12.05.2023 - 30.05.2023 l Week 6 ~ Week 9
Kim Seoyeong l 0335903
Bachelor of Mass Communication [Digital Media Production]
TYPOGRAPHY
Task 2 l Typographic Exploration & Communication (Text Formatting and Expression)
LECTURES
Lectures 1-6 are completed in Task 1: Exercises
INSTRUCTIONS
Task 2: Typographic Exploration & Communication
For Task 2, we need to create 2-page spreads (Each for 200mm*200mm) with the given 3 text options using Adobe Illustrator for type expressions and Adobe Indesign for text formatting. In this task, we can't use any images and colors but minor graphical elements are acceptable.
Firstly, in week 6, I selected the 2nd text option, which headline is 'A code to build on and live by'. To be honest, the first week, I was not satisfied with my first draft of text formatting and there was no expression, and doesn't meet the conditions at all. And, the feedback from Mr. Vinod was also I need to improve my work with a lot of changes.
Figure 1.1.1 | Text formatting & Expression on 1st attempt (Week 6, 12/5/2023)
1st try-out:
HEAD
Font: Futura Std (Extra Bold Condensed)
Type size: 80 pt
Leading: 72 pt
Paragraph spacing: 0
BODY 1
Font: ITC Garamond Std (Ultra Condensed Italic)
Type size: 12 pt
Leading: 14.4 pt
Paragraph spacing: 0 pt
Characters per line: 0
Alignment: Align left
BODY 2
Font: ITC Garamond Std (Book Condensed)
Type size: 10 pt
Leading: 11 pt
Paragraph spacing: 24 pt
Characters per line: 63
Alignment: Align left
MARGINS: 12.7 mm: Top + Left + Right + Bottom
COLUMNS: 2, total 4
GUTTER: 4.233 mm
After feedback, I tried to research some references and watch the lecture video again to understand this task perfectly. Below are my visual references to help to create my 2nd draft of text formatting.
Figure 1.2.1 | Visual references for layout & type expression (Week 6, 13/5/2023)
With those references, I tried to create a graphical design which is 'united hands' to help the headline expression during the second attempt for the layout.
Figure 1.3.1 | Graphical Design for the second attempt (Week 7, 15/5/2023)
And then, I decreased the opacity level to 55% and added it to the back of the headline. I also expressed the headline with the word 'UNITE' by extending the letter.
* Typeface: Univers LT Std (85 Extra Black), 72pt
Figure 1.3.2 | First Headline expression (Week 7, 15/5/2023)
Figure 1.3.3 | Text formatting & Expression on 2nd attempt (Week 7, 19/5/2023)
2nd try-out:
HEAD
Font: Univers LT Std (85 Extra Black)
Type size: 72 pt
Leading: 82 pt
Paragraph spacing: 0
SUBHEADLINE(BYLINE)
Font: Futura Std (Medium Oblique)
Type size: 20 pt
Leading: 24 pt
Paragraph spacing: 0 pt
Alignment: Justified with last line aligned center
BODY
Font: Serifa Std (55 Roman)
Type size: 10 pt
Leading: 12 pt
Paragraph spacing: 12 pt
Characters per line: 35
Alignment: Justified with last line aligned left
MARGINS: 13 mm: Top + Left + Right + Bottom
COLUMNS: 3, total 6
GUTTER: 4.233 mm
My 2nd attempt was much better and met the intentions of this task but needed some modifications. Such as, a graphic element 'united hands' is not necessary because the type expression for the headline is already satisfied by extending the letter 'Unite'. So for my final attempt after the final feedback, I removed a graphic element 'united hands'.
Figure 1.4.1 | Text formatting & Expression on 3rd attempt (Week 7, 20/5/2023)
After then, while I finalizing my final outcome for this task with the final feedback, I realized that my character per line is only 35 but the proper is 55-65. So, I changed the columns from 3 to 2 and try to make it between 55 to 65. And change the body text point size from 10 to 9 pt. The byline point size is changed to 25 pt as well.
Figure 1.4.2 | Progression of layout setting on the final attempt (Week 8, 22/5/2023)
Figure 1.4.3 | Progression of Kerning & Tracking, Headline (Week 8, 22/5/2023)
Figure 1.4.4 | Progression of Kerning & Tracking, Byline (Week 8, 22/5/2023)
Figure 1.4.5 | Progression of Kerning & Tracking, Body Text (Week 8, 22/5/2023)
This is my final outcome: Text Formatting & Expression as JPEG and PDF files with/without grid/guideline.
Final Text Formatting and Expression
Figure 1.5.1 | Final outcome of Task 2 without Grid/Gudieline_JPEG (Week 8, 24/5/2023)
Figure 1.5.2 | Final outcome of Task 2 without Grid/Gudieline_PDF (Week 8, 24/5/2023)
HEAD
Font: Univers LT Std (85 Extra Black)
Type size: 80 pt
Leading: 82 pt
Paragraph spacing: 0
SUBHEADLINE(BYLINE)
Font: Futura Std (Medium Oblique)
Type size: 25 pt
Leading: 24 pt
Paragraph spacing: 0 pt
Alignment: Justified with last line aligned center
BODY
Font: Serifa Std (55 Roman)
Type size: 9 pt
Leading: 12 pt
Paragraph spacing: 12 pt
Characters per line: 56
Alignment: Justified with last line aligned left
MARGINS: 13 mm: Top + Left + Right + Bottom
COLUMNS: 2, total 4
GUTTER: 5 mm
Figure 1.5.3 | Final outcome of Task 2 with Grid/Gudieline_JPEG (Week 8, 24/5/2023)
Figure 1.5.4 | Final outcome of Task 2 with Grid/Gudieline_PDF (Week 8, 24/5/2023)
Proportions of the letterform
FEEDBACK
Week 6:
General Feedback Make sure that we can't copy or make as same as the samples that Mr. Vinod shared with us. And the size of the headline can be different but the size of the headline should not be the same as other lines(byline or text).
Specific Feedback There is too much spacing between the paragraphs and the expression of the headline doesn't make sense at all the word's meaning to express out. I should redo and totally change mine with some research.
Week 7:
General Feedback Mr. Vinod reminds us to follow the guideline and instructions with the given samples while we submit our task. For Task 2, type-expression for the title(Headline) with conveying the meaning is important.
Specific Feedback I need to remove the graphic design 'United hand' next to the headline because the type-expression for the headline is already expressed while conveying the meaning of it with an extension of "unite'. Moreover, the text's point size is too big.
Week 8:
No feedback was given as it is an independent learning week.
REFLECTIONS
Experience
In this task, based on the text formatting and type expression I learned in Task 1, the two had to be properly combined in harmony to create a two-page layout. Since they were exercises that I had learned before and tried once, I think it went a little easier than when I first tried them. My aim for this task was to create a more concise but intense layout, and I think there was more fun than the difficulties while working on this task because I think I created a layout design that was not perfect but could accept it to some extent.
Observations
Because it was a task of harmonizing text formatting and type expansion, I had to be familiar with each term and detailed setting (kerning, tracking, paragraph spacing, etc.). And in order to harmonize these two well, the appropriate layout was also a consideration, so I actively watched and referenced visual references, including lecture videos and other reference materials, to carry out the task. In addition, we improved through various modifications through the professor's feedback for each week. These points are much more advanced than before, in addition to my previous experience with task 1.
Findings
While doing my research on this task, I learned about various types of expressions, and while thinking the most about simple but impactful layout design, I realized that complex layout design might not be good for the viewers. The first thing that designers should consider is the expressiveness of the title and the appropriate text should be properly arranged to harmonize with each other. This is one of the important parts in that it is to draw the attention of the viewers, which is the most important part of design work.
FURTHER READING
1
Figure 2.1.1 | Typographic Design: Form and Communication Fifth Edition (2011)
Typography takes into account the size of each individual letterform. The relationship between the height and width of the letterform's strokes, the variation between the thickness and thinness of the letterform's strokes, the width of the letters, and the relationship between the x-height and the heights of capital letters, ascenders, and descenders are the four main factors that control letterform proportions and significantly affect a typeface's visual appearance.
Figure 2.1.2 | Stroke-to-height ratio (P.34)
The stroke-to-height ratio
The proportion of stroke width to capital height used in Roman inscriptions can be seen in the aforementioned Roman letterform. The letter's height can be seen to be ten times wider than its stroke by superimposing it on a grid. The right letter's stroke width is double what it normally is in the surrounding rectangles, while the center letter's stroke width is cut in half. Both times, there is a noticeable alteration in the letterform's weight and look.
Figure 2.1.3 | x-height and proportion (P.34)
X-height and proportion
Significantly affecting the visual aspects of typography is the proportionate relationship between the x-height and capital, ascender, and descender heights. The identical characters are set in 72-point type in three typefaces with wildly varying x-heights. This instance illustrates how these proportional relationships alter the way type appears.
2
Figure 2.2.1 | Typographic design: Form and communication, Rob Carter (2015)
Figure 2.2.2 | Shapes of typographic elements with directional qualities echoed (p.79)
The fundamental element of any typographic communication is space. When typographic components are added to a space, they subtly divide it, and these divisions produce the spatial structure. New structures develop as syntactic changes in the size, weight, and placement of typographic elements. Another way to consider the type and how it interacts with space is to see a letterform as a point in space, the extension of a point as a line in space (a line of text), and the extension of a line as a plane in space (a text block). According to this analogy, typographic elements are dynamic in nature and constantly in motion. Take the one letterform as an example. It seems to be stationary when centered.
Figure 2.2.3 | Letterforms that gained velocity as moving toward the edges of space (p.79)
It looks to be moving when positioned off-center, accelerating as it gets closer to the space's outermost edges. The letter appears to fall when rotated. When a line of type is read, it moves in the direction of its creation (often from left to right). Unless they are positioned vertically or at an angle in space, they imply horizontal movement. Typographic elements have essentially limitless potential for motion. We are aligned to the earth in terms of the horizontal and vertical thanks to gravity, which has firmly anchored us. These opposites shape how we view the natural world, and this perception informs how we design the constructed environment. The horizontal appeals to us more because we feel safe there. We experience more difficulty in the vertical dimension since we are terrified of both falling and flying.
Comments
Post a Comment