TYPOGRAPHY - TASK 2: TEXT FORMATTING & EXPRESSION
28.10.24 - 17.11.24 (Week 6 - Week 8)
Michelle (0373843)
Typography / Bachelor of Design (Honours) in Creative Media / Taylor's University
Task 2: Text Formatting & Expression
Michelle (0373843)
Typography / Bachelor of Design (Honours) in Creative Media / Taylor's University
Task 2: Text Formatting & Expression
TABLE OF CONTENTS
1.1 Week 5
1.2 Week 6
3.1. Research
3.2. Ideation
3.3. Final Outcome
1. LECTURES
Week 5: Understanding
Symmetry vs. Asymmetry in Letter Forms
The uppercase letter forms may appear symmetrical, but a closer inspection
reveals asymmetrical characteristics. For example, the Baskerville
typeface shows different stroke weights, indicating that design is more
complex than it seems.
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| Figure 1.1.1 Baskerville uppercase letterform |
Individual Stroke Treatment
Each stroke in a typeface is treated with care to maintain harmony while
allowing for unique expression. The designer's choices in stroke weight
can create an illusion of symmetry, which is crucial for aesthetic
appeal.
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| Figure 1.1.2 Helvetica vs Univers letterform |
Maintaining Height
Curved strokes might rise above median or sink below the baseline in
order to appear as the same size.
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| Figure 1.1.3 Maintaining height |
Counterform Sensitivity
Understanding the space outside the letter forms, known as counterform, is
essential for readability. The balance between form and counterform
significantly impacts how text is perceived.
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Design Principles and Contrast
Variations in weight and style can create visual interest and help
differentiate information.
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| Figure 1.1.5 Contrast Examples |
Practical Applications
When designing typefaces, it's crucial to analyze existing fonts to
understand how different strokes and forms interact. This analysis aids in
creating unique yet harmonious letter forms.
Week 6: Screen & Print
Print vs. Screen Mediums
- Despite predictions of print's decline with the rise of digital media, print remains relevant due to its tactile nature. People still value physical books and printed materials.
- The experience of reading from print versus screens varies, with some individuals preferring the physical feel of books.
Impact of Technology on Typography
- The advent of technology has democratized typography, allowing less skilled individuals to typeset, which can affect the quality of design.
- Typography now exists across various screens, subject to different parameters like operating systems and device types, making it more dynamic and variable.
Design Considerations for Print and Screen
- Good typefaces for print include classic serif fonts like Caslon and Baskerville, known for their readability.
- Screen typefaces are often optimized for clarity and readability, with characteristics like wider letterforms and reduced stroke contrast.
Hyperlinks and Digital Navigation
Hyperlinks are essential in digital typography, allowing users to
navigate documents easily. They are typically blue and underlined,
changing to a hand icon on hover.
Font Size and Readability
The recommended font size for screens is typically around 16 pixels,
which corresponds to about 10 points in print. This ensures readability
at standard viewing distances.
Dynamic vs. Static Typography
- Static typography can still convey dynamic messages through design, while motion typography adds an expressive element, often used in film and advertisements.
- Kinetic typography, which animates text, enhances viewer engagement and can evoke emotions.
2. INSTRUCTIONS
3. PROCESS WORK
Research
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| Figure 3.1.1 References (Source: Pinterest) |
To find inspirations, I browse on pinterest for various kinds
of text formatting in general to have a clearer vision on what I
should do. Then I look through a bunch of them and select the ones
that I thought could work for the text I choose (A Code to Build on
and Live by). I also find out more about types of codes, and how they
look like.
Ideation After I have attained enough depiction on what to do, I start to design my text in Adobe Illustrator. I did the layouts directly without sketches because my ideas require me to play around not only with the title, but with the body text also. With sketches, I can only predict the space needed for the body text, while by doing digitally I can have a more certain picture on how it looks like.
Ideas originally
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| Figure 3.2.1 Layout 1 (2D code) |
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Figure 3.2.2 Layout 2 (Coding) |
My second layout is also focused on the word code. For this, I had an idea of
layouting the body texts as the code itself. I use black for the background to
resemble coding.
Figure 3.2.3 Layout 3 (Stairs)
My third layout have the word "build" as the focus. The word "build" is
usually linked to progression/improvement, which is why I placed the word
build in a progressing direction. I created 2 versions, because with a slight
difference in how I designed the word "build". I also arranged the body text 2
ways. The one on the left is read from bottom to top, while the right is read
top to bottom.
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| Figure 3.2.4 Layout 4 (Blocks) |
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Figure 3.2.5 (QR Codes) |
Figure 3.2.6 Layout 6 (Stacks)
My last layout is back to the word "build". I tried to find alternatives in
designing the word by stacking the letters.
Selected Layouts & Adjustments
On week 7 at class, we had a chance to consult on our designs to Sir Max. He
picked my first four designs.
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| Figure 3.2.7 Layout 1 after adjustments (JPEG) |
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Figure 3.2.8 Layout 1 after adjustments with grids (JPEG) |
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| Figure 3.2.10 Layout 1 after adjustments (PDF) |
| Figure 3.2.11 Layout 1 after adjustments with grids (PDF) |
Headline
Typeface: Janson Text LT Std
Font/s: Janson Text LT Std 75 Bold
Type Size: 48 pt
Body
Typeface: Janson Text LT Std
Font/s: Janson Text LT Std 55 Roman
Type Size/s: 12 pt
Leading: 14 pt
Alignment: left justified
Hyphenate: on
Page Format
Margins: 10 mm top + bottom + right + left
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Figure 3.2.12 Layout 2 after adjustments (JPEG) |
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Figure 3.2.13 Layout 2 after adjustments with grids (JPEG) |
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Figure 3.2.14 Layout 2 blocking |
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Figure 3.2.15 Layout 2 after adjustments (PDF) |
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Figure 3.2.16 Layout 2 after adjustments with grids (PDF) |
Headline
Typeface: Bodoni Std
Font/s: Bodoni Std Bold Condensed
Type Size: 72 pt
Body
Typeface: Bodoni Std
Font/s: Bodoni Std Book
Type Size/s: 12 pt
Leading: 14 pt
Alignment: left justified
Hyphenate: on
Page Format
Margins: 10 mm top + bottom, 6 mm right + left
Column: 2
Column: 2
Gutter: 2 mm
Figure 3.2.17 Layout 3 options
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Figure 3.2.18 Layout 3 after adjustments (JPEG) |
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Figure 3.2.19 Layout 3 after adjustments with grids (JPEG) |
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Figure 3.2.21 Layout 3 after adjustments (PDF) |
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Figure 3.2.22 Layout 3 after adjustments with grids (PDF) |
Headline
Typeface: Bodoni Std
Font/s: Bodoni Std Bold
Type Size: 55 pt
Body
Typeface: Bodoni Std
Font/s: Bodoni Std Book
Type Size/s: 12 pt
Leading: 14 pt
Alignment: left justified
Hyphenate: on
Page Format
Margins: 5 mm top + bottom, 10 mm right + left
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Figure 3.2.26 Layout 4 after adjustments (PDF) |
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Figure 3.2.27 Layout 4 after adjustments with grids (PDF) |
Headline
Typeface: Bodoni Std
Font/s: Bodoni Std Bold Condensed
Type Size: 100 pt
Body
Typeface: Bodoni Std
Font/s: Bodoni Std Book
Type Size/s: 12 pt
Leading: 14 pt
Alignment: left justified
Hyphenate: on
Page Format
Margins: 10 mm top + bottom, 5 right + left
Final Outcome
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| Figure 3.3.1 Final type formatting layout (JPEG), Week 7 (11/11/24) |
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Figure 3.3.2 Final type formatting layout with grids (JPEG),
Week 7 (11/11/24) |
| Figure 3.3.3 Final type formatting layout (PDF), Week 7 (11/11/24) |
Figure 3.3.4 Final type formatting layout with grids (PDF), Week 7
(11/11/24)
Headline
Typeface: Janson Text LT Std
Font/s: Janson Text LT Std 75 Bold
Type Size: 48 pt
Body
Typeface: Janson Text LT Std
Font/s: Janson Text LT Std 55 Roman
Type Size/s: 12 pt
Leading: 14 pt
Alignment: left justified
Hyphenate: on
Page Format
Margins: 10 mm top + bottom + right +
left
Headline
Typeface: Janson Text LT Std
Font/s: Janson Text LT Std 75 Bold
Type Size: 48 pt
Body
Typeface: Janson Text LT Std
Font/s: Janson Text LT Std 55 Roman
Type Size/s: 12 pt
Leading: 14 pt
Alignment: left justified
Hyphenate: on
Page Format
Margins: 10 mm top + bottom + right +
left
4. FEEDBACK
Week 6
General Feedback: Instructions for task 2, consultation on task 1
text formatting, sketching & digitizing ideas for task 2.
Specific Feedback: Mr. Max recommended me to balance the image
spacing to the title with the image spacing to the text (task 1 - text
formatting).
Week 7
General Feedback: Short brief on task 3, digitize sketches for
task 2, layouts revision and finalization.
Specific Feedback: Mr Max reviewed my editorial text layout, his
feedbacks:
- Layout 1 (2D code)
- Format the "a" to look the same as "to build on and live by".
- Reduce the look of 5 text boxes into 4.
- Consider text hierarchy in laying out the "code" letters.
- Layout 2 (coding)
- Layout 3 (stairs)
- Change the orientation of the word "build" so it suits the direction of how viewer's read better.
- Layout 4 (blocks)
- Focus the design on the word "build" and simplify the design of the other words so its not too busy.
- Layout 5 (QR code) - not picked
- The aesthetic is good, however it's a bit more abstract and doesn't portray code as well as the first layout.
- Layout 6 (stacks) - not picked
Week 8
General Feedback: No classes (independent week)
Specific Feedback: Mr. Max choose one of our layouts to be
our final.
5. REFLECTIONS
Experience
It is so much fun to explore ideas in order to communicate and strengthen a
message in a text through our design while still following a few of the core
rules in text formatting. In task 2, I got even more used to the tools in
both Illustrator and In Design. I got to recall all the
knowledge and insights gained from task 1 about type expression and text
formatting to execute task 2. Though task 2 is much shorter compared to task
1, the experience and skills gained is no less than task 1.
Observations
From looking at my colleagues works, my imagination widened a lot. Although
we all were given the same text, all of us came up with so many different
styles and designs. Some focuses on the shape of the title, some played more
with the shades of grey, some added shapes, etc. The options are limitless!
By having classmates and through working and sharing with them, really
improves my view on design and creativity. Sometimes it does creates a
little insecurity in me which motivates me to keep learning and growing.
Findings
Sometimes it could be hard to balance the creativity in designing a text
within the limits of rules in text formatting. We might need to sacrifice a
few of the rules to adapt with our vision and reason behind a design.
6. FURTHER READING
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| Figure 6.1 Vignelli Canon on Design |
Part One - The Intangibles - Responsibility
In graphic design, responsibility is crucial, particularly when it comes to
economic awareness and finding the most appropriate solution to a problem.
Too often, designs are created lavishly to satisfy egos rather than
addressing the actual needs of the project. Designers must consider all
aspects of the problem and use an economically appropriate approach.
Responsibility in design involves three levels:
- To ourselves: maintaining the integrity of the project.
- To the client: offering an economically efficient solution.
- To the public: ensuring the final design serves the user effectively.
A responsible design should resolve the problem without compromise and
stand on its own, showcasing the success of the process without the need
for explanations or apologies.
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