2/5/2023 - 28/5/2023 / Week 6 - Week 8
Lee Wing Kie / 0364251
Typography / Bachelor of Design (Hons) in Creative MediaTask 2 - Typographic Exploration & Communication
LECTURES
All lectures 1 to 6 completed in Task 1 - Exercise
WEEK 5: Typography Task 2 Progress Demo
WEEK 5: Typography Task 2 Progress Demo
|
| Fig 1.1 Lecture Playlist Typo_Task2_Process Demo |
In this video, Mr. Vinod shows what we need to accomplish for Task 2. He demonstrates how we are to go about with this assignment starting with the selection of text and sketches.
INSTRUCTIONS
Task 2: Exercise
For Task 2, we have to create a 2-page editorial spread (200 x 200) using the texts that provided by Mr. Vinod. No images or colour, but minor graphical elements, i.e. line, shade, etc. might be allowed. We are to use Adobe InDesign to typographically compose and express the text, and Adobe Illustrator for the headline expression is allowed.
1. Sketches
|
| Fig 2.1 Sketch1 (Week 6: 09/05/2023) |
|
| Fig 2.2 Sketch2 (Week6: 09/05/2023) |
|
| Fig 2.3 Sketch3 (Week6: 09/05/2023) |
I chose the last editorial text option, 'Unite To Visualise A Better World,' and created three sketches using Adobe Illustrator.
2. Layout Process
Before the final outcome, I experimented with various layouts to select the
one that appeared most visually appealing. My aim was to create a design
that was straightforward and easily understood.
|
||
Fig 2.4 First attempt (Week6: 09/05/2023)
|
|
| Fig 2.6 Third attempt (Week6: 09/05/2023) |
After Mr. Vinod's feedback, my work couldn't express the expression of the thumbnail, so I changed the theme, because I did a lot of research, wasted a lot of time, and still had no creative inspiration for the theme I chose before. So I change to topic "A code to build on and live by".
Redo Sketches
|
||
Fig 2.7 Redraw sketch first attempt (Week7: 16/05/2023)
|
New Layout
|
| Fig 2.9 Layout #1 (Week7: 16/05/2023) |
|
||
Fig 2.10 Layout #2 (Week7: 16/05/2023)
|
3. Final Outcome
|
| Fig 2.12 Final Outcome in JPEG (Week7: 16/05/2023) |
Fig 2.13 Final Outcome in PDF (Week7: 16/05/2023)
|
| Fig 2.14 Final Outcome in JPEG with Grids (Week7: 16/05/2023) |
Fig 2.15 Final Outcome in PDF with Grids (Week7: 16/05/2023)
Font: Adobe Caslon Pro
Type Size: 9pt
Leading: 11pt
Paragraph spacing: 11pt
Characters per-line: 43~51
Alignment: Left
Margins: 10 mm (top, bottom, left, right)
Columns: 4
Gutter: 5mm
FEEDBACK
General Feedback: The thumbnail expression are not acceptable. Align each line, don't only one word at the last line of a paragraph.
REFLECTIONS
Experiences:
Before proceeding to task 2, we have already completed exercises on Text
Formatting and Word Expression. In task 2, we are required to combine the
skills we learned from task 1, which include text formatting and word
expression.
Week 7:
General Feedback: I like the body text, but not the
expression so much.
REFLECTIONS
Experiences:
Observation:
While working on task 2, my initial sketches and layouts were not
approved by Mr. Vinod. I struggled with the design and expressing my
ideas, but I didn't give up. I dedicated time to observe and conduct
thorough research. Mr. Vinod's feedback and suggestions on other students'
works were also crucial in inspiring me. Eventually, I decided to switch
to another theme since I had already invested a significant amount of time
in the previous sketches and attempts without being fully satisfied. Once
I changed the topic, new ideas started flowing, and I found success.
FUTHER READING
Chapter 2: Type Design & Development
Typefaces should be considered in the context of their usage on a page rather than solely relying on classification systems. While traditional classifications focus on specific features, observing typefaces in use reveals that factors like darkness, alignment, spacing, and letter proportions play a larger role in overall impression. Complementary styles and weights, along with the editorial structure, impact reading experience. Typeface design is influenced by history, culture, and user expectations. While designers can push boundaries, understanding conventions is crucial. A good designer decodes visual communication culture, while a great designer adds interpretation and response.
Typeface design involves various terms such as type design, font design, letterform, and glyph. Understanding these nuances is valuable as they reveal different aspects of the design process. When we think of a word, the sequence of letters comes to mind. Writing these letters on paper manually creates letterforms. They are controlled by the maker and can be found in various contexts like a shopping list, Trajan's column, or brush-made signs. On the other hand, representations of letters intended for mechanical reproduction are typeforms. Their specific usage and rendering environment are unknown during their creation. Crucially, typeforms represent formal relationships in two dimensions rather than capturing a specific shape. Regardless of the technology used, a typeface's lowercase 'a' in Univers remains the same. Differences in visible forms arise from encoding and rendering technology. Essentially, a typeface captures a designer's intentions for a collection of typeforms.
Typeforms are integral to typeface design, representing the essence of
writing. Designers add interpretation and consistency, leveraging
abstraction and imagined tools. Different technologies and implementations
introduce limitations and abstractions. The process involves referencing
written forms and exploring constructed shapes.
Findings:
I discovered that a word should not appear at the end of a paragraph, a
lesson I learned in task 1 but had forgotten. Unfortunately, I made the
same mistake in task 2. However, after receiving feedback from Mr. Vinod,
I made the necessary modifications and vowed to myself that I would not
repeat the same mistake again.
FUTHER READING
|
| Fig 3.1 Book cover: Typography Referenced |
Chapter 2: Type Design & Development
|
| Fig 3.2 Letters, Line, and Paragraphs pg33 |
Typefaces should be considered in the context of their usage on a page rather than solely relying on classification systems. While traditional classifications focus on specific features, observing typefaces in use reveals that factors like darkness, alignment, spacing, and letter proportions play a larger role in overall impression. Complementary styles and weights, along with the editorial structure, impact reading experience. Typeface design is influenced by history, culture, and user expectations. While designers can push boundaries, understanding conventions is crucial. A good designer decodes visual communication culture, while a great designer adds interpretation and response.
|
| Fig 3.3 The Language of Letters pg34 |
Typeface design involves various terms such as type design, font design, letterform, and glyph. Understanding these nuances is valuable as they reveal different aspects of the design process. When we think of a word, the sequence of letters comes to mind. Writing these letters on paper manually creates letterforms. They are controlled by the maker and can be found in various contexts like a shopping list, Trajan's column, or brush-made signs. On the other hand, representations of letters intended for mechanical reproduction are typeforms. Their specific usage and rendering environment are unknown during their creation. Crucially, typeforms represent formal relationships in two dimensions rather than capturing a specific shape. Regardless of the technology used, a typeface's lowercase 'a' in Univers remains the same. Differences in visible forms arise from encoding and rendering technology. Essentially, a typeface captures a designer's intentions for a collection of typeforms.
|
| Fig 3.4 Tools and Concepts pg37 |
|
| Fig 3.5 Tools and Concepts pg38 |
Comments
Post a Comment