Typography task 2
04/05/2021-11/05/2021(week6-week7)
Koh Han Rong//0344410
Bachelor of Design in Creative Media
Typography Task 2
LECTURES
Week 6: Letters and understanding letterforms
Asymmetry in Letterforms
In this week's lecture, Mr.Vinod focused on the letterforms. Basically, most of the letterforms were suggested to be symmetrical(figure 1.1.2), but some of them were actually not symmetrical like the letterforms below(fugure1.1.1). Although, each bracket connecting serifs to the stem has a unique arc.
Figure 1.1.1, Uppercase A of Baskerville, 4th May 2021
Figure1.1.2, Uppercase A of Univers, 4th May 2021
The complexity of each letterform was neatly demonstrated by examining the lowercase (a) (Figure1.1.3)of two seemingly. A comparison of how the stems of the letterform finish and how the bowls meet the stems quickly reveals of the palpable difference in character between the two.
Figure1.1.3 comparison of 'a' between Helvetica and universe, 4th May 2021
Maintaining x-height
The X height generally describes the size of the lowercase letterform. However we should always keep in mind about the curve stroke such as in 's,r, a, o', must rise above the median or below the baseline to appear in the same size as the vertical and horizontal strokes they adjoin.
Figure 1.2 median and baseline of letterform
Counterform
When letters are joined to form words, the counterform includes the spaces between them. Therefore, just as important as recognizing specific letterforms is developing a sensitivity to the counterform, space describes and often contained by the strokes of the form.
Figure1.3 example of counterform,4th May 2021Contrast
As what Mr.Vinod tell us in the recorded video, contrast is the most powerful dynamic in the basic of design.
Figure 1.4 example of contrast, 4th May 2021
Figure1.3 example of counterform,4th May 2021
Contrast
As what Mr.Vinod tell us in the recorded video, contrast is the most powerful dynamic in the basic of design.Figure 1.4 example of contrast, 4th May 2021
Figure 1.4 example of contrast, 4th May 2021
Instruction:
Task 2: TYPOGRAPHIC EXPLORATION & COMMUNICATION
After I done the research I started to sketch out my idea and try to explore it.
Figure2.1.1 rough idea
Figure2.1.2 rough idea
Figure2.1.3 rough idea
The first outcome I try to follow whats the code means and just add it in.
Figure2.2.1 First Text Layout,5th May 2021
For the second outcome I try to make a new layout and apply the thing that I learn in the recorded lecture, and its came out not very good for the leading .
Figure2.2.2 Second Text Layout, 5th May 2021
For the final outcome, I try a new attempt and also try to make it clean as well. The layout quite satisfied me.
Figure2.3 Final Outcome, 7th May 2021
Feedbacks:
W6: Submission of Text Formatting must be in PDF and JPEG export. Screengrabs will not be accepted.
W7:My typesetting has some issues, a problem with your leading. Ragging seems okay. Type expression is acceptable but can still improve
Reflection:
Experience: In this exercise, we are asked to create the headline expression and also arrange a good layout with the headline and message of the text in a 2-page editorial spread. It was pretty fun and enjoyable for me when I trying to explore the layout.
Observation: I realize that my outcome for the task was very weak compare with other's work. So i rewatched the lecture video and create a new outcome as i try to make it more identity.
Findings: I think research was very important after this task, it helps me have a better understanding and try to let them became reality.
Further reading:Observation: I realize that my outcome for the task was very weak compare with other's work. So i rewatched the lecture video and create a new outcome as i try to make it more identity.
Findings: I think research was very important after this task, it helps me have a better understanding and try to let them became reality.
Source: file:///C:/Users/Koh%20Han%20Rong/Downloads/TypographyReferenced.pdf
Early in this century, Lord Stanhope invented
the fi rst printing press made of all castiron parts, requiring one-tenth the manual
labor and doubling the possible paper size.
A few years later, in 1816, William Caslon
IV, the great, great grandson of the William
Caslon (72), designed the fi rst sans serif font,
creating the English serifed design. Many
claim that the design for this sans is based on
the Greek lapidary letters of the fi fth century.
Note how close they also look to the caps
found in faces such as Futura (174) and ITC
Avant Garde Gothic.
In 1818, Bodoni’s (71) Manuale (completed
by his wife after his death) showed the
quintessential modern type. Today, there
are hundreds of Bodoni (156) revival designs
based on those shown in this benchmark
of typography. Three years later, in 1821,
Italienne—one of the fi rst commercially
popular advertising display designs—was
fi rst used. Because serifs are heavier than
main character strokes, this style of type has
been called a reversed Egyptian.
The 1840s saw some important typography
milestones. In the early part of the decade,
Edward Binn’s The Anatomy of Sleep, the fi rst
book typeset by a mechanical typesetting
machine, published in London. In 1844,
R. Besley & Co. Type Founders released
Clarendon (58) as a heavy face to accompany
standard text composition in directories
and dictionaries. Clarendon became popular
as an advertising display face, eventually
copied by other foundries
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