Shao Han(0369187)Typography/TASK1
(Week 01 — Week04)26/09/2023- 24/10/2023
Shao Han/ 0369187
Typography/ Bachelor of Design (Hons) in Creative Media / Taylor's University
Task 01/ Exercise 1 & 2
TABLE OF CONTENTS
1. Lectures
2. Instructions
3. Process Work
4. Feedback
5. Reflection
6. Further Readings
INSTRUCTIONS
LECTURES
WEEK1
The individual font or weight within the typeface.
The entire family of fonts/weights that share similar characteristics/styles.
Typography: Development and Timeline
The history and evolution of letters
1. Primitive hieroglyphs
The earliest characters were based on hieroglyphs, such as ancient Egyptian hieroglyphs and Chinese oracle bone inscriptions. The basic unit of these writing systems is the image that expresses the shape of things, and each image represents a word or concept. This kind of writing system is difficult to express abstract concepts and abstract grammatical rules. With the development of human society and culture, the writing system in some areas is gradually developing in a more abstract and symbolic direction.
2. The appearance of letters
A letter is an abstract symbol that represents sound rather than shape. The emergence of letters is an important historical event, which makes human language expression more efficient and flexible. The ancient Philippians were the first civilization to use letters. They invented 22 letters, each representing a consonant. This alphabet later spread to Greece and Rome and became the basis of the modern Western alphabet.
3. The evolution of letters
With the passage of time, the shape and number of letters have changed a lot. For example, the Greek alphabet has undergone many reforms and restructuring, adding some letters and special symbols to make it more suitable to express the grammatical and phonological rules of the ancient Greek language. The Roman alphabet has undergone a similar evolution, adding letters and symbols to adapt to different languages and cultures.
4. The cultural meaning of letters
Letter is not only a kind of language symbol, it also has important cultural significance. The alphabet of different cultures and languages reflects their unique values, history and cultural traditions. For example, the Hebrew and Arabic alphabets are written from right to left, reflecting their writing traditions and cultural habits. Chinese character is a kind of hieroglyph, and its shape and structure reflect the characteristics of Chinese culture and philosophy.
The English alphabet originated from the Latin alphabet, the Latin alphabet from the Greek alphabet, and the Greek alphabet evolved from the Phoenician alphabet.
Writing mode
The Greek alphabet comes from the Phoenician alphabet, which has only consonants and is written from right to left. The Greek vowels are well developed, and the Greeks have added vowels. Because the writing tools of the Greeks were wax boards, sometimes the first line was written from right to left, and then it became so-called "cultivated land" writing, and then it gradually evolved into all left-to-right writing. The direction of the letters is also reversed.
Later, the Philippian 22 letters spread to the Aegean region and were used by the Greeks.
Phoenicians: Right to left.
The Greeks: 'Boustrophedon’ (how the ox ploughs),read alternately from right to left and left to right. The same goes to the direction of the letterforms.
Like the Phoenicians, the Greeks did not use letter space or punctuations.
The Evolution of typesetting and Printing
Typesetting printing is an ancient printing technology, whose history can be traced back to China in the 11th century AD. With the passage of time, typesetting printing has undergone the following evolution process:
Woodblock printing: in the 11th century AD, the Chinese invented woodblock printing technology, which was printed with words and patterns engraved on wooden boards. This technology is widely used in books, promotional materials, works of art and other fields.
Movable type printing: in the 15th century, the German Gutenberg invented the technology of movable type printing, which uses type to form the desired text and then prints it through a printing press. This technology greatly improves the printing speed and becomes the basis of modern printing.
Lithography: at the end of the 19th century, the Frenchman Gulimo Anno invented lithography, which was printed through flat stone plates, which improved both printing cost and printing quality.
Offset printing technology: at the beginning of the 20th century, the American Ari Haider invented offset printing technology, which improved the printing speed and printing quality by rotating printing with blankets on the printing press.
Modern typesetting printing is widely used, including books, newspapers, posters, magazines, promotional materials, packaging and other fields. With the development of computer technology, digital typesetting, CTP technology, digital printing and other technologies continue to bring forth the new, making typesetting printing more fast, accurate and diversified, but also provide printing enterprises with more opportunities and challenges.
Since the 20th century, the layout design of Europe, the United States, Germany and Japan has developed vigorously. Since William Morris, the central figure of layout design during the British Industrial Revolution in the 19th century, began to advocate the design principle of the integration of life and art that shows the beauty of layout design, to the German expressionist layout design that expresses human inner feelings. From the Italian futuristic layout design style in pursuit of mechanical dynamism and speed at the beginning of the 20th century to the constructivism movement that sprang up in Russia and became the starting point of modern layout art; from the Bauhaus idea that emphasizes the rationalization of editing and typesetting to the surrealist design style that subconsciously pays attention to the world around it. From the new art movement popular among French art masters to the disintegration of the original form of layout design and the creation of dynamic materialized new forms of layout. From the turbulent European and American design in the 1960s to the most creative language to pay attention to the major events of real life, to strengthen the spectral art of content elements to the popularity of layout design that has entered the extreme abstract artistic conception, modern layout design is not only to facilitate readers to read a large amount of information, but also to provide taste, appreciation and collection, which is an entity with independent cultural and artistic value.
Text type classification
WEEK2
Typography: Text1
1. Kerning and Letterspacing
Kerning. Automatic adjustment of space between letters. Use for lesser words (e.g. title), in caps (because they are generally not designed to use in full caps)
Letterspacing. Adds space between letters. Used when there's a large number of words (paragraphs).
Tracking. Addition & removal of space in a word/sentence.
Letterspacing. Adds space between letters. Used when there's a large number of words (paragraphs).
Tracking. Addition & removal of space in a word/sentence.
Normal tracking, loose tracking and tight tracking
Flush left: Closely mirrors the deviated encounter of penmanship. Each line begins at the same point but closes wherever the final word on the line closes. Spaces between words are reliable all through the content, permitting the sort to make an indeed gray esteem( content on a white surface).
Flush right: Places accentuation on the conclusion of a line as contradicted to its begin. It can be valuable in circumstances (like captions) where the relationship between content and picture can be vague without a solid introduction to the correct.
Centered: Forces symmetry, rise to esteem and weight to both closes of any line. It changes areas of content into shapes, subsequently including a pictorial quality. Centered sort makes such a solid shape on the page, it's critical to correct line breaks so that the content does not show up as well spiked.
Centered.
Justified: Forces symmetrical shape on the content, accomplished by growing or decreasing spaces between words and now and then, between letters. The coming about openness of lines can sometimes create ‘rivers’ of white space running vertically through the content. Cautious consideration to line breaks and hyphenation is required to revise this issue.
Space between the text produces rivers! Thus, need to kern and track a lot. May use appropriate number of hyphens (but try to avoid using it).
3. Texture
Typographer's to begin with job---clear, fitting introduction of the author's message. Maintain a strategic distance from sort that calls consideration to itself some time recently the peruser can get to the real words, usually basically obstructions. Very basically, in case you see the sort some time recently you see the words, alter the sort.
Compositional requirement:It's imperative to know how to select typefaces to best suit the message at hand. Get it how diverse typefaces feel as content. Consider their distinctive surfaces and colour (dim esteem). Perfect content to have a center gray esteem
Different typefaces, different gray values
If for screen, test it on the screen to see how it looks as text and headline. If for print, print it out in actual size to check if sizing is good and color is even.
4. Leading , Line Length and Text Formatting
Leading: Text that is set too tightly encourages vertical eye movement; a reader can easily lose track. Type that is set too loosely creates striped patterns that cause distraction.
Line Length: Shorter lines require less leading; longer lines more. Keep the line length between 55-65 characters. Extremely long or short line lengths impair reading.
Kerning adjusts the space between individual letterforms.
Tracking (letter spacing) adjusts spacing uniformly over all selected characters.
How to know is there a need to kern? Zoom in to see if there are awkward spaces. When formatting large amount of text, the goal is to get even middle grey color.
Manipulate the grid system.
Tracking (letter spacing) adjusts spacing uniformly over all selected characters.
How to know is there a need to kern? Zoom in to see if there are awkward spaces. When formatting large amount of text, the goal is to get even middle grey color.
Manipulate the grid system.
WEEK3
Typography: Text2
1. Indicating Paragraphs
Options of indicating paragraphs
Pilcrow (¶)
Utilized to demonstrate passage spacing.A holdover from medieval original copies at times utilize nowadays.
Leading
Utilized to form line spaces between passages (both line space and section space share the same estimate which guarantees cross-alignment over the columns of content).
Standard Indentation
- Offers the same measure as the line dividing/ same as the point estimate of the content.
- Utilized for the reason of sparing space within the daily paper.
- Best to utilize when the content arrangement is legitimized to maintain a strategic distance from ragging on both sides.
Extended paragraphs
Extended Paragraphs
Makes curiously wide columns of text.Despite these issues, there can be solid compositional or useful reasons for choosing it.
2. Widows and Orphans
Widow: Brief line of sort cleared out alone at the conclusion of a column of content. This could be dodged by rebreaking line endings all through the passage.
Orphan: Brief line of sort cleared out alone at the begin of a unused column.Make beyond any doubt no column of content starts with the final line of the going before section to dodge this from happening.
3.Highlighting Text
Different ways of emphasis require different kinds of contrast when highlighting.
- Prime
- Citation marks, like bullets, can make a clear indent, breaking the cleared out perusing hub. Compare the indented cite at the beat with the expanded cite at the foot.
- A prime is not a quote. The prime is an abbreviation for inches and feet. Due to the limited number of keys on a typewriter, they were substituted. They were later known as ‘dumb quotes’.
- Italics
- Using an increased weight from the same family, making it bold
- Using a different type family
- Using a different colour to highlight (black, cyan, and magenta are suitable)
Visual difference between two type family
When highlighting the content of a serif typeface to a sans serif typeface, decreasing the measure of the highlighted content by .5 is appropriate for visual cohesion.
When employing a field colour at the back of the content to highlight, keeping up the left reading pivot guarantees the leading lucidness.
4. Headline within Text
Underneath are the taking after cases A, B, and C concurring to the level of significance. We got to make beyond any doubt that these heads clearly mean to the peruser the pecking order of data.
A head shows a clear break between the subjects inside a area. They are a set bigger compared to writings.
- Bold and in different type family
- Extended and in alignment with the body of the text
- Larger size in same type family
- Small capitals
B head is subordinate to A heads. It demonstrates a unused supporting contention or case of the subject at hand. Subsequently B head ought to not hinder the content as emphatically as A head.
- Small capitals
- Italic
- Bold serif
- Bold san-serif
5. Cross Alignment
Cross adjusting features and captions with content sort fortifies the building sense of the page—the structure—while articulating the complimentary vertical rhythms.
Cross alignment
WEEK4
Typography: Basic
1. Describing letterforms
There are numerous phrasings that are related to typography over the time of advancement. Familiarizing with these wordings makes it less demanding to distinguish the particular typefaces.
Baseline: The imaginary line with the visual base of the letterforms.
Median: The imaginary line defining the x-height of letterforms.
X-height: The height in any typeface of the lowercase 'x'.
Stroke: Lines that define the basic letterform.
Apex/ Vertex: The point created by joining two diagonal stems.
Arm: Short stories extended from the stem of the letterform. Two types—horizontal (E, F, and L), or inclined upward (K and Y)
Ascender: The portion of the stem of a lowercase letterform that exceeds the median (above baseline).
Barb: The half-serif finish on some curved stroke. E.g. C, G, and S
Beak: The half-serif on horizontal arms. E.g. E, T, and L
Bowl: The rounded form that describes a counter. The bowl can be opened or closed.
Bracket: The transition between the serif and the stem.
Cross Bar: The horizontal stroke in a letterform that joins two stems along.
Cross Stroke: The horizontal stroke in a lowercase letterform that joins two stems along.
Crotch: The interior space where two strokes meet.
Descender: The portion of the stem of a lowercase letterform that is placed below the baseline.
Ear: The stroke extending out from the main stem or body of the letterform.
Em/en: The width of an uppercase letter 'M'. Em-dash (—) is the width of the letter 'M,' while En-dash (-) is half the size of an em.
Finial: The rounded non-serif terminal to a stroke.
Ligature: The character formed by the combination of two or more letterforms.
consider the glyphs of two ends of the letters to avoid the clash of two letters placed next to each other.
Stress: The orientation of the letterform indicated by the think stroke in rounded forms.
Terminal: The self-contained finish of a stroke without a serif. Terminals come in flat, flared, acute, grave, concave, convex, or rounded as a ball or a teardrop.
2. The font
It is critical to utilize the total text style and ought to know how to utilize it when working with sort. It is sweet to select a type family that incorporates a more extensive run of typefaces for distant better;a much better;a higher;a stronger;an improved >a distant better result.
- Uppercase and lowercase numerals
- Small capitals
- Italic
- Punctuation and miscellaneous characters
- Ornaments
Uppercase Numerals
- These numerals share the same tallness as capitalized letters and are set to the same kerning width. Known as lining figures.
- Best utilized with unthinkable materials.
Lowercase Numerals
- Set to the x-height with ascenders and descenders.
- Moreover known as old-style figures or content figures, best utilized with upper and lowercase letterforms.
Small Capitals
- Fundamentally found in serif textual styles, its capitalized letterforms draw to the x-height of the typeface. Typically for the reason of making an indeed dark esteem so that certain words composed in capitals do not adhere out from the section.
- Sometimes when certain words are forced to be changed into a small capital when the type family does not have a specific typeface for small capitals, it is suggested to not do it as there will be a change in the weight of the strokes.
Uppercase, Lowercase, Small Capitals
Italics
- Its shapes allude back to 15th-century Italian cursive penmanship.
- Angled is ordinarily based on the Roman frame of the typeface.
Punctuation and miscellaneous characters
Ornaments
3. Describing Typefaces
Roman: The capitalized shapes are determined from the engravings of Roman landmarks. A marginally lighter stroke in Roman is known as 'Book'.
Boldface: A thicker stroke compared to the Roman shape. Also called semibold, medium, dark, additional striking, or super depending on the width inside the typeface.
Light: A lighter stroke compared to the Roman form. Lighter strokes are called 'thin'.
Condensed: Condensed width shape of the Roman shape. Amazingly condensed styles are in some cases called 'compressed'.
Extended: An amplified variety of a Roman textual style.
4. Comparing Typefaces
Contrasts in x-height, line weight, shapes, stroke widths and in feeling. Sentiments imply particular utilize and expression. Looking at typefaces permits us to know how we feel around certain sorts, conjointly see the fittingness in sort choices.
INSTRUCTIONS
WEEK1
1a) Update your research, sketches lectures, further reading (and reflection) in your eportfolio. I would suggest referring to exemplary works of previous students.
3a) Base your idea-sketches (of the letterforms) around the "10 Fonts" provided to you. Do not distort the letterforms. That said, some minor exceptions can be considered, if approved. The best ideas have simple but memorable solutions.
3b) Watch Type Expression Video tutorial should you wish to begin digitisation 1. https://youtu.be/RKeWsu6H3lA?si=bV1UGW14BIoOSmbS 2. https://youtu.be/AhOF7CARVV8?si=hG14NJysglHZqAHI
Chaos; Spring; Dive; Bounce; Float; Crush(you are free too explore the design in either all CAPS, lowercase Sentence Case)
WEEK2
1 Update your feedback for week 2 in the Google Feedback Sheet;
2 Update your eportfolio:
- with your lectures summaries FOR lecture "Typo_3_Text P1"and document in Eportfolio
- update your digitised explorations (Adobe Illustrator).
- update feedback, reflection and further reading
3 Please watch the Type Expression Video tutorial before digitising your Type Expressions
4 If you don't have access to the Adobe license as of yet, go to D7.04
Mac lab or any other PC Lab
5 Export your final JPEG artwork by following these steps in Illustrator: File > Export > Export As > Format: select JPEG > tick: Use Artboards > Range: Select Artboard Number > Export > Colour Model: Grayscale > Resolution 300ppi > Ok
6 In the next class, you will animate one type expression. SHould you wish to know the process you
WEEK3
1 Update your feedback for week 3 in the Google Feedback Sheet;
2 Update your eportfolio:
- write your lecture summaries for lecture "Typo_3_Text P2" and document it in your Task 1 Eportfolio
- update your progress for the digitised explorations static and animation.
- update you feedback, reflection and further reading for week 3
3 Upload your Final JPEG and PDF of the static type expression exercise (4 words)
4 Please watch the Type Expression animation video
a. https://youtu.be/7KJLnrltGVE
5 Note: when exporting your artworks to Photoshop:
a. ensure they are: grayscale and at 72ppi (not 300ppi)
b. ensure that your Gif does not exceed 1024px (width and height). You can also use 800px.
c. ensure your Gif has a white background
6 Watch Task 1: Exercise 2 - Text Formatting video tutorials in the playlist before attempting the task:- 1/4 https://youtu.be/k4tXmoRxfJI
- 2/4 https://youtu.be/YtXZUxlq9H8
- 3/4 https://youtu.be/0Agb6Il_SgA
- 4/4 https://youtu.be/eRcpKwGlFR4
- 4/4A https://youtu.be/CV1gTNa3ltk
WEEK4
1 Update your feedback for week 4 in the Google Feedback Sheet;
2 Please watch the Text Formatting video tutorials (1-4A) (see week 3 links) 3 Update your eportfolio: - write your lecture summaries for lecture "Typo_2_Basic" and document it in your Task 1 Eportfolio - update your progress Task 1 Ex. 2: Text Formatting. - update your feedback, reflection and further reading for week 4
4 The content for Task 1 Ex.2 is in the file's section.
5 Submit your final T1, Ex.2 in:
- JPEG 300ppi, grayscale (with grid visible and without)
- PDF (with grid visible and without)
- View student eportfolio samples for best practice in Class Notebook
6 Should you have the time, you can read the brief for Task 2 and watch the video tutorial for Task 2.
PROCESS WORK
WEEK1
I chose these four words: crush/spring/bounce/chaos
CRUSH:It has the meaning of squeezing, crowding and wrinkling.
So I use the operation of the machine to simulate the feeling of being squeezed, the crowd to reflect the crowding, and the font to become distorted to reflect the wrinkles.
SPRING:Spring probably gives people the impression of flowers and trees and vibrant and fresh colors, so I start from these two aspects.
BOUNCE:It has the meaning of bouncing and upward.
So I use fingers and arrows to represent upward, and the rising corners of the mouth is also a good expression. The feeling of bouncing will be more obvious if you add a trampoline, so I did it.
CHAOS:It has the meaning of chaos and chaos, and it also represents the primitive creature.
So I thought of using human embryos and irregular letters to express the meaning of the word, and the black on the letters reflects the meaning of chaos.
WEEK2
On the basis of last week's homework, I imported it into the software and refined it. The overall idea is about the same as last week. I chose the four that are most satisfactory to me.
I replaced the machine on the crush with boxing gloves, which looked more powerful.
I think it's a good choice to turn spring's s into the trajectory of butterflies.
WEEK3
When I was making the motion picture, I recalled the meaning of the word again, and finally I chose "up", so I used the letter b as a sign, it pointed up, and the rest of the letters moved up in the direction.
WEEK4
FEEDBACK
WEEK1
General Feedback:Need to use a more detailed description and add appropriate text picture descriptionSpecific Feedback:The pattern on the words can be appropriately reduced to make the picture more concise.
A Type Primer 2nd Edition (2003)
As with any create that has advanced for more than 500 a long time, typography has been utilized a few specialized terms. This most depict a particular portion of letter shape.
This begin of this chapter presents the essential letterform components known in typography.
WEEK2
General Feedback:I should use more types of fonts to make these pictures more smart and interesting.
Specific Feedback:The fragmentation on the crush is good, but the boxing gloves are a bit of a grab, hoping to focus on the letters.
WEEK3
General Feedback:The production of the moving picture is too simple, and the movement of the letters can be richer. We should add more details to the text and be fine at the same time to make the moving picture more smooth.
Specific Feedback:The movement of letters can interpret the meaning of words, but you can also try to turn the effect of letter lifting into a ladder.
WEEK4
General Feedback:Regardless of font size, it should be on the same line, and the letters are not aligned.
Specific Feedback:Typesetting can be more intuitive, and pay attention to alignment between the rows of each column.
REFLECTION
WEEK1
We expand our thinking through the extension of the meaning of words, turning a simple word in our mind into many different forms, which can exercise our imagination and creativity very well. We don't need to use complex computer technology. We just need to do basic drawing, which is a good way for us to enter and understand this course, so I have a strong interest in this subject. It's a really great way to teach.
WEEK2
Use professional software to design and draw font patterns, in this process, I am more and more familiar with the use of software and tools, draw different styles of fonts, and our design conforms to the meaning of words. Express your ideas while proficient in the use of software.
WEEK3
This assignment exposed me to the way of making simple motion diagrams, which is a step-by-step teaching method from a simple start, which is very suitable for students like me who don't know much about the details of the software. let us have the opportunity to slowly understand the relevant operating steps, I hope to gradually master the knowledge under such leadership.
WEEK4
Master the basic contents of typesetting to help later in-depth study
FURTHER READINGS
A commonsense presentation to typography, this book analyzes the essential standards and applications of sort. From measuring sort and classifying typefaces to organizing content on a page and understanding lattice frameworks, the creator covers everything that the beginning student of realistic plan ought to know. In addition, he incorporates a brief history of typography, various illustrations to demonstrate the focuses raised, and a arrangement of valuable works out to assist perusers put essential standards into hone.
Describing Letterforms and Typefaces
This begin of this chapter presents the essential letterform components known in typography.
This chapter portrays the nuts and bolts of typefaces and the significance of it in arrange to distinguish distinctive styles connected to typefaces counting Roman, Italic, Striking confront, Light, Condensed, and Amplified.
Development Text typeface classification
This chapter starts by presenting the timeline of the improvement of letterforms all through history beginning from early improvement until display time. It too presents the person history of each typefaces, advancement and the spreading of the typefaces. Also, it clarifies the starting of printing press concocted by Baskerville and the changes made to innovation to deliver superior printed duplicates that contributes to the current printing press we have in this advanced age.
In reaction to winning advances, commercial requests, and patterns, sort shapes have created. In this manner, typographers have made a framework to recognize these typefaces based on one concocted by Alexander Lawson, covering primary shapes of content sort and excluding of enriching styles and sans serif shapes.
In reaction to winning advances, commercial requests, and patterns, sort shapes have created. In this manner, typographers have made a framework to recognize these typefaces based on one concocted by Alexander Lawson, covering primary shapes of content sort and excluding of enriching styles and sans serif shapes.
Letters, Words, Sentences
This chapter emphasize on the subtle elements of a text style counting its weight, strokes, bends or subtle elements we as a rule would not take note on a letter notwithstanding it is lowercase or capitalized. For illustration, the letter "A" in Baskerville isn't symmetrical counting its weight, thickness of stroke isn't the same. Understanding the shape and counter frame of a letter is pivotal in typography in arrange to guarantee its coherence base on the sort set. Comparing the positive and negative space utilized, this chapter moreover illustrates a few ways to specific a sort expressions with negligible changes, extending from its position, length, stature, measure, weight, thickness and more.
Text
Clarifying and separating the meaning of kerning and letterspacing,going in profundity on the do's and don'ts with kerning on letterforms. This chapter moreover clarifies the imperative of sort designing and surfaces connected to content contrasting from its x-height to its stroke width. The driving and line length of a content is significant in content because it moreover influences the in general see of a content and its coherence. This chapter too advance explains on the significance of the extent of a page where it is critical in content designing.
This chapter goes in-depth into the diverse areas that can be found in books such as its folio, table substance and so on. It moreover presents the strategies of showing modern sections, ways to highlight critical data from the content among huge sum of content and pecking order of features in content separated by A heads, B heads, and C Heads.
评论
发表评论