Typography / Task 2: Typographic Exploration & Communication (Text Formatting & Expression)

22/10/2024 – 04/11/2024 (Week 5 – Week 6)

Valerius Ethan Wirawan / 0372774

Typography / Creative Media / School of Design

Task 2: Text Formatting and Expression

TABLE OF CONTENT

1. Lectures

2. Instructions

3. Process Work and Feedback

4. Final Outcome

5. Feedback

6. Reflection

7. Further Reading

1. LECTURES

1.1 Lecture 6 (Typo_5_Understanding)

Symmetry: Uppercase letter forms may appear symmetrical but often are not. The nuances (details) in stroke weights and arcs are crucial for effective design.

Stroke: Each stroke in a typeface is treated uniquely to maintain harmony.

Symmetry and Asymmetry: Many letter forms may look symmetrical at first, but closer inspection reveals difference in stroke weights and arcs.

Fig. 1.1.1. Baskerville A (Left) and Univers A (right)

Fig. 1.1.2. Helvetica a (Left) and Univers a (right)

Subtle Design: Helvetica and Univers reveals significant differences in character and stroke treatment.

Maintaining x-Height: x-height it self is the height of lowercase letterforms. Curved strokes such as 's' and 'r' should exceed x-height or sink below the median line 'y', this is for maintaining letterforms to be the same size.

Fig. 1.1.3. Maintaining x-height

Forms and Counterforms: The use of space around and within letter forms ensure how word hang together, it is essential for readability and legibility. Examining and enlarging this counterforms may help in the letter-making process.

Fig. 1.1.4. Forms/Counterforms and Examining Counterforms

Contrast: A slight difference of contrast can give numerous variations of letterforms design. These are just variations of contrast that can be combined at once.

Fig. 1.1.5. Contrast in Typography

2. INSTRUCTION

Fig. 2.1. Module Information Booklet (MIB)

3. PROCESS WORK AND FEEDBACK

Task 2 : Typographic Exploration & Communication (Text Formatting and Expression)

The assignment was to do all of the things that have been mentioned in the video 'Typo_Task 2_Process Demo', basically we are given 3 dummy text to format the layouts (still using the 10 fonts). As Mr. Vinod's suggestion on the video, I made some layout manual sketches.

Fig. 3.1. Layout Sketches (25/10/2024)

After doing some sketches, the digital version is made. The process starts with creating the headline and sub headline (the lead text) in Adobe Illustrator. Here are some of the designs.

Fig. 3.1. Lead Text and Headlines Design (25/10/2024)

The overall work was done in Adobe In Design. I exported 2 works, The one with grid lines and without grid lines. This text will be a portratit document, due to the example by Mr. Vinod on teams it was made landscape.

Fig. 3.3. Task 2 Type Formatting (JPEG - 26/10/2024)

After some discussion, I receive input from Ms. Vitiyaa, I can't use portrait orientation for this task. This was due to the example (Bauhaus text) is landscape, my peers are also doing landscape. Here is the landscape version.

Fig. 3.3. Task 2 Type Formatting Revised Version (JPEG - 10/11/2024)

Layout

Margin: 10pt

Gutter: 5pt

Head

Font: Gill Sans MT Bold
Typesize: 56pt

Lead-In Text

Font: Gill Sans MT Italic
Typesize: 7pt

Body
Font: Gill Sans MT Regular
Typesize: 4pt

Leading: 5,5pt

Paragraph Spacing: 5,5pt
Character per line: 55-65 Character

Allignment: Allign left

4. FINAL OUTCOME

Fig. 4.1. Task 2 Type Formatting With Grids (PDF - 10/11/2024)

Fig. 4.2. Task 2 Type Formatting Without Grids (PDF - 10/11/2024)

Fig. 4.3. Task 2 Type Formatting With Grids (JPEG - 10/11/2024)

Fig. 4.4. Task 2 Type Formatting Portrait Orientation (JPG - 10/11/2024)

5. FEEDBACK

Week 7
General Feedback: Following the revisions and feedback, I continued working on the text editorial task, focusing again on tracking and kerning. I particularly liked the last layout, it stands out to me because of its unique and balanced composition.
Specific Feedback: The work is well done overall.

Week 6
General Feedback: This week, we worked on text editorial, and I applied tracking and kerning for the task. I created multiple sketch layouts and was particularly pleased with the first layout sketch because of its clean and simple look. I also watched the lecture video provided for our session.
Specific Feedback: The work needs to be refined further on the composition.

6. REFLECTION

Experience

Reflecting on my recent task, I noticed a significant improvement in my approach compared to previous exercises. I began with sketches which allow me to explore various headlines and layout options. The process is supported by a feedback session where I get critiques from my classmates. Engaging in this collaborative environment not only enhanced my judgment but also allowed me to gain valuable Insights from Ms. Vitiyaa’s advice on e-portfolio layout. Overall, the basics gained from earlier tasks made this experience smoother.

Observation

I discovered that new ideas often come from discussions with friends. Experimenting with different headline variations based on my sketches made different ideas. For example, my friend used a curved typy effect for the word ‘world’ inspired me to think creatively about visualizing complex ideas. I underestimated the importance of deep research, which makes my creativity limited.

Findings

From this task, I concluded that effective design makes good message delivery. Research is crucial for creativity, which will create a more impactful design. The previous task allowed me to create more complex layouts with greater confidence. However, I faced challenges when trying to fit text and images. The help of my friends, Ms. Vitiyaa, and Youtube is very helpful. This experience made me learn that creating a layout will be time-consuming, requiring careful planning and execution. Overall, this task has improved my understanding of communicating messages in designs.

7. FURTHER READING

An Essay on Typography by Eric Gill

Fig. 7.1. 'An Essay on Typography' by Eric Gill; introduction by Christpher S. (left); original cover (right)

The chapter that I read was distinguishing between lettering and typography. He thinks that lettering is the actual drawing or writing of letters, typography is the arrangement of these letters into a compositional and readable form.

Highlighting the transition from handwritten scripts to printed letters. He says that best lettering has always been related to the tool used to create it. For example, the quill pen produced letterforms different from those made by the metal nib or the brush.

In the past different tools in lettering were important. He describes how different tools (chisel, the brush, and the pen) have their own unique characteristics to the letters they produce. The writer suggests returning to the respectful use of these tools, rather than relying on mechanical machine production, because true craftsmanship cannot be replicated by machines. Human touch is essential for designing letters that have expressions. Gill critiques the modern practices to use mechanized lettering, it loses craftsmanship and the unique qualities.

To sum up, the lettering chapter in "An Essay on Typography" is a call to appreciate the artisanal aspects of lettering.

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Valerius Ethan Wirawan (0372774)