Typography Task 2: Typographic Exploration & Communication
09/24/2024 - 10/29/2024 (Week 7 - Week 8)
ZHANG TIANYAO(0376838)
Bachelor of Design (Honours) in Creative Media / Taylor's University
Task2
LIST
1. Lectures
2. Instructions
3.Task 1 : Exercises
4. Feedback
5. Reflections
6. Further Reading
LECTURES
Fig 1.1 Text specifications
The uppercase letter forms below suggest symmetry, but in fact it is not symmetrical. It is easy to see the two different stroke weights of the Baskerville stroke form (below); more noteworthy is the fact that each bracket connecting the serif to the stem has a unique arc.
Fig 1.2 Specifications for different text styles
The uppercase letter forms may appear symmetrical, but a close examination shows that the width of the left slope is thinner than the right stroke. Both Baskerville (previous) and Univers (below) demonstrate the meticulous care a type designer takes to create letterforms that are both internally harmonious and individually expressive.
Fig 1.3 The differences between two lowercase letters
The complexity of each individual letterform is neatly demonstrated by examining the lowercase 'a' of two seemingly similar sans-serif typefaces—Helvetica and Univers. A comparison of how the stems of the letterforms finish and how the bowls meet the stems quickly reveals the palpable difference in character between the two.
Fig 1.4 Keep the letters the same size
As you already know, the x-height generally describe the size of the lowercase letterforms. However, you should keep in mind that curved strokes, such as in 's', must rise above the median (or sink below the baseline) in order to appear to be the same size as the vertical and horizontal strokes they adjoin
Fig 1.5 visual effect
Just as important as recognizing specific letterforms is developing a sensitivity to the counterform (or counter) the space describes, and often contained, by the strokes of the form. When letters are joined to form words, the counterform includes the spaces between them.
The latter is particularly and important concept when working with letterforms like lowercase r that have no counters per se. How well you handle the counters when you set type determines how well words hang together—in other words, how easily we can read what's been set.
Fig 1.6 detail
One of the most rewarding way to understand the form and counter of a letter is to examine them in close detail. The examinations also provide a good feel for how the balance between form and counter is achieved and a palpable sense of letterform's unique characteristics.
It also gives you a glimpse into the process of letter-making.
INSTRUCTIONS
Week 6
The first two pictures serve as examples of mistakes. The first one is not neatly aligned and properly spaced, and the second one is incorrect because the paper size is not suitable.
This is an example of a successful design, where the size of the paper was used correctly, and the font placement became neat and tidy.
FEEDBACK
Week 6
Specific Feedback: This week, I learned how to do font layout and became proficient in this skill. Ms. Vitiyaa’s individual guidance also helped me understand how to make the layout more aesthetically pleasing and concise.
General Feedback: The paper format and font spacing are incorrect; they need to be adjusted and revised.
Week 7
Specific Feedback: Ms. Vitiyaa asked us to print our assignments on A3-sized paper and explain each problem and the suggested modifications. I learned how to properly arrange typography and adjust the neatness to make the overall layout look full yet not cluttered.
General Feedback:The separation angle between the title “Code To” and “Build On and Live” is too wide.
REFLECTIONS
Experience:
In this task, I realized I needed to use a completely different way of thinking. So, I tried approaching it with a new mindset. Through multiple quick brainstorming sessions, I discovered many novel ideas flowing into my mind. However, these still require continuous refinement. The good news is that my creativity was sparked during this process, and I happened to come up with a solution that aligned with my expectations.
Observations:
There are many designs that are exquisite and imaginative, but without some necessary graphic elements, their essence cannot be fully conveyed. Therefore, I started reflecting on which elements are essential and which are not. In the past, my designs and ideas rarely considered these aspects—I would include whatever I thought looked good, which often resulted in overly complicated work.
Findings:
I realized that as long as you find the right mindset and proper techniques, design becomes a very simple task. You’ll have an endless stream of creative ideas to draw from, allowing you to select the most outstanding and fitting one.
FUTHER READING
Fig 2.1
Typeface Design from Past to Future is an insightful and comprehensive exploration of the evolution of typeface design. The book takes readers on a journey from the origins of typefaces to contemporary trends, highlighting the key movements and innovators that shaped the field. I found the historical context especially fascinating, as it not only provided a deeper understanding of the technical aspects of type design but also demonstrated how typefaces reflect cultural shifts and technological advancements.
What I particularly enjoyed was the way the book balanced the technical and creative aspects of type design, showcasing both the craftsmanship behind creating letterforms and the broader influence of typography on visual communication. The discussions on future trends were thought-provoking, encouraging me to consider how digital tools and innovations will continue to shape the way we design and use typefaces.
This book has deepened my appreciation for the complexity of type design, making me more aware of the rich history and endless possibilities in the world of typography.
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