Week 5 - Week 8 Typography : Project One
4/10/2017-18/10/2017 Week 6 - Week 8
Wynne Pankusya [0333258]
Typography
Project 1 A Story Book
Lecture Notes
Briefing and Lecture 1 (Week 5- 27/09/2017)
Before we start the first project, Mr.Vinod explained more things about the history of typography. It all begins from the phoenician to roman. Back then, writing is all about either scratching on a wet clay with stick or carving into a stone with a chisel and it evolve into the tools and materials that we are using now. There are only uppercase letterforms before 2000 years later after that. Then the greek invented a way to write which is the Boustrophedon. Means that the lines of the text read from right to left then left to right.
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| Img.1 Phoenician |
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| Img.1.2 Boustrophedon |
Square capitals can be found in the roman scripts. You can find it on the roman monuments. It was called square capitals because it was made in a square. The transition from uppercase to handscripts begun considering how writing in uppercase is very slow. This is why back then, creating a book took a long time which made it very expensive and only rich people can buy a book and earn knowledge. Uncial type was also changed into cursive.
Now we are supposed to make the first project which is the storybook (Mr. Babadook). The storybook should be made in InDesign at least 16 pages and the size should be 205mm x 205mm. Mr.Vinod also mentioned that while we type our words, the leading line should be 3pt bigger from the size of the word. For ctance if the size is 12pt, then the leading line should be 15pt. We are also expected to scale everything with guides and rulers thus the result would be ogranized, good contrast, clean and neat. And just like the type expression exercise before, the typeset that we can use is limited and we only need to choose one. Either Futura, Serifa, Gill Sans, Univers, Garamond, Janson, Caslon, Baskerville or Bodoni.
Lecture 2 (Week 7- 11/10/2017)
This week lecture is about understanding letters. Almost every font is not symmetrical. Even serif is not symmetrical. The right stroke and left stroke is not the same. The uppercase letters might appear symmetrical however the examination shows that the left stroke is thinner than the right stroke. In sans serif font, even though both have the same letter, a single change of the sroke creates a huge different. Either the curve, boldness, etc. can change the look for a font (eventhough it looks exactly the same). For example if you overlay an "a" letter of Helvetica with the Arial "a", it will show differences between both of them.
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| Img.2 If you see it clearly, each "a" lowercase have a little change that creates huge difference |
How well you handle the counters when you set type determines how well words hang together. Means how easily we can read what's been set (readibility).
The basic principles of Graphic Design apply directly to typography. Contrast is the most powerful dynamic in design based on a format devised by Rudi Ruegg. Contrast produces numerous variations. If we look at Phil Baines' typography, the words can be read even in the most unique form. This is how well he could handle the words.
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| Img.2.2 Typography by Phil Baines |
"On the streets you look at girls(or boys),
I look at type." - Hannes Von Döhren
Instructions
Project
Project 1 (Week 5- Week 8) - A Story Book
- Sketches
- Adobe In Design- Font Book (Mac)
- Name, Student ID, Date
Week 5
Since I haven't downloaded the Adobe InDesign yet, this week I've made some sketches for the book.
Week 6
Eventhough most of them are fine, the contrast between pages must not look odd. Each of them needs to have a connection.
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| Img 3 Sketch 1 |
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| Img 3.2 Sketch 2 |
Week 6
Eventhough most of them are fine, the contrast between pages must not look odd. Each of them needs to have a connection.
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| Img.4 First draft page 6-7 |
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| Img.4.2 First draft page 10-11 |
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| Img 4.3 First draft page 12-13 and 14-15 |
Those are some of the pages that need to be fixed since it doesn't have a connection with each other and the work of alignments is weak (the result is messy). I need to put more grids on it thus it will be more neat and I will not have a problem with arranging the words.
Week 7
After some works and the feedback that was given by Mr.Vinod and Mr.Shamsul, I've made the changes and the book looks better than before.
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| Img 5 Second draft page 1 |
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| Img 5.2 Second draft page 2-3 |
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| Img 5.3 Second draft page 4-5 |
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| Img 5.4 Second draft page 6-7 |
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| Img 5.5 Second draft page 8-9 |
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| Img 5.6 Second draft page 10-11 |
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| Img 5.7 Second draft page 12-13 |
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| Img 5.8 Second draft page 14-15 |
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| Img 5.9 Second draft page 16 |
Embedded PDF
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| Thumbnails |
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| Img 6 first page of the book |
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| Img 6.2 Middle page |
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| Img 6.3 Last page |
Animation
Link to the animation and pdf : https://drive.google.com/open?id=0B2fPRPzfqL0dMFZ0SVMxZFdOLXM
Feedback
Week 6
General feedback : For the story book project, the credits of the typeset should be in 7pt (for the cover). We need to be more critical with the sample of the other Babadook storybooks. We are supposed to try comparing their work with ours thus It'll be a good result when it's done. If we don't ask the lecturers their opinion, we might ended up not getting the final result they wanted as a cause of not getting any feedbacks from them.
Spesific feedback : This time, the lecturers are checking the progress of story book project which is the Mr.Babadook. My alignments are good, I’m working out the spaces well however there are some part that need to be fixed. The way I emphasize is fine enough but the contrast is strange. There are some words that I can’t express it well. The way I’m using outline for serif fonts which I used is not effective and gave strange feelings on it. I also need understand how to create a black filled frame on a word instead of making a rectangle. I also can't make a certain words too strong because it'll look odd instead.
Week 7
General Feedback : All the students have to remember and wrote the feedback that has given by the lecturer for the sake of improvements and learning. This is why some people didn't update their blog eventhough they already know the feedback. We are supposed to update and fix all the problems because the lecturer will always look at your blog again even after the assignments. The animation for the storybook doesn't need to be overwhelming. Just point out some important words to emphasize it. Not to mention that the animation supposed to have relation with the word just like how we made the type expression.
Spesific Feedback : Some parts of the storybook needs to be changed since it doesn't have any connection with one and another. And I have to rework a lot of parts because my alingments are bad and I didn't use the grids when I'm working with my storybook which cause diverse lines and uneven spaces between words while I wanted it to be the same. After that, the result is more divine and neat thus the storybook was approved and I need to make the animation.
Week 8
General Feedback: We are supposed to post the project 1 assignment in our blog based on what Mr.Vinod wanted. For the artboard we will use for the font, the size will be 1000x1000 pt. The x-height supposed to be 500pt (the ascender and descender could be 250pt or more depends on your font but nothing too much). We are supposed to change the unit into points as it's a project to make a font.
Spesific Feedback : the animation is relatively good, but there are some minor problems regarding to the speed of each animation. Some of the animation aren’t strong enough to express the word. means that i need to fix some parts. The font that I made is quite interesting but the effect that I’ve made might be mistaken as a print glitch. Thus, Mr.Vinod create the same style of my font but he modify a litttle bit. The design of the font is not supposed to be too overwhelming. If I already have a certain strong parts, I’m shouldn’t add more particular unique parts.
Reflection
1. Experience
Week 6 : Creating a type expression for a book is even harder and to connect each pages is quite diffficult.
Week 7 : There are a lot of details that I didn't pay attention to which cause the result being messy.
Week 8 : Same like before I have problem with the motion of the animation
2. Observation
Week 6: Comparing your work to the seniors' works will make us more critical with our work.
Week 7 : The more grids that I use, the result will be more aligned.
Week 8 : Animations are supposed to be strong enough to express a word
Week 8 : Animations are supposed to be strong enough to express a word
3. Findings
Week 6: Feedbacks from the lecturer are necessary as they determine the final result for our own artwork.
Week 7 : An overwhelmed animation will not make the storybook even better.
Week 8 : The more better with arranging the animation, the more better it shows the meaning of the type
Week 8 : The more better with arranging the animation, the more better it shows the meaning of the type
Book of the Week
Week 5 & Week 6
Erlam, Kimberly, 2007, Typographic Systems, Princeton Architectural Press, New York.
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| Img 7 The cover of the book |
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| Img 7.2 First page |
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| Img 7.3 Second and Third page |
Since the project is to create a storybook where every pages connect each other, I found this book might help me. It tells about structural system which will be implemented in design. Typographic organization is quite complex since the elements are dependent on communication in order to function. Hirearchy, order of reading, legibility, and contrast also play roles for the system. Student designers might find the system strange as they barely see them in print or screen communications. Nevertheless, as the time goes, an understanding of the system enables the creative potential of the system to be realized.
By understanding the visual organization gives the designer an in-depth knowledge of the design process. There are eight systems of typographic organization to create a typographic messages. The system will expand the visual language of typographic communication and will lead the reader into the text. The eight systems are axial, radial, dilatational, random, grid, transitional, modular, and bilateral. Designers are challenged to handle each system in the development of a type message. Systems are visually investigated in two ways. The first, a series of compositions constrained to one size and one weight of type, is an exercise to truly experiment with the system beyond the obvious solutions. The second is a series of compositions with the option to use nonobjective elements and changes in tone to enhance the communication of the message. Each of the systems has a distinc aesthetic and visual language. These systems can be crafted to communicate with a dynamic energy. By the systems, we can interpret words with message tone, structure, length, and meaning.
Axial System : All elements are organized either to the left or right of a single axis
Radial System : All elements extend from a point of focus
Dilatational System : All elements expand from a central point in a circural fashion
Random System : Elements appear ti have no spesific pattern or relationship
Grid System : A system of vertical and horizontal divisions
Transitional System : An informal system of layered banding
Modular System : A series of non-objective elements that are constructed a standard-ized units
Bilateral System : All text is arranged symmetrically on a single axis
From what I've read, I think I used the grid system mostly for the typography artwork.
Week 7
Garfield, Simon, 2011, Just My Type , Penguin Group (USA) Inc., New York.
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| Img 8 The cover of the book |
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| Img 8.2 Second and third page |
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| Img 8.3 Fourth and fifth page |
In this part, the topic refers to legibility and readibility. The typeface that caught my eyes when it goes to this topic is the Cooper Black. It's one of the strong typographic that was used for branding (EasyJet airline). Cooper Black was a good find. It is rare for a new company to select a pre-digital unmodernized classic face from the shelf and not revive or tweak it in some way, but here was an exception. Cooper black is the sort of font the oils in a lava lamp would form if smashed to the floor. Its creator believed it ideal 'for far-sighted printers with near-sighted customers'. There are little nicks at the tops and bases of lettters, and they give the font a solid flat weight on a page; without them, the type would always have been appearing too roll away. For a font with such a thicker look, it retains a remarkably unthreatening demeanour. Cooperblack looks good from far and it's more legible but not very readable. Means that some type is better be seen rather than read.
Week 8
Riggs, Tamye, 2009, Font, RotoVision SA, Switzerland.
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| Img 9 The cover of the book |
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| Img 9.2 First page |
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| Img 9.3 Second page |
Since I chose Caslon as the typeface for my storybook project, I wanted to read about it from this book. William Caslon I was a punchcutter and typefounder, he released his first typefaces circa 1722. At that time, Dutch Old Style types were in heavy use in the UK. While Caslon based his own types on the seventeenth-century Dutch model, his faces quickly became highly regarded because of their spark of their spark of personality, solid yet delicate styling, and variety of design.
Due to its success, there are a lot of versions of Caslon types over the centuries, some bearing little resemblance to the original model.
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