Typography / Task 2: Typographic Exploration and Communication

30.9.2022 - 21.10.2022 (Week 5- Week 8)

Loke Yan Ling / 0344602 
Typography / Bachelor of Design (Hons) in Creative Media
Task 2: Typographic Exploration and Communication

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LECTURES
Lectures 1-5 are completed in Task 1: Exercises 1 & 2

Week 6 / Typography in Different Medium

1. Screen Type Vs Print Type

Figure Type for screen

Type for print: Caslon, Garamond, Baskerville is a good typeface for print which have the characteristic of elegant and intellectual but also highly readable when at a small font size.

Type for screen: Typefaces intended for use on the web are optimized and often modified to enhance readability and performance onscreen in a variety of digital environments. This can include a taller x-height (or reduced ascenders and descenders), wider letterforms, more open counters, heavier thin strokes and serifs, reduced stroke contrast, as well as modified curves and angles for some designs.

Hyperactive Link/ hyperlink: A word, phrase, or image that you can click on to jump to a new document or a new section within the current document. Found in nearly all Web pages. Text hyperlinks are normally blue and underlined by default.

Font Size for screen: 16-pixel text on a screen is about the same size as text printed in a book or magazine; this is accounting for reading distance. Because we read books pretty close — often only a few inches away — they are typically set at about 10 points. If you were to read them at arm’s length, you’d want at least 12 points, which is about the same size as 16 pixels on most screens.

System Fonts for Screen/Web Safe Fonts: Open Sans, Lato, Arial, Helvetica, Times New Roman, Times, Courier New, Courier, Verdana, Georgia, Palatino, Garamond.

System Fonts for Screen/Web Safe Fonts: Open Sans, Lato, Arial, Helvetica, Times New Roman, Times, Courier New, Courier, Verdana, Georgia, Palatino, Garamond.

Figure Pixel differences between devices

Pixel Differential Between Devices: The screens used by our PCs, tablets, phones and TVs are not only different sizes, but the text you see on-screen differs in proportion too because they have different sized pixels.

2. Static Vs Motion

Static Typography: They have minimal characteristics in expressing words. Traditional characteristics such as bold and italic offer only a fraction of the expressive potential of dynamic properties.

Motion Typography: Type is often overlaid onto music videos and advertisements, often set in motion following the rhythm of the music. It establishes the tone of associated content or expresses a set of brand values. In title sequences, typography must prepare the audience for the film by evoking a certain mood.

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INSTRUCTIONS

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Task 2: Text Formatting and Expression

1. Research

Figure 2.1 The Spatial Effect of Colours and Shapes by Eugen Batz, 1929
https://www.bauhauskooperation.com/

Figure 2.2 Bauhaus Poster
https://www.shutterstock.com/search/bauhaus

Figure 2.3 Bauhaus Building
https://www.gira.com/architecture/what-is-bauhaus#characteristics

After I read ' The Vignelli Canon' book which mention Semantics is important, I started doing research about Bauhaus. Fig 2.1 is the relationship between colours and shapes played a pivotal role. Square, circle and triangle are an abstract forms of an element. Thus, I would like to apply the elements that show the impact of Bauhaus. On design principles class, I remember Miss Yip told us the impact of Bauhaus to modern city. That brings a rule and standard to the modern city that all the city look a bit same. This also consider as one of the impact of Bauhaus.

2. Sketches

Figure 3.1 Layout Sketches 1, Week 5 (4/10/2022)

Typeface: Futura Regular Std

With those research above, the first sketch is with idea of the Bauhaus building appearance represent by the lining. The words have change from vertically alignment to horizontal but tilted in vertical way to make sure the readability. For the lining, slope also work together with the other line to increase the liveness. San serif typeface is used because Bauhaus emphasis simplicity and Futura suits the most.

Figure 3.2 Layout Sketches 2, Week 5 (4/10/2022)

Typeface: Futura Regular Std

The second sketch is play with the elements with a flow of reading. Left to right, high until low. To make sure the the circle don't mix with the words, it filled up with gray and lower opacity. This is just a rough sketch that does not bring obvious impact than sketch 1. However, just the lining will less of contrast. Thus, the half of the square element will filled up with black.

3. Layout Progress

Figure 3.3 Detail Layout Sketch 1, Week 5 (5/10/2022)

Figure 3.4 Detail Layout Sketch 2, Week 5 (5/10/2022)

In week 5, Mr. Vinod encourage us to make feedback on other students works with several question. Most of the student prefer the detail layout sketch 1 due to its simplicity and impact. Things to be aware is the middle line that text should not be place in the center. Additionally, some students prefer detail layout sketch 2 due to its contrast.

Figure 3.5 Line progress 1, Week 6 (8/10/2022)

Figure 3.6 Line progress 2, Week 6 (8/10/2022)

Figure 3.7 Line progress 3, Week 6 (8/10/2022)

Thickness of the line: 3pt

Based on the middle line feedback, the slope of the line become shorter to increase the diagonal and lines is aligned.

Figure 3.8 Composition 1, Week 6 (8/10/2022)

Figure 3.9 Composition 2, Week 6 (8/10/2022)

The headline 'Bauhaus' has make it more connection with the overall layout by connect the building line with the the alphabet. For me, composition 2 more emphasis on the headline instead of the first composition. I have to make force line break to bring down a few words which can decrease the ragging.

Figure 3.10 Before kerning & tracking, Week 6 (9/10/2022)

Figure 3.11 After kerning & tracking, Week 6 (9/10/2022)

Figure 3.12 Hidden characters & alignment, Week 6 (8/10/2022)

4. Layout

Figure 4.1 Layout 1, Week 6 (10/10/2022)

Fonts: Heading: Futura Std (Medium), Body text: Janson Text LT Std (55 Roman)
Point size: 9pt (body text), 9pt (sub-text), 24pt (small headings), 60pt(big heading)
Leading: 10pt (body text), 10pt (sub-text), 26pt (small headings), 62pt(big headings)

Paragraph spacing: 12 (body text)
Line length: 51 (body text), 52 (sub-text) 

Figure 4.2 Layout 2, Week 6 (10/10/2022)

Fonts: Heading: Futura Std (Medium), Body text: Janson Text LT Std (55 Roman)
Point size: 10pt (body text), 24pt (small headings), 72pt (big heading)
Leading: 12pt (body text), 26pt (small headings), 74pt (big headings)

Paragraph spacing: 12 (body text)
Line length: 54 (body text)

The second layout use the same typeface but with different font size and layout. Although the second layout has higher readability than the first layout, the first layout brings the most impact. I like both of the layout, they bring the impact of Bauhaus in different perspective, one is on the impression of Bauhaus, the other is about the elementals of Bauhaus. 

Final Task 2: Typographic Exploration and Communication

Figure 5.1 Final Task 2 - JPEG, Week 7 (13/10/2022)

Figure 5.2 Final Task 2 with baseline - JPEG, Week 7 (13/10/2022)

Figure 5.3 Final Task 2 - PDF, Week 7 (13/10/2022)

Figure 5.4 Final Task 2 with baseline - PDF, Week 7 (13/10/2022)

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FEEDBACK

Week 6

General Feedback: 

Documentation (Progress work) is important and compulsory to BDCM student. Convert the work from pdf to jpeg, not jpeg to pdf. Provide option in draft to show the learning progress not just option. Don't put the lectures video or slide into e-portfolio.

Specific Feedback: 

Questions:

1. Do the expressions match the meaning of the words?

2. Are the expression well crafted (crafting/lines/shapes)?

a. Do they sit well on the art-board

b. Are the composition engaging? Impactful?

3. Are there unnecessary non-objective elements present?

4. How can the work be improved?

Week 7

General Feedback:

Research is compulsory, resources are in Facebook or library. Display typefaces are lesser distractive and be playful in design. Text typefaces has larger x-height but cannot be overlay design. Recommended website: fontshare.com (typeface design by student), recommended software: Fontlab, Fontforge.

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Reflections

Experience:

After having the basic knowledge of typography, everything seems much more simpler. Express the meaning of the heading without obey the rules given, such as the leading size, line length, kerning & tracking and so on.

Observation:

Hierarchy in layout helps up to focus the main point we want. The expression cannot be over attract the viewers eyes because we wants the reader read the articles (information) not just the expression. Furthermore, the expression must match the meaning of the word.

Findings:

Further reading and research are fundamental steps for every designer. It gives you clarification, knowledge, inspiration, and so much more. Avoid placing headings in the middle because it could lead to misalignment when printed. We should also avoid headings in the gutter.

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Further Reading

Typographic Design Form Communication 6ed-Rob Carter

Figure 6.1 Typography Design Form

Typography Design Process:

Five steps make up a well-known model of the design process, and they are described here. The procedure is not linear; rather, it is one of interaction and uncertainty, where avenues toward enduring and novel answers seem to meander aimlessly (Figure 6.2).

Figure 6.2 Traditional Design Process

Defining:

The first step in starting the design process is identifying the issue and its requirements. The issues that we should consider about in the first phase are the needs, the industry where the customer works, the goals and purposes, the viewers, the production, and the financial constraints. By specifying the parameters of the problem, we can address these and other crucial problems. Because these requirements could change at any time during the process, they shouldn't be expressed too precisely.

Gathering:

The crucial data the designer needs is provided during this phase, covering every facet of the issue. This entails learning more about the client, the nature of the problem, and the necessary production specifications. Designers should use all of the resources at their disposal while obtaining information. Information can also be found through experts, libraries, museums, antique stores, and movie theatres, among other places. The Internet is another priceless resource. A designer’s curiosity is the key to informed practice and the ability to openly and clearly communicate with colleagues and clients.

Ideating:

Thinking inside the "box" is the worst adversary of the design process. The ability to think laterally, obliquely, and unconventionally should be encouraged. Experienced designers frequently use formulas or intuition based on knowledge to address issues. But the huge potential for novel alternatives is frequently constrained by these methods.

Synthesising:

Whereas the ideation phase is concerned with expanding possibilities, the synthesis phase concentrates on narrowing options and coming to closure. Often, the most effective solutions are readily apparent; they meet initial problem criteria and are formally and aesthetically superior to weaker solutions. Short of using sophisticated marketing techniques, the best way to evaluate the effectiveness of a solution is to weigh it point by point against the criteria established at the outset of the problem. However, if necessary and appropriate, the original criteria can change at this stage and the solution can be adjusted.

Realising:

Without client consent, implementation cannot move forward. Regular communication between designers and clients throughout the process typically helps to avoid confusion and misunderstandings at the end. Clients are frequently not visually inclined, so it is the designer's duty to inform them and communicate with them effectively, without the use of jargon or too technical language. Such dialogue fosters respect and trust between parties. The design enters full manufacturing after receiving final approval. The designer must oversee manufacturing and printing processes while keeping an eye on interim and final deadlines for a successful implementation.

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