TYPOGRAPHY TASK1

Tuesday, September 26, 2023

 2023.09.26-2023.10.17/week 1-week 4

Jia Wenbing /0365436/

Bachelor of Typography/Creative Media Design

content:

1.Description 

2.Lecture 

     Lesson 1 - Typo_0: Introduction

     Lesson 2 - Typo_1: Development 

     Lesson 3 - Typo_3: Text_P1

     Lecture 4: Text (Part 2)

     Lecture 5 - Typo_2_Basic

3. Lectures:  face-to-face courses

4. Exercise

      Task 1: Exercise - Font Design

      Question 1: Exercise 2-Text Formatting

5. FEEDBACK

6.Reflection 

7. Further reading

illustrate

Module information manual

Lecture

 

Lesson 1 - Typo_0: Introduction

In the first class, Mr. Vinod introduced us to Typography, what it is, and how it is used.

• Typography is the act of creating letters; it is the creation of a typeface  or typeface family.

Layouts can be used in many ways:

• cartoon
• website design
• application design
• signage design
• Bottle labels, books and posters
• Flag type

From calligraphy to lettering to typesetting, printing has developed over 500 years. Mr. Vinod also introduced us to two terms of Typography:  Font  and  Typefaces.

Figure 1.1 Fonts, Week 1 (26/09/2023)

• A font  refers to  an individual font or weight within  a font. For example, Georgia Regular,  Georgia Italic , and  Georgia Bold.

Figure 1.2 Fonts , Week 1 (26/09/2023)

• A font is  an  entire family of typefaces or weights  that share  similar characteristics  or  styles , such as Helvetica, Times New Roman, etc.
  
  

Calligraphy ➜ Lettering ➜ Layout

(500 years)

Links given:  History of the First Alphabet ,  History of Types

Lesson 2 - Typo_1: Development         

In this lecture, Mr. Vinod explains the historical development and timeline of printing. He also taught us the importance of historical context.

1. Early alphabetic development: Phoenicians to Romans

Figure 1.3 Phoenician votive monument from the 4th century BC, Carthage, Tunisia , Week 1 (26/09/2023)

           

• Initial writing  :  scratching on wet clay with a sharp stick or carving on stone with a chisel.
•  Phoenician  :   Written from right to left.
•  Greeks  :  Alternately write from right to left and from left to right.(Boustropedon) The orientation of the font has also changed.

Figure 1.4 Boutropedon , Week 1 (26/09/2023)

Etruscan (then Roman)  :  Written from right to left, drawing the lettering before writing.The weight changes from vertical to horizontal, and the stroke becomes wider at the beginning and end.

Figure 1.5 Development of letter forms from Phoenician to Greek to Roman (left to right) , Week 1 (26/09/2023)

Development of format: 

Square capital letters (3rd-10th centuries AD)  : 

Roman writing version, with serifs added to complete its main strokes, with a reed pen in

Makes an angle of 60° to the vertical.

Figure 1.6 Square capital letters, 4th or 5th century , week 1 (26/09/2023)

 Rural capital (3rd-10th centuries AD)  : 

A compressed version of Square Capitals, with twice the number of words on a piece of parchment, faster

 It's harder to read when written. The angle of the brush is approximately 30°.

Figure 1.7 Rural capital, 3rd to mid-4th century , week 1 (26/09/2023)

 Uncials  :   Includes aspects of Roman cursive handwriting, specifically the shapes of A, D, E, H, M, U, and Q.Simply as lowercase letters are easier to read at small sizes than country uppercase letters.

Figure 1.8 Roman cursive writing, 4th century , week 1 (26/09/2023)

Half-Uncials  :  A further formalization of cursive, a formal beginning in lowercase letter form, filled with ascenders and descenders. 

Figure 1.10 Half-uncials, C. 500 , Week 1 (26/09/2023)

Charlemagne  :  The first unifier of Europe since Rome, decreed in 789 to standardize all church texts, entrusting Alcuin of York, Abbot of St. Martin of Tours. The monks rewrote text using capital letters (uppercase), lowercase letters (lowercase), capital letters, and punctuation marks,which set the standard for calligraphy for a century.

Figure 1.11 Little Caroline, C. 925 , Week 1 (26/09/2023)

Blackletter (Textura)  :  Popular in Northern Europe, in Southern Europe a rounder and more open hand is popularly known as "rotunda", an Italian humanistic font based on the lowercase letters of Alcuin.                                                                    

Figure 1.12 Blackletter (Textura), C.1300 , Week 1 (26/09/2023)

Gutenberg  :  Gutenberg integrated engineering and forged a chemical substance to accurately imitate the work of. Each letter shape required a different brass matrix or negative impression. 

Figure 1.13 Rotunda, C. 1400 , Week 1 (26/09/2023)

Development of letter forms

type  : 

- Developed in response to current technology, business needs and aesthetic trends.

Text type classification: 

 Black letters  : 

- The earliest type of printing, based on the hand-copied style of Nordic books. (e.g. Abbey Black

 /Gudivian)

 Old style  : 

- Based on the lower case forms used by Italian Humanists and the upper case letter forms found on the Roman alphabet

 Among the ruins, the form evolved over 200 years from its calligraphic origins. (eg Benbo/Caslon/Dante/Palladino)

italics  : 

- Echoes contemporary Italian handwriting, concise and compact, allowing for more words per page. soon cast to

 Added Roman font. All fonts are designed in italics.

script  : 

- Initially and attempted to replicate engraved calligraphic forms, not entirely suitable for lengthy text settings, but

 Widely accepted. These range from formal and traditional to casual and modern. (e.g. Kuhnstler Script/Mistral)

Tradition  : 

- Improvements in old forms, advances in casting and printing. There is a relationship between thickness and thickness

 The brackets are lighter. (e.g. Century/Era New Roman/Bulmer/Baskerville)

 modern  : 

- Represents a further rationalization of old style fonts. Serifs without brackets, contrasting thickness

 The strokes are extreme. Known as Scots-Roman, more similar to the transitional form. (e.g. Bell/Bodoni/

 Caledonia)

Square serif  : 

- The original thick bracket serif, with little change between thick and thin strokes, developed the needs of advertising

 Heavy duty commercial painting. (e.g. Clarendon/Memphis/Rockwell/Serifa)

Sans serif fonts  : 

- All elimination of serifs, first introduced by William Caslon IV in 1816 but not widespread until the

 20th Century. (eg Akzidenz/Grotesk/Gill Sans/Futura/Meta/Helvetica)

Serifs  : 

- Recent developments have expanded the concept of typeface families to include serif and sans-serif letters,

 Usually somewhere in between. (e.g. Rotis/Scala/Stone)

Figure 1.15 Development of letter forms , week 1 (26/09/2023)

Lesson 3 - Typo_3: Text_P1

Text/Tracking : Kerning and Letter Spacing

Kerning :  Automatically adjust the spacing between letters.

Tracking :  Adding and removing spaces from words or sentences.

Letterspacing :   Adding spaces between letters.

Figure 1.16 Kerning, Week 2 (3/10/2023)

Figure 1.17 Tracking Types , Week 2 (3/10/2023)

Loose or tight tracking will increase or decrease the recognizability of the word pattern, then

 Words cannot be easily read. The inverse form of spaces between words is important in typography.  designer

 Letter spaces are always uppercase, but not lowercase, because uppercase letters can stand on their own, but  lowercase letters need to

 An inverse form created between letters to maintain reading order.

Figure 1.19 Flush Left Alignment , Week 2 (3/10/2023)

Left-justified :   The format closest to the handwriting experience.

Flush left example

Centered :   The format imposes symmetry on the text, assigning equal value and weight to both ends of the line.

Figure 1.20 Center Alignment , Week 2 (3/10/2023)

Right alignment :  Emphasizes the end of the line rather than the beginning, useful in certain situations. (Example: subtitles)

Figure 1.21 Flush Right , Week 2 (3/10/2023)

Alignment :  Like centering, achieving a symmetrical shape of text by expanding or reducing the space between words and letters.

Figure 1.22 Proper Alignment , Week 2 (3/10/2023)

Text/Texture :   Different textures of these fonts are suitable for different messages.

Figure 1.23 Font Analysis , Week 2 (3/10/2023)

Figure 1.24 Differences in grayscale values ​​between different fonts , Week 2 (3/10/2023)

Figure 1.24 shows the difference between the contrast of grayscale values ​​displayed using different fonts. Contrast refers to the thickness of the strokes. Sharper contrast makes text easier to read.

Line spacing and line length

The purpose of setting the text type is for convenience and long reading.

Figure 1.24 Example of line spacing change , Week 2 (3/10/2023)

• The font size  should be large enough to be easily read at an arm's length.
• Leading  refers to the vertical space between lines of text.
• Line length  is the space between the left and right edges of text. An ideal rule of thumb is to keep line lengths around 55 to 66 characters. 

type sample book

Figure 1.25 Sample Type Sample Sheet , Week 2 (March 10, 2023)

The Font  Sample Book  contains font samples in different sizes to provide an accurate reference for typefaces, text size, font leading, font line length, and more.

Ingredient requirements

• The text should create a field that can fit on the page or screen.
• It is useful to enlarge the font on the screen to 400% to clearly see the relationship between the descending part on one line and the ascending part on the next line.

Lecture 4: Text (Part 2)

instruction paragraph

There are various options for indicating paragraphs:

Figure 1.26 Options for indicating paragraphs,  Week 3 (10/10/2023)

a) Pierclaw ( ¶)

• Used to indicate  paragraph spacing.

b) lead

• Used to  create leading between paragraphs  (leading and paragraph spacing share the same size to ensure cross-alignment between columns of text).

c) Standard indentation

• Shares   the same size as leading/same point size as text .
• Used for the purpose of saving space in newspapers.
• Best used  when the text is well aligned  to avoid uneven sides.

d) Extend paragraphs

• Creates unusually wide text columns.

widows and orphans

Figure 1.27 Widow and Orphan Example,  Week 3 (10/10/2023)

Designers must be very careful to avoid these two missteps in traditional typography;  the widow  and  the orphan.

widow

• Short lines or text are left alone at the end of the text column.
• This can be avoided by re-breaking the line endings of the entire paragraph.

orphan

• Short lines or text are left alone at the beginning of new columns.
• Make sure that no text columns begin with the last line of the previous paragraph to avoid this happening.

Highlight text

Different emphasis styles require different types of contrast when highlighting.

• italics
• Use the same family to add weight  and make it  bold
• Use  different types of families
• Use  different colors  to highlight (black, cyan, and magenta all work well)

Figure 1.28 Visual differences between two types of families,  Week 3 (10/10/2023)

When highlighting text from a  serif font  to  a sans-serif  font, reduce the highlighted text size  by 0.5 for  visual cohesion.

Figure 1.29 Maintaining Difference on Left Reading Axis,  Week 3 (10/10/2023)

Keeping the reading axis on the left (right side of Figure 1.29) ensures optimal readability when  using field color to highlight behind text.

  

Figure 1.30 Highlighting the difference between internal/external placement of text,  Week 3 (10/10/2023)

For some typographic elements, such as  bullet points , they need to be placed  outside the left margin of the column  to maintain a strong reading axis.

Figure 1.31 Prime numbers and quotation marks (top to bottom),  Week 3 (10/10/2023)

It's important to understand  the difference between apostrophes  and  quotation marks . Prime is used for inches and feet, while quotation marks are used for quotation marks.

title in text

Below are examples A, B, and C arranged by level of importance. We need to ensure that these headings clearly indicate to the reader the hierarchy of information.

Figure 1.32 Head A,  Week 3 (10/10/2023)

Headings  represent a clear separation between topics within a chapter. Their collection is larger compared to text.

• A bold and different kind of family
• Expand and align with body text
• Larger size in same type family
• Small capitals

Fig 1.33 B head,  Week 3 (10/10/2023)

B  head is subordinate to A heads. It indicates a new supporting argument or example of the topic at hand. Therefore  B  head should not interrupt the text as strongly as A head.

• Small capitals
• Italic
• Bold serif
• Bold san-serif

Fig 1.34 C head,   Week 3 (10/10/2023)

C  head highlights specific facets of material within B head text. They don't interrupt the flow of the reading compared to B head.

• Small capitals
• Italic
• Bold serif
• Bold san-serif

Fig 1.35 Hierarchy,  Week 3 (10/10/2023)

Cross Alignment

Figg 1.36 Cross Alignment,  Week 3 (10/10/2023)

Cross-aligning the headlines and captions strengthens the page's architectural sense and structure. This also creates the last lines of the paragraph from different columns to align together.

Lecture 5 - Typo_2_Basic

For week 5, Mr. Vinod introduced us to the basics of Typography. 

Describing letterforms

There are many  terminologies  that are related to typography over the time of development. Familiarizing with these terminologies makes it easier to identify the specific typefaces. 

Fig 1.37 Optical Adjustment, Week 04 (17/10/2023)

Baseline:  The imaginary line with the visual base of the letterforms.
Median:  The imaginary line defining the x-
height of letterforms  .

Fig 1.38 Stroke, Week 04 (17/10/2023)

Stroke : Lines that define the basic letterform.

Fig 1.39 Apex/ Vertex, Week 04 (17/10/2023)

Apex/ Vertex : The point created by joining two diagonal stems. Eg A, M, and V

Arm : Short stories extended from the stem of the letterform. Two types— horizontal (E, F, and L) , or  inclined upward (K and Y)

Ascender:  The portion of the stem of a lowercase letterform that exceeds the median (above baseline).

Barb : The half-serif finish on some curved stroke. Eg C, G, and S

Beak : The half-serif on horizontal arms. Eg E, T, and L

Bowl : The rounded form that describes a  counter.  The bowl can be opened or closed.

Bracket : The transition between the  serif  and the  stem.

Cross Bar : The horizontal  stroke  in a letterform that joins two stems along.

Cross Stroke : The  horizontal stroke  in a lowercase letterform that joins two stems along.

Crotch : The interior space where two strokes meet.

Descender : The portion of the stem of a lowercase letterform that is placed below the baseline.

Ear : The stroke extending out from the  main stem  or body of the letterform.

Em/en : The  width  of an uppercase letter  'M' .  Em-dash (—)  is the width of the letter 'M,' while  En-dash (-)  is half the size of an em.

Finial : The rounded non-serif terminal to a stroke.

Ligature : The character formed by the combination of two or more letterforms.

consider the glyphs of two ends of the letters to avoid the clash of two letters placed next to each other.

Stress : The orientation of the letterform indicated by the think stroke in rounded forms.

Termina l: The self-contained finish of a stroke without a serif. Terminals come in flat, flared, acute, grave, concave, convex, or rounded as a ball or a teardrop.

The font

It is important to utilize the full font and should know how to use it when working with type. It is good to choose a type family that includes a  wider range of typefaces  for a better outcome.

Fig 1.41 Uppercase, Lowercase, Small Capitals (top to bottom), Week 04 (17/10/2023)

Fig 1.42 Comparison of size between lowercase and small capital, Week 04 (17/10/2023)

Small Capitals

• Primarily found in serif fonts, its uppercase letterforms draw to the  x-height  of the typeface. This is for the purpose of  creating an even gray value  so that certain words written in capitals don't stick out from the paragraph.

• Sometimes when certain words are forced to be changed into a small capital when the type family does not have a specific typeface for small capitals, it is suggested to not  do it  as there will be a change in the weight of the strokes.

Fig 1.43 Uppercase and Lowercase numerals, Week 04 (17/10/2023)

Uppercase Numerals

• These numerals share the same height as uppercase letters and are set to the same kerning width. Known as  lining figures. 
• Best used with tabular materials.

Lowercase Numerals

• Set to the x-height with ascenders and descenders. 
• Also known as  old-style figures  or  text figures , best used with upper and lowercase letterforms.

Fig 1.45  Italic  and Roman, Week 04 (17/10/2023)

Italics

• Its forms refer back to 15th-century Italian cursive handwriting.
• Oblique  is typically based on the Roman form of the typeface.

Fig 1.46 Punctuation, miscellaneous characters, Week 04 (17/10/2023)

Describing Typefaces

Fig 1.47 Variations of typefaces, Week 04 (17/10/2023)

Roman : The uppercase forms are derived from the inscriptions of Roman monuments. A slightly lighter stroke in Roman is known as 'Book'.

Boldface : A thicker stroke compared to the Roman form. Also called semibold, medium, black, extra bold, or super depending on the width within the typeface. 

Light : A lighter stroke compared to the Roman form. Lighter strokes are called 'thin'.

Condensed : Condensed width form of the Roman form. Extremely condensed styles are sometimes called 'compressed'.

Extended : An extended variation of a Roman font.

Comparing Typefaces

Fig 1.48 Range of attitudes of 'R', Week 04 (17/10/2023)

As designers, we need to keep in mind to pick an appropriate type family that respects and correlates with the meaning that we are trying to convey. A good typeface presents the message of the writer. 

Lecture:  Face-to-Face Classes

Week 1:

We were briefed by Ms. Hsin and Mr. Vinod about creating our E-portfolio in which they provided us with the E-portfolio Briefing Link via Teams. Mr. Vinod also clarified about what the contents of our E-portfolio should be and heavily emphasized on rules regarding our module. We spent around half our slotted class time making sure everyone uploaded their E-portfolio links in the Google Sheet provided then only, we got to continue with the start of our Task 1 exercises.

Ms. Hsin put up a poll with the words we suggested and in the end, we had to choose four out of six words that were voted: Float, Crush, Dive, Spring, Chaos, Bounce.

Week 2:
Some of us got feedback on our E-portfolios and were told to talk note of each feedback given even if it wasn't your E-portfolio being reviewed. The rest of the class session was individual feedback on our sketches/digitisation .

Week 3:
We were instructed to finalise our digitisations so that we could move on into animation our chosen word.

Week 4:
End of Task 1: Type Expression, Start of Task 1: Text Formatting. We were briefed on how to upload our FOUR final files for Text Formatting. One JPEG without guidelines, one JPEG with guidelines; one PDF without guidelines, one PDF with guidelines.

Week 5:

To make three page layouts, you need to design the title font typesetting in Illustration, then arrange the pages in Indesgin, and then export PDF files and pictures.

EXERCISE

Task1:Exercise-Fonts design

Sketches
We had to choose four out of six words that were voted: Float, Crush, Dive, Spring, Chaos, Bounce.

          

  Fig 2.1 Type Expression Sketch, Week 1 (26/09/2023)

DESIGN IDEAS:

      Spring gives me the feeling that there will be some branches, leaves and trees, including some flowers, so I looked for font designs about leaves or plants as a reference. I used simple glyphs to change the feeling of the entire font, and designed a font design about leaves, vines and Branches and leaves, including wood font design.

     The word "bounce" gives me a cute, energetic, fluffy and bouncing feeling. It reminds me of cute balloons, including some small illustrations of small desserts, fluffy clouds in the sky, lively running or dancing, etc. fonts, so I designed cute and round fonts, white cloud-like fonts, including fun bouncing fonts, to express the feeling that the word bouncing brings to me.

     The word "float" reminds me of being as light as the wind or floating on the water, floating in the wind like a ribbon, and feeling like traveling in a dream. So I designed the font to be elegant and light.

     The word Crush originally means to crush, smash or break, so it reminds me of some fragmented fonts, including squeezed and crowded font designs. Nowadays, people use crush to express the people they like or are obsessed with, so I also designed a font with sweet love.

Digital Fonts
We need to digitize the draft words we made last week using the prescribed ten fonts and simplify our desi

Fig 2.2 Digitized Sketches, Week 2 (3/102023)

DESIGN IDEAS:

     This time for digitizing the font, I followed my previous ideas and added the design of the font to make it more orderly, concise and vivid. Spring added leaves to give the vitality of spring trees, and the bounce o letter looks like a flower. , the design of float and streamers is more light and elegant, and crush uses the fragment effect to show the crushing feeling.

Animation Fonts

    We need to turn the digital fonts we designed into simple animation forms, and at the same time simplify the fonts

Fig 2.3 Animated Type Expression of Illusion, Week 4 (17/10/2023)

Task1:Exercise2-Text Foematting

We need to use text to format text and titles, making it easy to read the entire page.

Fig 2.4 Typesetting Type Expression of Illusion, Week 5 (24/10/2023)

Fig 2.5.1 Typesetting Type Expression of Illusion ( without grid visible ) , Week 5 (24/10/2023)

Fig 2.5.1 Typesetting Type Expression of Illusion ( with grid visible ) , Week 5 (24/10/2023)

Fig 2.5.2 Typesetting Type Expression of Illusion ( without grid visible ) , Week 5 (24/10/2023)

Fig 2.5.2 Typesetting Type Expression of Illusion ( with grid visible ) , Week 5 (24/10/2023)

        

Fig 2.5.2 Typesetting Type Expression of Illusion PDF ( with grid visible ) , Week 5 (24/10/2023)

         

                                  Fig 2.5.2 Typesetting Type Expression of Illusion PDF ( without grid visible ), Week 5 (24/10/2023)

HEAD

• Font/s: Univers LT Std,75Black; 55 Roman

• Type Size/s: 80pt;30pt

• Leading: 50pt;72pt

BODY

• Font/s:  Univers LT Std, 55 Roman

• Type Size/s: 9pt

• Leading: 11pt

• Paragraph spacing: 22pt

• Characters per-line: Below 65 characters

• Alignment: Justified Left

Margins: 12.7 mm top+12.7 mm left + 12.7 mm right + 50 mm bottom
Columns: 3
Gutter: 5 mm

FEEDBACK

WEEK2-FEEDBACK :

      Ms.Hsin said that my creativty is very good. I have created the feeling of the font. There is no need to redesign it.I just need to sightly modify it with the font. I think it's a very interesting design to use fonts to amplify my design ideas.

WEEK3-FEEDBACK :

      Ms. Xin commented on my homework. It is enough for the spring to have the image of a branch. There is no need to add more leaves. The font still needs to be concise enough. The bounce letter o can gradually shrink like a smoke or a balloon, float can change the spacing between letters, giving the overall font an elegant feel. crush has a very good overall broken feeling.

WEEK4-FEEDBACK :

      Text should be animated on the same horizontal line. Small animations need to be smoother and more fluid, and more layers and motion trajectories need to be added.

WEEK5-FEEDBACK :

Ms. Xin said that I can adjust my paragraph spacing. Although the theoretical knowledge paragraph spacing should be twice the distance, in fact, for the convenience of reading and the beauty of the layout page, I need to reduce my paragraph spacing.

REFIECTION

Learning typography design has made my professional knowledge more solid. The design of fonts makes my page design more interesting, and the design of page layout allows me to understand how to make reading easier to read and interesting, instead of looking at boring text. At the same time, the page layout can make the text beautiful and orderly. To attract people's interest in reading more, this is the meaning of our learning about layout design.

FURTHER READING

A Type Primer By John Kane

Figure 3.0 A Type Primer 

• Typography employs a number of technical terms. 
• It is a good idea to familiarize yourself with this lexicon. 
• Knowing a letterform's component parts makes it much easier to identify specific typefaces.

Figure 3.1 Types of Letterforms

Figure 3.2 Types of Letterforms

Figure 3.3 Types of Letterforms

The Font

the full font of a typeface contains more than 26 letters, 10 numerals and a few punctuation  marks.

Uppercase

• Capital letters
• accented vowels
• the c cecillia
• the ntilde
• the a/e
• o/e ligatures

Figure 3.4 Upper case

Lower Case

• Lowercase Letters 
• f/i
• f/l
• f/f
• f/f/l ligatures
• the 'esset'

Figure 3.5 Lower Case

Small Capitals

• Uppercase letterforms, drawn to the x-height of the typeface
• Small caps primarily found in serif fonts

Figure 3.6 Small Capitals

Uppercase Numerals

• These numerals are the same height as uppercase letters and are all set to the same kerning width

Figure 3.7 Uppercase Numerals

 Lowercase numerals

• Also called old-style figures or text figures
• these numerals are set to x-height with ascenders and descenders

Figure 3.8 Lowercase Numerals

 Italic

• Most fonts today are produced with a matching italic 
• Small caps however are almost always only roman

Figure  3.9  Italic

Punctuation, miscellaneous characters

• Although all fonts contain standard punctuation marks, miscellaneous characters can change from type-face to typeface

Figure 3.10  Punctuation, miscellaneous characters

Dingbats

• Various symbols and ornaments that intended for use with type are call dingbats
• Most dingbats are sold as fonts on their own rather than combined with any specific font

Figure 3.11 Logo

Description font

• Once you can identify the parts of a letter form, you can apply what you know to identify different fonts. 
• However, in addition to the unique gestures of fonts, there are some styling applications that you should recognize.

Figure 3.12 Logo