Paragraph spacing: 11pt
Characters per-line: 55-60
Alignment: Justify with last line aligned left
Margins: Top 12.7mm, Bottom 40mm, Left 12.7mm, Right 12.7mm
Columns: 4
Gutter: 10mm
FEEDBACKS
Week 2
General Feedback: I came out with 4/5 ideas for each word. Designs are explored efficiently with variations. The expressions match the meaning of the word well.
Specific Feedback: Mr. Vinod stated that idea 2 of the word RING is good because it is simple and straightforward. Also, Mr. Vinod commented on the word FREAK, saying that idea 3 is interesting but that the elements should be reduced. A better design with the suitable typeface for all words could be chosen for the digitalization.
Week 3
Specific Feedback: Mr. Vinod commented the words TALL & RING were excellent for the digitised outcome. The word SHATTER is a little too small; there is no need for a shadow, a better font selection would be one that is slightly condensed to appear larger. Remove the grey and keep the black. Also, for the word FREAK, choose a condensed typeface and kern it to bring the letters closer together. Make sure the dropper is not too thick.
Week 4
General Feedback: The animation for the type expression is excellent.
Week 5
General Feedback: The layout is generally reasonable, and the alignment is good.
Specific Feedback: There are some typesetting problems, most noticeably that some text is quite tight while some are very loose. Mr. Vinod suggested turning on hypernation for certain paragraphs and sentences.
Reflections
Experiences
This task was both enjoyable and challenging. Overall, it was eye-opening since I learned a lot about the importance of the smallest details that affect the entire design of a layout. I enjoyed designing layouts and text expressions because they were new to me. With the ten typefaces provided to us, i were able to explore my creativity with those basic typeface. This made the exercise more challenging, yet rewarding when completed. The text formatting exercise was frustrating at times since there were so many small details that needed to be aligned. However, looking at the final outcome was really fulfilling.
Observations
Throughout this exercise, I tried not to look at too many samples as I wanted to stay as authentic as possible with my designs and layouts. I am beginning to understand the importance of text in a design sense and also appreciate it in the works that I view. Also, I find it complicated to learn the Adobe InDesign at the beginning. Thankfully, after some practices, I am starting to get familiarize with the software.
Findings
Throughout the whole exercise, I've realised that typography can be both strict and liberating. Many guidelines must be followed, many strict rules, in order for a layout and text to appear as neat and organised as possible. Typography rules demonstrate that the smallest of details matter. A slight error in indentation or style may have an impact on the overall look of the layout or design. I learnt to be alright with doing wrong or making mistakes, and that one of my bold ideas might turn out to be really good.
Further Reading
Typography Essentials, 100 Design Principles for Working with Type
Figure 4.7: Typography Essentials, 100 Design Principles for Working with Type by Ina Saltz (2019)
The book is divided into four sections - Letters, Words, Paragraphs and Pages. 100 principles cover all practical aspects of typography, with explanations of each principle and inspiring visual examples from international books, magazines, posters and more.
Figure 4.8: Chapter 4, Emotional content implied by the text (30/09/2022)
This chapter discusses how letterforms can increase the emotional impact of a text. The appropriate choice of typeface is essential to the tone of the message, and it can either enhance or subtract from the text's credibility. Other variables contribute to emotional content. For example, rounder curves and lighter weights may portray a more feminine feel. The colour of the type also affects its emotional content. Warmer or subdued colours are more feminine; vivid colours are more appealing to youngsters; and deep burgundies, forest greens, and navy blues are more masculine.
Design School: Type
Figure 4.9: Design School: Type- A Practical Guide for Students and Designers (2017)
Decorative typefaces originally appeared in printed books in the fifteenth and sixteenth centuries. These typefaces are developed from wood-engraved initial capitals. Several decorative typefaces were developed in languages such as English and French during the eighteenth century. This was attributed to a rise in the demand for advertisements, displays, posters, and broadsides. Decorative typefaces continued to evolve in new and innovative ways. Decorative typefaces can also be referred to as Ornamental, Specialty or Novelty.
Figure 5.0: Decorative Typefaces, Saphir by Hermann Zapf (30/09/2022)
The Union Pearl was the first decorative typeface developed in England (ca. 1690). Visually, typefaces that fell under the decorative typeface shared one common characteristic, and that is that they were designed for limited use at larger display sizes rather than for small text settings.
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