Typography - Task 01 : Exercise 1 & 2

25/09/2023 - 23/10/2023 (Week01 - Week 05)
CHIN TZE WEI / 0357423
Typography / Bachelor (Honours) in Creative Media
Task 01 : Exercise 1 & 2

LIST

TABLE OF CONTENT

2. Instructions
2.1 Task 01: Exercise 01 - Type Expression
2.1.1 Sketches

2.1.2 Digitisation
2.1.3 Animation
2.2 Task 01: Exercise 02 - Text Formating

2.2.2 Layout exercise
3. Feedback
3.1 Task 01: Exercise 01 - Type Expression
3.2 Task 01: Exercise 02 - Text-Formating
4. Reflections

4.1 Experience

4.2 Observation

4.3 Findings
5. Further Reading

1. LECTURES

PRE-RECORDED LECTURE NOTE LISTS

Lecture 01: Typo_0_Introduction
Lecture 02: Typo_0_Eportfolio Breifing
Lecture 03: Typo_0_Eportfolio Jumplink
Lecture 04: Typo_1_Development
Lecture 05: Typo_3_Text_P1
Lecture 06: Typo_4_Text_P2
Lecture 07: Typo_2_Basic
Lecture 08: Typo_5_Understanding
Lecture 09: Typo_6_Screen&Print
Lecture 10: Typo_Task 3A_Typeface Construction (Shapes)

Lecture 01: Typo_0_Introduction

Figure 1.0: Thumbnail of the lecture video Typo_0_Introduction

In this lecture, Mr Vinod introduced us What is Typography.

When we deal with textual information, we don't necessarily see text in a visual way, and this module tries to teach us how to do this with text.
Through this module, student can develop a sense to Typography and a way of expressing but also realize that it is a visual phenomenon.

So, WHAT IS TYPOGRAPHY ? WHY ARE WE NEED TO LEARN THIS ?

Typography is the act of creating letters.
The creations of typefaces or type families.
Typography also animation, it can come in animation(animated) forms.
For examples, The begining of movie tittles or GIF animations.
Typography also visible and prevalent in website design.
* [Good sense of typography = Good sense of web design]
App design also need typography.
Signage (Navigating) design also required typography.
Books, poster also need typography.

"Everything that you leaned in this module is applicable in all other module you're learning." --Mr Vinod

Typography is also sometimes in logo types. Creating logo type is also and art, is not just typing out letters you can notice.

Logo type : A trademark or a mark that consists of letters.

Figure 1.1 Logo type's typography

Tips to learned TYPOGRAPHY :

1. Practice

2. Observation

3. Seniors

4. Reading

Typography has envolved over 500 years : Calligraphy>Lettering>Typography

Calligraphy : Refers to the wrtting styles (WRITE)

Lettering : Draw the letter out. Drawing the circumference of the letter, hand letter deadlines or hand letter signature.

Terminologies : Things that we refer to that may not be normal speak for normal people.

Conventions and unwritten rules : Rule that are not necessarily written but they are important rules.

Typography is an art and good typography is art and there lies a problem. It is difficult to teach art but it is easy to teach processes that are necessary to creating good art.
*Not able to teach you to create art, but able to teach the process that develop good art.

To understand what is good or bad or suitable in Typography takes time, try and errors. Get used to getting feedbacks, get used to taking criticisms, don't get overly frustrated, be determined, be persistent, and LEARN!!!

Calligraphy, the art of beutiful handwritting.

Figure 1.2 Black Letter Calligraphy

Informal calligraphy, a loose category of fonts capturing the fluidity and imperfections of handwriting.

Figure 1.3 Penmanship that use Informal calligraphy

Typography is the art and practice of arranging text and typefaces to enhance both the visual appeal and readability of written content in various forms of communication and design.

Figure 1.4 Meaning of Typography on website

Composition laying out information, presenting information, the expression of information, textual information is an constitute typography.

Link for more information :

Type history

History of the alphabet : First Alphabet

Differences between FONTS and TYPEFACE :

Fonts

Comes from French word "Found" which refers to the term founding which is a place that cast basically metal.
Refers to the individual font or weight within the typeface.
(ex) Georgia Regular, Gergia Italic and Georgia Bold.

Typeface

Refers to the entire family of fonts/weights that share similar characteristics/style.
(ex) Georgia, Arial, Times New Roman, Didot and Futura.

Figure 1.5 Both left and right side is fonts

Figure 1.6 Examples of typeface

Areas that we will cover in this semester :

1. Type creation

2. Type expression

3. Type arrangement

Lecture 02: Typo_0_Eportfolio Briefing

Figure 1.7 Thumbnail of the lecture video Typo_0_Eportfolio Briefing

During this lecture, Mr Vinod introduced us about an E-portfolio.

E-portfolio : A online document that documents all the work done in this module.

In BDCM program, we use blogger which is blog engine to document, to create our e-portfolio. We do not use any other blogging blog engine like wordpress and whatnote, simply because we want to maintain consistency across the board. So, if you're thinking of starting a blog or creating a blog on some other engine, please do not do that, and just use blogger.

First of all, the first thing to do is to sign-up a new Gmail account, that is specifically created just only for studies at taylor. In my case, this is my Gmail account for studies : tzewei1029@gmail.com . After sign in, we will need to fill up some basic information. For the Tittle of our blog, we would need to write our full name, no initial but in FULL NAME and followed by our student ID number in bracket. In my case, I should write CHIN TZE WEI (0357423). Next, it comes to the description, in this session, we need to write our program name. In my case, I should write Bachelor of Design (Honors) in Creative Media. Under the privacy session, we just need to leave it as default is. Now, when it comes to the blog address, we may need to have our first name so in my case, I need to start my blog with : tzewei followed by any descriptor and then followed by blogspot.com. Thus, my blog address become : tzewei29.blogspot.com

Figure 1.8 This is what your e-portfolio should look like

We should have these include at the begining:

Starting date followed by the week
Name, Student ID number
Programe name
Module name
Task (Task 01, Task 02...)
* Each task is probably labeled as exerises and some and it has probably has a name, so we need to make sure that is written down there.
Lecture (asked to view or we have subjected to write a summary)
Instructions (Embed our Module Information Booklet into our blog)
* Responding to the instructions, we will start our first task, Task 01-Exercise 01: Type Expression, and we should key out all the document whatever we have done for that particular exercise.
Feedback (Document whatever feedbacks that is given to you verbally in this particular session)
Reflection (Divided into Experience, Observation and Findings)
* Please ensure that reflections is at least a paragraph up to about five lines
* Reflections can be accumulated over all the weeks and then placed under experience, observations and findings.
Further reading (whatever books or online books or online sites that we have visited and read)
* make sure that if it is a site then we need to screenshot the site, if it is a book we need to make sure that the cover is shown, the name of the tittle of the book or the site whatever we have visited followed by a summary.
* Strongly encourage us to visit school library portal and read books ad opposed to just visiting sites.

On the Introduction's session, it should include:

Explain briefly what we have been asked to do and how we went about it (assignment progress)

Whenever upload any image picture sketch that we have photographed using your phone, do it capturing the image in the sun (there should be clear light). The image of our sketch must not have a shadow, it MUST be CLEAN and CLEAR.
Image that upload is recomend to be extra large or large, so that it can be easy to seen clearly.
All image should have captions by labelling "Figure x.x" followed by what this is.

On the Feedback's session, it should include:

Write out all the feedbacks that receive from our lecture and briefly mark out which week did those feedbacks were received. For example,

Week 01
Specific Feedback: xxxxxx.....etc
Genereal Feedback: xxxxxx......etc

Week 02
Specific Feedback: xxxxxx......etc
General Feedback: xxxxxx......etc

On the Reflection's session, it should be include:

Sample of how to write this session

Sample ePortfolio for “Design” subjects

The very important part of this is, the moment we begin the first post for Typography module make sure under labels, we label it as "Typography"

This is important because, when you do create this e-portfolio, you will to navigate your e-portfolio, it is very important to have labels for our different modules. We should laber our post according to the different module names.

Adivise from Mr Vinod when actually typing out the information:

Suppossing we are copy pasting something fromsome other websites, be careful not to paste it directly into our blogger because it tends to copy the rich text formatting. If we do that, we will have a very chaotic looking e-portfolio.

Ways to overcome this problem:
Just go to notepad and use plain text formattaing paste the information here and then repaste it into our blog.

As a reminder, please use the default theme. until we get comfortable with it then we can make some minor changes to it later on, we can customize it a little bit. But, be aware that try not to do any major customization to it because several times there had students changing the typeface and the color and then becomes really ugly or very difficult to read or view. So, as much as possible, at the begining just maintain the default theme and setting, and use it as per what it has been designed as and then later on make some minor changes and once we become more confident then we can make further changes. It maybe not in this semester perhaps in the next semester.

Lecture 03: Typo_0_Eportfolio Jumplink

Figure 1.9 Thumbnail of the lecture video Typo_0_Eportfolio Jumplink

In this video, it teach us how to make a jumplink inside our e-portfolio's blogs.

Jumplink: Sometimes known as anchor link, is a link that can direct user to a specific section of a post.

Steps to start a jumplink:

Prepare a blog
Add the html code
- HTML code : <span id="LIST"></span>
- Put on a specific part where you want to jump to
Copy permalink/link
Add the permalink + #
- (ex) https://tzewei29.blogspot.com/2023/09/typography-task-01-exercise-1-2.html#LECTURE

Lecture 04: Typo_1_Development

Figure 1.10 Thumbnail of the lecture video Typo_1_Development

On this lecture, Mr Vinod will be talking about the development of typography over a period of 500 years. It is important to research the content of our own community, nation or civilization

.

1. Early letterform development: Phoenician to Roman

In the early days, writting meant scratching into wet clay using a sharpened stick or carving into a stone using a chisel.

For almost two millennia, uppercase letterforms were the sole style of letterforms in use. These uppercase letterforms developed based on the available tools and materials, primarily composed of straight lines and segments of circles.

Figure 1.11 Phoenicians votive stele Carthage

Figure 1.12 Evolution from Phoenician letter

Writing directions

Modern Latin and Early Arabic evolved from the Phoenician letters in different ways.

Phoenicians write from right to left;

Greek writes in a style called boustrophedon (how the ox ploughs), which meant that the lines of text read and write alternately from right to left and left to right.

Both Phoenicians and Greeks have the similarity of not using letter space or punctuation.

Figure 1.13 Greeks writing style "boustrophedon"

Etruscan (and then Roman) painted letterforms onto the marble before carving, which influenced their stroke qualities, thus a change in the weight of strokes from vertical to horizontal happened.

Figure 1.14 Change in way from vertical to horizontal a broadening of the stroke at the start and finnish

Figure below shows the early letterform "A" development from Phoenician to Roman.

Figure 1.15 Evolution of letterform "A" from Phoenician to Roman

2. Hand script from 3rd - 10th century C.E.

Square Capitals can be found can be found in Roman monuments. They have selves added to the finnish off the main strokes which was achieved by the reed pen held at an angle of approximately 60 degree off the perpendicular.

Figure 1.16 4th or 5th century: Square Capitals

Rustic Capital are a compressed version of square capitals. These letterforms are easier and faster to write, but slightly difficult to read.

Figure 1.17 3rd to 4th century: Rustic Capitals

Cursive writing styles emerged as a practical choice for everyday use, thanks to their efficiency and swiftness, in contrast to Square Capitals and Rustic Capitals, which are usually reserved for significant documents and involve a more time-consuming process.

Figure 1.18 4th century: Roman Cursive

Uncials incorporated certain elements from the Roman cursive script, notably in the design of letters such as A, D, E, H, M, U, and Q. Uncials are lowercase letters, and their wider shapes make them more legible when used in smaller sizes compared to Rustic Capitals.

Figure 1.19 4th to 5th century: Unicials

Half-unicials marks the formal begining of lowercase letterforms, replete with ascenders and descenders, 2000 years after the origin of the Phoenician alphabet.

Figure 1.20 C.500: Half-Unicials

Charlemagne, who played a pivotal role in unifying Europe for the first time since the Roman era, mandated an edict in 789 to establish a uniform format for all religious texts. He assigned this significant responsibility to Alcuin of York, who served as the Abbot of St. Martin of Tours. The monks diligently re-copied the text, incorporating both uppercase majuscules and lowercase minuscules, as well as introducing capitalization and punctuation, ultimately setting the calligraphy standard for a century.

Figure 1.21 C.925: Caloline miniscule

3. Blackletter to Gutenberg's type

With the dissolution of Charlemagne’s empire came regional variations upon Alcuin’s script. In northern Europe, a condensed strongly vertical letterform know as Blackletter or textura gained popularity. In the south, a rounder more open hand gained popularity, called ‘rotunda’. The humanistic script in Italy is based on Alcuin’s minuscule.

Blackletter
Textura is a condensed and strongly vertical letterform, popular in nothern Europe.

Rotunda is a rounder and more open-handed letterform, popular in southern Europe.

Figure 1.22 C.1300: Blackletter (Textura)

Guntenberg marshalled them all to build pages that accurately mimicked the work of the scribe's hand (Blackletter of northern Europe). He invented the movable type, the technology of printing and typography, to produce his Bible widely in a highly productive way.

Figure 1.23&1.24 C.1455: 42 line bible, Johann Gutenberg, Mainz

4. Timeline - Development of typefaces

Figure 1.25 Development of typefaces

Figure 1.26 Development of typefaces

5. Text type classification

Typeforms have developed in response to prevailing technology, commercial needs, and esthetic trends. Certain models have endured well past the cultures that spawned them.

1450 Blackletter
The earliest printing type, its forms were based upon the hand-copying styles that were then used for books in northern Europe.

Examples: Cloister Black• Goudy Text

Figure 1.27 1450 Blackletter

1475 Oldstyle

Based upon the lowercase forms used by Italian humanist scholars for book copying (themselves based upon the ninth-century Caroline minisule) and the uppercase letterforms found inscribed on Roman ruins, the forms evolved away from their calligraphic origins over 200 years, as they migrated across europe, from Italy to England.

Examples: Bembo • Caslon • Dante • Garamond • Janson • Jenson • Palatino

Figure 1.28 1475 Oldstyle

1500 Italic

Echoing contemporary Italian handwriting, the first italics were condensed and close-set, allowing more words per page. Although originally considered their own class of type, italics were soon cast to complement roman forms. Since the sixteenth century, virtually all text typefaces have been designed with accompanying italic forms.

Figure 1.29 1500 Italic

1550 Script

Originally and attempt to replicate engraved calligraphic forms, this class of type is not entirely appropriate in lengthy text settings. In shorter applications, however, it has always enjoyed wide acceptance. Forms now range from the formal and traditional to the casual and contemporary.
Examples: Kuenstler Srcipt • Mistral • Snell Roundhand

Figure 1.30 1550 Script

1750 Transitional

A refinement of oldstyle forms, this style was achieved in part because of advances in casting and printing. Thick to thin relationships were exaggerated, and brackets were lightened.

Examples: Baskerville • Bulmer • Century • Time Roman

Figure 1.31 1750 Transitional

1775 Modern

This style represents a further rationalization of oldstyle letterforms. Serifs were unbracketed, and the contrast between thick and thin strokes extreme. English versions (like Bell) are also known as Scotch Romans and more closely resemble transitional forms.

Examples: Bell • Bodoni • Caledonia • Didot • Walbaum

Figure 1.32 1775 Modern

1825 Square Serif/ Slab Serif

Originally heavily bracketed serif, with little variation between thick and thin strokes, these faces responded to the newly developed needs of advertising for heavy type in commercial printing. As hey evolved, the brackets were dropped.

Examples: Clarendon • Memphis • Rockwell • Serifa

Figure 1.33 1825 Square Serif/Slab Serif

1900 Sans Serif

As their name implies, these typefaces eliminated serifs alltogether. Although the forms were first introduced by William Caslon IV in 1816, its use did not become wide-spread until the beginning of the the twentieth century. Variation tended toward either humanist forms (Gill Sans) or rigidly geometric (Futura). Occasionally, strokes were flared to suggest the calligraphic origins of the form (Optima). Sans serif is also referred to as grotesque (from the German word grotesk) and Gothic.

Examples: Akzidenz Grotesk • Grotesk • Gill Sans • Franklin Gothic • Frutiger • Futura • Helvetica • Meta • News Gothic • Optima • Syntax • Trade Gothic • Univers

Figure 1.34 1900 Sans Serif

1990 Serif/Sans Serif

A recent development, this style enlarges the notion of a family of typefaces to include both serif and sans serif alphabets (and often stages between the two).

Examples: Rotis • Scala • Stone

Figure 1.35 1990 Serif/Sans Serif

Lecture 05: Typo_3_Text P1

Figure 1.36 Thumbnail of the lecture video Typo_3_Text P1

On this pre-recorded lecture video, Mr Vinod discusses various aspects of text formatting, including kerning, letter spacing and word spacing.

1. Tracking: Kerning and Letterspacing

Textual matter: How to format text or what to look out for things of that nature.

Kerning: Refers to the automatic adjustment of space between letters.

Kerning is important in headlines or when using uppercase letters, while letter spacing is often done for uppercase letters to improve readability.

Kerning refers to adjustment of space between letters, while letter spacing and word spacing refer to the addition or removal of space in words or sentences.

Figure 1.36 Examples of words that without (Left) and with (Right) kerning

Letter spacing: Adding space between the letters.

Tracking: Reffered to the additional and removal of space in a word or sentence.

Tracking usually adjusted in large paragraphs of text.
Normal Tracking is easy to read and suitable to use in a large number of texts.

Loose Tracking and Tight tracking reduce the readability and recognizability of the pattern that formed the words. People tend to recognize the counterform of the space between the strokes when reading, thus they are not suitable to apply in a large number of texts.

Figure 1.37 Examples of normal tracking, tight tracking and loose tracking

However, loose tracking can be used in headlines but in uppercase letterforms. Uppercase letterforms can stand on their own, while lowercase letterforms require the counterform created between letters to maintain the line of reading.

Adobe InDesign:
Dealing with large amount of text or limited amount of text, you become fastidious.

For pamphlets live leaflets, for brochures, for books, for poster.

Basics of Adobe InDesign:

Facing Pages is used in book designing

Margins, columns, grids:

Layout > Margins and Columns, e.g. 4 columns, Column Gutter 5mm

Hide/unhide Baseline Grids: Ctrl + Alt + '

Hide/unhide Margins and Column: Ctrl + ;

Make text & base grid aligned: Ctrl B > Baseline Options > Offset > Leading; Edit > Preferences > Grids > Baseline Grid > Edit Increment Every (acc. to leading), Horizontal Grid line (act. to font size), as desired.

Adjustment of textbox:

Where to check Characters: F8 (Window > Info)

How to set to kern in small adjustment?
Edit > Preference > Units & Increment > Kerning/Tracking > 5/1000 em

Shorcut to adjust Kerning/Tracking: Selected row of text, Press Alt + < to reduce; or > to increase.

Ctrl B (Right click text box for Text frame options) > Align > Top/Bottom/etc.

Shortcut to achieve cross-alignment: Ctrl I (Paragraph Formatting Controls); Increase in doubles for tittle size. At the top right corner, click Align to baseline botton.

Pages

To make 2 pages side-by-side: Pages > Select all the mini pages icons > Right click > Unmark the Allow Selected Spreads to Shuffle > Drag up the mini pages to arrange

Others

To resize an image: Use Direct Selection Tool (A); to cut/crop an image, use Selection Tool (V). Look top right corner for more cropping settings. Alternately, use Free transfomation tool (E) and proceed.

Adobe Illustrator:
Could be graphics, logos, create graphics

Shorcuts key while using software:
T : Text
Command+Shift+greater than (Alt key can accelerate)
Window > Open the control (if can't see tool bar)

Command+Column: Let margin disappear

Alt+← : Kerning

2. Formating Text (Alignment)

Loose tracking: It will become difficult to read (decerease the readability of the text)

Figure 1.38 Example of Normal Tracking (Left) and Loose Tracking (Right)

Figure 1.39 Example of Tight Tracking

Flush left: The most natural text formatting that closely mirrors the asymmetrical experience of handwritting. Each line starts at the same point but ends wherever the last word ends. Tagged graph following type to create gray value. However, this format creates ragging, a jagged shape formed by each end line on the right.

Figure 1.40 Example of Flush left

Centered: Imposes symmetry upon the text, assigning equal value and weight to both ends of any line. It transforms fields of text into shapes, thus it is important to amed the breaks so that the text does not appear too jagged. This format is suitable to apply to a small number of texts such as captions.

Figure 1.41 Example of Centered

Flush right emphasis the end of a line as opposed to its start. It can be useful in situations (like captions) where the relationship between text and image might be ambiguous without a strong orientation to the right.

Figure 1.42 Example of Flush left

Justified imposed a symmetrical shape on the text like centering. It is achieved by expanding or reducing spaces between words. Careful attention to line breaks and hyphens is required to avoid this problem.

Figure 1.43 Example of Justified

3. Texture

It's important to consider the different textures of the typefaces. A type with a relatively generous x-height or relatively heavy stroke width produces a darker mass on the page than a type with a relatively smaller x-height or lighter stroke. Sensitivity to these differences in colour is fundamental for creating successful layouts.

Figure 1.44 Anatomy of a typeface

The differences in gray values can be seen in different typefaces. A typeface with a middle gray value would be the best in a particular layout.

Figure 1.45 Different typefaces show the different gray values

4. Leading and Line Length

Type size should be large enough to be readable at arm's length.

Leading refers to the space between adjacent lines of the typeface.

Figure 1.46 Example of Tight Leading and Loose Leading

Figure 1.47 Different leading in Adobe Jenson typeface

Line length is the number of characters in a line. A good rule of thumb is to keep the line length between 55-65 characters.

5. Type Specimen Book

A type specimen book shows samples of tpefaces in various different sizes. It is used as an accurate reference for the outcome of a typeface in terms of type size, leading, line length, etc, helping in deciding the right type to use.

Figure 1.48 Sample type specimen sheet

Compositional requirement: Text should create a field that can occupy a page or a screen. An ideal text should have a middle gray value.

It is useful to enlarge the type to 400% on the screen to get a clear sense of the relationship between descenders on one line and ascenders on the line below. If the outcome is on a printed page, it is best to print out an actual page to look closely at the details. If its outcome is on screen, then the judging type on screen is accurate.

Lecture 06: Typo_4_Text P2

Figure 1.49 Thumbnail of the lecture video Typo_4_Text P2

In this lecture, Mr Vinod introduced us what is text formatting.

1. Indicating Paragraphs

There are several options for indicating paragraphs:

The "pilcrow" (¶)

A holdover from medieval manuscripts seldom use today. It is one of the hidden characters or blue indicators that helps in formatting large amounts of text.

Figure 1.50 The "Pilcrow"

Line space (leading*)

Paragraph space should be the same as the line space to ensure cross-alignment across columns of text.

Line space is the space from the baseline of a sentence to the descender of the next sentence.
Leading is the space between two sentences.

Figure 1.51&1.52 Paragraph space (Left); Line space versus Leading (Right)

Identation

Standard indentation is the indentation of the initial line of a paragraph; the amount of the indentation is equal to the line spacing or text point size.

The mothod of extended paragraphs creates unusually wide columns of text.

Figure 1.53&1.54 Standard indentation(Left); Extended paragraph indentation(Right)

2. Windows and Orphans

The unpardonable gaffes in formatting text are widows and orphans.

A widow is a short line of the type left alone at the end of a column of text. It can be avoided by creating a force line break before or adjusting the tracking of the line before to let the last word in the second last line moves down to the last line.

An orphan is a short line of the type left alone at the start of a new column. It could be avoided by adjusting the length of the column.

Figure 1.55 Example of Widow and Orphan

3. Highlighting Text

Examples of highlighting text:

Use the same typeface but different fonts (Italic, Bold) or colour

Figure 1.56, 1.57&1.58 Italic(Left); Bold(Middle); Colour(Right)

Use bold sans serif
Mote that a sans serif font usually is slightly larger than a serif font in the same point size. In this example, the sans serif font (Univers) has been reduced by 0.5 pt to match the x-height of the serif typeface.

Figure 1.59&1.60 Example of using Bold Sans Serif

Place a field of colour

Figure 1.61&1.62 Example of placing a field of colour

Use typographic element
Put the typographic elements outside the left marginof a column of type (extending as opposed to indenting). Also can use to maintain a strong reading axis.

Figure 1.63 Example of using typographic element

Use quotation marks
Note that prime is not a quote. The prime is an abbreviation for inches and feet.

Figure 1.64&1.65 Example of using quotation marks(Left); Example of quotation marks(Right)

4. Headline within Text

The text of a chapter can be divided into several different types of sections. The following images have been categorised as (A, B, and C) based on their level of significance.

A head indicates a clear break between the topics within a section.

Figure 1.66 Examples of A Head

B heads are subordinate to A heads, they indicate a new supporting argument or example for the topic at hand.

Figure 1.67 Examples of B Head

C head highlights specific facets of material within B head text. C heads in this configuration are followed by at least an em space for visual separation.

Figure 1.68 Examples of C Head

5. Cross Alignment

While expressing the complementary vertical rhythms, cross-aligning headlines and captions with text type strengthens the architectural sense of the page—the structure. By doubling the leading space of the text type that will serve as the leading of the headline type, cross-alignment can sometimes be kept. One line of headline type is cross-aligned with two lines of text type in the example.

Figure 1.69 Example of Cross alignment

Lecture 07: Typo_2_Basic

Figure 1.70 Thumbnail of the lecture video Typo_2_Basic

From this lecture, Mr Vinod introduced letterforms components, the font and the describing Type families.

1. Letterforms Components

Baseline: The imaginary line the visual base of the letterforms.

Median: The imaginary line defining the x-height of the letterforms.

X Height: The height in any typeface of the lowercase "x".

Figure 1.71 Baseline, Median, X Height

Stroke: Any line that defines the basic letterform.

Figure 1.72 Stroke

Apex (above) / Vertex (below): The point created by joining two diagonal stems.

Figure 1.73 Apex(above) / Vertex(below)

Arm : Short strokes off the stem of the letterform, either horizontal (E, F, L) or inclined upward (K, Y).

Figure 1.74 Arm

Ascender: The portion of the stem of a lowercase that exceeds the median line.

Figure 1.75 Ascender

Barb: The half-serif finish on a curved stroke.

Figure 1.76 Barb

Beak: The half-serif finish on a horizontal arm.

Figure 1.77 Beak

Bowl: The rounded form that describes a counter; it may be open or closed.

Figure 1.78 Bowl

Bracket: The transition between the serif and the stem.

Figure 1.79 Bracket

Cross stroke: The horizonal stroke in a letterform that joins two strokes together.

Figure 1.80 Cross stroke

Crotch: The interior space where two strokes meet.

Figure 1.81 Crotch

Descender: The portion of the stem of a letterform that descends below the baseline.

Figure 1.82 Descender

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

Figure 1.83 Ear

Em/En: Originally referring to the width of uppercased M, and em is now the distance equal to the size of the typeface. An en is equal to half of em.

Figure 1.84 Em/En

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

Figure 1.85 Finial

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

Figure 1.86 Ligature

Link: The stroke that connects the bowl and the loop of a lowercase G.

Figure 1.87 Link

Spine: The curved stem of S.

Figure 1.88 Spine

Stress: The orientation of the letterforms, indicated by the thinning of the stroke in round forms.

Figure 1.89 Stress

Swash: The flourish that extends the stroke of the letterform.

Figure 1.90 Swash

Tail: the curved diagonal stroke at the finish of certain letterforms

Figure 1.91 Tail

Terminal: the self-contained finish of a store without a serif, it may be flat, flared, acute, grave, concave, convex or rounded as a ball or a teardrop (see finial)

Figure 1.92 Terminal

2. The Font

Uppercase and Lowercase

Figure 1.93 Uppercase

Figure 1.94 Lowercase

Small Capitals: Uppercase letterforms drawn to the x-height of the typeface.

Figure 1.95 Small Capitals

Uppercase Numerals (lining figures): same height as uppercase letters and are all set to the same kerning width.

Figure 1.96 Uppercase Numerals

Lowercase Numerals (Old style figures or text figures): set to x-height with ascenders and descenders.

Figure 1.97 Lowercase Numerals

Italic: refer back to fifteenth century Italian cursive handwriting

Figure 1.98 Italic

Punctuation, miscellaneous characters: can change from typeface to typeface. It is important to ensure that all the characters are available in a typeface before choosing the appropriate type

Figure 1.99 Punctuation, miscellaneous character

Ornaments: used as flourishes in invitations and certificates

Figure 1.100 Ornaments

3. Describing typefaces

Different typefaces and their relative stroke widths typefaces

Roman: an uppercase form that is derived from inscriptions of Roman monuments
Book: lighter stroke in roman

Figure 1.101 Roman (Book)

Italic: based on the fifteenth century Italian handwriting
Oblique: based on a roman form of a typeface

Figure 1.102 Italic (Oblique)

Boldface: thicker stroke than a roman form
Semibold, Medium, Poster, Black

Figure 1.103 Boldface (Semibold)

Light: lighter stroke than the roman form
Thin: even lighter strokes

Figure 1.104 Light (Thin)

Condense: a condensed version of the roman form
Compressed: extremely condense styles

Figure 1.105 Condense (Compressed)

Extended: extended variation of a roman form

Figure 1.106 Extended

4. Comparing typefaces

We are to use the 10 typefaces below throughout this module. These 10 typefaces represent 500 years of type design. Each typeface gives different feelings, it is important for us to understand these typefaces well and choose the right typeface for conveying messages in a particular work.

Figure 1.107 10 Typefaces

Lecture 08: Typo_5_Understanding

Figure 1.108 Thumbnail of the lecture video Typo_5_Understanding

1. Understanding letterform

The uppercase letterforms below suggest symmetry, but in fact, it is not symmetrical. The asymmetrical letterforms below are both internally harmonious and individually expressive.

Baskerville stroke form: two different stroke weights can be easily seen
Univers stroke form: a close examination shows that the width of the left slope is thinner than the right stroke

Figure 1.109&1.110 Baskerville "A"(Left); Univers "A"(Right)

Comparing the lowercase 'a' in Helvetica and Univers shows the clear difference in character between the two sans-serif typefaces, as seen in the finishing of the stems and meeting of the bowls. This demonstrates the complexity of each letterform.

Figure 1.111 Helvetica "a"(Left); Univers "a"(Right)

2. Maintaining x-height

X-height refers to the size of lowercase letters. Curved strokes like "s" need to extend above the median or below the baseline to appear the same size as the straight strokes they connect to.

Figure 1.112 Lowercase maintaining x-height

3. Form and Counterform (Counter)

The space describes, and often contained, by the strokes of the form. When letters are joined to form words, the counterform includes the spaces between them. Counterform has the same importance as the letterforms as it helps to recognize the shape of the letters and assure the readability of the words.

Figure 1.113 Form and counterform

We could examine the counterform of letters by enlarging each letter and analysing them. It could give us a glimpse into the process of letter-making.

Figure 1.114 Helvetica Black (Left), Baskeville (Right)

4. Contrast

The design principle of Contrast is also applied in Typography.

The simple contrasts produce numerous variations: small+organic / large+machines; small+dark / large+light, etc.

Figure 1.115 Contrast in Typography

Lecture 09: Typo_6_Screen&Print

Figure 1.116 Thumbnail of the lecture video Typo_6_Screen and Print

TYPOGRAPHY IN DIFFERENT MEDIUM

In the past, typography was viewed as living only when it reached paper. No changes were made once a publication was edited, typeset and printed. Today, typography exists not only on paper but on a multitude of screens. Typography is not only controlled by designers as it is subject to many unknown and fluctuating parmeters, such as operating

Print Type versus Screen Type

1. Type for Print

Typefaces originally designed for print should be smooth, flowing, and pleasant to read.

Recommended typefaces for print include Caslon, Garamond, Baskerville, and Univers due to their elegant and intellectual characteristics and high readability at small font sizes.

Figure 1.116 Example of Method of Typesetting, normally seen in novels

Figure 1.117 Type for Print

2. Type for Screen

Web fonts are optimized for readability and performance on digital screens. Adjustments include taller x-height, wider letterforms, heavier serifs, reduced contrast, and open spacing. These changes improve character recognition and readability on non-print devices. Some fonts, like Verdana and Georgia, are specifically designed for screens due to past resolution issues.

Figure 1.118 Type for Screen

3. Hyperactive Link/ Hyperlink

A hyperlink is a clickable element that takes you to a different document or section within the same document. They are commonly found on web pages and are typically blue and underlined.

4. Font Size for screen

16-pixel text on screens is similar in size to printed text in books or magazines, considering reading distance. Printed text is usually set at 10 points when read a few inches away, and at least 12 points when read at arm's length, which is about the same as 16 pixels on most screens.

Figure 1.119 Font size on Screen(Left); on Print(Right)

5. System Fonts for Screen / Web Safe Fonts

Each device has its own pre-installed font selection based on its operating system. Windows, macOS, and Google's Android system each have their own system font, which may differ slightly and not be compatible with each other. However, this is no longer a problem as it has been resolved to avoid inconvenience.

Web safe fonts are fonts that appear across all operating systems. They are a small collection of fonts that are available on Windows, Mac, and Google.

Web safe fonts: Open Sans, Lato, Arial, Times New Roman, Times, Courier New, Courier, Verdana, Georgia, Palatino, Garamond.

6. Pixel Differential between Devices

Text on screens varies in size and proportion due to different-sized pixels on different devices such as PCs, tablets, phones, and TVs. Even within a single device class, there is a lot of variation.

Figure 1.120 Pixel differential between Devices

Static versus Motion

1. Static Typography

Static typography can go beyond basic features like bold and italic to express words. It can also create movement and motion dynamically.

Figure 1.121 Static typography

2. Motion Typography

Temoporal media offer typographers opportunities to "dramatize" type, for letterforms to become "fluid" and "kinetic" (Woolman and Bellantoni,1999)
Film tittle credits present typographic information over time, often bringing it to life through animation
Motion graphics, particularly the brand identties of film and television production companies, increasingly contain animated type
Type is often overlaid onto music videos and advertisements, often set in motion following the rhythm of a soundtrack.
On-screen typography has developed to become expressive, helping to establish the tone of associated content or express a set of brand values.
Typography must prepare the audience for the film by evoking a certain mood in tittle sequences

Video 1: North by Northwest- Opening Tittle

This video displays the 90s movie "Se7en" with impressive editing and typography.

"A great designer knows how to work with text and not just as content, he treats text as a user interface"

Lecture 10: Typo_Task 3A_Typeface Construction (Shapes)

During this pre-recorded lecture video, Mr Vinod briefly told us about our new task which is Task 03.

Set up Artboard at Adobe Illustration: 1000pt height.

Draw out rulers: Right-click on artboard > Show Rulers (points). Put baseline at 0; generally, x-height is 500 pt, but determine your own via your own design.

To have the dots at the outlines: Path > Outline Stokes

1. . (dot)

The shape of this punctuation mark is similar to a dot, but slightly bigger. It should be heavier in font to match. It is meant to indicate a pause in the text without disrupting the reading flow. It may not extend as far as a round period or sit directly on the baseline like a square period.

2. , (comma)

Roughtly the height of two stacked periods
Comma head slightly smaller than period
Downstrokes of terminals angle is related to the angle in S.

3. ...

It replace three consecutive periods.
Decreasing dot's width and weight.

1.1 Class Summary

Week 01

Join the Typography (TDS) Facebook group in order to conduct our class activity at there, as well as access to the educational materials in MyTimes and Microsoft Teams to receive all the most recent updates, announcement, informations and weekly to-do-lists.

Download the 10 typefaces and install them, we'll be using throughout this module for finnishing our assignments.

Introduced us about our module using MIB (Module Information Booklet) and learning outcome.

Mr Vinod also has prepared a playlist of pre-recorded lecture videos for us in order to help us on our assignments.

Mr Vinod also remind us to set up our Blogger (E-portfolio) and making labels for Typography module.

Week 02

Update feedback for Week 02 in the Google Sheet provided by Mr Vinod.

Update lectures summaries "Typo_3_Text P1".

Update with digitised explorations (Adobe Illustrator)

Update Feedback, Reflection and Further Reading.

Watch the TypoExpression video tutorial before digitising.

Week 03

Update feedback for Week 03 in the Google Sheet provided by Mr Vinod.
Update E-Portfolio:

Lecture summaries for lecture "Typo_3_Text P2".
Update your progress for the digitised explorations static and animation.
Update feeback, reflection and further reading for Week 03.

Update final JPEG and PDF of the type expression
When exporting artworks to Adobe Photoshop:

Ensure they are: grayscale and at 72ppi
Ensure the GIF does not exceed 1024px (Width and Height). You can also use 800px.
Ensure GIF has a white background.

Week 04

Update feedback for Week 04 in the Google Sheet provided by Mr Vinod.
Update progress Task 01: Exercise 02 - Text Formatting. (Text Explorations)
Watch lecture video "Typo_2_Basic" and write summary at Task 1 E-portfolio.

Week 05

Update feedback for Week 5 in the Google Sheet provided by Mr Vinod.

Complete Task 01 Eportfolio (Deadline: 05.11.2023).

Watch the Task 02 video tutorial.

Obtain content for Task 2 in Microsoft Teams.

Update Task 02 eportfolio:

Write lecture summary for "Typo_5_Understanding"

Update progress Task 02 Editorial Layout

Update Feedback, Reflection and Further Reading for Week 05

Submit Finak Task 2

JPEG 300ppi, grayscale (without grid visible)

PDF (With grid visible)

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2. INSTRUCTIONS

Task 01: Exercises (20%)

Express the meaning of four words: rain, fire, crush, water, dissipate, freedom, and sick. Distortion of letters is not allowed, but only proportional rotation, flip or scale. No color is allowed. Use only the given 10 typefaces.

(a) Type Expression

One JPEG layout in A4 size (1024px // 300ppi Grayscale)
File > Export > Export As > Format > JPEG > Use Artboard > Color model: Grayscale > Quality 10 > Resolution 300/150 ppi > OK
GIF format (200mm * 200mm)

(b) Text Formatting

Kerning and Tracking Exercise: Use your name to practice kerning and tracking.
Feel free to use different fonts, casings and font weights, using 10 typefaces provided.
"I am Helvetica" Exercise: One with grid and without grid (BOTH PDF and JPEG)

Learning Goal

Able to compose and express using textual information
Able to format text for effective communication

2.1 Task 01: Exercises 01 - Type Expression

For Exercise 01, we were given 8 words, which are "Smoke; Soup; Spooky; Power; Impact; Crunch; Drunk; Fold", we need to choose 4 out of these 8 words. Throughout this exercise we are not allowed to do many distortion of any letters, and also not encourage to use too many graphical elements. But can rotate, flip or scale them properly. No colour may be use inside this exercise, and we only can use the 10 fonts that provided by our lecturer, Mr Vinod.

2.1.1 Sketches

I have choosen the word Spooky, Power, Crunch and Drunk for the type expression sketches.

Figure 2.1 Type Expression sketches (Crunch and Drunk), Week 02 (29/9/2023)

Figure 2.2 Type expression sketches (Power and Spooky), Week 02 (29/9/2023)

Crunch I search online for motion pictures of things being crunched and mimicked them to draw my sketch.

Drunk I use the wine glass and the blur of what people see when they are drunk as inspiration for the sketches.

Power I use lightning as an expression to show that the word is powerful.

Spooky I use two letter O's to show the eyes, trying to create a scary atmosphere.

I choose these four as the final sketch before I start to degitalize them using Adobe Illustrator.

Figure 2.3 Final type expression sketches before digitisation

2.1.2 Digitisation

During week 2, we were given the task to digitalized our sketches using Adobe Illustrator. I have tried out several attempts to create the right expression for each word based on my sketches and with the typefaces provided. Therefore, I had come out with 4 designs of digitalization.

Figure 2.4 Working progress of digitisation

1. Power

When designing this character, I went with a new design as opposed to using back to the old final sketch to design it. This one was because I thought the old sketch design had rich graphic elements in the word so I dropped it. The one I've now re-designed over in Adobe Illustrator is a typeface that gradually enlarges and then takes on more and more power. While designing, I slowly made the each letter's fonts get larger and smaller the spacing of the fonts. The font used is Futura Std-Extra Bold Condensed Oblique.

Figure 2.5 Final outcome of digitisation for word "Power"

2. Spooky

I followed the previous final sketch when designing this word and designed the two middle letters O larger to make it look like eyes. In order to make the overall look more scary, I also change to black background, then leave the two letters O white, and individually change the sp and ky to grey and reduce the opacity. Next, I used the mesh tool in Adobe Illustrator to create the rectangle in the center that looks like the light from a flashlight. When I was making this, I was thinking of a man in a very dark room with a flashlight lighting his face from the bottom up. The font used is Serifa Std-56 Italic.

Figure 2.6 Final outcome of digitisation for word "Spooky"

3. Crunch

The word "Crunch" was digitized no differently than the previous final sketch, I did'nt change anything.

Figure 2.7 Final outcome of digitisation for word "Crunch"

4. Drunk

The word "Drunk" was digitized no differently than the previous final sketch, I did'nt change anything.

Figure 2.8 Final outcome of digitisation for word "Drunk"

Final Task 1 - Exercise 01: Type Expressions

Figure 2.9 Final Type Expression-JPEG

Figure 2.10 Final Type Expression-PDF

2.1.3 Animation

We have to choose one from the four final type expressions to make an animated type expression. I choose the word "Spooky" for the animation. Before I start to do the animation, I've watched the pre-recorded video made by Mr Vinod. In the video, Mr Vinod has demonstrated how to make an animation step by step using Adobe Illustrator and frame animation in Adobe Photoshop.

I came out with these artboards at Adobe Illustator (Figure 2.9). I want to make the word "Spooky" as the idea of horror movies' jumpscare scene.

Figure 2.11 Artboards that use to make animation

Final Animated Type Expression

Figure 2.12 Final Animated Type Expression "Spooky" - GIF

2.2 Task 01: Exercises 02 - Text Formatting

For Exercise 02, we have to create a final layout of text formatting, working with typefaces, type size, leading, line length, etc. Before that, we have to learn and work with kerning and tracking. Mr Vinod has provided us sone pre-recorded lecture videos for us.

2.2.1 Kerning and tracking exercise

We are assigned to work with kerning and tracking our name using the 10 typefaces provided by Mr Vinod. We can use different fonts and type sizes in a typeface.

Figure 2.11 Text formatting without kerning

Figure 2.13 Text formatting with kerning

Figure 2.14 Both with kerning and without kerning ovelapped to dee the differences

2.2.2 Layout exercise

Create final layout with given text and black and white photo with caption. Improve text formatting skills and attention to detail for good layout.

I created several layouts for this exercise.

Layout #01

Figure 2.15 Layout 01

Head
Font: ITC aramond Std

Type Size: 50pt

Leading: 60pt

Paragraph spacing: -

Body

Font: Serifa Std (Body Text)

Type size: 9pt

Leading: 12pt

Paragraph spacing: 12pt (body text)

Characters per-line: 59 characters

Alignment: Justify all lines

Margin: 12.7mm (top, left, right, bottom)

Columns: 2

Gutter: 5mm

Layout #02

Figure 2.16 Layout 02

Head

Font: Bodoni MT

Type Size: 100pt

Leading: 80pt

Paragraph spacing: -

Body

Font: ITC Garamond Std

Type size: 12pt

Leading: 14.5pt

Paragraph spacing: 7pt (body text)

Characters per-line: 65 characters

Alignment: Align left

Margin: 12.7mm (top, left, right, bottom)

Column: 2

Gutter: 5mm

Final Task 01 - Exercise 02: Text Formatting

Figure 2.17 Final Text Formatting (With Grid) - JPEG

Figure 2.18 Final Text Formatting (Without Grid) - JPEG

Figure 2.19 Final Text Formatting (With grid) - PDF

Figure 2.20 Final Text Formatting (Without grid) - PDF

Head
Font: ITC aramond Std

Type Size: 50pt

Leading: 60pt

Paragraph spacing: -

Body

Font: Serifa Std (Body Text)

Type size: 9pt

Leading: 12pt

Paragraph spacing: 12pt (body text)

Characters per-line: 59 characters

Alignment: Justify all lines

Margin: 12.7mm (top, left, right, bottom)

Columns: 2

Gutter: 5mm

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3. FEEDBACK

3.1 Task 01: Exercise 01 - Type Expression

Week 02

General Feedback:

Reduce distortions and use the 10 fonts that provided.

Allow to have design illustration but keep it minimal.

Avoid repitition, less graphical elements and distortions in the word.

The sketches should be based on the letter fonts provided.

Specific Feedback:

Distortions should be minimized.

Choose from the 10 fonts that were given to draw the sketches.

More recomended to use more letter form.

Week 03

General Feedback:

Need to show the process of digitalization.

Avoid leaving too much white space around the design.

Make the design bigger so it's easier to see.

Specific Feedback:

Distortions should be minimized.

Choose from the 10 fonts that provided to do the digitalization.

Week 04

General Feedback:

Focus on animation expression, don't take away focus.

Font of name from template given by Mr Vinod should use either Futura or Univers in 7pt.

Export the full artboard rather than just the work when submitting a remark.

Specific Feedback:

My animation still have the potential to improve.

3.2 Task 02: Exercise 02 - Type-Formatting

Week 05

General Feedback:

The visual in the layout has to be photographic in nature and has to be related to the topic.

Columns should be the same

Avoid texts that cause rivers of white.

Specific Feedback:

The leading should be +2.5 than the font size.

#Draft 02 should avoid large gaps between sentence

Avoid overlapping on text and image.

Image should be related.

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4. REFLECTION

4.1 Experience

My experiences in the first few week of Typography was panic and challenging as I am completely new to both module and working with software such as Adobe Photoshop and Adobe Illustrator. On the following week, I learned basic knowledge about Typography, learned how to create basic digitisation of word using Adobe Illustrator, learned how to create a GIF animation using Adobe Photoshop. Next, while starting on learning on how to use Adobe InDesign, it is slightly challenge as I know nothing about this software. I think that Adobe InDesign is much complicated compared to Adobe Illustrator and Adobe Photoshop. However, I'll try my best to give it a try. I'll try and receive feedbacks of my works and assignments in order to improve.

4.2 Observations

In first 2 weeks of the module, from my observation, I notice that I have very little knowledge about Typography. Which mean I need to work hard to read, to learn, to try for. The assignments are very challenges for me in this module. But, I'll try my best to give it a try.

Typography is an important subject for anyone that want to learn design.

Typography is an art, good Typography is art.
Everything that learn in this module is applicable in all the other modules you're learning.

4.3 Findings

For all of my ideas and sketches, I got most of them from Websites and Pinterest. I use some of them as my sketches while doing Assignment 01 Task 01: Exercise 01. Unfortunately, some of my sketches are having too much of graphical elements. Thus, they are not allowed in making the final sketches. However, these sketches are not gonna waste, they will become my idea for future.

My pinterest Board: https://pin.it/3bO0v4V

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5. FURTHER READING

Based on the list of books given, I have chosen "A Type Primer" to begin my further reading.

Figure 5.1 A Type Primer by John Kane

A Type Primer is a book about typography, written by John Kane and published by Princeton Architectural Press in 2013. The book is intended for a general audience, and covers the basics of typography, including type history, type anatomy, and type selection. Kane also discusses the use of type in graphic design, and provides examples of well-designed typography.

A Type Primer has been praised for its clear and concise writing style, as well as its helpful illustrations. The book has been used in college courses on typography, and has been recommended by design professionals. This book is a must-read for anyone interested in typography, this book is an excellent resource for anyone who wants to learn more about type.

The book is intended for a general audience, and covers the basics of typography, including type history, type anatomy, and type selection. Kane also discusses the use of type in graphic design, and provides examples of well-designed typography.

The book is divided into three parts. The first part, "Type History," covers the development of typography from its early beginnings in ancient Egypt to the present day. The second part, "Type Anatomy," discusses the different parts of a typeface and how they work together. The third part, "Type Selection," provides guidance on how to choose the right typeface for a particular project.

Things that you can learn from the book:

The history of typography, from its early beginnings in ancient Egypt to the present day.
The different parts of a typeface and how they work together.
How to choose the right typeface for a particular project.
The basics of type history, anatomy, and selection.
The use of type in graphic design.
Examples of well-designed typography.

In this book, it says that, Typography is an art that requires practice, reading, and observation. Two simple observations are that type is physical and evolved from handwriting. The three tenets of a typographer's job are: Author's message expressed appropriately and clearly with intelligent use of means, showing a deep understanding of craft.

Week 01

Chapter 01: Basics - Describing Letterforms

This chapter introduces basic letterform components in typography.

Typography uses technical terms that have evolved over 500 years. It is helpful to become familiar with these terms as they make it easier to identify specific typefaces.

Week 02

Chapter 01: Basics - Describing Typefaces

This chapter covers typefaces and their significance in distinguishing styles such as Roman, Italic, Bold face, Light, Condensed, and Extended. The author suggests ten typefaces for novice typographers to enhance their skills and appreciation for other typefaces they may encounter.

Chapter 02: Development

This chapter introduces the timeline of letterform development throughout history, from early development to the present. It also discusses the individual histories of different typefaces and their development and spread. Additionally, it explains the invention of the printing press by Baskerville and the technological improvements that have led to the modern printing press we have today.

Week 03

Chapter 02: Development - Text typeface classification

In response to technology and market demands, type forms have evolved. Typographers have developed a system to classify these typefaces based on one created by Alexander Lawson, which covers the main forms of text type and excludes decorative styles and sans serif forms.

Week 04

Chapter 03: Letters, Words, Sentences

This chapter focuses on the details of fonts, such as weight, strokes, and curves, that affect readability. Understanding the form and counter form of letters is crucial in typography. The chapter also explores ways to express type expressions with minimal changes. It introduces methods for presenting longer paragraphs and highlighting important information. The chapter compares text colors and explains typography do's and don'ts for conveying information effectively.

Week 05

Chapter 04 Text

Explaining and differentiating the meaning of kerning and letterspacing, going in depth on the do's and don'ts with kerning on letterforms. This chapter also explains the importance of type formatting and textures applied to text differing from its x-height to its stroke width. The leading and line length of a text is crucial as it also affects the overall view of a text and its readability. This chapter also further elaborates on the importance of the proportion of a page in text formatting.
This chapter also discusses the various sections found in books, such as the folio and table of contents. It also explains how to indicate new paragraphs, highlight important information, and organize headlines using A, B, and C heads.

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QUICK LINK

Task 01: Typography - Task 01 : Exercise 1 & 2
Task 02: Typography - Task 02: Typographic Exploration and Communication
Task 03: Typography - Task 03: Type Design and Communication (Font Design)

Google Drive Link

Task 01: Typography - Task 01: Exercise 1 & 2

Task 02: Typography - Task 02 : Typographic Exploration and Communication

Task 03: Typography - Task 03: Type Design and Communication (Font Design)