Typography/ Task 1 Exercises
23.9.2024 - 28.10.2024 (Week 1 - Week 6)
Li Shiqing / 0366582
Bachelor of Design (Honours) in Creative Media
Typography (GCD60104)
Exercises
LECTURES
Typo 0
Introduction
Typography is not only texts, it's very useful for all the other modules, all of the modules are connected.
Logo:
- Trademark or a mark that consists of letters.
- An art (not just typing out letters)
Typography
- Learned from practice, observation, seniors and reading.
- Evolved over 500 years
- The style and appearance of printed matter.
- The art and technique of arranging type to make written language legible.
Who practice it?
- Typesetters
- Compositors
- Typographers
- Graphic designers
- Art Directors
- Manga artists
- Comic book artists
- Graffiti artists
History:
Calligraphy > Lettering > Typography
Basic type of calligraphy (According to Lettering Daily):
- Copperplate
- Black-letter (Textura, Fraktur, Rotunda, Batarde)
- Italic
- Uncial (Half-Uncial, Artificial Uncial)
- Roman Capitals (Rustic & Square Capitals)
- Foundational Hand
- Spencerian
- Gothicized Italic
- Neuland
- Modern calligraphy
- Informal
"Typography is an art, and good Typography is art. Therein lies the problem for both teacher and student'
- Kane (2002)
Terminology:
- Font: The individual font or weight within the typeface
Example: Georgia Regular, Georgia Italic and Georgia Bold
- Typeface: The entire family of fonts/weights that share similar characteristics/styles
Example: Georgia, Times New Roman, Didot and Futura
Typo 1
Development / Timeline
Early letter-form development: Phoenician to Roman
- Scratching into wet clay with sharpened stick.
- Craving into stone with a chisel.
Uppercase forms: Simple combination of straight lines and pieces of circles.
Greek - Developed "boustrophedon"(read alternately from right to left and left to right)
Phoenicians - Write from right to left
Etruscan (and then Roman) - A change of weight from vertical to horizontal.
1550 Script
- Not entirely appropriate in lengthy text settings.
- Range from the formal and traditional to the casual and contemporary.
Examples
-Kuenstier Srcipt
- Mistral
- Snell Roundhand
1750 Transitional
- Refinement of oldstyle forms
- Advance in casting and printings
- Thick to thin relationships were exaggerated
- Brackets were lightened.
Examples
- Baskerville
- Bulmer
- Century
- Time Roman
1775 Modern
- A further rationalization of old-style letter-forms.
- Serifs were bracketed.
- Contrast between thick and thin strokes extreme.
Examples
- Bell
- Bodoni
- Caledonia
- Didot
- Walbaum
1825 Square Serif / Slab Serif
- Little variation between thick and thin strokes
- The brackets are dropped.
Example
- Clarendon
- Memphis
- Rockwell
- Serifa
1900 Sans Serif
- Eliminated serifs alltogether.
- Introduced by William Calslon IV in 1816
- Strokes were flared
- Referred to grotesque and Gothic
Example
- Akzidenz Grotesk
- Gill Sans
- Franklin Gothic
1990 Serif / Sans Serif
- Enlarges the notion of a family of typefaces to include both serif and sans serif alphabets.
Example
- Rotis
- Scala
- Stone
Typo 2
Basic
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"
Stroke - Any line that defines the basic letterform.
Apex / Vertex - The point created by joining two diagonal stems (apex above and vertex below)
Arm - Short strokes off the stem of the letter-form, either horizontal (E, F, L) or inclined upward (K, Y)
Ascender - the portion of the stem of a lower 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. The bowl may be either open or closed.
Bracket - The transition between the serif and the stem.
Cross Stroke - The horizontal stoke in a letterform that joins two stems together.
Crotch - The interior space where two strokes meet.
Ear - The stroke extending out from the main stem or body of the letterform.
Em/en - Originally refer to the width of an uppercase M, and em is now the distance equal to the size of the typeface. And en is half the size of an em.
Ligature - The character formed by the combination of two or more letterforms.
Shoulder - The curved stroke that is not part of a bowl.
Spine - The curved stem of the S.
Stress - The orientation of the letterform, indicated by the thin stroke in round forms.
Swash - The flourish that extends to stroke of the letterform.
Terminal - The self- contained finish of a stroke without a serif. This is something of a catch- all term. Terminals may be flat, flared, acute, grave, concave convex, or rounded as a ball or a teardrop.
Typo 3
Text
Kerning
- The automatic of space between letters.
- Often mistaken refer to "letter-spacing"
Letter-spacing
- Add some space between the letters
Flush left
- Most closely mirrors the asymmetrical experience of handwritting.
- Each line starts at the same points
- It ends wherever the last word on the line ends.
Centered
- Imposes symmetry upon the text
- Assigning equal value and weight to both ends of any line.
- Transforms fields of text into shapes
- Created such a strong shape on the page.
Flush right
- Emphasis on the end of a line as opposed to its start.
- Useful for captions
- Text and image might be ambiguous without a strong orientation to the right.
Justified
- Imposes a symmetrical shape on the texts (by expanding or reducing spaces between words and letters)
- Produce "rivers"
Type size - Should be large enough to read at arms length
Leading - Texts set too tightly encourages verticle eye movement, readers easily loose the place. Too loosely creates striped patterns that distract the reader.
Line Length - A good rule of thumb is to keep line length between 55-65 characters.
Type specimen book - Provides an accurate reference for type, type size, type leading, type line length etc.
Typo 4:
Text
Pilcrow - A holdover from medieval manuscripts seldom use today.
Extended paragraphs
- Creates unusually wide columns of text.
- Form strong compositional or functional reasons.
Widows - Short line or type left alone at the end of a column of text.
Solution?
Rebreak your line endings through out your paragraph.
Orphan - A short line of type left alone at the start of new column
Solution?
Ensure no column of text starts with the last line of the preceding paragraph.
When highlightingtext by placing a field of colour at the back of the text, maintaining the left reading axis of the text ensures readability is at its best.
Quatation marks - Create a clear indent, breaking the left reading axis.
Head - Indicates a clear break between the topics within a section.
Week 5:
Letters
X-height - Describe the size of the lowercase letterforms.
It's important to recognizing specific letterformsis developing a senstivity to the counterform
Week 6:
Screen & Print
In nowadays, Typography does not only appear on papers. but also in screens.
Print type
- Designed intended for reading from print long before we read from screen.
- Designer has to ensure that the text is smooth, flowing, and pleasant to read.
- Versatile, easy-to-diagest classic typeface.
- Has a newtrality and versatility that makes typesetting with it a breeze.
Type for screen
- Obtimized and often modified to enhance readability and performance on screen in a variety of digital environments.
- Has a taller X-height, wider letterforms, more open counters, heavier thin strokes and serifs, reduced stroke contrast, modified curves and angles.
- More open spacing.
- Improve character recognition and overall readability in the non-print environment.
Hyperline - A word, phrase, or image that tou can click on to jump to a new section within the current document.
INSTRUCTIONS
Tasks:
<iframe src="https://drive.google.com/file/d/1_zHJWRiUX6ir0WKhMd0GnC1i-NZjlgL4/preview" width="640" height="480" allow="autoplay"></iframe>Task 1: Type Expression
In this assignment, students are asked to create a visual depiction of a word that, in the first look, effectively communicates its meaning. It inspires people to use their imagination and think freely while coming up with ideas. Students will discover how to convey complicated ideas through straightforward pictures by investigating various creative interpretations and styles. In addition to encouraging their creative thinking, this activity aids in the development of critical communication and visual literacy abilities. In the end, students will realize how influential visual language can be in influencing our comprehension and interpretation of concepts.
Figure 1. sketch of Climb
Animation:
Task 1 Exercise 2
Kerning and Tracking
Fig. 14. Layout,
FEEDBACK
Week 1
General feedback: Mr.Max teaches us about the layout of the blog and we vote for the first task's words.
Week 2
Specific feedback: Elements further than the words itself must not be used.
General feedback: Introduce to Adobe Illustrator and download the documents provided in Google classroom, included the 10 fonts (must use this for task 1)
Week 3
Specific feedback: Feedback on all the drafts, some of it must be changed because it still includes some visual element other than the word itself. Climb must be changed.
General feedback: Transfer the drafts into Adobe Illustrator.
Week 4
Specific feedback: Suggestions on the drafts, change Swirl to more readable, climb does not match the requirement and change cry to a simpler form.
General feedback: Introduce to the simple animation.
Week 5
Specific feedback: Animation is accepted but add one more frame.
General feedback:Introduce to other tasks of task 1, including ten fonts of own name, and 6 formatting page.
Week 6
Specific feedback: Need to rearrange the formats since it was messy and hard to read.
General feedback: Introduce to two more text based and reminding of submission.
REFLECTIONS
Experience:
During this task, I experienced a range of emotions and difficulties. There were times when I struggled to come up with any original ideas because I felt like my creativity was utterly exhausted. I frequently felt uncomfortable and unsure of how to physically convey my ideas because I was new to typography. It felt like the sky was dropping when we discovered that we could only utilize words and no other components. At first, I was terrified and concerned that I wouldn't be able to produce anything valuable.
Observations:
I started paying more attention to how my classmates handled their drawings as I got more involved with the assignment. It was both illuminating and a little discouraging to see how many of my beliefs mirrored theirs. It helped me discover that the ideas I thought were original had been investigated by others before. I also acknowledged that I struggled with the weekly posting; I frequently neglected to keep up with it, which frustrated me and made me feel unconnected to the task.
Findings:
I ultimately learned a valuable lesson about the power of words from my first endeavor. They may sometimes even more successfully communicate difficult feelings and concepts than visual art. This realization has inspired me to keep investigating the ways in which language may convey my emotions and ideas. On this artistic journey, I can't wait to continue honing my craft and discovering my voice.
FURTHER READING
This website gives me idea of the lecture.
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