Typography | Task 2: Text Exploration & Communication

 

31/05/2024 - 14/06/2024 / Week 6 - Week 8

Rio Sato / 0360530
Typography / Bachelor of Design (Honours) in Creative Media / Taylors University
Task 2: Text Exploration & Communication

This task requires the combination of skills learned in Exercise 1 & 2. Also, the final outcome is expected to be suitable, impactful, memorable and engaging.

TABLE of CONTENTS:

1. LECTURES

Week 6

YouTube Link: Typo_6_Screen&Print

5.0 Typography: Different Medium

Print Type Vs Screen Type

Fig. 1.1.1 Type for print
  • Type was designed for reading from print long before screen. It’s the designer’s job to ensure that the text is smooth, flowing, and pleasant to read. Good typefaces for print: Caslon, Garamond, Baskerville. Because of their characteristics which are elegant and intellectual but also highly readable when set at small font size. 

Fig. 1.1.2 Type for screen
  • Typefaces intended for use on the web are optimized and often modified to enhance readability and performance onscreen in a variety of digital environments. This can include a taller x-height (or reduced ascenders and descenders), wider letterforms, more open counters, heavier thin strokes and serifs, reduced stroke contrast, as well as modified curves and angles for some designs.

  • Another important adjustment – especially for typefaces intended for smaller sizes – is more open spacing. All of these factors serve to improve character recognition and overall readability in the non-print environment, which can include the web, e-books, e-readers, and mobile devices.

  • Hyperactive Link/ hyperlink: A word, phrase, or image that you can click on to jump to a new document or a new section within the current document. Found in nearly all Web pages. Text hyperlinks are normally blue and underlined by default.

  • Font Size for screen: 16-pixel text on a screen is about the same size as text printed in a book or magazine; this is accounting for reading distance. Because we read books pretty close — often only a few inches away — they are typically set at about 10 points. If you were to read them at arm’s length, you’d want at least 12 points, which is about the same size as 16 pixels on most screens

Fig. 1.1.3 Font size for Screen and Print
  • System Fonts for Screen/Web Safe Fonts: Open Sans, Lato, Arial, Helvetica, Times New Roman, Times, Courier New, Courier, Verdana, Georgia, Palatino, Garamond
Fig. 1.1.4 Pixel differences between devices
  • Pixel Differential Between Devices: The screens used by our PCs, tablets, phones and TVs are not only different sizes, but the text you see on-screen differs in proportion too because they have different sized pixels

Static vs Motion

Fig. 1.1.5 Billboard showing static typography
  • Static typography has minimal characteristics in expressing words. Traditional characteristics such as bold and italic offer only a fraction of the expressive potential of dynamic properties

Fig. 1.1.6 "Seven" (1995) title credits - a film by David Fincher, showing motion typography

  • Film title credits present typographic information over time, often bringing it to life through animation/motion graphics. Type is often overlaid onto music videos and advertisements, often set in motion following the rhythm of the music. It establishes the tone of associated content or expresses a set of brand values. In title sequences, typography must prepare the audience for the film by evoking a certain mood

2. INSTRUCTIONS

Document 2.1: Module Information Booklet (MIB)

Task 2: Text Exploration & Communication (20%)

This task requires expressing text in a 2-page editorial spread using Adobe InDesign. No images are allowed, but minor graphical elements like line and shade may be used. The final layout should be completed in Adobe InDesign. The e-portfolio should document all gathered information, including failures, successes, and sketches, logically and chronologically. All images and sketches must be captured and scanned well, with proper lighting and labeling. The final submission should be clearly indicated and uploaded as a PDF, JPEG, or GIF(not PNG).
Software: Adobe InDesign

Note* No color may be used in the project.

Requirements: Laptop, Adobe Creative Suite, FontLab

Deadline: Week 8

Learning Goals: 
To demonstrate the use of Grids, layouts, and page flow.
To apply the necessary skills and sensibilities for effective
typographic communication and achieve good reading rhythm
with memorability.

3. PROCESS WORK

3.1 Research

To find ideas for incorporating the characteristics of the art movement into the term, I looked up Bauhaus. Bauhaus designs emphasize harmonious forms and abstract shapes, including geometric shapes, with little embellishment.

Fig. 3.1 Reference for the theme of the text

3.2 Ideation

3.2.1. Sketches

Fig. 3.2 Sketches

I created 4 different layouts which relate to "Bauhaus" and "Modern Culture". It was easier to consider the design for Bauhaus, but for Modern Culture, I spent a lot of time expressing it. Because there were less symbolized designs for that.


3.2.2. Headline Progress

Fig. 3.3 Headlines


Typeface: Bahnschrift: SemiBold, Segoe UI Variable: Semilight Display, Bahnschrift: Bold

I try out layouts in Ai to see how the text actually looks. It's very different from sketches because of line length, point size, leading and paragraph spacing, etc.

For the type expression, I wanted to focus on the effect of the fonts in the main subject of the heading. Depending on what fonts I use, the outcome and final layout look totally different.

Fig. 3.4 Headline digitalisation progress 1


Fig. 3.5 Headline digitalisation progress 2


Fig. 3.6 Headline digitalisation progress 3

3.2.3. Layout Progress

Fig. 3.7 Hidden characters and alignment

Fig. 3.8 Hidden characters and alignment


3.2.4 First Outcome

Fig. 3.9 Layout #1

Fig. 3.10 Layout #2


Fig. 3.11 Layout #3
Fig. 3.12 Layouts blocked out


3.2.5 Shortlisted Layouts

Mr. Max gave me some feedback: 
  • #1: Use the same font for B, H, S. Make "U" the same length.
  • #2: Adjust the black object for U, H, U, S. Use the thinner font for the part of the title. Use the thick font for lead in-text.
  • #3: Put lead in-text in the one-line. Adjust the position of the body text.
Fig. 3.13 Fixed Headline

He had chosen layout #3 for the final submission for task 2.

Fig. 3.14  Layout #3

Font: Bahnschrift: Bold (headline), Bembo Std: Bold Italic (headline), Bembo Std: Extra Bold Italic (lead in-text), Adobe Caslon Pro: Regular (body text)
Font size: outlined, 15 pt, 18 pt, 9 pt
Line Length: 50–60 characters
Text Leading: 14 pt

3.3 Final Outcome

Fig. 3.15  Final Task 2: Typographic Exploration and Communication - JPEG, Week 8 (14/6/2024)

Fig.3.16  Final Task 2: Typographic Exploration and Communication - PDF, Week 8 (14/6/2024)

4. FEEDBACK

Week 6
General Feedback: Don't put the text in the center.
Specific Feedback: Designs #1, #3, and #4 were selected. The designs that are meant to represent the "Bauhaus" can be made to relate to the modern art culture.

Week 7
General Feedback: Font size (8–12), Line Length (55–65/50–60 characters), Text Leading (2, 2.5, 3 points larger than font size), Paragraph spacing (follows the leading), Ragging (left alignment) / Rivers (Left Justification), Cross Alignment, No Widows / Orphans
Specific Feedback: #1: Use the same font for B, H, S. Make "U" the same length.
#2: Adjust the black object for U, H, U, S. Use the thinner font for the part of the title. Use the thick font for lead in-text. #3: Put lead in-text in the one-line. Adjust the position of the body text.

5. REFLECTION

5.1 Experience

This project was a good experience because I learned the aspects of how to create a layout, the rules and general requirements in layout design, and the arrangement of text as well as text formatting. I struggled with creating different layouts because there were so many things to tweak and ensure it was according to the rules of Typography, such as line length.

5.2 Observations

When I am in the process of designing text layouts, one crucial aspect that I always take into consideration is alignment. Each element, whether it be a line of text or a graphic, I observed that it must align with something else on the page. By ensuring that everything on the page is in alignment, I can enhance both the visibility and aesthetic appeal of the layout. By carefully considering the alignment and positioning of each element, I can guide the reader's eye and make it easier for them to process and understand the most important pieces of information.

5.3 Findings

Through my experience, I came to the realization that the process of creating layout designs is indeed intricate and challenging. Because each element position setting was not that easy. Each step requires a meticulous approach and a keen eye for detail, making it far from a simple task.

6. FURTHER READING

Fig. 6.1 A Typographic Workbook, Second Edition ( by Kate Clair , Cynthia Busic -Snyder 

The second edition of "A Typographic Workbook" outlines the methods used by accomplished designers to choose, arrange, and creatively combine fonts. This foundational book demonstrates how to use type as a dynamic communication tool. It covers a wide range of topics, from the latest digital technologies to a concise historical overview of the craft.

Known for its interactive structure, this edition still includes many new projects and skill-building activities. These help readers apply what they've learned immediately. It also has useful review questions and multiple-choice quizzes. "A Typographic Workbook, Second Edition" is an invaluable teaching aid for graphic design students and a handy professional resource for working designers.

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