Typography | Task 2 : Typography Exploration & Communication

28.10.2024 - 00.00.2024 ( week 6 -  

FEILYCIA JOY KURNIAWAN / 0373400 

Typography / Bachelor of Design (Honors) in Creative Media 

Task 2 : Exercise  

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TABLE OF CONTENTS

1. Lectures

2. Instructions

3. Task 2 

    3.1. Exploration

    3.2. Ideation

4. Feedback

5. Reflection

6. Further Reading

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LECTURES

WEEK 1-4 refer to Task 1

WEEK 5 - Letters / Understanding letterforms

Typo_5_Understanding 

Symmetrical or not? 

Uppercase letterform - Seems symmetrical but it is actually not. 

Fig. 1.1

Both Baskerville and Univers shows the meticulous care a type designer takes to create letterforms, both are internally harmonious and individually expressive.

Fig. 1.2 Helevetica (left) Univers (right) lowercase 'a'

Subtle difference makes a huge differences. A comparison of how the stems of the two letterforms above finish. How the bowls meet the stems reveals the palpable difference in character among the two letterform. 

Maintaining x-height

Fig. 1.3

Fig. 1.4

As we have learnt, x-height describes the size of the lowercase letterforms. Curved strokes like 's', must rise above the median or sink below the baseline to appear to be the same size as the vertical and horizontal strokes they adjoin. 

Form / Counterform 

Fig. 1.5

Knowing the negative space of the letterform is as important as recognizing letterforms. Examining them in close details can provide a good feel for how balance between form and counter.

 

Contrast 

Simple contrast produces many variations:

small + organic/large + machined ; small + dark/large & light ....

Fig. 1.6 Contrast in Letterform

WEEK 6 - Screen & Print

Typo_6_Screen&Print

Fig. 1.7 Different Mediums in Typography

Print Type - Mainly was designed for reading from print long before we read through screens. It is the designer's job to ensure that the text is visually pleasant to read, smooth and flows nicely. 

Screen Type - Intended for use on the web are optimized and often enhanced readability and performance onscreen. More versatile, easy-to-digest classic typeface, and has a neutrality and versatility that makes the typesetting with it a breeze. Adjustment on the x-space, thickness of strokes, curves, angles, kerning and leading spaces are used to improve readability. Can be found in websites, e-books, and mobile devices. 

Fig. 1.8 Hyperlink

Hyperactive Link / Hyperlink - a word, phrase, or image that you can click on and can help you jump to a new a document or a new section within the current document. Often found almost all web pages, assisting users to click their way form a page to another

Fig. 1.9 Font size in screen and print

Font Size for Screen - 16 px text on a screen is approximately the same size as the text printed in books or magazines. This is considered from the difference in reading distance of books and screens

Web Safe Fonts - each device comes with its own pre-installed font selection. Windows based devices are different with MacOS group of font, same things goes with Google's android system. Some examples of the fonts are; Open sans, Lato, Helvetica, Times New Roman, etc. 

Fig. 1.10 Static vs Motion Typography

Static Typography - has minimal characteristic in expressing words. Bold, italics offer only a fraction of the expressive potential of dynamic properties. Often found in billiards to posters, magazines to fliers.

Motion Typography - offers a more "dramatic" type of letterforms to become fluid and kinetic, bringing life to the medium. Often found in animation, films, television production. 

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INSTRUCTION

Fig. 2.1 <iframe src="https://drive.google.com/file/d/14n43noxq07szHB9wVs_0TxDa5Jd1R_kh/preview" width="640" height="480" allow="autoplay"></iframe>

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WORK

> Task 2 : Exercise | Exploration & Communication 

1. Exploration

At first I was contemplating for which I'm going to design. It was either the first or the third text. At the end I decided to do the third text which is the "Unite to Visualize a Better World". The word I want to emphasize is "unite" and "visualize". 

unite -- come or bring together to form a whole.

visualize -- form a mental image of; imagine./ make (something) visible to the eye.

2. Ideation 

After some research, this is the initial sketch

Fig. 3.2.1 Initial sketch

From my first attempt, Mr. Max approved 3 sketches and asked me to do 1 more. He said the other sketches focuses more on the additional elements, and he said he wanted to focus on the word design itself. So I experimented, and this time I put my attention on how to "express" the word itself without additional elements. 

Fig. 3.2.2 2nd attempt

After more thought process, I came up with these other sketches. Mr. Max approve 5 sketches (including the 3 from the last consultation). Which was : 

Fig. 3.2.3 Chosen Sketches

So then I start my digitizing process. 

I was having problems with transferring the file from Adobe Illust. to Indesign so, to save time, I design the rough layouts draft in Adobe Illust. and came up with 12 different layouts. (i know this looks so messy, pls forgive me sir :'[ )

Fig. 3.2.4 Layout 1

Fig. 3.2.5 Layout 2

Fig. 5.2.6 Layout 3

Through online consultation (self-learning week) Mr. Max approved two layouts to be my final layout.

Fig. 3.2.7 chosen layout 1

Fig. 3.2.8 Chosen layout 2

During the online consultation I asked Mr. Max about the problem I was facing in Indesign, and got the solution. After that, I started my digitizing process in Indesign to have a much neater and cleaner outcome. 

Fig. 3.2.9 Cleaner ver. 1

Fig. 3.2.10 Cleaner ver. 2

Fig. 3.2.11 New layouts 1 (blocked)

Fig. 3.2.12 New layouts 2 (blocked)

I did my "best" work (in my opinion) again in Indesign. I couldn't do the chosen layout 1 (Fig. 3.2.7) since it is not possible for the margins, do I decided to discard the idea. I also did 2 version of some of the design with the difference in the amount of columns. I sent these (Fig. 3.2.9-10) version to Mr. Max for him to review it again, incase he changes his mind. 

While I waited for Mr. Max's response, I experimented on other layouts. 

Fig. 3.2.13. Experiment Layout (blocked)

Fig. 3.2.14 Experiment Layout (blocked)

At the end, Mr. Max approved on the first batch of layouts (bottom right of Fig. 3.2.9)

FINAL EDITORIAL SPREAD

Page Formats

Margin: top, bottom, left, right 10mm

Columns: 2 

Gutters: 5mm

Head & Head-ins

Typeface: Futura Std

Font (head-in): Futura Std heavy obliques

Body

Typeface: Futura Std

Font: Futura Std book
Type size: 9 pt
Leading: 11 pt
Paragraph spacing: 11
Characters per-line range: 50-60
Alignment: left justified

Fig. 3.2.15 Final Editorial Layout (JPEG)

Fig. 3.2.16 Final Editorial Layout (PDF)

<iframe src="https://drive.google.com/file/d/1jd9-LoGZGyoYwopTtgS0DvYXymVZlG53/preview" width="640" height="480" allow="autoplay"></iframe>

Fig. 3.2.17 Final Editorial Layout with grids (JPEG)

Fig. 3.2.18 Final Editorial Layout with grid (PDF)

<iframe src="https://drive.google.com/file/d/1deZrUBB9_m7KUaH98cpXnBKp6oA20jgm/preview" width="640" height="480" allow="autoplay"></iframe>

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FEEDBACK

WEEK 6

General Feedback - A brief introduction to the task and went straight to sketching.
Specific Feedback - Mr. Max reviewed the sketches and gave feedbacks. From the first attempt, he approved 3 of my sketches. The rest that didn't get chosen was because I was not focusing on the word, but I was focusing on the other elements instead. 

WEEK 7

General Feedback - I make more sketches and got approved 2, so in total I have 5 approved designs. We then start digitizing.

Specific Feedback - I did 4 layouts for each of the headline design (without the text body) and Mr. Max said he likes where I was approaching and gave some advices.

WEEK 8 (self-learning week)

General Feedback - He approved 2 of the layouts.

Specific Feedback - I faced some troubles when transferring the files, I asked Mr. Max in the meeting and he help me how to solve it. 

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REFLECTION

Experience - During this exercise, I felt more comfortable with the apps thanks to the previous exercise help me familiarize with the tools. 

One major trouble I faced was, when I transferred my ai file into Indesign. I couldn't figure out how to fix the problem, so not to waste time, I tried to make the rough layout draft in Adobe Illustrator. And one thing that was holding me was that I don't know the border of how much I could distort the words, so I was pretty hesitant to experiment with the design. I most enjoyed the brainstorming and sketching part, as I rarely design words, it really is a good experience for me. All in all, I really enjoyed the process. 

Observations - Feedbacks from Mr. Max really helped me during this task. The clear feedbacks and the solutions he gave is really insightful. During class, I also asked my friends to give their opinions about my design, this process really help me to develop my ideas. And I was reviewing my designs, I found that I was more careful when designing so that it will still legible. After observing this, I hope I could be more experimental but still maintaining readability.

Findings - I find it interesting how we combine the 2 programs to create this. And at first, I was struggling to make the initial idea of what I wanted to do and what my approaches for this task. But the senior's example was very helpful as a baseline of what to do.

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FURTHER READING

Typographic Design Form and Communication by Ben Day, Philip B. Meggs, and Rob Carter

    9. Typography in Time and Motion (155-169)

> Background

Designers have always been interested in dynamic typography. George Méliès, a French illusionist and filmmaker used multiple exposure and time-lapse photography in his work, which is an example of animated letterforms, dated back in 1899. 

The history of type in motion is often linked to film title sequences. In the beginning of late 1950s, designers who were commissioned to introduce the themes and storylines of the films is more complex and communicative title sequences. However, today, kinetic typography is featured in vast range of digital media, not just in film and television titles. Now, moving type used in many projects, including, websites, film titles, books and games, trailers, data visualizations and mobile app. 

frames of Charade, 1963, title sequence 

The circling arrows visually convey the twisting plot of the film. (Designer: Maurice Binder)

> Using Type in Time-based Media

Moving type gives unique communication opportunities due to it's two properties : form and behavior. As with static typography are often chooses typeface characteristics (serifs, sans, extended, italic, etc) and how the type is set ( lowercase, all caps, size, colors, etc) to add meaning to message. With dynamic typography, the designer determines how the typo moves (pace, rhythm, with sound, etc). 

    

   - Time and Sequence

create rich messages with type in time and motion. The designer is in control of time, storyline, sequence, pace and sound to achieve different results. Time can be manipulated by changing the order of the story or content using foreshadowing and flashbacks. All in all, time becomes the structural element of the design and is enhanced by appropriate choices of typographic forms, images, movements, and sounds. 

   - Structures : Continuity, Meaning and Interpretation

Frames follow each other, revealing the message or story for the viewer over time, this order is important to how the viewer decipher a message. A designer can use the order of frames to tell symbolic meaning. In the dictionary of film, this is called montage -- a series of shots that combine into a sequence to condense space or time or suggest a feeling or a notion. 

To maintain a viewer’s sense of orientation, it is important to establish visual links to what is happening from frame to frame. This is done by maintaining the position of major elements in frame for each shot. Or , by link segments using the same visual properties of line, form, color, or image from one shot to another. 

ex. continuity

ex. meaning and interpretation

   - Filmic Syntax 

This use in film is similar to that of language. 

• In language, letters > words > sentences > paragraph > story / deliver information. 
• In film, frames > shots > scenes > sequences > story. 

Designers use storyboards to visualize a narrative and show how elements in a sequence will move and change. Sketching out the relationship between frames, continuity, and pace at which action will revealed. 

the parts of a motion sequence or film

 

story board example

   

   - Hierarchy : Time and Behavior 

• Time --- due to the linear structure of animation, the order in which type enters the screen can indicate importance to the viewer. 
• Behavior --- The speed and juxtaposition of elements with sound also help create hierarchy. Words that appear with a fast or slow motion that interrupts the established pace of the sequence are considered more significant

Hierarchy example (behavior)

   - Fixed Position : Variation, Camera Angle and Movement

In a motion sequence, type can change even if it does not move across the screen. One more way a letter or word may change while remaining in a fixed position is if it is built up over a series of frames.

• Rapid serial visual representation -- relies on a fixed position of typography.
• Quick-cut editing -- words change quickly in a sequence, challenging the viewer to read the screen and build anticipation. 
• Camera angle -- altering camera angles to give different impressions.
• Camera movement -- subject may stay fixed while the camera movements changes the viewer's perspective

Fixed position

   - Frame and Space

Designers in every media need to consider the edge of a composition and how the type enters, exits, or is contained by the frame. 

• The tree primary axed -- a grid to help organize visually and group words or establish alignments. 
• Depth of field -- states that an object are far, near, smaller, or bigger in the frame. Foreground, midground, and background are the language in film/design. 

   - Movement 

Motion sequence established the way that type or other visual elements moves. Can be regular, inconsistent, or in-between. 

• Direction -- horizontal, vertical , rotate, diagonally, forward, and vanishing. 
• Rhythm and pace -- is an action, word, or image that is repeated at regular intervals in order to engage the viewer.
• Transition -- to indicate the change to a new scene , passing of time,, or different action with new text or visual elements.

> Legibility Factors

Type in motion has the same legibility factors as static type. The characteristics of individual letters must have integrity so that readers can recognize their shapes. 

• Length and grouping -- help viewer make connection and remember key text. 
• Speed and duration -- can effect legibility. Fluid like movements makes an animation easier to watch and read. 

letter A morphs into a letter B

> Expression 

Similar to 2D typographic design, type in motion can employ expressive abstract elements. In addition, motion has a unique ability to show transformations. In a motion sequence, one letter, word, message, or idea often changes into another. 

There is expressive potential in juxtaposing type, image, and sound to create compelling sequences. Designing with type in time and motion offers a wealth of possibilities for enhancing a message, expressing thoughts, connecting with an audience, and providing a context for ideas.

Designed by Angad Medi