Typography Task 1: Type Expression

April 22, 2024

Typography Task 1: Type Expression

22 April 2024- 3 May 2024

CHONG CHENG TAO (0371072)

Typography | Bachelor of Design in Creative Media | Taylor's University

Task 1: Exercise 1 & 2

List

LECTURES

Week 1:

Typo_0_Introduction

In the video, Mr Vinod elaborated the important of typography to a visual designer/artist. Typography can be seen in our daily life. Typography is the art and technique of arranging typr to make written language legible, readable, and appealing when displayed.

What typography is?

1) Act of creating letter

2) Animation: Movie title & Gif animation

3) Website design

4) App design

5) Signage design

6) Labels, books and poster design

7) Logo types

Typography has evoled over 500 years which is from calligraphy > lettering > typography.

Difference between calligraphy and lettering

Calligraphy: Letter is written out.

Lettering: Letter is drew out.

Fig 1.1 Example for calligraphy

Two terminologies is delivered by Mr Vinod which are font and typeface.

Font: a font refers to the individual font or weight within the typeface, I.e,: Georgia Regular, Georgia Italic and Georgia Bold.

Fig 1.2 Font

Typeface: it refers to the entire family of fonts/weights that share similar characteristics.

Fig 1.3 Typrface

Typo_1 Development

1) Early letterform development: Phoenician to Roman

In the past, writing meant scratching into wet clay with sharpened stick or carving into stone with a chisel.Later, uppercase letterforms are evolved to the combination of straight lines and pieces of circles.

Fig 1.4 Phoenicians votive stele Carthage

Fig 1.5 Evolution from Phoenician letters

Phoenicians (Semetic) peoples wrote from right to left. In the other hand, the Greeks developed a style of writing called 'boustrophedon'.The lines of text read alternately from right to left and left and right. Simultaneously, the orientation of the letterforms changed too.

Fig 1.6 Boustrophedon

Fig 1.7 Timeline of letter development

2) Hand script from 3rd- 10th centery C.E.

Square capitals: Written version in Roman monuments which have serif added to the finish of main strokes.

Fig 1.8 Square capitals

Rustic capitals: These capitals allowed twice as many word on a sheet and can be written faster compare to square capitals. However, they are harder to read.

Fig 1.9 Rustic capitals

Both capitals were reserved for documents of some intended performance.

Lowercase letterforms were developed for everyday transactions for speed

Fig 1.10 Development of lowercase letterforms

Uncials were found in Roman cursive hand escpecially in the shape of the A, D, E, H, M, U and Q.

Fig 1.11 Uncials

Half-uncials mark the formal beginning of lowercase letterforms, replete with ascenders and descenders, 2000 years after the origin of the Pheonician alphabet.

Fig 1.12 Half-Uncials

All ecclesiastical texts are standardize by Charlemagne. Majuscules(uppercase), miniscule, capitalization and punctuation are used to set the standard calligraphy for a centery.

Fig 1.13 Caloline miniscule

3) Blackletter to Gutenberg's type

With the dissolution of Charlemagne's empire, Blackletter was gained popularity in the northern europe

Guternberg introduced brass matrix, or negative impression, for each letterform.

Fig 1.14 Blackletter Textura

Fig 1.15 & Fig 1.16 Timeline of other types development

4) Text Type Classification

Fig 1.17 1450 Blackletter

Fig 1.18 1475 Oldstyle

Fig 1.19 1500 Itatic

Fig 1.20 1550 Script

Fig 1.21 1750 Transitional

Fig 1.22 1775 Modern

Fig 1.23 1825 Square Serif

Fig 1.24 1900 Sans Serif

Fig 1.25 1990 Serif/Sans Serif

Week 2:

Typo_3_Text_P1

1) Text/Tracking: Kerning and Letterspacing

Kerning refers to the automatic adjustment of space between letters, is it often mistakenly referred as letterspacing.

Letterspacing is the addition of space between letters

Tracking is the addtion and removal of space in a word or sentence.

Fig 1.2.1 Words with & without kerning

In headline, if a letter is used in all uppercase, kerning is often used to add more space. It would make the uppercase words look more presentable.

Fig 1.2.2 Kerning of uppercase letters

As letterspacing is increased, the readability of words will decreased. This is because people recognize words by shapes and patterns. In typography, letterform and counterform between the strokes are important.

Uppercase letterforms are designed to be able to stand on their own, while lowercase letterforms require the counterform created between letters to maintain the line of reading.

Fig 1.2.3 Normal, tight and loose tracking

Fig 1.2.4 Comparison between normal tracking & loose tracking

2) Text / Formatting Text

Flush left:

This format most closely mirrors the asymmetrical experience of handwriting. Each line starts at the same point but ends wherever the last word on the line ends. Space between words are consistent throughtout the text.

Flush left will result in ragged right. Thus, it is important to ensure the ragged right is smooth.

Fig 1.2.5 Flush left

Centered:

This format imposes symmetry upon the text, assigning equal value and weight to both ends of any lien. It tranforms fields of text into shapes, which adding a pictorial quality to the text.

Centered text should be used sparingly for small amounts of text due to its difficulty to read

Fig 1.2.6 Centered

Flush right:

This format places emphasis on the end of a line as opposed to its start.

It can be useful in situations like captions. The ragging need to be smooth too.

Fig 1.2.7 Flush right

Justified:

This fornat imposes a symmetrical shape on the text. It is achieved by expanding or reducing spaces between words and letters.

The resulting oppenness of lines can occasionally produce "rivers". Thus, line breaks and hyphenation is required to amend this problem

Fig 1.2.7 Justified

The principle of typography is clean. Generally, text need to be more conspicuous than type.

Type that calls attention to itself before the reader can get to the actual words is simply interference. It need to be avoided.

3) Text / Texture

Different typeface suit different messages. For example, Generous x-height or heavy stroke width produces a darker mass than smaller x-height or lighter stroke.

https://storage.googleapis.com/spec-host-backup/mio-design%2Fassets%2F0BzCQdutE8gumVE9NYmg5cU83N2s%2Fanatomy.png

Fig 1.2.8 Typeface structure

4) Text / Leading and Line Length

The goal in setting text type is to allow for easy, prolonged reading. At the same time, a field of type should occupy the page as much as photograph does.

Type size: Text type should be large enough to be read easily at arms length.

Leading: Tightly set of text encourages verticle eye movement, which let a reader loose his or her place easily.

Line Length: Shorter lines require less leading: longer lines mroe. Thus, a good rule of thumb is to keep line length between 55-65 characters.

Fig 1.2.9 Bad examples of leading

5) Text / Type Specimen Book

Type specimen book provides an accurate reference for type, type size, type leading, type line length etc.

Fig 1.2.10 Sample type specimen sheet

Compositional requirement: Text should create a field that can occupy a page or a screen

It is often to enlarge type to 400% on the screen to get a clear sense of the relationship between descenders on one line and ascenders on the line below.

Week 3

Typo_4_Text_Part 2

1) Text/ Indicating Paragraphy

a. Pilcrow (¶)

A holdover from medieval manuscripts seldom use today.

Screen Shot 2017-05-12 at 10.26.23 AM.png

Fig 1.3.1 Pilcrow (¶)

b. Line spacing (leading)

If a typeface is 10pt, the leading is usually 12 pt/12.5 pt/13 pt (2pt-3pt larger than the typeface). The line spacing and leading should be same to main cross alignment.

Cross alignment: When there is 2 columns of text sitting next to each other and the text lines is aligned.

Screen Shot 2017-05-12 at 10.23.14 AM.png

Fig 1.3.2 Line spacing (leading)

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.

Screen Shot 2017-05-12 at 10.47.23 AM.png

Fig 1.3.3 Different between line spacing and leading

c. Standard indentation

The indent is the same size of the line spacing or the same as the point size of the text.

When using indentation, left alignment/ flush left should not be used (no ragging in the right)

Screen Shot 2017-05-12 at 10.29.17 AM.png

Fig 1.3.4 Standard indentation

d. Extended paragraphs

This method creates usually wide columns of text. It is choosen for strong compositional or functional reasons like academic writing.

Screen Shot 2017-05-12 at 10.31.11 AM.png

Fig 1.3.5 Extended paragraphs

2) Text/ Widows and Orphans

Widows and orphans are the two gaffes a designer should never make.

Widows is short line of type left alone at the end of a column of text.

Orphans is a short line of type left alone at the start of new column.

Fig 1.3.6 Widows and Orphans

In justified text both widows and orphans are considered serious gaffes. Flush right and ragged left text is more forgiving towards widows, but only a bit. Orphans remain unpardonable.

The solution to widows is to rebreak the line endings through out paragraph by using false line break. Next, adjustment of letterspacing and kerning, but it is restricted to ± 3 (in Adobe Illustrator and Adobe InDesign). So that the last line of any paragraph is not noticeably short.

Careful typographers make sure that no column of text starts with the last line of the preceding paragraph, to avoid orphans. It can be solved by reducing the lines of the column.

3) Highlighting Text

There is a few ways for highlighting:

Change to Italic.
Increase the boldness (bold or medium).
Change the typeface to bold.
Change the colour of the text whicha are cyan, magenta,and black. Yellow is used beacuse it has low readability.
Place a field of colour at the back of the text.
Place certain typographic elements.

Screen Shot 2017-05-12 at 11.31.14 AM.png

Fig 1.3.7 Change to Italics

Screen Shot 2017-05-12 at 11.32.09 AM.png

Fig 1.3.8 Change the boldness (bold and medium)

Screen Shot 2017-05-12 at 11.33.29 AM.png

Fig 1.3.9 Change the typeface to bold

Screen Shot 2017-05-12 at 11.38.11 AM.png

Fig 1.3.10 Change the colour of the text

Screen Shot 2017-05-12 at 12.01.48 PM.png

Fig 1.3.11 Place a fid of colour in the back of the text

Screen Shot 2017-05-12 at 12.19.12 PM.png

Fig 1.3.12 Place certain typographic elements

When changing serif typeface to sans serif typeface, we might need to reduce the point size (by 0.5 pt) of the words. It is because sans serif typeface usually look bigger than serif typeface.

Screen Shot 2017-05-12 at 11.49.43 AM.png

Fig 1.3.13 Comparison of size of serif and sans serif type face

The point size of number is also reduced by 0.5 point size to ensure visual cohesion of the text.

Screen Shot 2017-05-12 at 11.53.16 AM.png

Fig 1.3.14 Reducing of point size of number

Quotation marks, like bullets, can create a clear indent, breaking the left reading axis. Compare the indented quote at the top with the extended quote at the bottom.

Screen Shot 2017-05-12 at 12.25.46 PM.png

Fig 1.3.15 Using of quotation marks

A prime is not a quote. The prime is an abbreviation for inches and feet which known as ‘dumb quotes’. Due to the limited number of keys on a typewriter, they were substituted.

Screen Shot 2017-05-12 at 12.32.10 PM.png

Fig 1.3.16 Example of prime and quotation marks

4) Text/ Headline within Text

That is important to a typographer to understand the hierarchy of information. A typographers task is to make sure these heads clearly signify to the reader the relative importance within the text and to their relationship to each other.

In the following visuals these have been labeled (A, B and C) according to the level of importance.

a. A head

A head indicates a clear break between the topics within a section. In the following examples ‘A’ heads are set larger than the text, in small caps and in bold. The fourth example shows an A head ‘extended’ to the left of the text

Fig 1.3.17 A head

b. B head

The B head is subordinate to A heads. B heads show a new supporting argument or example for the topic at hand. They should not interrupt the text as strongly as A heads do.

Fig 1.3.18 B head

c. C head

The C heads highlights specific facets of material within B head text. They not materially interrupt the flow of reading. It is important to have 2 space between C head and the text for visual seperation.

Fig 1.3.19 C head

Putting together a sequence of subheads is treated as hierarchy.

Fig 1.3.20 Example of hierarchy

5) Text/ Cross Alignment

Cross aligning headlines and captions with text type reinforces the architectural sense of the page while articulating the complimentary vertical rhythms.

Fig 1.3.21 Cross Alignment

Week 4:

Typo_2_Basic

1) Basic/ Describing letterforms

Typography employs a number of technical terms.

Baseline: The imaginary line the visual base of the letterforms.
Median: The imaginary line defining the x-height of letterforms.
X-height: The height in any typeface of the lowercase ‘x’.

Fig 1.4.1 Baseline, Median and X-height

Capital letters are smaller than the ascending stroke as it is generally wider and have larger surface area on top. This is to give the impression of equal height for capital and small letters.

Stroke: Any line that defines the basic letterform.

Fig 1.4.2 Stroke

Apex/Vertex: The point created by joining two diagonal stems (apex above and vertex below).

Fig 1.4.3 Apex/ Vertex

Arm: Short strokes off the stem of the letterform, either horizontal (E, F, L) or inclined upward (K, Y).

Fig 1.4.4 Arm

Acender: The portion of the stem of a lowercase letterform that projects above the medians.

Fig 1.4.5 Ascender

Barb: The half-serif finish on some curved stroke.

Fig 1.4.6 Barb

Beak: The half-serif finish on some horizontal arms.

Fig1.4.7 Beak

Bowl: The rounded form that describes a counter. The bowl may be either open or closed.

Fig 1.4.8 Bowl

Bracket: The transition between the serif and the stem

Fig 1.4.9 Bracket

Cross Bar: The horizontal stroke in a letterform that joins two stems together

Fig 1.4.10 Cross Bar

Cross Stroke: The horizontal stroke in a letterform that joins two stems together

Fig 1.4.11 Cross stroke

Crotch: The interior space where two strokes meet.

Fig 1.4.12 Crotch

Descender: The portion of the stem of a lowercase letterform that projects below the baseline.

Fig 1.4.13 Descender

Ear: The stroke extending out from the main stem or body of the letterform.

Fig 1.4.14 Ear

Em/en: Em is the distance equal to the size of the typeface (an em in 48 points, for example). An en is half the size of an em. Most often used to describe em/en spaces and em/en dashes.

Fig 1.4.15 Em/en

Finial: The rounded non-serif terminal to a stroke.

Fig 1.4.16 Finial

Leg Short: The stroke off the stem of the letterform, either at the bottom of the stroke (L) or inclined downward (K, R).

Fig 1.4.17 Leg Short

Ligature: The character formed by the combination of two or more letterforms.

Fig 1.4.18 ligature

Link: The stroke that connects the bowl and the loop of a lowercase G

Fig 1.4.19 Link

Loop: In some typefaces, the bowl created in the descender of the lowercase G.

Fig 1.4.20 Loop

Serif: The right-angled or oblique foot at the end of the stroke.

Fig 1.4.21 Serif

Shoulder: The curved stroke that is not part of a bowl.

Fig 1.4.22 Shoulder

Spine: The curved stem of the S.

Fig 1.4.23 Spine

Spur :The extension the articulates the junction of the curved and rectilinear stroke.

Fig 1.4.24 Spur

Stem: The significant vertical or oblique stroke.

Fig 1.4.25 Stem

Stress: The orientation of the letterform, indicated by the thin stroke in round forms.

Fig 1.4.26 Stress

Swash: The flourish that extends the stroke of the letterform.

Fig 1.4.27 Swash

Tail: The curved diagonal stroke at the finish of certain letterforms.

Fig 1.4.28 Tail

Terminal: The self-contained finish of a stroke without a serif. This is something of a catch-all term. Terminals may be flat (‘T’ above), flared, acute, (‘t’ above), grave, concave, convex, or rounded as a ball or a teardrop (see finial).

Fig 1.4.29 Terminal

2) Basic/ The font

The full font of a typeface contains much more than 26 letters, to numerals, and a few punctuation marks. A type family with a good range of typefaces should be selected as it gives more options.

Uppercase
Lowercase
Small Capitals: Small Caps are primarily found in serif fonts as part of what is often called expert set.

Fig 1.4.30 Small Capitals

Uppercase Numerals: These numerals are the same height as uppercase letters and are all set to the same kerning width.

Fig 1.4.31 Uppercase Numerals

Lowercase Numerals: These numerals are set to x-height with ascenders and descenders. They are best used when ever upper and lowercase letterforms are used.

Fig 1.4.32 Lowercase Numerals

Italic: The forms in a italic refer back to fifteenth century Italian cursive handwriting. Oblique are typically based on the roman form of the typeface.

Fig 1.4.33 Italic

Fig 1.4.34 Italic v.s. Roman

Punctuation & Miscellaneous characters

Fig 1.4.35 Punctuation & Miscellaneous characters

Ornaments: Used as flourishes in invitations or certificates. They usually are provided as a font in a larger typeface family.

Fig 1.4.36 Ornaments

3) Basic/ Decribing typrfaces

Roman:The uppercase forms are derived from inscriptions of Roman monuments. A slightly lighter stroke in roman is known as ‘Book’.

Italic: Named for fifteenth century Italian handwriting on which the forms are based. Oblique conversely are based on roman form of typeface

Boldface: Characterized by a thicker stroke than a roman form. Depending upon the relative stroke widths within the typeface, it can also be called ‘semibold’, ‘medium’, ‘black’, ‘extra bold’, or super. In some typefaces, the boldest rendition is referred to as ‘Poster’.

Light: A lighter stroke than the roman form. Even lighter strokes are called ‘thin’.

Condense: A version of the roman form, and extremely condense styles are often called ‘compressed’.

Extended: An extended variation of a roman font.

4) Basic/ Comparing typefaces

The 10 typefaces represent 500 years of type design. Their creators aimed for easy readability and contemporary aesthetics. These typefaces have endured for decades or even centuries, reflecting our reading, writing, and printing practices.

Fig 1.4.37 Ten typefaces

Beyond x-height differences, typefaces vary in line weight, stroke widths, and overall feeling, each suggesting specific uses and expressions. Many designers use a limited range of typefaces, with some relying on just one or two throughout their careers.

INSTRUCTIONS

This is the Module Information Booklet for this module:

Task 1: Exercise 1 & 2

Exercise 1: Text Expression

Exercise 2: Text Formatting

Exercise 1: Text Expression

1) Research

Type expression, also known as expressive typography which is a design technique that uses typography in a creative and artistic way to convey or enhance the message, mood, or tone of a piece of text.

In expressive typography, text is highly visual to the extend that type becomes an image. Various aspects of type such as size, weight, style, spacing, color, texture, and arrangement to are manipulated to make a visual statement.

This is some example of type expression design:

Fig 2.1.1 Type Expression

Fig 2.1.2 Type Expressio

2) Sketch

I have picked four words, which are flow, crash, balance, and jump for Exercise 1.

Fig 2.2.1 "Flow" first sketch

FLOW

Font: Bembo Std ExtraBold, Futura Std Bold

Inspired by tap water
Letter "f" represents faucet
Letters "l" ,"o", "w" represents the water
Letter "o" is separated to show the flow of water

Inspired by sea waves
Grey tone used to show contrast between different waves to make the visual presentation clearer.

Inspired by water flow inside water pipe

4).

Letter "O" is connected to represent water flow

Fig 2.2.2 "Crash" first sketch

CRASH

Font: Gill Sans Std Condensed, Gill Sans Std Light Shadowed

1. & 2.

Messy words arrangement to show chaos.
Compressed words and crack texture are used to give a destructive visual impact.

3. & 4.

Inspired by earthquake.
Letters are crushed to represent crushed buildings.
Gill Sans Std Light Shadowed shows three- dimensionality in visual, which represents buildings.

Fig 2.2.3 "Balance" first sketch

BALANCE

Font: Adobe Casion Pro & Gill Sans Std

1. & 2.

Inspired by Libra balance.
Letter "A" reprresents pivot.

3. & 4.

Inspired by geometry balance game.

Fig 2.2.4 "Jump" first sketch

JUMP

Font: ICT New Baskerville Std & Gill Sans Std

1. & 2.

Letter "p"and "j" represents a person who is jumping.
Serif of the words are used to show the motion of the limb while jumping

Words are elongated to show the motion while jumping

Words are arranged to show a jumping person.

3) Digitalizatiotn

Designs that Ms Hsin approved:

FLOW: Sketch 1

CRASH: Sketch 2

BALANCE: Sketch 2

JUMP: Sketch 2

After watching Mr Vinod tutorial in using Adobe Illustrator, I started to digitise the words.

This is the rough design I did in this week:

Fig 2.3.1 Rough design "FLOW"

Fig 2.3.2 Rough design "CRASH"

Fig 2.3.3 Rough design "BALANCE"

Fig 2.3.4 Rough design "JUMP"

Design Process:

Fig 2.3.5 Design Process "FLOW"

Ms Hsin suggested me to delete the upper and lower words. She also suggested to change the connection between the "O" into number "6" and "9".

Fig 2.3.6 Design Process "CRASH"

Ms Hsin said I should make the letter "H" more appeared in the design to increase the readability.

Fig 2.3.7 Design Process "BALANCE"

Ms Hsin gave suggestion of changing the position of "E" and "L", as the initial design looks more like "BAELANC" instaed of "BALANCE"

Fig 2.3.8 Design Process "JUMP"

Ms Hsin suggested me to connect the serid of the letters "u", "m" and "p" to make it look like a stairs.

Final Work:

Fig 2.3.9 Final Type Expression, JPEG, Week 3

Fig 2.3.10 Final Type Expression, PDF, Week 3

After that, we were instructed to do type animation of one of the word. I decided to animate the word "CRASH".

I was suggested by Ms Hsin to add more frame such as 12 frames by second (animate in 2').

Fig 2.3.11 "CRASH" animation frames

I purposely place the word out of the artboard in frames 9 and 10 to enhance the visual impact. The last two frames was inverted in colours to add more visual information to the whole animation.

Fig 2.3.11 "CRASH" GIF

Exercise 2: Text Formatting

1) Kerning and Tracking Exercise

We were instructed to work with kerning and tracking of our own name by using the 10 typefaces provided. We were allowed to use different fonts in this exercise.

For the kerning and tracking exercise, Ms Hsin instructed me to pay close attention to the spacing between uppercase and lowercase letters.Use the spacing between these letters as a reference point when adjusting the overall letterspacing. Ensure a balance between the negative and positive space around each letter so that all the spaces are equal.

Fig 2.4.1 Kerning & Tracking Exercise

Fig 2.4.2 Kerning & Tracking Exercise (Original)

Fig 2.4.3 Kerning & Tracking Exercise (Comparison)

2) Text Formatting

There is some points that reminded by Mr Vinod in the tutorial videos:

Point size in A4 and A3 is normally 8-12 points.
Line length need to be between 55-65 points.
Text Leading (2, 2.5, 3 points larger than font size)
While adjusting the kerning of text in Adobe Indesign (ALT+ Arrow), maximum 3 presses.
Hyphenation can be used but limit the number of hyphen.
Ctrl+Shift+ < or > to adjusting font size.
No Widows / Orphans

To achieve cross alignment:

Edit: Preferences > Grid > Increment every: 11pt > View threshold: 50%
Right click the column > text frame options > Baseline options > Offset: Leading > General: Align: Top
While adjusting the leading, the unit should only be doubled to ensure crross alignment. E.g: 11pt to 22pt, 44pt etc.

Shortcut for cross alignment:

Select the text > Paragraph Formatting Controls > Align to Baseline Grid

This is some of my draft design:

Fig 2.5.1 Text Formatting Draft Design

This is two designs that approved by Ms Hsin:

Fig 2.5.2 Text Formatting Draft Design (1)

Ms. Hsin approved the placement of text in an ascending stair-like pattern. Although this goes against the natural reading habits of people, certain design choices are allowed. Besides, Ms Hsin suggested me to add more image.

Fig 2.5.3 Text Formatting Draft Design (2)

Ms Hsin suggested me to adjust the margin and the size of images to further enhance the composition.

Among the 2 designs, I personally perfer Fig 2.5.2 as the ascending stair-like pattern. I finalise the design by adding a retangle gradient block. It points to the title which lead the viewer's visual.

Fig 2.5.4 Text Formatting Design (JPEG)

Fig 2.5.5 Text Formatting Design (PDF)

Fig 2.5.6 Text Formatting Design with Grid (JPEG)

Fig 2.5.7 Text Formatting Design with Grid (PDF)

Formatting Details:

HEAD LINE
Font/s: ITC New Baskerville Std Bold Italic (Headline), ITC New Baskerville Std Roman (Subheadline), ITC New Baskerville Std Bold (Byline)

Type Size/s: 86 pt (Drop Cap), 54 pt (Headline), 36 pt (Subheadline), 14pt (Byline)
Leading: 103.2 pt (Drop Cap), 64.8 pt (Headline), 44 pt (Subheadline), 16.8 pt (Byline)
Paragraph spacing:-

BODY
Font/s: Univers LT Std 55 Roman

Typ Size: 8pt, 20pt (Drop Cap), 9pt (Caption)
Leading: 11 pt
Paragraph spacing: 11 pt
Characters per-line: 45
Alignment: Left aligned

Margins: 12.7 mm top+left + right, 50mm bottom
Columns: 3
Gutter: 4.233mm

FEEDBACK

Week 2:

General feedback:

Do not change the letterform.
Limit the use of distortion and shapes other than the letters.
Do not use any illustration.

Specific feedback:

Limit the use of distortion in the type expression. For example, Fig 2.2.2 (sketch 3 & 4).
Try to design the word in "left to right" sense, as it fits the reading sequence of people.
Avoid design that is too fancy, the priority is the readability.
Try to utilise the negative space to enhance visual impact.

Week 3:

General feedback:

Avoid overdone of the words, and retain the original shapes of the words.

Specific feedback:

Fig 2.3.5: Try to use the number 6 and 9 to replace the curve line.
Fig 2.3.6: Make the letter "H" more appeared in the design to increase the readability.
Fig 2.3.7: Connect the serif of the word "u", "m", "p" to represent stairs.
Do put the readability as the priority while designing.

Week 4:

General feedback:-

Specific feedback:

Fig 2.3.7: Changing the position of "E" and "L", as the initial design looks more like "BAELANC" instaed of "BALANCE"
For the type expression animation, try to add more frame such as 12 frames by second (animate in 2').

Week 5:

Geenral feedback:

Complete all the task 1 exercise and move on to task 2.

Specific feedback:

Fig 2.4.1: Ms Hsin instructed me to pay close attention to the spacing between uppercase and lowercase letters.Use the spacing between these letters as a reference point when adjusting the overall letterspacing. Ensure a balance between the negative and positive space around each letter so that all the spaces are equal.
Ms. Hsin approved the placement of text in an ascending stair-like pattern. Although this goes against the natural reading habits of people, certain design choices are allowed.
Ms Hsin suggested me to add more image for the text formatting design.

REFLECTIONS

Experience:

In this module, I had the opportunity to explore various aspects of typography and its application. The hands-on exercises and , combined with historical context and tutorials, provided a comprehensive understanding of the subject.The practical exercise, such as text expression and text formatting, allowed me explore my creativity and aesthetic in the field of typography. Overall, I enjoyed the classes and found them to be both educational and inspiring.

Observation:

Throughout this module, I observed the significance to create visually appealing and readable text. I learned about the important of getting feedback from peers and lecturers to further enhance my design from different perspective. Additionally, I noticed the importance of documenting and saving the design process. It is crucial for refining the work and ensuring consistency across the design.

Finding:

Throughout this module, I discovered that my sensitivity towards type, words, and text has significantly increased. I have developed a deeper understanding of shapes, positive and negative space, and composition, not only in typography design but also in other forms of artwork. This enhanced understanding and application of these principles have greatly improved the effectiveness of visual communication in my own creations.