TYPOGRAPHY/TASK 1 :EXERCISES
23/9/2024-28/10/2024 (Week 1- Week 6)
Jennifer Michelle Hiendrawan / 0374682
Typography/Bachelor of design (honours) in creative media/ School of design
Task 1: Exercises
TABLE OF CONTENTS 1.Lectures
2.Instruction
3.Process Work
3.1 Research
3.2 Ideation
4. Feedback
5. Reflection
6. Further Reading
1.LECTURES
Week 1 : Typo 1 Development
- Early letterform development:Phoenician to Roman
- Writing : Scratching into wet clay with sharpened stick or carving into stone with a chisel
- Uppercase forms: Simple combination of straight lines and pieces of circles as the materials and tools of early writing required
- The tool that we hold on our hand has a very important influence on the type of writing that is created
Fig 1.1 Early Letterform Development
Fig 1.2 Early Letterform Development
4.The Greeks changed the direction of writing
5.Phooenicians & Semetic peoples wrote from right to left
6.The greek developed "boustrophedon" : the lines of text read from left to right and right to left
7.The greek changed the orientation of the letterforms :
Fig 1.3 Greek Writing Style
Fig 1.4 Greek Writing Style
Greek did not use letter space or punctuation and would move to a strictly left to right writing
8.Etruscan and Roman working in marble painted letterforms before inscribing them
Fig 1.5 Etruscan
They changed it from vertical to horizontal and also broadened the stroke at start and finish
9.
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2.Example : line space (leading) between the paragraphs.If the line space is 12 pt, then the paragraph is 12 pt.This ensures cross-alignment across columns of text.
The cross alingment example
Fig 1.6 Phoenician 1000 B.C.E
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Fig 1.7 Greek 900 B.C.E
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Fig 1.8 Roman 100 B.C.E
- Hand script from 3rd-10th Century C.E.
- Square capitals were the written version that can be found in Roman monuments
Fig 1.9 Square Capital
Serifs added to finish the main stroke and the variety of the stroke width was achieved by the reed pen held at an angle of approximately 60 degrees off the perpendicular
2.Rustic capitals ( a compressed version of square capitals) were faster and easier but slightly harder to read due to their compressed nature.
Fig 1.10 Rustic Capital
3.The development of the lowercase letterform was a result of writing uppercase letterform quickly
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Fig 1.11 Writing Fast
4.Uncials incorporated some aspects of the Roman cursive hands, especially the shape of the A, D,E, H, M, U, and Q
5.'Uncia" is latin for a twelfth of anything. The broad forms of uncial are more readable at small sizes than rustic capitals
Fig 1.12 Uncia
6.Half uncials mark the formal beginning of lowercase letterforms
Fig 1.13 Half Uncials
7.Charlemagne (the first unifier of Europe) standardize all ecclesiastical texts
Fig 1.14 Charlemagne
8.The monks rewrote the text using majuscules(uppercase), miniscule, capitalization, and punctuation which set the standard for calligraphy for a century
This is all of the things that we used today
It can convey messages more accurately and precisely
- Blackletter to Gutenberg's type
1.Blackletter (a condense strongly vertical letterform) or textura gained popularity.
2.In the south, 'rotunda' gained popularity
3.The humanistic in Italy is based on Alcuin's Miniscule
Fig 1.15 Blackletter
4.Guttenberg used his skills in engineering, metalsmithing, and chemistry to build blackletter of Northern Europe
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5.When you add letterspace to a body of a text or a word, the readability of that text reduces 
1.Mirrors the asymmetrical experience of handwriting
1.Emphasis on the end of a line as opposed to its start.
2.Type that calls attention to itself before the reader can get to the actual words is simply interference, and should be avoided.If you see the type before the words, change the type. 
The point size is 10
Fig 1.16 Gutenberg
Gutenberg's type mold required a different brass matrix, or negative impression, for each letterform
5.Gutenberg created 42 lines bible
Fig 1.17 Bible
6.Printing can finally be done much more quickly by the development of the metal matrices that could be put together and form the word, then word can put together and form a sentence, then it would form paragraphs in pages and finally can print several pages.
Fig 1.18 Timeline
Fig 1.19 Timeline
- Text type classification
1.1450: Blackletter (Earliest printing type and based on hand coping style)
Fig 1.20 Blackletter
Examples: Cloister black and Goudy text
2.1475:Old style (Based on the lowercase forms used by Italian humanist scholars and the uppercase letterforms found inscribed on Roman ruines)
Fig 1.21 Old Style
Examples : Bembo, Caslon, Dante, Garamond, Janson, Jenson, Palatino
3.1500: Italic (condensed, close set, and allowing more words per page.Italic were soon cast to complement Roman forms)
Fig 1.22 Italic
4.1550: Script (Attempt to replicate engraved calligraphic forms )
Fig 1.23 Script
Examples : Kuenstler Srcipt, Mistral, Snell, Roundhand
5.1750:Transitional (Refiniment of oldstyle form)
Fig 1.24 Transitional
Examples : Baskerville, Bulmer. Century, Time Roman
6.1775:Modern (represents a further nationalization of oldstyle letterforms )
Fig 1.25 Modern
Examples: Bell, Bodoni, Caledonia, Didot, Walbaum
7.1825: Square serif/ slab serif ( bracketed serif with variation of thick and thin)
Fig 1.26 Square serif/Slab serif
Examples: Clarendon, Memphis, Rockwell, Serifa
8.1900: Sans serif ( eliminates serif altogether )
Fig 1.27 Sans Serif
Examples: Akzidenz Grotesk, Grotesk, Gill Sans, Franklin Gothic, Frutiger, Futura, Helvetica, Meta, News Gothic, Optima, Syntax, Trade Gothic, Univers
9.1990: Serif/ sans serif (enlarges the notion of a family of typefaces to include serif and sans serif)
Examples: Rotis, Scala, Stone
Fig 1.28 Serif/Sans Serif
Week 2: Typo_3_Text_P1
- Text/Tracking:Kerning and Letterspacing
1.Kerning refers to the automatic adjusment of space between letters.
2.Letterspacing means to add space between the letters.
3.Tracking refers to the addition and removal of space in a word or sentence.
without kerning
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with kerning
4.We can use InDesign as a publishing software.The different between InDesign and illustrator is in illustrator we create graphics (it could be illustration and it could be graphics of logos), however InDesign is for a large amount of texts or limited amount of text
How to use InDesign:
-Choose print, web or mobile (depends on what type of design that will be make)
-Choose or custom your own page size and choose how many pages do you want
-Arrange your paper using the "preset details" section correctly
-Select the "Type tool" then click and drag and type down the text that you want
-Press command shift and the greater than key to increase the size of the word
-If you use mac, go to preferences and choose units & increments.You can adjust it whatever you want
-If you use PC, go to edit preferences
-For letterspacing, press option and right arrow
6.Letterspacing uppercase letters is more or less acceptable
7.We cannot letterspace a lowercase letters.This is a big no!
8.Uppercase letterforms are drawn to be able to stand on their own, whereas lowercase letterforms require the counterform created between letters to maintain the line of reading
counterform is the black spaces between the white letterforms
9.When you add letterspacing, you are breaking the letterform which then reduces the readability of that particular word or sentence
- Flush left
2.Each line starts at the same point but ends wherever the last word on the line ends.Spaces between words are consistent throughout the text, allowing the type to create an even gray value.
3.Gray value is what we call text on a white page
4.If the grayness is too dark, that means there is not enough reading.If the grayness is too light, you give it too much letterspacing
5.When you flush left, you will always have a dragging on the right
- Centered
1.Imposses symetry upon the text, assigning equal value and weight to both ends of any line
2.Transform field of text into shapes
3.Create such a strong shape on the page, so its important to amend the line breaks so that the text does not appear too jaged
- Flush right
2.Can be useful in situations (like captions) where the relationship between text and image might be ambiguous without a strong orientation to the right
- Justified
1.Imposses symmetrical shape on the text
2.Expanding or reducing spaces between words and letters
- Text/Formatting text
1.The typographer's first job is to make sure that the text is clear and have appropriate presentation of the author's message.
3.Different typefaces suit different messages
4.A good typographer has to know which typeface best suits the message at hand
5.Type with generous x-height or relatively heavy stroke width produces a darker mass on the page than type with a relatively smaller x-height or lighter stroke.
Baseline is the mean line or the median line
If you want a readable text, make sure the x-height is larger than normal
The leading is 13.5
The stroke in Garamond made it more readable
Conclusion:
-Jenson pro is the darkest in color therefore readable
-Baskervile is near perfect.It's not dark, has a right amount of gray value, and tend to be readable at this size
-Adobe caslon pro is good buty not as good as baskerville and garamond-Bembo seems to be doing quite well as well but there is a contrast issue there.Contrast refers to thick and thin strokes.If the thick and thin strokes has too much contrast and smaller sizes, gthe inner strokes disappear
6.The goal in setting text type is to allow for easy, prolonged reading
7.A field of type should occupy the page as much as photograph does
8.Type size: should be large enough to be read easily at arms length
9.Leading: is set too tightly to encourages vertical eye movement
10.Line length: a good rule of thumb is to keep line length between 55-65 characters
the right one has too much leading, therefore the color is too dark on the left and the color is too light on the right
10/12 has the best color, 10/13 is a little loose and then it gets looser
Type speciment book
Week 3:Typo 4_Text_Part2
- Text/indicating paragraphs
1.Example: 'pilcrow', a holdover from medieval manuscripts seldom use today
3.Cross alingment is when you have two columns of text sitting next to each other where the text line is aligned to the next column
4.Line space vs leading
-When you use word and you go to the format menu and paragraph, you will see that they use the term line spacing as opposed to leading
-A leading space is a piece and a space between two sentences
-Line spacing is the base line of one sentence to the descender of the other sentence
-The descender for line spacing starts from one sentence to the descender of another sentence
5.In typography, we use the term leading due to historical evolution.It is when type used to be composed using led typefaces where they used to compose Linotype text.
6.Example:The standard indentation.The indent is the same size of the line spacing or the same point of your text.If your point size of the text is 10 points, 10 points indentation would be appropriate.If you indent it too much, it creates too much of a ragging on the left. Whenever you use indentation, you should never use left alignment.You should never have ragging on the right.Indentation is best use when the text is justified.
7.The method of extended paragraphs below creates unusually wide columns of text.However, there can be strong compositional or functional reasons for choosing it.
- Text/Widows and orphans
2.Widow is a short line of type left alone at the end of a column of text
3.Orphan is a short line of type left alone at the start of the new column
4.In good typography we avoid widow because we try to bring down another word to ensure that you just don't have a single word at the end of that particular paragraph.
6.In justified text, orphan and widow are considered serious gaffes.
7.Flush left and ragged left text more forgiving towards widow
8.The only solution to widows is to rebreak your line endings throughout your paragraphs, therefore the last line of any paragraph is not noticeably short.
9.Orphans require more care. Make sure that no columns of text starts with the last line of the preceding paragraph
- Text/highlighting text
1.How to highlight text within a column of text:
Different kinds of emphasis require different kinds of contrast
3.Reduce aligned figure (numbers) or all capital acronyms embedded in text by .5 as well, ensure visual cohesion of the text.But you can't do this for a lot of text.When you design a book, you're probably better off using lowercase numerals.Lowercase numerals are numerals that are not aligned
4.When highlighting text by placing a field of color at the back of the text, maintaining the left reading axis (right example) of the text ensures readability is at its best.
the left one has an indentation and the right has no indentation
5.Sometimes it's necessary to place certain typographic elements outside the left margin of a column of type to maintain a strong reading axis.
6.Quotation marks, like bullets can create a clear indent, breaking the left reading axis
- Text/headline within text
2.A head indicates a clear break between topics within a section
'A' heads are set larger than the text, in small caps and bold.The fourth examples show an A head extended to the left of the text
3.B head is subordinate to A heads.B head indicates a new supporting argument or example for the topic at hand.
5.Putting together a sequence of subheads = hierarchy
- Text/cross alignment
four lines of caption type (leaded 9 pts) cross-align with three lines of caption type (leaded to 13.5 pts)
1.One line of the headline type cross-aligns with two lines of text type and (right; bottom left) four lines of headline type cross-align with five lines of text type.
- Text/End
Week 4: Typo_2_Basic
- Basic/describing letterforms
1.Typography employs a number of technical terms
2.Baseline : The imaginary line the visual base of letterforms
3.Median : The imaginary line defining the x-height of letterforms
4.X-height: The height in any typeface of the lowercase X
-The capital letters are smaller than the ascending stroke
-The ascending line tends to be above or ascending stroke tends to be slightly above the capital letter.This is what we call optical adjustment
5.Stroke : any line that defines the basic letterforms
6.Apex/Vertex : The point created by joining two diagonal stems (apex above and vertex below)
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7.Arm : Short strokes off the stem of the letterform, either horizontal (E, F, L) or inclined upward (K, Y)
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10.Bowl : The rounded form that describes a counter.The bowl maybe either open or closed
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11.Bracket : The transition between the serif and the stem
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12.Cross stroke : The horizontal stroke in a letterform that joins two stem together
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13.Cross bar : The horizontal stroke in a letterform that joins to stem together
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14.Crotch : The interior space where two strokes meet
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15.Descender : The portion of the stem of a lowercase letterform that projects below the baseline
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16.Ear : The stroke extending out from the main stem or body of the letterform
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17.Em/En : Originally refering to the width of an uppercase M, and em is now the distance equal to the size of the typeface. An en is half the size of an em. Most often used to describe em/en spaces and em/en dashes
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18.Finial : The rounded non serif terminal to a stroke
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19.Ligature : The character formed by the combination of two or more letterforms
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20.Link : The strokes that connect the bowl and the loop of a lowercase G
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21.Loop: the bowl created in the descender of the lowercase g
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22.Serif: The right angled or oblique foot at the end of the stroke
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23.Shoulder: The curved stroke that is not part of a bowl
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24.Spine : The curved stem of the S
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25.Spur: The extention the articulates the junction of the curved and rectilinear curve
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26.Stem: The significant vertical or oblique stroke
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27.Stress: The orientation of the letterform, indicated by the thin stroke in round forms
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28.Swash: The flourish that extends the stroke of the letterform
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29.Tail: The curved diagonal stroke at the finish of certain letterforms
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30.Terminal: The self-contained finish of a stroke without a serif.Terminals maybe flat ("T above"), flared, acute. ('t above'), grave, concave, convex, or rounded as a ball or teardrop
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- Basic/The font
2.To work successfully with type, make sure you are working with a full font and you should know how to use it
3.Uppercase capital letters, including certain accented vowels, the c cedilla and n tilde, and the a/e and o/e ligatures
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4.Lowercase: include the same character as uppercase
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5.Small capitals : primary found in serif fonts as part of what is often called expert set
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6.Uppercase numerals (lining figures) : these numerals are the same height as uppercase letters and are all set to the same kerning width.Most sucesfully used wigth tabural material or in any situation that calls for uppercase letters
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7.Lowercase numerals: known as old style figures or text figures.These numerals are set to x-height with ascenders and descenders.Best used when ever you would use upper and lowercase letterforms.Lowercase numerals are far less common in san serif typefaces than in serif.
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8.Italic: Small caps are almost always only Roman.Oblique are typicallhy based on the roman form of the typeface
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9.Punctuation, miscellaneous characters: Miscellaneous can change from typeface to typeface
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10.Ornaments : used as flourishis in invitations or certificates.Usually provided as a font in a larger typeface family.Only a few traditional or classical typefaces contains ornamental fonts as part of the entire typeface family (adobe caslon pro)
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- Basic/ describing typefaces
1.Keep in mind that some, all, or combinations of these styles maybe found within one type family
2.Roman : is so called because the uppercase forms are derived from inscriptions of Roman monuments.A slightly lighter stroke in Roman is known as 'book'
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3.Italic: named for fifteenth century Italian handwriting on which the forms are based.Oblique conversely are based on roman form of typeface
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4.Condense : a version of the Roman form, and extremely condense styles are often called 'compressed'
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5.Extended: an extended variation of a Roman font
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6.Boldface: characterized by a thicker stroke than a Roman form.Depending upon the relative stroke widths within the typefaces(notably Bodoni), the boldest rendition of typeface is refered to as 'poster'
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7.Light: a lighter stroke than the Roman form
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- Basic/ comparing typefaces
2.They have remained in use for decades- in some cases centuries- after they were first designed, still considered successful expressions of how we think, how we read and write, and how we print
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3.Beyond the gross differences in x-height, the forms display a wealth of variety, in line weight, relative stroke widths and in feeling
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Week 5:Typo_5_Understanding
- Letters/ understanding letterforms
1.The upercase letterforms below suggest symmetry, but in fact it is not symmetrical.It is easy to see the two different stroke weights of the baskerville stroke form(below); more noteworthy is the fact that each bracket connecting the serif to the stem has a unique arc
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- Letters
1.The uppercase letterforms may appear symmetrical, but a close examination shows that the width of the left slope is thinner than the right stroke.Both baskerville (previous) and univers (below) demonstrate the meticulous care a type designer takes to create letterforms that are both internally harmonious and individually expressive
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2.The complexity of each individual letterform is neatly demonstrated by examining the lowercase 'a' of two seemingly similar sans-serif typefaces- Helvetica and univers.A comparison of how the stems of the letterforms finish and how the bowls meet the stems quickly reveals the palpable difference in character between the two
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- Letters/ maintaining x-height
1.The x-height generally describes the size of the lowercase letterforms.However, curved strokes such as in 's', must rise above the median (or sink below the baseline) in order to appear to be the same size as the vertical and horizontal strokes they adjoin
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- Letters/form/counterform
1.When letters are joined to form words, the counter form includes the spaces between them
2.The latter is particularly and important concept when working with letterforms like lowercase 'r' that have no counter per se.
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3.One of the most rewarding way to understand the form and counter of a letter is to examine them in close detail.The examination also provide a good feel for how the balance between form and counter is achieved and a palpable sense of letterform's unique characteristics
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4.It's worth nothing here that the sense of 's' holds at each stage of enlargement, while the 'g' tends to loose its identity, as individual elements are examined without the context of the entire letterform.
- Letters/ contrast
1.The simple contrasts produces numerous variations:
small+organic/large + machined ; small+dark/ large light
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2.INSTRUCTIONS
TASK 1 EXERCISE - TYPE EXPRESSIONS
RESEARCH
I did my research using pinterest and i got a reference and inspiration.Most of it were from pinterest and some of my sketches were from my own idea.
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Fig 3.1.1 Reference (Week 1, 23/09/2024)
IDEATION
- SKETCHES
On week 1, we were given 4 words from Mr.Max.The words are melt, burn, fade, and grow.We must create a typography based on the words that already given.On week 1, we must make a sketch for those words.We must create a typography that can describe the words without too much distorting and it must be easy to read.We can only use black and white for the color of the text.There are also 10 fonts that was given and we must use that font for our exercise.
First, i sketched the design using Procreate
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Fig 3.2.1 Sketches (Week 1, 23/09/2024)
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Fig 3.2.2 Sketches (Week 1, 23/09/2024)
Burn: For the word burn, i actually wanted to make the word to look like a fire.However, Mr.Max didn't approve my sketch because he said i distorted it too much.Then i also made the letter 'U' from the word burn to look like a fire because i think 'u' is the letter that is similar to burn than the other letter.Then i also added some details at the bottom of the letter, i made it a little bit disappear because usually if it has burned , it will be charred.Moreover, i also made some fire effect for the word.
Melt:For the word melt, i wanted to make a droplet for each of the letter.I also used procreate to make the word a bit distorted and also tilted.Furthermore, i also made the letter 'E' dropped and gave a bit detail to it.The last one i made the shadow of the word and flip it because i wanted to visualize the word melt slowly melting and i wanted to make the puddle written as melt.
Fade:For the word fade, i wanted to make the word gradually fade out and also gave some effect so that the word describe fade.
Grow:For the word grow, i made it look small for the first letter than it getting bigger to describe that it is growing and i also made the letter 'W' became the tallest one than the other.
Mostly, i got the inspiration from pinterest.After Mr.Max chose my sketches, i continue to make the words using Adobe illustrator
- DIGITIZATION
I made the digital version using adobe illustrator for the 4 words that was chosen by Mr.Max.
BURN
I made it the same as my sketch.I drew a fire for letter "U" because letter U already looks like a fire.Therefore, i added some elements to make it more like a fire.I used pen tool to made the fire.I also added some elements that represent fire for the bottom of the letters.I used pen tool to draw the shapes and then copy paste it and arrange it became the shape that i want.Moreover, i also used gradients to make the color became more realistic..png)
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Fig 3.2.3 Burn Digitization (Week 3, 07/10/2024)
MELT
Mr.Max actually chose this one for melt.However, he told me to change the sketch.He told me that it is better to make the E a little bit tilt to the left and also removed the ice effect in letter E.He also told me to add a puddle for letter 'E'.I made the puddle by using pen tool then i added gradient to make it more realistic.
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Fig 3.2.4 Melt Digitization (Week 3, 07/10/2024)
the sketched that Mr max chose
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Fig 3.2.5 Melt Digitization (Week 3, 07/10/2024)
Final digitization for melt (already changed sketched)
GROW
Mr.Max chose this one for grow.However, he told me to make a little bit change for the sketch.He told me that it is better to make the letter become bigger than the other letters.Therefore, i changed the sketch and made the digitization.I made it by using selection tool than i resized the letters one by one.
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Fig 3.2.6 Grow Digitization (Week 3, 07/10/2024)
the sketched that Mr.Max chose
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Fig 3.2.7 Grow Digitization (Week 3, 07/10/2024)
Final digitization for grow
FADE
I made it same as my sketch that Mr.Max chose.I added some white lines, so that it can represent that the word is fading.I made it by creating shape then i arranged the shape one by one.
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Fig 3.2.8 Fade Digitization (Week 3, 07/10/2024)
Final outcome for task 1 Exercise 1
Fig 3.2.9 Final Outcome of Type Expression JPEG (Week 4, 14/10/2024)
Fig 3.2.10 Final Outcome of Type Expression PDF (Week 4, 14/10/2024)
- Animation
After digitizing our words using adobe illustrator, we must create an animation for 1 word.I decided to choose the word 'melt' because i think making an animation with the word 'melt' will be fun.I wanted to make the letter 'E' slowly melting then slowly having a lot of puddle.Due to a lot of puddle, it also has a droplet.
First, i used adobe illustrator to create an artboard and used pen tool to draw the puddle and also droplets.The total artboards that i used was 13. Then after using adobe illustrator, i saved my work than added it to adobe photoshop and start creating the animation.I adjusted the time for the animation also.
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Fig 3.2.11 Animation Progress (Week 4, 14/10/2024)
Creating artboards using adobe illustrator
(this has already approved by Mr.Max)
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Fig 3.2.12 Animation Progress on Photoshop (Week 4, 14/10/2024)
using adobe photoshop to create the animation and adjusting the time for the animation
(this has already approved by Mr.Max)
Final outcome
Fig 3.2.13 Final Outcome of Animation (Week 5, 21/10/2024)
Task 1/Exercise 2: Text Formatting
For the second exercise, we learned about kerning, tracking and leading using InDesign.The first one was we must make kerning, tracking, and leading using our own name.Since i have a long name, Mr.Max told me so that i didn't use all of my full name.Therefore, i only used Jennifer.
1.Kerning and tracking
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Fig 3.2.14 Final Outcome of Kerning and Tracking (Week 5, 21/10/2024)
2.Layout
We must make a text formatting using kerning, leading, and tracking.We must make sure that there is no widow, orphans, and also rag.Line length should be around 50-60 and hypernation should be turned off.Mr.Max told us to make 6 different layout and he will choose one of it.However, i finally decided to make 8 different types of layout.
- FIRST LAYOUT
I used 2 photos for this layout.I applied different design for the headline.I used the bembo std regular font for the ' i am' and used the bold font for the 'helvetica' to make it more appealing.I also made the headline smaller than the first layout but still highlighted the headline.
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Fig 3.2.15 First Layout (Week 5, 21/10/2024)
HEAD LINE
Typeface: Bembo Std (' I am')
Font/s: Bembo Std Regular
Type Size/s: 30 pt
Leading: 36 pt
Paragraph spacing: 0
Typeface: Bembo Std (' Helvetica')
Font/s: Bembo Std bold
Type Size/s: 36 pt
Leading: 36 pt
Paragraph spacing: 0
BODY
Typeface: Bembo Std
Font/s: Bembo Std
Type Size/s: 9 pt
Leading: 11 pt
Paragraph spacing: 11 pt
Characters per-line: 50-60
Alignment: left justified
Margins: 123 mm top, 26 mm left + right + bottom
Columns: 2
Gutter: 10 mm
- SECOND LAYOUT
For the third layout, i decided to make the headline same as the second one, however put the headline in the center.I also decided to add one picture only, so that the design will not be too crowded.
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Fig 3.2.16 Second Layout (Week 5, 21/10/2024)
HEAD LINE
Typeface: Bembo Std (' I am')
Font/s: Bembo Std Regular
Type Size/s: 30 pt
Leading: 36 pt
Paragraph spacing: 0
Typeface: Bembo Std (' Helvetica')
Font/s: Bembo Std bold
Type Size/s: 36 pt
Leading: 36 pt
Paragraph spacing: 0
BODY
Typeface: Bembo Std
Font/s: Bembo Std
Type Size/s: 9 pt
Leading: 11 pt
Paragraph spacing: 11 pt
Characters per-line: 50-60
Alignment: left justified
Margins: 123 mm top, 26 mm left + right + bottom
Columns: 2
Gutter: 10 mm
- THIRD LAYOUT
I made a different design for this layout.I tilt the headline to left and used bigger size for the 'helvetica' to highlight it more.
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Fig 3.2.17 Third Layout (Week 5, 21/10/2024)
HEAD LINE
Typeface: Bembo Std (' I am')
Font/s: Bembo Std Regular
Type Size/s: 30 pt
Leading: 36 pt
Paragraph spacing: 0
Typeface: Bembo Std (' Helvetica')
Font/s: Bembo Std bold
Type Size/s: 48 pt
Leading: 36 pt
Paragraph spacing: 0
BODY
Typeface: Bembo Std
Font/s: Bembo Std
Type Size/s: 9 pt
Leading: 11 pt
Paragraph spacing: 11 pt
Characters per-line: 50-60
Alignment: left justified
Margins: 123 mm top, 26 mm left + right + bottom
Columns: 2
Gutter: 10 mm
- FOURTH LAYOUT
I used the same size for the headline like i used before, however for the fifth design i put in on the bottom and put the picture on the top.
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Fig 3.2.18 Fourth Layout (Week 5, 21/10/2024)
HEAD LINE
Typeface: Bembo Std (' I am')
Font/s: Bembo Std Regular
Type Size/s: 30 pt
Leading: 36 pt
Paragraph spacing: 0
Typeface: Bembo Std (' Helvetica')
Font/s: Bembo Std bold
Type Size/s: 36 pt
Leading: 36 pt
Paragraph spacing: 0
BODY
Typeface: Bembo Std
Font/s: Bembo Std
Type Size/s: 9 pt
Leading: 11 pt
Paragraph spacing: 11 pt
Characters per-line: 50-60
Alignment: left justified
Margins: 123 mm top, 26 mm left + right + bottom
Columns: 2
Gutter: 10 mm
- FIFTH LAYOUT
I used small size for the headline because it will be only in a4 paper, so doesn't need to make a big headline.Besides that, i also made the headline with a different size to highlight the 'helvetica' more but still looks beautiful.I added the photos on the right bottom of the text to make it more balance, so that there will not be a part that is too crowded.
%20(1)6.jpg)
Fig 3.2.19 Fifth Layout (Week 5, 21/10/2024)
HEAD LINE
Typeface: Bembo Std (' I am')
Font/s: Bembo Std bold
Type Size/s: 30 pt
Leading: 36 pt
Paragraph spacing: 0
Typeface: Bembo Std (' Helvetica')
Font/s: Bembo Std bold
Type Size/s: 48 pt
Leading: 36 pt
Paragraph spacing: 0
BODY
Typeface: Bembo Std
Font/s: Bembo Std
Type Size/s: 9 pt
Leading: 11 pt
Paragraph spacing: 11 pt
Characters per-line: 50-60
Alignment: left justified
Margins: 123 mm top, 26 mm left + right + bottom
Columns: 2
Gutter: 10 mm
- SIXTH LAYOUT
I made a big header for this design and used the same font and size for the header to highlight it more.Even though it is big, i still managed to make it looks beautiful.I gave the photos on the right to balance the design.
%20(1)7.jpg)
Fig 3.2.20 Sixth Layout (Week 5, 21/10/2024)
HEAD LINE
Typeface: Bembo Std (' I am')
Font/s: Bembo Std bold
Type Size/s: 72 pt
Leading: 36 pt
Paragraph spacing: 0
Typeface: Bembo Std (' Helvetica')
Font/s: Bembo Std bold
Type Size/s: 72 pt
Leading: 36 pt
Paragraph spacing: 0
BODY
Typeface: Bembo Std
Font/s: Bembo Std
Type Size/s: 9 pt
Leading: 11 pt
Paragraph spacing: 11 pt
Characters per-line: 50-60
Alignment: left justified
Margins: 123 mm top, 26 mm left + right + bottom
Columns: 2
Gutter: 10 mm
- SEVENTH LAYOUT
This design was actually similar with the seventh layout, however for this layout i made the header became on the bottom.Overall the design was the same with the seventh layout because i wanted to provide two options so that Mr.Max can choose the best one.
%20(1)8.jpg)
Fig 3.2.21 Seven Layout (Week 5, 21/10/2024)
HEAD LINE
Typeface: Bembo Std (' I am')
Font/s: Bembo Std bold
Type Size/s: 72 pt
Leading: 36 pt
Paragraph spacing: 0
Typeface: Bembo Std (' Helvetica')
Font/s: Bembo Std bold
Type Size/s: 72 pt
Leading: 36 pt
Paragraph spacing: 0
BODY
Typeface: Bembo Std
Font/s: Bembo Std
Type Size/s: 9 pt
Leading: 11 pt
Paragraph spacing: 11 pt
Characters per-line: 50-60
Alignment: left justified
Margins: 123 mm top, 26 mm left + right + bottom
Columns: 2
Gutter: 10 mm
- EIGHTH LAYOUT
For this design, i made the headline big and also i added two photos for this layout.I wanted to make something new, therefore i added the photo on the right of the picture and made it full to create an aesthetic layout.
%20(1)9.jpg)
Fig 3.2.22 Eighth Layout (Week 5, 21/10/2024)
HEAD LINE
Typeface: Bembo Std (' I am')
Font/s: Bembo Std bold
Type Size/s: 72 pt
Leading: 36 pt
Paragraph spacing: 0
Typeface: Bembo Std (' Helvetica')
Font/s: Bembo Std bold
Type Size/s: 72 pt
Leading: 36 pt
Paragraph spacing: 0
BODY
Typeface: Bembo Std
Font/s: Bembo Std
Type Size/s: 9 pt
Leading: 11 pt
Paragraph spacing: 11 pt
Characters per-line: 50-60
Alignment: left justified
Margins: 123 mm top, 26 mm left + right + bottom
Columns: 2
Gutter: 10 mm
FINAL OUTCOME
I asked Mr.Max and showed him all of my layouts, eventually he chose the third layout because the headline size is not as bigger as some of my layouts and because it looks good.Therfore, i used this layout as my final outcome for task 1.
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Fig 3.2.23 Final outcome without baseline JPEG (Week 6, 28/10/2024)
Fig 3.2.24 Final outcome with baseline JPEG (Week 6, 28/10/2024)
Fig 3.2.25 Final outcome without baseline PDF (Week 6, 28/10/2024)
Fig 3.2.26 Final outcome with baseline PDF (Week 6, 28/10/2024)
4.FEEDBACK
5.REFLECTION
6.FURTHER READING
Week 1 :
Introduction to typography: I created my own blogger for typography, watched typo 1 development and made a summary of it, and voted 4 words for our task, then made a sketches for it.
Week 2:
General feedback:Mr. Max explained about how to use adobe illustrator and we were consulting our design to Mr.Max.I’ve done all of my sketches for the word ‘melt’ and also ‘burn’ this week.Mr.Max taught us about the important keys when using adobe illustrator.
Specific feedback:Mr.Max accepted the sketches for ‘burn’, however for ‘melt’, he said that I must come up with a lot of new ideas next week.
Week 3:
General feedback: All four sketches were approved by Mr.Max.After approved by Mr.Max, I continue to do the digitization at class for the word ‘grow’ and ‘fade’
Specific feedback:Mr.Max chose 3 of my sketches for melt, fade,and grow.However, he told me to change the design for melt and grow.For ‘melt’, he told me to make the letter ‘E’ tilt then having a puddle.For the word ‘grow’, he told me to change the letter became more bigger ( so it doesn’t have the same size).Mr.Max also taught me about how to make the word ‘fade’ using adobe illustrator.
Week 4
General feedback:Mr.Max explained how to create an animation using adobe illustrator and adobe photoshop.I decided to chose ‘melt’ for my animation.
Specific feedback:Mr.Max gave me some feedback about my animation.He taught me how to create the ‘melt’ animation from my sketche and how to make it look like it is melting.
Week 5
General feedback:Mr.Max taught us about how to use InDesign and gave us an example for our task.He told us to create 6 design for next week and will choose the best one.
Specific feedback:Mr.Max approved my animation and I continued with my new task.
Week 6
General feedback:Mr.Max explained about how to create the layout for task 2 using InDesign and also Adobe illustrator.He told us to make 4 sketches and he will choose the best one next week
Specific feedback:Mr.Max approved my layout for text formatting. I made 9 designs and he chose the third one.After i'm done with the text formatting, i made the 4 sketches for task 2 and Mr.Max already approved 3 of my sketches, therefore i need to add 1 more this week.
5.REFLECTION
Experience
After doing a lot of exercises and also different type of typography exercise, i got a lot of new knowledge about typography.I learnt how to create it using the software and also how to make it simple but meaningful.Besides that, i also finally know how to create an e-portfolio for my task.I also got a lot of new idea and also inspiration by doing some research and made a lot of sketches.I learnt that creating a design needs to be creative.Moreover, by doing the task, i can know and use the tools in photoshop, illustrator, and InDesign.I also learnt about kerning, tracking, and also leading to create a good layout.Overall, i felt excited and also tiring at the same time when doing this typography task.Excited because i got important knowledge about typography, however also tiring because there were a lot of task and sometimes i struggled a lot when doing the task.
Observations
I realized that a good designer must have a good creativity.Besides that, a good designer must open to every feedback because feedback can help us to be a better designer and also can improve our design.
Findings
For me, type expression is very important, because we can create a simple but meaningful design just from a word that will be really useful.Animation also helpful because by doing animation, people can immmediately know what the word is trying to epxress.Besides that, learning kerning, tracking, and also leading also very necessary to create a good layout.Moreover, the headline, images, and body text are also important because if we make it correctly, it can create a beautiful layout.
6.FURTHER READING
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THE ORIGIN OF TYPOGRAPHY
The invention of typography signified the transition from the middle ages to a new era.The origins of typography are debated.However, evidence strongly favors Germany that it were largely discredited after extensive investigations.Gutenberg finally reestablished his printing business producing the notable Forty-two line bible, the first book with a printed date.After his death, his assistant took over the operation and marking a significant chapter in the history of printing.(Page 7)
THE SPREAD OF TYPOGHRAPHY
In Germany, John Mentel in Strassburg, Albrecht Pfister in
Bamberg, and Gunther Zainer, were the first to print with Roman characters in
Augsburg. Ulrich Zell in Cologne focused on other languages, while Anthony
Koburger operated multiple presses in Nuremberg.
In Italy, the first type printing occurred in a monastery
at Subiaco, followed by Ulrich Hahn in Rome and John de Spira in Venice.
Nicholas Jenson introduced a new Roman typeface, which influenced later
printing styles, including Aldus Manutius, who innovated with smaller book
sizes and italic type.
In Switzerland, Bertold Ruppel in Basel and John Froben,
who worked with Erasmus, contributed to the typographic scene.
France saw Ulrich Gering, Martin Crantz, and Michel
Friburger establish printing in Paris, while Henry Estienne became a prominent
typographer.
The Netherlands were represented by Colard Mansion and
William Caxton in Bruges, and Christopher Plantin in Antwerp, known for his
polyglot Bible.
In England, William Caxton became the first printer,
setting up a press in Westminster Abbey, followed by Wynken de Worde and
Richard Pynson.
Scotland's early printers included Androw Myllar and Walter Chepman in
Edinburgh, while Humphrey Powell operated in Dublin, Ireland.
In North America, John Cromberger printed in Mexico City,
and Stephen Daye established a press in Cambridge, Massachusetts.(Page 13)
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