TYPOGRAPHY
26 September 2022 - 10 October 2022
Christine Tan Yuen Yan / 0344039
Christine Tan Yuen Yan / 0344039
Typography GCD 60104 / Bachelor of Design (Hons) In Creative
Media
Task 2: Typographic Exploration and Communication (Text formatting
and Expression)
LECTURES
All lectures 1 to 6 were completed in Task 1 _ Exercise 1&
2
Instruction
For Task 2, we have to create a 2 - page editorial spread (200x200) with
the provided texts. No images or colours, but minor graphical elements, i.e.
line, shadow, etc. may be allowed. We are to use Adobe InDesign to
typographically compose and express the text, and Adobe Illustrator for the
headline expression is permitted.
<iframe
src="https://drive.google.com/file/d/1ztqJbm_B1AheCMoZOAoubo-s4DpXzzem/preview"
width="640" height="480" allow="autoplay"></iframe>
Task 2_Typographic Exploration and Communication_Text Formatting and
Expression
1. Sketches
For this task, we are provided three editorials to select from to create an
editorial spread in Adobe InDesign. I select one title "The impact of
Bauhaus on Modern Culture" and created a few sketches for the spread with
each page being 200 to 200mm. The concept of my idea was present a staircase
concept of it.
Fig,1.1, digital sketches on AI (Week 5, 30/9/2022)
A roughly digital sketch using Adobe Illustration. The idea of my first
digital sketches is to use the headline 'The Impact of Bauhaus on modern
culture' as if like a staircase, flowing one by one, then to the lead-in
text 'As Bauhaus turns 100, we explore its modern legacy,' The second one
is a more conservative idea, the Impact is upside down hanging on the top
and follow by the flow of the title 'Bauhaus' and the lead-in text 'As
Bauhaus turns 100, we explore its modern legacy,' then the body text will
be on the right side. My idea is to focus on the title 'Bauhaus' the main
concept of the entire article.
Inspiration of "Bauhaus"
Fig,1.2sources from:https://www.smashingmagazine.com/2009/08/bauhaus-ninety-years-of-inspiration/
(Week 5, 30/9/2022)
I researched Bauhaus to get some inspiration on how to get the essence of
Bauhaus and combine the articles without looking too dull. The layout of
the examples is like they are combined together tightly yet can figure out
what the artist is trying to present to his/her audiences.
Thus, my idea is to create the title 'Bauhaus' to be like tightly
together. and the headlines can be around the title.
2. Layout progress:
Fig 2.1, Hidden characters and alignment #1, Week 6 6/10/2022)
Fig 2.2, Hidden characters and alignment #2, Week 6 6/10/2022)
Fig 2.3, Hidden characters and alignment #3, Week 6 6/10/2022)
3. Week 6, Layout
.jpg)
Fig,3.1, Layouts #1, (Week 6, 7/10/2022)
Headline (Bauhaus) ('The Impact of Bauhaus on modern culture'.)
Fonts: Univers LT Std, 93 Extra Black Extended, Univers LT
Std, 67 Bold Condensed Oblique).
Point Size: 131pt, 30pt
Leading: 157.2pt, 36pt
Paragraph Spacing: 0,0
Line length: 0,0
Lead-In Text ( 'As Bauhaus turns 100, we explore its modern
legacy,')
Fonts: Univers LT Std, 55 Roman
Point Size: 16 pt
Leading: 19.2 pt
Paragraph Spacing: 10
Line length: 21,15,15
Body Text
Fonts: Univers LT Std, 55 Roman
Point Size: 11 pt
Leading: 12 pt
Paragraph Spacing: 13.2
Line length: 54
Fig,3.2, Layouts #2, (Week 6, 7/10/2022)
Headline (Bauhaus) ('The Impact of Bauhaus on modern culture'.)
Fonts: Univers LT Std, 93 Extra Black
Extended, Univers LT Std, 67 Bold Condensed Oblique).
Point Size: 190pt, 59pt, 30pt, 28pt
Leading: 228pt, 70.8pt, 36pt, 33.6pt
Paragraph Spacing: 10pt
Line length: 0,0
Lead-In Text ( 'As Bauhaus turns 100, we explore its modern
legacy,')
Fonts: Univers LT Std, 55 Roman
Point Size: 16 pt
Leading: 19.2 pt
Paragraph Spacing: 10
Line length: 21,15,15
Body Text
Fonts: Univers LT Std, 55 Roman
Point Size: 11 pt
Leading: 12 pt
Paragraph Spacing: 13.2
Line length: 54
Fig,3.3, Layouts #3, (Week 6, 7/10/2022)
Headline (Bauhaus) ('The Impact of Bauhaus on modern culture'.)
Fonts: Univers LT Std, 93 Extra Black
Extended, Univers LT Std, 55 Roman).
Point Size: 400pt, 50pt, 27pt,
Leading: 480pt, 60.8pt, 32.4pt,
Paragraph Spacing: 10pt
Line length: 0,0
Lead-In Text ( 'As Bauhaus turns 100, we explore its modern
legacy,')
Fonts: Univers LT Std, 55 Roman
Point Size: 16 pt
Leading: 19.2 pt
Paragraph Spacing: 10
Line length: 21,15,15
Body Text
Fonts: Univers LT Std, 55 Roman
Point Size: 11 pt
Leading: 12 pt
Paragraph Spacing: 13.2
Line length: 54
.jpg)
Fig,3.4, Layouts #4, (Week 6, 7/10/2022)
Headline (Bauhaus) ('The Impact of Bauhaus on modern culture.)
Fonts: Univers LT Std, 93 Extra Black
Extended, Univers LT Std, 55 Roman).
Point Size: 400pt, 50pt, 27pt,
Leading: 480pt, 60.8pt, 32.4pt,
Paragraph Spacing: 10pt
Line length: 0,0
Lead-In Text ( 'As Bauhaus turns 100, we explore its modern
legacy,')
Fonts: Univers LT Std, 55 Roman
Point Size: 16 pt
Leading: 19.2 pt
Paragraph Spacing: 10
Line length: 21,15,15
Body Text
Fonts: Univers LT Std, 55 Roman
Point Size: 11 pt
Leading: 12 pt
Paragraph Spacing: 13.2
Line length: 54
.jpg)
Fig,3.5, Layouts #5, (Week 6, 7/10/2022)
Headline (Bauhaus) ('The Impact of Bauhaus on modern culture.)
Fonts: Univers LT Std, 93 Extra Black
Extended, Univers LT Std, 55 Roman).
Point Size: 400pt, 50pt, 27pt,
Leading: 480pt, 60.8pt, 32.4pt,
Paragraph Spacing: 10pt
Line length: 0,0
Lead-In Text ( 'As Bauhaus turns 100, we explore its modern
legacy,')
Fonts: Univers LT Std, 55 Roman
Point Size: 16 pt
Leading: 19.2 pt
Paragraph Spacing: 10
Line length: 21,15,15
Body Text
Fonts: Univers LT Std, 55 Roman
Point Size: 11 pt
Leading: 12 pt
Paragraph Spacing: 13.2
Line length: 54
.jpg)
Fig,3.6, Layouts #6, (Week 6, 7/10/2022)
Headline (Bauhaus) ('The Impact of Bauhaus on modern culture.)
Fonts: Univers LT Std, 93 Extra Black
Extended, Univers LT Std, 55 Roman).
Point Size: 400pt, 50pt, 27pt,
Leading: 480pt, 60.8pt, 32.4pt,
Paragraph Spacing: 10pt
Line length: 0,0
Lead-In Text ( 'As Bauhaus turns 100, we explore its modern
legacy,')
Fonts: Univers LT Std, 55 Roman
Point Size: 16 pt
Leading: 19.2 pt
Paragraph Spacing: 10
Line length: 21,15,15
Body Text
Fonts: Univers LT Std, 55 Roman
Point Size: 11 pt
Leading: 12 pt
Paragraph Spacing: 13.2
Line length: 54
Fig,3.6, Layouts #7, (Week 6, 9/10/2022)
Headline (Bauhaus) ('The Impact of Bauhaus on modern culture.)
Fonts: Univers LT Std, 93 Extra Black
Extended, Univers LT Std, 55 Roman).
Point Size: 343pt, 30pt, 26.4pt,
Leading: 411.6pt, 60.8pt, 32.4pt,
Paragraph Spacing: 10pt
Line length: 0,0
Lead-In Text ( 'As Bauhaus turns 100, we explore its
modern legacy,')
Fonts: Univers LT Std, 55 Roman
Point Size: 12 pt
Leading: 14.4 pt
Paragraph Spacing: 10
Line length: 52
Body Text
Fonts: Univers LT Std, 55 Roman
Point Size: 10 pt
Leading: 12 pt
Paragraph Spacing: 13.2
Line length: 53
Headline (Bauhaus) ('The Impact of Bauhaus on modern culture.)
Fonts: Univers LT Std, 93 Extra Black
Extended, Univers LT Std, 55 Roman).
Point Size: 343pt, 30pt, 26.4pt,
Leading: 411.6pt, 60.8pt, 32.4pt,
Paragraph Spacing: 10pt
Line length: 0,0
Lead-In Text ( 'As Bauhaus turns 100, we explore its
modern legacy,')
Fonts: Univers LT Std, 55 Roman
Point Size: 17pt
Leading: 13 pt
Paragraph Spacing: 10
Line length: 52
Body Text
Fonts: Univers LT Std, 55 Roman
Point Size: 10 pt
Leading: 12 pt
Paragraph Spacing: 13.2
Line length: 53
4. All Layout Progress
Figure 4.1, All layout progress
In total, I have brainstormed around 11 layouts, and the one with
the red colour circle is the one that I have picked.
Final Task 2: Typographic Exploration and Communication
Final Task 2: Typographic Exploration and Communication in JPEG, Week
7 13.10.2022
Final Task 2: Typographic Exploration and Communication in JPEG with
grids, Week 7 13.10.202
Final Task 2: Typographic Exploration and Communication in PDF, Week 7
13.10.202
Final Task 2: Typographic Exploration and Communication in PDF with
grids, Week 7 13.10.202
FEEDBACK
Questions:
Heading
1. Do the expressions match the meaning of the words?
2. Are the expression well crafted (crafting/lines/shapes)?
Text
1. Is kerning and tracking appropriately done?
2. Does the font size correspond to the line length, leading &
paragraph spacing
3. Is the alignment choice conducive to reading?
4. Has the ragging been controlled well?
5. Has cross-alignment been established using baseline grids?
6. Are widows and orphans present?
Week 6
We are assigned to share our feedback for others peers' work and received
other peers' feedback.
General Feedback from peers: Summary feedback from peers, The layout is
nice however it is too simple, the letter B does attract their attention
however the body text layout is somehow too simple, can consider including
some lines or shapes to make it more interesting, for instance, the rest of
the heading text could be bigger so that it contrasts with the main body
text. For the skectches, currently, the heading and the subheading look like
they're part of the same line of text. Moreover, it is also difficult to
differentiate the headline and the lead-in text. Hence, perhaps could
arrange it in a different way.
Specific Feedback:
The layout is not that impactful and the column for the body text can be
improved. No graphic elements and body text are not allow to have bold or
condesed.
REFLECTION
Experience
The overall experience for this project was a good and challenging
experience due to I learned the aspects of how to create a layout, the rules
and requirements in layout designs, and the arrangement of text as well as
text formatting. I struggled with creating different layouts because there
were so many things to tweak and ensure it;s a according to the rules of
Typography, such as the line length and the restrictions too many graphics
are not allowed. It is nice to see the after and before of the layouts as it
is noticeable how the changes are much nicer including the small details as
well such as spacing, font size and arrangement.
Observations
When I was arranging the font sizes and alignment, I noticed that stand
from a viewer's point of view, it is much easier and more comfortable to
read when all the text is aligned and synchronized. Each element should
align with something in order to have the chemical structure and stability,
It is essential to complete this task, especially while studying how to
create layouts and focusing on the hierarchy of information.
Findings
With this project, I realised a nice layout should not have too much
elements of graphic and is preferred to avoid making the text on centered
align, if not it will confuses readers and is difficult to read as
well.
FURTHER READING
figure 5.1 Typographic design: Form and Communication (2015)
Reference:
Carter, R, Day, B, Meggs, P.B., Maxa, S., Sanders, M.
(2015). Typographic design: Form and Communication.
Hoboken, New Jersey: John Wiley & Sons, Inc
figure 5.2, Experimental typography exploring the manipulation of type.
(Text: Ann Zwinger: Designer: Rob Carter) pg 61
figure 5.3, chapter 3: Legibility - Typography details, pg 62.
It is. recommended that when working with typography, begin with the same
typeface and type size, Add additional typefaces, sizes and other
variations such as type weight only as needed. The middle shows good
legibility, while the right shows bad legibility due to the leading, point
size, choice of type, letter spacing, etc. Reading this chapter was
helpful and it also related to our text formatting in Task 2.
figure 5.4, Structure and space
Chapter 4: The Typographic Grid - Structure and Space, page 67.
Space is the common denominator for all typographic communication. When
typographic elements are introduced into space, they create subliminal
divisions, and these divisions create spatial structure,. As typographic
elements shift syntactically ins size, weight and position, new structures
emerge. Consider the single letterform, when centred, it appears
motionless, When placed off-centre, it appears to move, gaining velocity
as it approaches the outermost boundaries of space. Lines of type are put
into motion from the direction of their origin (usually left to right) at
the moment they are read. Suggested to horizontal movement, unless of
course they are positioned vertically or at an angle in space, the kinetic
possibilities of typographic elements are potentially endless. The
vertical dimension is more challenging.
figure 5.5, Animated marquee of type and image
Chapter 4: The Typographic Grid - Structure and Space, page 69.
A natural division of the golden section is the basic square. This
archetypal form has influenced the development of modern grids perhaps
more than any other system of proportion. Squares in combination lend an
infinite variety of visual patterns. In Japan, for example, the tatami
mat, a straw floor covering based on double square modules, is a system
for creating asymmetrical spaces in traditional Japanese
homes.
Paul Rand used squares as metaphorical building blocks and as an
organizational strategy for a book cover. It appears as contemporary today
as it was when it was created in 1955. The homepage for Martin Venezky's
Appetite Engineers website utilizes squares for an animated marquee of
type and image.
figure 5.6, Column and Margin
Chapter 4: The Typographic Grid - Single column grids, page 71.
The manner in which text blocks are placed on the page can greatly
affect the overall tone of the communication. These sample layouts
suggest an abundance of possibilities. Note the different ways in
which text blocks, images and marginalia are organized to define the
space. We need to always consider the text block and the margins of
the page as a proportional system. Margins function to set the
typographic stage; they may be dynamically asymmetrical or quietly
symmetrical. Margins also accommodate marginalia, separate typographic
parts that support the text. These include folios, running heads,
running feet, and notes. The negative space of margins can flows
gently into the text.
figure 5.7, Column and Margin
Chapter 4: The Typographic Grid - Multicolumn grids, page
71.
figure 5.8, Grid System
Chapter 4: The Typographic Grid - Form and Communication, page
79.
An excellent model for illustrating the modular grid is the work of Josef
Muller Brockmann, a major contributor to its wide acceptance. A leader in
the development of the International Typographic Style during the 1950s
and 1960s, Muller Brockmann sought to put objectivity in typography and graphic
expression.
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