27/5/2024-Ending Week
FENG SHIWEN / 0374595
Bachelor of Design in Creative Media
Taylor's University
Task - Typographic Exploration & Communication
CONTENTS
LECTURES
INSTRUCTIONS
TASK 2
FEEDBACK
REFLECTIONS
FURTHER READINGS
LECTURES
Lecture 01-05 : Refer to
Task 1.
Lecture 06
Typography in Different Medium
1. Print type vs Screen type
Type was designed for reading from prints. The designer must make sure that
the text is smooth and pleasant to read. Good typefaces for prints are
Caslon, Garamond, Baskerville as they have characteristics that makes them
easy to read even at a small font size while serving an elegant look.
Typefaces for screen (use on web) are usually modified to work better on
screen in a variety of digital environments. More open spaces are used as
well as higher screen resolution. Verdana and Georgia are typefaces that
were specifically designed for screens.
Hyperactive Link (Hyperlink)
Hyperlink is a word, phrase, or image that you can click on to jump to a
new document or a new section within the current document. It is found in
nearly all webpages, they are usually blue and underlined by default.
Font size for screens
16 px text on a screen is about the same size as text printed in a book or
magazine (reading distance) but typically a book's text size is 10-12
px.
System Fonts for Screen/ Web Safe Fonts - Open Sans, Lato, Arial,
Helvetica, Times New Roman, Times, Courier New, Courier, Verdana, Georgia,
Palatino, Garamond.
Pixel Differential Between Devices
The screen used by our PCs, Tablets, Phones and TVs are not only different
sizes, but the text you see on screen usually differs in proportion too
spending on the PPI (Pixel Per Inch).
Figure.1.1 Pixel Differential Between Devices
2. Static vs Motion
Static typography has minimal characteristics in expressing words.
Traditional characteristics such as bold and italic offer only a fraction of
it's potential.
Motion typography usually can be seen on music videos and advertisements,
often set in motion to follow the rhythm of the music. It shows the tone of
the content allowing it to evoke a certain mood.
INSTRUCTIONS
TASK 2 / Typographic Exploration &
Communication
"In this task you will be asked to express typographically the content
provided in a 2-page editorial spread (200mm x 200mm per page). Choose 1
from the 3 text options provided. No images are allowed. However, some very
minor graphical elements, i.e. line, shade, etc. might be allowed."
First of all, I saw that we were asked to use a text about "The role of
Bauhaus thought on modern culture " for typesetting practice, so I went
to learn something about the artistic style of Bauhaus.
Figure 1.2 Search for bauhaus art on pinterest
Sketch
Then, I tried to draw some rough drafts to show my layouts.
Figure.1.3 Sketch1
Figure.1.4 Sketch2
Figure.1.5 Sketch3
Figure.1.6 Sketch4
Figure.1.7 Sketch5
Figure.1.8 Sketch6
After consulting with Mr. Goh, drafts 2,4, and 5 can begin to be digitized
in adobe Illustrator. While digitizing, I made some changes to the
draft contents to make them look richer.
Figure 1.9 Digital layout2
Figure 1.10 Digital layout4
Figure 1.11 Digital layout5
Figure 1.11 Digital layout (PDF)
After asking the teacher for advice, the first digital design was ready for
making layout. I imported the illustrator sketch into indesign to make the
final text layout.
Figure 1.14 Final layout (PDF)
Figure 1.15 Final layout (with grids)
Figure 1.16 Final layout PDF (with grids)
HEAD
Font/s: Futura Std Bold
Type Size/s: 100pt
BODY
Font/s:Bembo Std Regular (text), Futura Std Bold(Lead-in
text)
Type Size/s: 12pt (text)
Leading: 20 pt (text), 24 pt (Lead-in text)
Paragraph spacing: 14 pt (text)
Characters per-line: 35-50characters
Alignment: Left justified
Margins: 10 mm (top, bottom, left, right)
Columns: 2
Gutter: 5 mm
FEEDBACK
Week 6
General : Finish the
digital design of the sketch by next week
Specific : Start designing digitally, focusing on the Bauhaus
style
Week 7
General : I learned a lot of illustrator and indesign
knowledge, such as cross-page production and the use of perspective
network, and I can more clearly express my sketches digitally
Specific: Mr.Goh chose the fourth
digital layout to start the final layout design
Week 8
General : This week was self-directed Study week, and I
finished my final layout
Specific : The teacher looked at my layout and decided
that task2 was complete
REFLECTIONS
Experience
In this task, I learned a lot of knowledge about how to operate indesign
software to design and typeset, which is more difficult and more complicated
than task 1.
We need to digitize the rough sketch, and then make the layout accurately.
Every link is related and there should be no deviation, especially the part
of adding guides to align the text in the final layout. Since my text is
designed as a ladder, it takes more efforts to adjust, which greatly
exercises my patience and skills.
Finding
In short, after the completion of this task, I can use the software more
skillfully, so that my efficiency to complete the task has been
improved.
FURTHER READINGS
The history of type development has seen many exciting eras. The
invention of moveable type, for instance, revolutionized our world,
allowing the transmittal and sharing of knowledge, raising the level of
the world’s literacy, and enablingcivilization to progress and prosper.
And today we fi nd ourselves in an unprecedented era of typographic fervor
and productivity. Technological developments, principally the ubiquity of
computers, the availability of sophisticated software, and Internet
connectivity, have raised even the average person’s awareness about the
power of typography. In 2007, the TV game show Jeopardy! had “Fonts” as a
category, with Bodoni and Helvetica among the answers. Popular magazines
such as the Atlantic, GQ, New Yorker, and the New York Times Magazine have
published signifi cant articles about typographic topics that once would
have been considered too esoteric for mainstream media. Network television
shows and public radio programs have interviewed type designers. For the
fi rst time in history, the lay public has an appreciation for and an
understanding of good typography.
Today, hundreds of colleges and universities worldwide teach courses
about ypography and even type design. There is a virtual army of
enthusiastic young people devoted to the pursuit of typographic knowledge,
excellence of typographic design, and type design. Prominent type
designers are sought after as speakers and teachers; some have even
attained rock star status.Type is no longer the invisible servant of
design, but rather recognized as design of the highest order. Typography
is a subject of fi erce debate and even controversy. Its passionate base
celebrates and covets its innate complexity and characteristics.
Typography conferences—formerly dry and scholarly—have become must-attend
events, entertaining revels, even. Type-centric game shows and typographic
“performance art” have appeared on the scene as inventive expressions of
typography’s enormous appeal. Dare we venture a guess as to the number of
readily available, downloadable, relatively inexpensive typefaces off ered
by a profusion of foundries, some with as few as a couple fonts, some with
thousands? At this writing, that number surely tops 200,000. That’s an
astonishing number when we consider that only a few short years ago the fi
gure was likely in the tens of thousands, with many fewer just prior to
that. The tools—namely, software—for sophisticated and fully functional
digital typeface design have themselves become easier to use and more aff
ordable, and the means for distribution of digital fonts is only a click
away.
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