Typography - Task 2 Typographic Exploration & Communication (Text Formatting & Expression)
Typography - Task 2 Typographic Exploration & Communication (Text Formatting & Expression)
week5
The uppercase letter forms may appear symmetrical, but a closeexamination shows that the width of the left slope is thinner than theright stroke. Both Baskerville (previous) and Univers (below)demonstrate the meticulous care a type designer takes to createletterforms that are both internally harmonious and individuallyexpressive.
X-height: The size of the lowercase letterforms. Curved strokes, such as in ‘s’, must rise above the median (or sink below the baseline) in order to appear to be the same size as the vertical and horizontal strokes they adjoin.
week6
TYPOGRAPHY TASK 2
In this task you will be asked to express typographically the
content in this link in a 2-page editorial spread (200mm x 200mm per page). Choose
1 from the 3 text options provided. No images are allowed. However,
some very minor graphical elements, i.e. line, shade, etc. might be
allowed.
Utilising the knowledge gained in the exercises and from other
modules in the same semester, you will use Adobe InDesign to
typographically compose and express the text within the given size.
Here is a video to watch before you begin.
You may use Adobe Illustrator to create the headline expression
should you feel the need to do so. However, the final layout (text
Page | 9 formatting and layout) is to be completed in Adobe
InDesign. Explore several options in expression and layout
(sketches). Execute a good layout, with an expressive and
appropriate headline in line with the spirit/message of the
text.
Ensure you are only using the prescribed 10 typefaces. Choose your editorial text from the Facebook file section (look for Task 2: Editorial Text Options).
Note* No colour may be used in this task.
1. Eportfolio: All gathered information (failures, successes, epiphanies, sketches, visual research, printouts, websites, images, charts, etc.) must be documented logically and chronologically in the eportfolio for the duration of the task in one post.
2. Eportfolio: All images/sketches/diagrams/scans must be captured/photographed/scanned well, with good even natural light, without shadows — use of tube/bulb/flash light is not allowed. All images/sketches/diagrams/scans must be labelled (fig 1, 2, etc.), described and dated. Final submission must be indicated clearly (distinguishable from process work) and uploaded as PDF and JPEG &/ GIF (not PNG) or as instructed in class.
3. (Only if instructed) Tasks to be documented in a printed A4 enclosed in a Clear Sheet, logically and chronologically. The works must be labelled and dated – use pencil and write neatly.
1. To demonstrate the use of Grids, layouts and page flow.
2. To apply the necessary skills and sensibilities for effective typographic communication and achieve good reading rhythm with memorability.
First of all when I did this typography I searched a lot on the internet
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| 1.1 |
Secondly I'm goin g to change the content font and shape
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1.2 |
Put them together.
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The final product
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| 1.4 |
FEEDBACK
General feedback: Fonts are very important in an article, otherwise it won't attract readers and you need to pay more attention to them!
"Vignelli Canon on Design”
by the legendary Massimo Vignelli.
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| Figure 3.4 |
This book provides readers with an opportunity to delve deepinto the principles and practices of modern design.
Vignelli, drawing from his extensive design experience andunique perspective, simplifies design principles and conceptsintoeasily comprehensible guidelines. The book emphasizes coredesign principles such as clarity, consistency, and durability,which are universally applicable to any type of desigwork.Hisphilosophy underscores that the purpose ofdesign should be tocommunicate information and quide users, rather than merelyaiming for visual appeal.
In summary, the "Vignelli Canon onDesign" has been anenlightening journey that has expanded my understandingof design. I now approach design with a greater focus on purpose.simplicity, and universality. lt has been a catalyst for honingmy design skills and thinking critically about the way Iperceive and create in the world of design. This book is avaluable resource for anyone seeking to elevate their designknowledge and skills.
"Typography Basics"
by the Brian Sam-Bodden
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| Figure 3.5 |
This book has been a revelation, equipping me
with a profoundunderstanding of the art and science of type, and i've
gainedinvaluable insights into the world of fonts and text arrangement.
One of the book's most significant contributions is its meticulousexploration of typography's fundamental elements. It has been aneye-opener to grasp the importance of typefaces, font families, andthe anatomy of letters, i now recognize the power of letterforms inshaping the message's tone and mood. Understanding how to select theright typeface for different design projects has become a crucialskill i've acquired.
Overall, "Typography Basics" has provided me with a solid foundationin the art of typography. I now approach design projects with a moreinformed and critical eye, ensuring that the typography serves as apowerful visual element, not just a functional one. This book hasbroadened my design skills and deepened my appreciation for the artand science of typography. lt is an essential resource for anyoneseeking to excel in the field of design.
"A TYPE Primer"
by theJohn Kane
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| Figure 3.6 |
This book has not only broadened my knowledge but has also instilleda profound appreciation for the art of type and its role ineffective communication.
One of the key takeaways from the book is its comprehensive coverageof the foundational elements of typography. lt goes beyond thesurface, providing an in-depth understanding of typefaces, fontclassifications, and the anatomy of letters. I've learned to discernthe subtleties between various typefaces and their significance inconveying the right tone and emotion in design projects.
In conclusion, "A TYPE Primer" has been an enlightening journey thathas expanded my horizons and improved my design skills.I approachdesign projects with a newfound understanding of how typography canbe a powerful visual element. This book has given me a holistic viewof the art and science of type, and I now consider typography notjust a functional component but a critical design element. It is anessential resource for designers and anvone interested in the art oftypography.
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