Typography - Task 2: Typographic Exploration & Communication
28/10/24 - 4/11/24 (Week 6 - Week 7)
SUN YUTONG (0377440)
Typography / Bachelor of Design (Honours) in Creative Media
Task 2: Text Formatting and Expression
1.LECTURES
WEEK 6:
LECTURE 7: Typo_6_Screen&Print
Mr Vinod introduced us to the different mediums of typography, which exists
on more than just a multitude of screens and is affected by many unknown and
fluctuating parameters such as the operating system, system fonts, the
device, and the screen itself.
Print type vs Screen type
Type of Printing: Good fonts for printing are - Caslon, Garamond, and
Baskerville are the most common fonts used in printing.
They are good to read when set to small fonts.
They are versatile, easy-to-digest fonts with neutrality and versatility and
are typographically simple.
Screen Types: Enhance readability and screen performance in a variety
of digital environments.
For smaller fonts is more open spacing, helping to improve character
recognition and overall readability in non-print environments.
Hyperactive Link/Hyperlink
We can click on a hyperlink to jump to another connection to a new document
or a new part of the current document. Hyperlinks can be found in each play
variety, allowing the user to click from there to a new page. The text link
colors are all blue and underlined.
Screen font size
On-screen 16-pixel text is the same size as text printed in a book or
magazine, taking into account reading distance.
System fonts for screen/web security fonts
Each device has its selection of pre-installed fonts, which largely depends
on its operating system. ‘Web’ safe programs appear on all operating
systems. They are an ensemble, overlapping from Windows to Mac to Google.
Pixel differences between devices
Each of our computers, tablets, mobile phones, and TV screens are not only
different in size but also in the proportion of text we see, having
different pixel sizes.
Static vs Dynamic
Static typography： Expresses the smallest features of a word,
traditional features that offer only a fraction of the potential of dynamic
properties.
From adverts to posters we have come across various forms of static
typography for a wide range of purposes.
Dynamic Typography: The medium of time offers the printer the
opportunity to dramatize type, to make it fluid and dynamic. Film titles
present typographic messages, often brought to life through animation.
Type is often superimposed on music videos and adverts, often moving to the
rhythm of the soundtrack.
2.INSTRUCTIONS
<iframe
src="https://drive.google.com/file/d/1xG1ArToHgbYJJ-WPYIUBhoi0cO4QI47G/preview"
width="640" height="480" allow="autoplay"></iframe>
Task 2：Text Formatting and Expression
Reference material
In Task 2 we need to choose a text for cross-page typography, I collected
some information on the Internet to learn and reference.
Fig.1.1 Reference material
Process Steps
I first used different AI tools to complete my headline design. I used the
straight-line tool to extend the different letters and added shadows to the
letters to make them more three-dimensional. When using fonts, I combined many
of the 10 fonts into the title.
Fig.1.2 Process Diagram (1)
Fig.1.2 Process Diagram (2)
This was a failed layout in my first version, Ms. Vitiyaa pointed out to me
that I can’t place the letters everywhere and also need to pay attention to
the golden ratio, so I reworked the layout further.
Fig.1.3 Failed layout
Here is the five module layout I created based on the sketch:
Fig.1.4 Module layout
Fig.1.5 5 layouts
Final Layout
BODY
Font/s: Bembo Std
Type Size/s: 10 pt
Leading: 12 pt
Paragraph spacing: 12 pt
Characters per-line: 55-60
Alignment: left justified
Margins: 10 mm top + left + right + bottom
Columns: 4
Gutter: 5 mm
Fig.1.6 Final layout
Fig.1.7 Final layout（PDF)
Fig.1.8 Final layout-Grids
UPDATED
Fig.1.9 Final layout 2
Fig.1. 10Final layout 2 (PDF)
Fig.1.11 Final layout-Grids 2
Fig.1.12 Final layout-Grids 2 (PDF)
Final Layout
BODY
Font/s: Bembo Std
Type Size/s: 10 pt
Leading: 12 pt
Paragraph spacing: 12 pt
Characters per-line: 55-60
Alignment: left justified
Margins: 10 mm top + left + right + bottom
Columns: 4
Gutter: 5 mm
3.FEEDBACK
WEEK 6
General feedback: This week, Ms. Vitiyaa asked us to print out our
layout text and gave us suggestions and instructions.
Specific feedback: Ms. Vitiyaa guided me to pay attention to my
golden ratio and explained whether to add annotations to pictures
uniformly or not, and helped me choose the best one.
WEEK 7
General feedback: This week, Ms. Vitiyaa asked us to print out our
title layout and corrected our assignments.
Specific feedback: Ms. Vitiyaa suggested that I need to pay
attention to the golden ratio. Some layouts need to be modified because
the whole picture is too full.
4.REFLECTIONS
Experience: In task 2, I further learned how to use AI and
Indesign, many different typeset methods while completing the assignment,
and how to type and use the golden ratio in my own pictures.
Observation: When we typeset, we need to understand the information
in the text before placing it. I will choose important words to put in the
middle to better express and convey the meaning of the entire text. When
studying other layout cases, I observed that they would use some lines to
guide the reader's sight.
Discovery: When placing the layout position, you can't put elements
everywhere, which will make the picture look too full. When processing the
text, you need to remember to avoid widows and orphans. I forgot to check
this problem when processing the text, and Ms. Vitiyaa pointed it out to
me.
5.FURTHER READING
I read this book about explaining how to implement layout design
systematically:
The author first introduces us to the fact that design is based on
structural systems: there are eight main variants of design that can
be combined in each system. Then, it describes the complexity of
typographic organization, where the need for elements to be
hierarchical, readable, and contrasting is crucial.
The authors introduce us to the analogy of shape grammars, where
layout systems are analogous to shape grammars in architecture, where
styles are constructed through rules to provide direction for final
design decisions. Throughout the book, the authors encourage us to
think beyond the traditional grid system. The authors aim to encourage
designers to explore the possibilities of going beyond the traditional
grid system to achieve creative layout design through diverse systems.
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