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

 10/29/2024

24.10.2024-17.11.2024/week6-week8

YANG YANG/0363575

Typorgraphy/Bachelor of Design (Honours) in Creative Media

LECTURE: Typo_5_Understanding

The instructor in this course covered some of the details of typeface design, and both Baskerville and Universe demonstrate the care that type designers take in creating letter forms that are both internally harmonious and expressive in their own right. What appears to be symmetry may actually look asymmetrical, but a closer look at the width of the letters reveals the difference. The apparent symmetry of the letters may mask internal structural differences, and the designer needs to pay attention to the subtle variations in each stroke. Details of the typeface, such as variations in the thickness of the strokes, can enhance the individuality and harmony of the letters.

Figure 1.1 design detail

The curve of the letters needs to extend beyond the centre line to maintain visual balance, an optical adjustment in the design. Practical solutions plus the correct use of letters. We can accomplish this by using the Latarian curve. At this point our instructor mentioned that a common mistake made by most students trying type design for the first time is that they tend to give the typeface too much personality. It's true that there are many different modifications that can be made to letters so that they can be both gorgeous and popular. But at the same time, we also need to simplify the character of the letters by treating the strokes more simply and in a style that can be replicated in other letters. Therefore, it is important to keep this unique feature consistent when designing fonts.

Figure 1.2 curve

Here, Mr Viond mentioned a very important keyword, the median line, what is the median line? The midline is the line above the baseline. The baseline is like the lowercase and uppercase letters you see at the bottom, and the median is the line where the lowercase letters are above the baseline. So, the line above the baseline is the centre line, and all curved letterforms usually go slightly over the centre line, and the reason for this is because if the designer wanted the typeface to look as big as it does, they would actually look smaller visually, especially if they are structured differently, such as an ‘O’ and a ‘Z’. ‘Z’, then the “O” will always look smaller because it takes up less area and touches less of the centreline and baseline. So, to compensate for that, there are some visual adjustments that need to be made. Just as important as recognising specific letterforms is developing a sensitivity to reversed shapes, which is very important in typography, even when it comes to typography. Understanding the space outside of letterforms, the negative space outside of letterforms is equally important as it helps with reading.

Figure1.3 top line

 When it comes to reverse space, a concept that in fact appears in the teaching of many subjects, whether it be photography or typography, and split-screen drawing and so on, the idea is applied, ‘Space is reverse shape. And one of the most effective ways to understand the shapes of letters and reverse shapes is to look at them closely. Such observation gives us a sense of the balance between shapes and reverse shapes, as well as a sense of the reality of the unique characteristics of letterforms. The best way to do this is to look at what has been done before and analyse it before you try to design it yourself, rather than just going through it in front of your eyes.

Figure 1.4 detail

Task:

drafts：

In this step first I produced several sketches for reference and inspiration and selected three of them to refine, while designing I realised that even the same text can have many different typographic combinations.

Figure 2.2 design

Final：

Figure 2.3 final work (g)

Figure 2.4 final work

Figure 2.5 FINAL

Figure 2.6 FINAL(G)

FEEDBACK：In the production process of this practical work I have a deeper understanding of typography through the discussion with the teacher and the teacher gave me some advice, and different from the previous one, this time it is to design a cover type of typography, so it is necessary to combine a little bit of new skills on the basis of the original knowledge.

REFLECTIONS：This practical activity was not particularly difficult for me, with the previous skills and knowledge as a foundation, when making this practical work it was more like combining what I had learnt and applying it, so that the knowledge on paper ‘comes to life’ and can be more deeply understood and used.

Process:

In fact, the production of a cover is not entirely in indesign above the production is completed, but also used illustration to assist, because this software in the graphics and other editing compared to indesign to be more flexible and variable.

Figure 3.1 size

Figure 3.2 layout

Figure 3.3 front page

Further Reading :TypographyReferenced

The book focuses on the evolution of fonts and the history of their design, as well as how to choose the right fonts for practical use, and why they chose them. It is a very practical book.

Figure 4.1 front page design

In the book it is mentioned that when you associate a word, a string of letters should appear in your mind. Put that string of letters on paper and those letters take on a handmade, concrete form: they are transformed into letterforms. Any handmade letter, regardless of tool or scale, is a letterform. The maker is in control of the order and size of the letters and is aware of the dimensions and characteristics of the surface of the letters. A hurried shopping list, Trajan's columns, John Donne's signs made with a brush. They are all meaningful collections of glyphs. On the other hand, any representation of letters. These letters are everywhere, they don't just serve as communication, some even become rune-like.

Figure 4.2 design

The composition and production of fonts can be formed by the formation of many kinds of tools. Not only the most familiar paper money, but in fact even paper and pens can have different effects depending on the material or the way they are used. A type designer envisions an ideal shape captured using typographic techniques, which is then typeset and rendered on the material or screen. Part of a type designer's skill set involves utilising the potential of these techniques while understanding their limitations and their impact on the final form. It is not possible to produce the same typeface for different sizes and for a range of technologies without separating the reference model of the typeface (which is usually designed in the first place in pencil and paper) and with each realisation having its own specific attributes (usually related to rendering constraints, character set limitations, etc.). There is a direct link between the designer's specification and the result in the case of typefaces where the type designer deals directly with the techniques used for the final rendered size (cast fonts, hot metal fonts, some photo fonts, bitmap fonts, etc.).

Figure 4.3 material

Sometimes to understand the weight distribution and modularity conventions, try tying two pencils together, keeping the angle of the pencils constant, and writing slowly. The resulting shape, for Latin characters, has a predominantly traditional Western style of accentuation and modulation. Abstracted from a specific ‘nib’ size, this approach can help answer questions such as where to place the widest thick strokes. At the same time the finished product will look like a three-dimensional design with its own ‘shading’.

Figure 4.4 pencil sketch

Typography is an iterative process that aims to improve the quality of the design through constant evaluation and revision. This process is guided by the principles of client or market needs, the use of new technologies, and structured and clear typography. Designers need to think holistically about how to optimise each character and ensure that they are readable at all sizes and resolutions. The article emphasises the importance of testing sessions, such as checking character spacing, alignment issues and other elements that may affect the readability of text. For example, when type designers develop new typefaces, they create samples in a variety of formats and sizes and double-check that the space between each character is even and consistent. If they find any problems, they adjust and retest until they are satisfied with the results.

Figure 4.5 different