Shao Han(0369187)Typography/TASK2

31/10/2023-7/11/2023 (Week 05 — Week7)

Shao Han/ 0369187

Typography/ Bachelor of Design (Hons) in Creative Media / Taylor's University

Task 02/ Exercise 1 & 2

TABLE OF CONTENTS

1. Lectures

2. Instructions

3. Process Work

4. Feedback

5. Reflection

6. Further Readings

INSTRUCTIONS

LECTURES

WEEK5+WEEK6

Typography: Letters

1. Understanding letterforms

The capitalized letterforms propose symmetry, but it isn't symmetrical. Two diverse stroke weights of the Baskerville stroke frame; more vital is the reality that each bracket interfacing the serif to the stem incorporates a interesting circular segment.

Baskerville 'A'

The capitalized letterforms may show up symmetrical, but a near examination appears that the width of the cleared out slant is more slender than the correct stroke. Both Baskerville (past) and Univers illustrate the fastidious care a sort architect takes to make letterforms that are both inside agreeable and exclusively expressive.

Univers 'A'

The complexity of each person letterform is perfectly illustrated by analyzing the lowercase‘a’of two apparently comparative sans-serif typefaces—Helvetica and Univers. A comparison of how the stems of the letterforms wrap up and how the bowls meet the stems rapidly uncovers the substantial contrast in character between the two.

Helvetica vs Univers

2. Maintaining x-height

X-height: The measure of the lowercase letterforms. Bended strokes, such as in‘s’, must rise over the middle (or sink underneath the pattern) in arrange to seem to be the same measure as the vertical and level strokes they border.

Median and baseline

3. Form / Counterform

Counterform (or counter)—the space portrays, and frequently contained, by the strokes of the shape. When letters are joined to create words, the counterform incorporates the spaces between them. How well are the counters taken care of decides how well the words hang together—how effortlessly we will perused what’s been set.

Form / Counterform

4. Contrast

Contrast is one of the basic principles of Graphic Design. which directly applies to typography. We can learn that simple contrasts create numerous variations such as:

small + organic
large + machined
small + dark
large + light, and more below

Contrast variations

WEEK7

Typography in Different Medium

Different Medium

The rise in innovative progresses within the past few decades, particularly screen-based innovation, has made numerous individuals accept that paper prints would gradually go out of fashion in support of advanced prints. Be that as it may, with the innovation of domestic printers (that came generally after the innovation of the web), the utilize of paper prints really got to be more in style/popular. In this manner, it would be untimely to think that a staple fashion like paper print would ended up out of design as it were since of the innovation of a modern fashion. Two awesome thoughts can co-exist without lessening one another.

Typography was treated as a living as it were when the paper was come to; no extra changes were made after distribution was printed. Though, typography in present day days, not as it were on paper but exists on a huge number of screens. As changes in typesetting are made on the browser, our encounters of typography nowadays have too changed depending on the page rendering.

Supplementary part: thirteen basic layout types commonly used in layout design

1. Skeletal type

Skeletal type is a standard and rational segmentation method. The common skeletons are vertical column, double column, three column, four column and horizontal column, double column, three column and four column and so on. Generally speaking, the vertical column is the most. In the arrangement of pictures and words, it is arranged strictly according to the proportion of bones, giving people the beauty of rigor, harmony and rationality. The layout of the bones mixed with each other is not only rational, organized, but also lively and flexible.

2. Full version

The layout is full of images, mainly based on images, and the visual communication is intuitive and strong. The configuration of the text is pressed on the image up and down, left and right, or in the middle. Full version gives people a sense of generosity and stretching, which is a common form of commodity advertising.

3. Upper and lower division type

Divide the whole layout into two parts, configure the picture in the upper or lower part, and configure the copywriter in the other part. The part equipped with pictures is perceptual and energetic, while the copywriting part is rational and static. The pictures configured in the upper and lower parts can be one or more.

4. Left and right split type

Divide the entire layout into two parts, left and right, and configure the copy on the left or right, respectively. When the left and right parts form a strong and weak contrast, it will cause the imbalance of visual psychology. This is only a matter of visual habits, and it is naturally not as natural as the visual process of upper and lower segmentation. However, if the dividing line is falsified, or repeated or interspersed with text, the left and right pictures and text will become natural and harmonious.

5. Axial type

The graphics are arranged horizontally or vertically, and the copy is configured up and down or left and right. The horizontal layout gives people a sense of stability, quietness, peace and implication. The vertical layout gives people a strong sense of movement.

6. Curve type

A picture or text is arranged as a curve in the layout structure to produce rhythm and rhyme.

Law.

7. Oblique type

The main image of the layout or multiple plates are tilted, resulting in a strong sense of movement and instability of the layout, which is eye-catching.

8. Symmetrical type

The symmetrical layout gives people a sense of stability, solemnity and rationality. Symmetry has absolute symmetry and relative symmetry. Generally speaking, relative symmetry is adopted. To avoid being too strict. Symmetry is generally dominated by left and right symmetry.

9. Central type

There are three kinds of thoughts in the center of gravity.

Directly occupy the center of the page with an independent and well-defined image.
Centripetal: the movement of visual elements gathered towards the center of the layout.
Centrifugation: it is like throwing pebbles into the water, resulting in a circle of arc movement that spreads outward.

The center-of-gravity layout produces visual focus, which makes it strong and prominent.

10. Triangle

In the basic forms such as circle, square and triangle, the regular triangle (pyramid) is the most safe and stable form, while the circle and inverted triangle give people a sense of motion and instability.

11. Parallel shape

Repeat the same or different pictures in the same size but in different positions. The juxtaposed layout has the meaning of comparison and explanation, giving the originally complex and noisy layout a sense of order, quietness, harmony and rhythm.

12. Free type

The structure of individual travel is irregular and random, with a sense of liveliness and lightness.

13. Tetragonal type

Refers to the graphics arranged on the four corners of the layout and the diagonal structure connecting the four corners. The layout of this structure gives people a sense of rigor and standardization.

1. Print Type vs Screen Type

a) Type for Print

discernable, flexible, unbiased and easy-to-digest typefaces are key to a great typesetting in prints.

Examples: Caslon, Garamond and Baskerville.

b) Type for Screen

to improve execution and meaningfulness on screen, typefaces are upgraded and more regularly than not, altered. This incorporates the adjustment of x-height, letterforms, strokes, serifs bends and points.

Examples: Verdana and Georgia

c) Hyperactive Link/ Hyperlink

A hyperlink can be a word, state, or picture that navigates you to a modern record/ segment when clicked. Hyperlink exists in numerous places over the screen and is usually blue and underlined by default.

2.Static vs. Motion

a) Static Typography

Inactive typography has negligible characteristics in communicating words. Found in bulletins, blurbs, magazines, and flyers, all shapes of inactive typography have a wide extend of purposes.

b) Motion Typography

Worldly media offer typographers openings to “dramatize” sort, for letterforms to gotten to be “fluid” and “kinetic” (Woolman and Bellantoni, 1999).

INSTRUCTIONS

WEEK5

1 Update your feedback for week 5 in the Google Feedback Sheet;

2 Complete Task 1 Eportfolio. Deadline: ? Nov., 11:59PM

3 Watch the Task 2 video tutorial.

4 Obtain content for Task 2 in the file's section. 5 Update your Task 2 eportfolio: - write your lecture summary for "Typo_5_Understanding" and document it in your Task 1/2 Eportfolio - update your progress Task 2 Editorial Layout (Txt. Frmt. & Exp.) - update your feedback, reflection and further reading for week 5

6 Submit your final T2:

- JPEG 300ppi, grayscale (with grid visible and without)

- PDF (with grid visible and without)

- View student eportfolio samples for best practice in Class Notebook

WEEK6

1 Update your feedback for week 6 in the Google Feedback Sheet;

2 Complete & Submit Task 1 Eportfolio. Deadline: 3rd Nov., 11:59PM
3 Update your Task 2 eportfolio:
- write your lecture summary for "Typo_6_Understanding" and document in your Eportfolio
- update your progress Task 2 Editorial Layout (Txt. Frmt. & Exp.)
- update your feedback, reflection and further reading for week 6

5 Upload your final T2 onto your T2 eportfolio post (deadline to be determined next week):

- JPEG 300ppi, grayscale (with grid visible and without)

- PDF (with grid visible and without)

- View student eportfolio samples for best practice

https://hewrkb.blogspot.com/2022/10/typography-typographic-exploration.html

FURTHER READINGS

JUST MY TYPE is a book of stories. About how Helvetica and Comic Sans took over the world. About why Barack Obama opted for Gotham, while AMY WINIEHDUSE found her soul in 30s Art Deco. About the great originators of type, from Baskerville to Zapf, and people like Neville Brody who threw out the rulebook. About the pivotal moment when fonts left the world of Letraset and were loaded onto computers . and typefaces became something we realized we all have an opinion about. And beyond all this, Just My Type reveals what may be the very best and worst fonts in the world - and what your choice of font says about you.

SIMON GARFIELD is the author of twelve acclaimed books of non-fiction including Mauve, The Error World and The Nation's Favourite. His edited diaries from the Mass Observation Archive - Our Hidden Lives.We Are At War and Private Battles - provided unique insights into the Second World War and its aftermath, and his study of Aids in Britain, The End of Innocence, won the Somerset Maugham prize. He lives in London and St Ives, Cornwal. He curently has asoft spot for Mrs Eaves and IT Gelateria.

Futura-Paul Renner's most enduring work-is the best known of all German fonts. Commissioned in 1924, it belongs to an era before the Nazis, and still looks modern, more than eighty years on. It is a font that type fans feel passionate about: witness the controversy when IKEA dumped it in favour of Verdana.

Renner, a painter as well as a typographer and lecturer, developed Futura initially for a publisher, Jakob Hegner, who told him that he wanted something artistically liberating. The day after his visit, Renner began his first drafts, and the words with which he chose to experiment with his new type did not arrive by chance: 'die Schrift unserer Zeit', he wrote - the typeface of our time. He could just as easily have written 'Zeitgeist'.

Renner worked ni a golden age of fonts and in Futura he created a timeless type, forever suspended between irrefutable traditions and a vision of things to come. After its launch, Renner kept working to perfect ti for four more years. But its influence was immediate. Renner reported that as early as 1925, much of the civic appearance of Frankfurt am Main was already set in Futura by order of the city's planning office. He also noted many similar typefaces appearing at that time, a fact he attributed ot 'unthinkingly' showing his early work-in-progress to other designers in a slide show, telling 'the whole world what had led me to this new type form'.

The font has proved resilient. Volkswagen, with its socialist marketing ideals, still uses Futura ni its advertising, to a point where it would be dangerous to switch it, like tampering with the brakes. But the most famous appearance of Renner's visionary font, and his geometric interpretation of letters and numbers, is, suitably enough, ni space. The Apollo 1 astronauts didn't just gather rocks and stick ni a flag, they also left behind a plaque inscribed in Futura capitals. Did the short-sleeved people in Houston make Futura their positive choice for typographic reasons, or because the name suited the mission? Who knows. Ultimately it just looked right.

Advertising material for Futura, showing Paul Renner working on his design

The signatures may be hard for extraterrestrials to read but they'll have no problem with the Futura

Moderns, Egyptians and Fat Faces

Was the TIGER WOODS scandal a little too grubby for the glossy magazines? Not if his first name was set in a huge capitalized version of BODONI on the cover of Vanity Fair. Then the story would look sophisticated, classy and refined.

Giambattista Bodoni of Parma and the Parisian Firmin Didot are the designers credited with inventing the Modern' class of typefaces in the eighteenth century, building on the 'Transitional' Baskerville, by introducing even greater contrast between thin and thick lines and long, fine serifs. These faces appeared in the 1790s, when improved printing techniques and paper quality enabled the punchcutter to cut far thinner strokes without a risk of cracking or disappearing on the page. If they then attached a ball to the J or the k, or sharpened the apex of A, they were confident that it wouldn't be chipped off. Didot and Bodoni both developed fonts that became increasingly extreme in their stroke contrasts (the U and V looking particularly vulnerable), while also flattening serifs and increasing the height of their narrow capitals.

The Moderns were designed primarily as book faces, and can look impressive with generous leading. But when increased to display size there may be no finer example of the letterfounders' art. Certainly there is no quicker way of saying CLASS, which is why you still find them so prominent in Elle, Vogue and all the high-end fashion magazines.

Bodoni - always fit for purpose

Among the other great modern faces, the German nineteenth century Walbaum is still a romantic stunner today.Named after its creator Justus Erich Walbaum, it has the usual high-hat letters but also a softer and more approachable manner, and a very technical k that looks to have fallen from another font by mistake. Fairfield, Fenice and De Vinne also owe a lot to what have become known collectively as Didone faces, while the digital variants have introduced text sizes that have slightly reduced the letter contrast.

But where could type go after these extremes? Intriguingly it went the other way - to fonts that were fat, heavy and ungainly, to fonts that soaked up ink and boasted of their gluttony and pride. The industrial revolution was not only a thing of steam and speed, but also of grind and grime, and typefaces reflected mostly the latter. The scale of industrial and technological progress left no time for delicacy, and so the refined types of earlier centuries were discarded, replaced by letters as thickset as the participants in the bare-knuckle prizefights they would advertise. The fonts of this time - marketed with no-nonsense English names like Thorowgood, Falstaff, Figgins Antique - screamed for your attention like the plumpest towncryer.

The Victorian poster, packed with Fat Face and Egyptian fonts, that inspired John Lennon's 'For The Benefit of Mr Kite'.

These fonts, which the trade grouped as Fat Face and Egyptian, had a ruggedness suited not only to the clank and heave of the new factories (they looked particularly good on the side of pump engines), but also to the din of the fairground and early Victorian music hall. The designs would inspire many forms of flowery ornamental woodtype, but we look at them now and see mainly men in top hats with dangling watch-chains; big fat type that refuses to be modernized.

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Shao Han (0369187)