TABLE OF CONTENTS
Typography - Typography is the creation of fonts/typefaces; it is the art of arranging type to ensure that a written language is legible, readable, and appealing. It is fundamental in design studies, with skills applicable to various design fields.
Developing Good Design - Teaching art is difficult due to its subjective nature. However, processes to create good art can be taught. To become good typographers or designers in general, it is important to be open to feedback and work continuously to improve your skills.
- Calligraphy - Writing letters.
- Lettering - Drawing letters.
- Font - Individual font or weight within a typeface.
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Typeface - The entire family of fonts that share similar
characteristics.
Lecture 2 / Development
In the initial development of letterforms, the tools available greatly impact the styles of writing. Letterforms then developed over 900 years, as shown in the figure below:
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| Fig 1.1 Early Letterform Development |
- Phoenician- Since sticks, clay, chisel, and stone were predominantly used, the letterform used by Phoenicians primarily consist of straight lines and circular shapes.
- Greek - The Greeks introduced 'boustrophedon,' a writing style where the direction of writing is alternated with each line. The orientation of the letters are also flipped accordingly whenever the direction changes.
- Etruscan & Roman - Etruscan and Roman carvers would first paint their letterforms over marble, and then chisel it afterwards. This method results in a distinct style, similar to the serifs in modern fonts.
Hand Script - Handwritten text styles were further developed from manual writing techniques from the 3rd to 10th century C.E. These changes happen due to different needs of people at the time.
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| Fig 1.2 Development of Hand Scripts |
Text Classification - New typefaces will always develop alongside prevailing technology, commercial needs, and esthetic trends. However, some typefaces would still stay relevant despite the change in culture and trends. When looking these typefaces, people would notice that certain typefaces can be classified under certain text types.
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| Fig 1.3 Text Classification |
Week 2
Kerning - The automatic adjustment of space between letters.
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Fig 1.4 Kerning
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Letter Spacing - The addition of space between letters. It is usually done in uppercase letters because typefaces are generally not designed to be used in full uppercases.
Tracking - The addition and removal of space between letters within a word/sentence. Lowercase letterforms generally shouldn't use any tracking because it messes up with the readability.
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| Fig 1.5 Tracking |
Text Formatting
- Flush Left - A format which mirrors the asymmetrical experience of handwriting. Every line starts at the same point, but ends differently, depending on when the last word of each line ends.
- Centered - A format that creates symmetry as both ends of each lines share the same value and weight. Because it creates a strong shape on the page, it's important to amend line breaks so the text don't appear to jagged. This formatting should be used sparingly for small amounts of text.
- Flush Right - A format where the ends of the line is more emphasized. It might be used in captions where the relationship between text and image might be ambiguous without a strong orientation to the right.
- Justified - A format similar to centered, as it creates a symmetrical shape. However, the start and ends of each line are aligned by reducing or expanding the space between words and letters. This would produce 'rivers' of white space found vertically throughout the text. Careful attention to line breaks and hypenation should be used to reduce this problem.
Texture - Different typefaces provide different feel as a text. Types with generous x-height/heavy strokes produces a darker mass on the page than ones with a smaller x-height/lighter stroke. Such typefaces and ones with minimal weight contrast are generally much more legible; very important as legibility would always be prioritized over the design of the font.
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| Fig 1.6 Anatomy of a Typeface (X-Height) |
Leading & Line Length - The goal of a text type is to ensure an easy and prolonged reading experience. To be able to achieve this, some key points should be considered:
- Type Size - Should be large enough to be readable at an arm's length.
- Leading - The space between the lines shouldn't be too tight as it forces vertical eye movement, and it shouldn't be too loose as it might create patterns that distract the eye. For a large body of text, it's best to have 2-2.5 points of leading above the font size.
- Line Length - Shorter lines require less effort to read, while longer lines require more. Extremely long or short lines reduce readability. Therefore, it is best to keep the amount of characters between 55-65 characters per line.
Type Specimen Book - A reference book showcasing a typeface in different type sizes, leading, and line length.
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| Fig 1.7 Type Specimen Book |
Indicating Paragraphs
- Pilcrow Symbol (¶) - Traditionally used in medieval manuscripts to indicate paragraphs but is rarely seen today.
- Line Spacing or Leading - Line spacing and paragraph spacing should be the same to maintain proper cross alignment across columns of text. Typically, leading is set 2–3 points larger than the text size.
- Indentation - Indicates the beginning of a paragraph, with the indent size usually matching the line spacing or the point size of the text. When using indentation, the text should be justified since you don't want ragging on both ends of a text column.
- Extended Paragraphs - Create wider text columns which might be seen as a drawback, but it can serve functional or compositional purposes.
- Widows - Short lines of text that appear alone at the end of a text column.
- Orphans - Short lines left at the beginning of a new text column.
Highlighting Text - Done in several ways, including:
- Using italics or bold.
- Changing the typeface to a bold variant of the typeface.
- Changing the text color (black, cyan, and magenta are recommended).
- Changing the type family. When changing from a serif to a sans serif, it’s advisable to reduce the point size by 0.5, because sans serifs tend to look bigger than serifs.
- Adding highlights behind the text.
- Adding typographic elements, like bullet points or quotation marks.
Headline within Text
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| Fig 1.9 Types of Headlines |
Cross Alignment - Cross-alignment is important when you have multiple typefaces and point sizes within a page. Cross-aligning headlines and captions with body text enhances the overall structure of the page and reinforces complementary vertical rhythms. Doubling the leading is a way to maintain cross-alignment.
Describing Letterforms - In typography, there are some technical terms which describe a specific part of a letterform. Knowledge of these components make it easier to identify typefaces.
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Fig 1.9 Describing Letterforms
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Font - A full font includes more than the 26 alphabets. It should include all the necessary characters for a full set of letters, numbers, and punctuation marks.
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| Fig 1.10 Font |
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| Fig 1.11 Describing Typefaces |
Comparing Typefaces - Each typeface has distinct features,
such as variations in x-height, line weight, and stroke width. It's
important for a typographer to choose the right typeface since these
differences can evoke specific uses and expressions. Different
typefaces could convey a range of attitudes like whimsical, stately,
mechanical, calligraphic, harmonious, and awkward.
INSTRUCTIONS
Task 1: Exercise 1 / Type Expression
Week 1 / Research & Sketch
Research
To make a type expression that properly represent its associated word, it is important to do prior research. Understanding the meaning and connotation of a word would allow a more informed decision when choosing typefaces, layout, and style. Since I'm not sure which words to choose yet, I decided to explore all the given options; researching and sketching out any ideas I had.
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| Fig 2.1 Research / Source: pinterest.com / Week 1 (29/09/24) |
Sketch
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| Fig 2.2 Sketches / Week 1 (29/09/24) |
Week 2 / Digitization
For the digitization process, I took the designs that I found to look more appealing and received better reception from Mr. Vinod from the previous week. The designs I chose are: Chop, Wind, Pull, and Rush.
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| Fig 2.3 First Digitization Result / Week 2 (06/10/24) |
Week 3 / Revisions & Animation
Revision
Based on the feedback given during class, I revised the type expressions for Chop and Rush accordingly. The fallen part of Chop was made more flat, while the gradient in Rush was removed to increase the contrast, and changed into speed lines.
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| Fig 2.4 Revision / Week 3 (07/10/24) |
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Fig 2.5 Final Type Expressions - JPG / Week 3 (13/10/24)
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Animation
After finalizing the type expressions, we were tasked to animate one of our type expressions. The animation will be made in Illustrator and compiled in Photoshop. I chose the word Chop to animate, because out of the four type expressions made, I felt that it had the biggest potential for a cool and flashy animation.
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Fig 2.7 Animation Frames / Week 3 (13/10/24)
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The animation as a whole is done in 60 frames and set to 24 frames per second to have a smooth motion. Impact frames are used for visual effects and the word is divided into three parts after being chopped, with each part hanging from each other after being separated.
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Fig 2.8 Chop GIF / Week 3 (13/10/24)
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Week 4 / Revision
Based on the feedback given during class, I revised the animation to make the movement look less like slicing, and more like chopping. I decided to change any movements that were side-to-side into an up-and-down motion. I applied this to the chopping action and the word movement upon impact.
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| Fig 2.9 Animation Frames / Week 4 (20/10/24) |
This time, the animation is done in 100 frames and is set to 24 frames per second. This is done to make some parts of the animation longer, allowing the viewer to process the animation better. I also added a slight rebound after the initial fall to make the animation less stiff.
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| Fig 2.10 Chop Animation Revision / Week 4 (20/10/24) |
For the first revision, I made the chopping action look like a knife chop from the sides. For the second revision, I made it look like as if the knife was falling from the viewer's perspective into the word. After some considerations, I decided to have the first revision as my final work as it felt more 'chop' compared to the other versions.
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| Fig 2.11 Final Animated Type Expression - GIF / Week 4 (20/10/24) |
Task 1: Exercise 2 / Type Formatting
Week 4 / Type Formatting
Lecture 1/4
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| Fig 2.12 Kerning & Tracking Exercise / Week 4 (20/10/24) |
Lecture 2/4 - 4/4A
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| Fig 2.13 Initial Attempt / Week 4 (20/10/24) |
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| Fig 2.14 Type Formatting Exercise / Week 4 (20/10/24) |
Type Size/s: 81 pt, 27 pt, 18 pt
Leading: 83 pt
Paragraph spacing: 0 pt
Type Size: 9 pt
Leading: 11 pt
Paragraph spacing: 11 pt
Characters per-line: 55-65
Alignment: Left justified
Margins: 12,7 mm top, 12,7 mm left +12,7 mm right + 98 mm bottom
Columns: 2
Gutter: 5 mm
Week 5 / Revision
Based on the feedback given during class, I revised the type formatting so that it doesn't look to heavy on any sides; making it balanced from the way the texts and pictures are laid out. I also made the picture smaller and increased the spacing between several elements of the type formatting so that it isn't too crowded, and has more breathing room.
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| Fig 2.15 Final Type Formatting - JPG / Week 5 (27/10/24) |
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| Fig 2.16 Final Type Formatting With Grids - JPG / Week 5 (27/10/24) |
Type Sizes: 45pt, 81pt, 12pt
Leading: 66 pt
Paragraph spacing: 0pt
Type Size: 9pt
Leading: 11pt
Paragraph spacing: 11pt
Characters per-line: 55-65
Alignment: Left justified
Margins: 12,7mm top, 12,7mm left +12,7mm right +12,7 mm bottom
Columns: 2
Gutter: 5 mm
FEEDBACK
Week 1
General Feedback: This week, we were introduced to the rules and procedures of the typography class. We were tasked set up a blog for our e-portfolio and fill it in with insights from a pre-recorded lecture, as well as sketches for the first task; type expression.
Week 2
General Feedback:
- Readability is important when changing orientation of letters in a type expression.
- Consider the space an artwork will be displayed in.
- Choosing the right typeface, size, weights, etc. is crucial to make a good type expression.
- Avoid overcomplicating your ideas. Do not over-design, keep it just right.
Specific Feedback: Most of the sketches are
qualified for further development into type expressions.
Specific Feedback: The type expressions for wind and pull is already good. However, the chopped up part of "chop" should look more flat in terms of the perspective. The word rush is also too dark; lacking contrast. The gradient used should be removed for better readability.
Week 4- The gutter in between columns could be wide, but ideally, it shouldn't be.
- Bold shouldn't be done on the whole text; only use it for emphasizing parts of text. The maximum amount for bold should be 4 lines.
Specific Feedback: The formatting shouldn't be too top heavy or bottom heavy. For the picture, it shouldn't be too big as it makes the page looks busy, but it shouldn't be too small too.
REFLECTIONS
I noticed that the class as a whole had improved in terms of their works. I like to see fellow classmates' e-portfolios as inspiration in my free time and I really see how the feedbacks given help us a develop a better and refined understanding of good design. I'd also say that I felt improvements in my design too as the feedbacks really challenge me to think outside the box.
Findings
I found out that typography wasn't as shallow as I used to thought it was.
There were more rules and elements that were tied to the creation and design
process of typefaces and type formatting. That made me realize how much more
room I have to grow as there are still lots to learn.
FURTHER READING
Week 1 / The Anatomy of Type
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| Fig 3.1 The Anatomy of Type Book Cover |
In this book, typefaces are further separated into different classifications. Although there is no universal classification system, many people tried to make various classification systems. This however created contradictions because of the variations found in the letterforms. This book further differentiates typefaces into classifications based on its features.
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| Fig 3.2 Classification of Typefaces |
Week 2 / Thinking With Type
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| Fig 3.3 Thinking With Type Book Cover |
In this book, I decided to check the section about hierarchy since I find it to be an interesting topic. According to this book, hierarchy guides the eye by creating a visual order; helping readers scan a text by showing where to enter an exit. This can be done by using indents, line spacing, size, colors, and many more.
I also found an amusing fact in one of the pages, stating that stacked lowercase letters is a type crime.
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| Fig 3.4 The Elements of Typographic Style Book Cover |
In this book, I was interested in the chapter about rhythm and proportion, where there is more information about kerning; complementing the previous week's lecture. It says that inconsistencies will always be found in the spacing between each letter. Digital fonts are generally kerned with kerning tables which specify a reduction or increase in spacing for every possible pair of letters, numbers, and symbols. However, we might need to do kerning to fit a specific style/requirement. When you kern, it's important to not cause collisions with floating accents. Too little kerning is preferable to too much, and inconsistent kerning is worse than none.
This week, I returned to the book, "Thinking With Type" as there was a chapter about grids, which has a lot of similarities with the type formatting exercise. According to this book, single- column grids work well for simple documents while multi-column grids work well for publications with complex hierarchy or text with illustrations. Aside from dividing the page vertically to create columns, the page can be divided horizontally to reserve an area for images, captions, and headlines.
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| Fig 3.5 Multi-Column Grid |
Week 5 / Typographic Design: Form and Communication
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| Fig 3.6 Typographic Design: Form and Communication Book Cover |
In this book, I read a segment about justified and unjustified typography, as I was used to using justify to submit most of my works, but it is actually less preferable to left-align. According to this book, justified text was the traditionally the common practice as it was efficient, familiar, and more refined. However, in the 1920s, designers experimented with different text-setting styles. Unjustified text have more legibility because the ragging in the right provides visual points to guide the eye from line to line. There is also a more consistent texture in the text as there are no "rivers" in unjustified text.