Typography Task 2 / Typographic Exploration & Communication

on

 28 October 2024-11 November 2024 / Week 6-Week 8

Chika Clarissa Widjaja / 0378636

Typography / Bachelors Of Design (Creative Media) / Taylor's University

Task 2 (Typographic Exploration & Exploration)



TABLE OF CONTENTS

  1. LECTURES
  2. INSTRUCTIONS
  3. REFLECTIONS
  4. FEEDBACK
  5. FURTHER READING

LECTURES

Week 5:

Typo_5_Understanding

Letterforms may look the same from afar. However when we inspect it more closely there may be small differences in size and in symmetry.

Figure 1.1 Letterform (25/10/24)


Two letterforms  like the one below may look similar, but when inspected more closely there are a few differences. 


Figure 1.2 Letterform (25/10/24)



Mantaining X-height:
  • Curve strokes such as in the letter s must rice above the median line or sink in the baseline.

Counterform
  • Really important typeface design, knowing the space outside the letterform because it aids in the readability.
Figure 1.3 (25/10/24)

  • The form outside the letter E, the stroke is the counter form. (the black space)
  • It is important to analyze an existing typefaces that falls into the same category before designing a new letter.

Contrast
  • It is the most powerful dynamic in design.

Figure 1.4 (25/10/24)

The simple contrast produces numerous variations:
  • Small+Organic
  • Large+Machined
  • Large+Machined
  • Small+Dark
  • Large+Light



INSTRUCTIONS

<iframe src="https://drive.google.com/file/d/1rxoK_XgwaHhK0s5uO3JyYb_ttnf9d3Y1/preview" width="640" height="480" allow="autoplay"></iframe>




TASK 1: TYPE FORMATTING & EXPRESSION

Research and Ideation

First, I went to the google docs and look through the text that Mr.Vinod gave us. I decided to go with 'Unite to visualise a better world'. I then look through pinterest to see some of the layouts, composition, and inspirations that i could use for my type formatting & expression.




Figure 1.5 References (25/10/24)


Then, i begin some rough sketches in my sketchbook just to know where to place the type expression and heading.




Next, i start to design my type expression in Adobe Illustrator. Here are a few designs that i came up with.




Figure 1.6 First Type Expression Idea (25/10/24)

Figure 1.7 Second Type Expression Idea (25/10/24)


Figure 1.8 Third Type Expression Idea (25/10/24)


Finally, i moved to Indesign to start my type formatting and here are the layouts i came up with.


Figure 1.9 First Layout (25/10/24)


Figure 1.10 Second Layout (25/10/24)


Figure 1.11 Third Layout (25/10/24)


After receiving feedback from Mr.Vinod on week 6, I made some changes on the third layout as that's the layout he chose.


Figure 1.12 Revised (28/10/24)


On week 7, Mr.Vinod went around the room to give feedback. This is mine after he gave me feedback.

Figure 1.13 Revised (4/11/24)


On week 8, Mr. Vinod wrote in the spreadsheet that my body text formatting could be improved. So I made some changes.






HEAD
Typeface: Futura Std
Font/s: Futura Std Light Condensed
Type Size/s: 48 pt
Leading: 39.2pt
Paragraph spacing: 0
 
BODY
Typeface: Minion Pro
Font/s: Minion Pro Regular
Type Size/s: 10pt
Leading: 12pt
Paragraph spacing: 11 pt
Average characters per-line: 56
Alignment: left
Margins: 12,7 mm top + left + right + bottom
Columns: 2
Gutter: 5 mm

FEEDBACKS

Week 6
Specific Feedback: I think it looks fine, but better work can be done so the composition can be better. Why is there a gap between the paragraphs? (referring to the first layout). It would be better if you move the type expression so it would have a better flow of readability.
General Feedback: Decide which word you want to express, so the focus of the page will be on that word. Two different line lengths to cause the reader to think this might not be the same connected text. Mantain the same length. You must have a margin and grids, It is meant to organize your content within.

Week 7
Specific Feedback: Put the 'W' on top and the letters 'rld' in the bottom, other than that I think it looks ok.
General Feedback: Not recommended to use condensed typeface because it makes readability more difficult.


Week 8
Independent learning week, No classes were held


REFLECTIONS


Experience

Creating this typographic design was both a challenging and rewarding journey. I explored type formatting and expression while aiming to visually communicate the theme of unity and progress. Balancing the bold circular design with the text layout tested my ability to create harmony between form and function. One of the main challenges was aligning the type hierarchy with the minimalist, modern aesthetic I envisioned. I experimented with layout compositions, sizes, and placements to ensure the text aligned seamlessly with the graphic element while remaining legible and impactful.



Observations

During the process, I observed how small adjustments, such as kerning, leading, or even the weight of the font, could significantly alter the overall tone of the design. The interplay between the large, curved graphical element and the text intrigued me, as it created a dynamic flow that guided the viewer’s eye naturally across the composition. I also realized that maintaining simplicity while conveying a strong message required thoughtful restraint; adding too much detail often detracted from the design’s clarity. The positioning of the “W,” “D,” “R,” and “L” around the curve became a focal point that subtly reinforced the circular motion of unity.




Findings

Through this project, I gained a deeper appreciation for the power of typography as a design tool. I learned how to use negative space effectively and how type can evoke emotion without additional imagery. The assignment also highlighted the importance of feedback, as revisiting the design with fresh eyes or input from peers often revealed opportunities for improvement. Overall, the project was a valuable exercise in refining my visual communication skills and reinforced my belief that thoughtful typographic expression can convey complex ideas with elegance and clarity.





FURTHER READING
Figure 4.1 Typographic Design: Form and Communication (28/10/24)


Visual Hierarchy in Space Design
• Contrasts between elements achieved through visual properties.
• Crucial contrasts include size, weight, color, and spatial interval.
• Location of elements establishes visual hierarchy.
• Spatial relationships influence element's relative importance.


Typographic Hierarchy Design
• Balances harmony and contrast in typographic design.
• Elements can have counterparts or counterpoint relationships.
• Typographic counterparts bring harmony to spatial relationships.
• Counterpoint relationships bring opposition and dissonance to the design.


Paragraph Breaks in Columns
• Influence relationship between text and margins.
• Can be indention, space interval, or combination.





Comments

Post a Comment