Typography Task 1 / Exercises1&2 Type Expression and Text Formatting
25 September 2023 - 16 October 2023/Week1-Week4
Kaho Yamaya / 0364278
Week1:“Typo_0_introduction”
Week2:
“Kerning” refers to the automatic adjustment of space between letters and often mistakenly referred to as “letter spacing”.
Letter spacing Letter spacing means to add space between the letters. The addiction and removal of space in a word or sentence is referred to as tracking. Mr Vinod said, “When you wouldn't kern all letter space for that matter, you wouldn't looking for certain pairings in large amounts of text like this y and e and try to do kerning for every single words. Obviously it take forever. ”
Indesign is publishing software. The difference between Indesign and Illustrator is create leaflets, posters and books that has large amount of text or graphical creations like logos.
Tracking The condition when we give a kerning and letter spacing. When we add letter space to body of the text, the readability of that text is reduces. This is because we don’t read texts as individual letters. We looking at texts as its shape. When we increase or decrease letter spacing between words or sentences, we are reducing the recognizability of these patterns. In Typography, we are not just looking at the letter form we are looking at the counter form of the negative or positive spaces between the strokes. Manage the white areas in through of the particular sentence made by the particular word are important to consider when doing letter spacing and tracking.
Counter form
Like centering, this format imposes a symmetrical shape on the text. It is achieved by expanding or reducing spaces between words and, sometimes, between letters. The resulting openness of lines can occasionally produce ‘rivers’ of white space running vertically through the text. Careful attention to line breaks and hyphenation is required to amend this problem whenever possible.
The goal in setting text type is to allow for easy, prolonged reading. At the same time a field of type should occupy the page as much as photograph does. If the number of letter exceeds 65, readability reduces exponentially. These three things suggested in this picture are automatically determine readability and legibility issues.
Whenever we decide a point size for screen or print reading, we would want to do this to test it out either on screen or in its actual size format if we going to print out.
Margins Margins are basically the space around where the text and information is placed. We need to consider and control the amount of margin spaces. The goal in setting text type is to allow for easy, prolonged reading. Enough line length is necessary to appropriate leading. Shorter lines require less leading; longer lines is more.
Week 3:"Typo_3_Text P2"
Pilcrow(¶) is a holdover from medieval manuscripts seldom use today. Also pilcrow is a symbol that is available in most typefaces. Previously the pilcrow was used in set in text to indicate paragraph space.
Hence if the line space is 12pt, then the paragraph space is 12pt. This ensures cross-alignment across columns of text. We’re leading would be anywhere between 2.5 to 3 points larger than the typeface point size. Mr Vinod said, “When you want to create a paragraph space, most of you tend to press ENTER twice but this is a mistake. In Design, actually we can give a value for paragraph space and that value ideally should be the same as your leading space.”
An orphan is a short line of type left alone at the start of new column. In typography, basically we avoid the end of particular paragraph word left alone. Mr Vinod said, “If you couldn’t fit all the text info textual information in that column and the last line happened to go up, this is also an unpardonable gasps in Typography and therefore you should avoid it.”
Quotation marks, like bullets, can create a clear indent, breaking the left reading axis. Compare the indented quote at the top with the extended quote at the bottom. Mr Vinod said, “It might be not possible in large body of text. In small body of text, it can be done. You can pay attention for detail to those important little columns. And it is good time to note that Prime is not a quote. The top of right side is known as primes basically indicate feet and inches. If you see a single prime, it means it’s a feet and if you see double, it means it’s an inch.”
Typography is two-dimensional architecture, based on experience and imagination, and guided by rules snd readability. -Hermann Zapf
Week4:“Typo_2_Basic”
Fig 1.6 Describing letterforms-PDF
Week4/Task1:Exercise2 - Text Formatting
Mr.Vinod said in his lecture video and his class that we need to manage the body paragraph turns into equally gray color when we half close our eyes. In this exercise, my work is little bit small point size(9).
Kaho Yamaya / 0364278
Typography / Creative media / Taylor's University
Task1:Exercise1&2 Type Expression and Text Formatting
JUMP LINK
JUMP LINK
LECTURES
Fig 1.1 “What is Typography?”
Typography is the fundamental in any design studies and applicable in other area. Typography is creation oh typefaces. This class is aim to develop our sense to express our emotions in the text.
Typography history and words from Paul Rand
Typography has evolved over 500 years: calligraphy > lettering > Typography. Mr Vinod said, “you need to understand the learning process that develop our skills for become good designer. Steve Jobs needs calligraphy and typography in his development of computers because it has a bearing on the way our information how we communicate effectively.”
Fonts
Refers to the individual font or weight within a typeface, l.e.: Georgia Regular, Georgia Italic and Georgia Bold or Frutiger Light, etc.
Typeface
Refers to the various families that do not share characteristics, l.e.: Georgia, Arial, Times New Roman, Didot and Futura.
Mr Vinod said, “Good typography affects on people's sentimental emotion but bad typography affects comprehension learning and gives negative impact in learning.”
Fig 1.1 Left: Evolution from Phoenician letter.
Right: 4th century B.C.E. -Phoenicians votive Carthage, Tunisia.
Initially writing meant scratching into wet clay with sharpened stick or carving into stone with a chisel. The forms of uppercase letterforms(for nearly 2000 years the only letterforms) can be seen to have evolved out of these tools and materials. At their core, uppercase forms are simple combination of straight lines and pieces of circles, as the materials and tools of early writing required.
Fig 1.2 Greek changing direction of writing and Greek fragment, stone engraving (Date unknown)
The Greeks changed the direction of writing. Phoenicians, like other Semitic peoples, wrote from right to left. The Greek developed a style of writing called ‘boustrophedon’ (how the ox ploughs), which meant the the lines of text read alternately from right to left and left to right. As they change the direction of reading they also changed the orientation of the letterforms.
Fig 1.3 Developing typefaces
Fig 1.4 Text type classification
1450 Blackletter
The earliest printing type, its forms were based upon the hand-copying styles that were then used for books in Northern Europe.
Examples: Cloister Black・Goudy Text
1475 Oldstyle
Based upon the lowercase forms used by Italian humanist scholars for book copying (themselves based upon the ninth-century Caroline minisule) and the uppercase letterforms found inscribed on Roman ruins, the forms evolved away from their calligraphic origins over 200 years, as they migrated across Europe, from Italy to England.
Examples: Bembo・Caslon・Dante・Garamond・Janson・Jenson・Palatino
1500 Italic
Echoing contemporary Italian handwriting, the first italics were condensed and close-set, allowing more words per page. Although originally considered their own class of type, italics were soon cast to complement roman forms. since the sixteenth century, virtually all text typefaces have been designed with accompanying italic forms.
1550 Script
Originally and attempt to replicate engraved calligraphic forms, this class of type is not entirely appropriate in lengthy text settings. In shorter applications, however, it has always enjoyed wide acceptance. Forms now range from the formal and traditional to the casual and contemporary.
Examples: Künstler Script・Mistral・Snell Roundhand
1750 Transitional
A refinement of old style forms, this style was achieved in part because of advances in casting and printing. Thick to thin relationships were exaggerated, and brackets were lightened.
Examples: Baskerville・Bulmer・Century・Time Roman
1775 Modern
This style represents a further rationalization of old style letterforms. Serifs were unbracketed, and the contrast between thick and thin strokes extreme. English versions (like Bell) are also known as Scotch Romans and more closely resemble traditional forms.
Examples: Bell・Bodoni・Caledonia・Didot・Walbaum
1825 Square Serif / Slab Serif
Originally heavily bracketed serif, with little variation between thick and thin strikes, these faces responded to the newly developed needs of advertising for heavy type in commercial printing. As they evolved, the brackets were dropped.
Examples: Clarendon・Memphis・Rockwell・Serifa
1900 Sans Serif
As their name implies, these typefaces eliminated serfs altogether. Although the forms were first introduced by William Carlson IV in 1826, its use did not become wide-spread until the beginning of the twentieth century. Variation tended toward either humanist forms (Gill Sans) or rigidly geometric (Futura). Occasionally, strokes were flared to suggest the calligraphic origins of the form (Optima). Sans serif is also referred to as grotesque (from the German word Grotesk) and Gothic.
Examples: Akzidenz Grotesk・Grotesk・Gill sans・Franklin Gothic・Frutiger・Futura・Helvetica・Meta・News Gothic・Optima・Syntax・Trade Gothic・Univers
1990 Serif / Sans serif
A recent development, this style enlarges the notion of a family of typeface to include both serif and sans serif alphabets (and often stages between the two).
Examples: Rotis・Scala・Stone
Typeforms have developed in response to prevailing technology, commercial needs, and esthetic trends. Certain models have endured well past the cultures that spawned them.
If you don't know history then you don't know anything. You are a leaf that doesn't know it is part of a tree. -Michael Crichton
Week2:
Kerning
Adobe Indesign
Counter form is meaning these black spaces between the white letter forms. When we add letter spacing, we are breaking the counter form for which reduces the readability of that particular word or sentence. Mr Vinod said, “We are not encourage the students who learning design to let the over letter forms.”
Normal tracking and Loose tracking
Normal tracking is easier to read when compared to the Loose tracking which is given letter space. This is clear example how the impact of the words have reduced or changed the counter forms affected to reduce the readability.
Tight tracking
This shows the counter form has been reduced where it’s negligible the shapes have become a bit more difficult to discern. So the patterns that constitute the words have become a lot of difficult to decipher visually.
Justified
Fig 1.5 text term
X height refers to the area between the base line and the line above the baseline(median line). If we want to use a readable text, we always look to whether the X heights is larger than normal. X heights in contrast with the ascender space and descender space basically decides whether the X is bigger. Space above the X side is known as the Ascender. The space below the X is known as the Descender.
Type size
Text type should be large enough to be read easily at arms length-imaging yourself holding a book in your lap.
Leading
Text that is set too tightly encourages vertical eye movement; a reader from the material at hand.
Line Length
Appropriate leading for next is as much a function of the line length as it is a question of type size and leading. Shorter lines require less leading; longer lines more.A good rule of thumb is to keep line length between 55-65 characters. Extremely long or short line lengths impairs reading.
The devil is in the details. -Jane Jacobs
Week 3:"Typo_3_Text P2"
Pilcrow
Line space (leading)
Line space vs leading
Leading space is a piece of the space between two sentences. Line spacing takes into consideration the baseline of one sentence to the descender of the other sentence.
Window
A window is a short line of type left alone at the end of a column of text.
Orphan
Highlighting by box
When highlighting text by placing a field of color at the back of the text, maintaining the left reading axis (right example) of the text ensures readability is at its best.Highlighting by typographic elements
Sometimes it is necessary to place certain typographic elements outside the left margin of a column of type (extending as opposed to indenting) to maintain a strong reading axis.
Highlighting by quotation marks
Uppercase
Capital letters, including certain accented vowels, the c cedilla and n tilde, and the a/e and o/e ligatures.
Lowercase
Lowercase letters include the same characters as uppercase.
Small Capitals
Uppercase letterforms draw to the x-height of the typeface. Small Caps are primarily found in serif founts as part of what is often called expert set. Most type software includes a style command that generates a small cap based on uppercase forms. Do not confuse real small caps with those artificially generated.
Uppercase Numerals
Also called lining figures, these numerals are the same height as uppercase letters and are all set to the same kerning width. They are most successfully used with tabular material or in any situation that calls for uppercase letters.
Lowercase Numerals
Also known as old style figures or text figures, these numerals are set to x-height with ascenders and descenders. They are best used when ever you would use upper and lowercase letterforms. Lowercase numerals are far less common in sans serif type-faces than in serif.
Punctuation, miscellaneous characters
Although all fonts contain standard punctuation marks, miscellaneous characters can change from typeface to typeface to typeface. It’s important to be acquainted with all the characters available in a typeface before you choose the appropriate type for a particular job.
Ornaments
Used as flourishes in invitations or certificates. They usually are provided as a font in a larger typeface family. Only a few traditional or classical typefaces contain ornamental fonts as part of the entire typeface family (Adobe Caslon Pro).
Roman
The letterform is so called because the uppercase forms are derived from inscriptions of Roman monuments. A slightly lighter stroke in roman is known as ‘Book’.
Italic
Most fonts today are produced with a matching italic. Small caps, however, are almost always only roman. The forms in an italic refer back to fifteenth century Italian cursive handwriting. Oblique are typically based on the roman form of the typeface.
Boldface
Characterized by a thicker stroke than a roman form. Depending upon the relative stroke widths within the typeface, it can also be called ‘semibold’, ‘medium’, ‘black’, ‘extra bold’, or super. In some typefaces (notably Bodoni), the boldest rendition of the typeface is referred to as ‘Poster’.
Light
A lighter stroke than the roman form. Even lighter strokes are called ‘thin’.
Condence
A version of the roman form, and extremely condense styles are often called ‘compressed’.
Extended
An extended variation of a roman font.
You can't be a good typographer, if you aren’t a good reader. -Stephen Cole
Week5: “Typo_5_Understanding”
Fig 1.7 Letterforms
Baskerville A, Univers A
The uppercase letterforms below suggest symmetry, but in fact it is not symmetrical. It is easy to see the two different stroke weights of the Baskerville stroke form (below); more noteworthy is the fact that each bracket connecting the serif to the stem has a unique arc.
Helvetica and Univers
The complexity of each individual letterform is neatly demonstrated by examining the ‘a’ of two seemingly similar sans-serif typefaces-Helvetica and Univers. A comparison of how the stems of the letterforms finish and how the bowls meet the stems quickly reveals the palpable difference in character between the two.
Median and baseline
As you already know, the x-height generally describe the size of the lowercase letterforms. However, you should keep in mind that curved strokes, such as in ‘s’, must rise above the median (or sink below the baseline) in order to appear to be same size as the vertical and horizontal strokes they adjoin.
Letterform and Counterform
Just as important as recognizing specific letterforms is developing a sensitivity to the counterform (or counter)-the space describes, and often contained, by the strokes of the form. When letters are joined to form words, the counterform includes the spaces between them.
The letters particularly and important concept when working with letterforms like lowercase ‘r’ that have no counters per se. How well you handle the counters when you set type determines how well words hang together-in other words, how easily we can read what’s been set.
Helvetica Black and Baskerville
One of the most rewarding way to understand the form and counter of a letter is to examine them in close detail. The examinations also provide a good feel for how the balance between form and counter is achieved and a palpable sec of letterform’s unique characteristics. It also gives you a glimpse into the process of letter-marking.
Contrast
Sometimes we need to differentiate that information of letters and if we require to compare them, we have to create this kind of contrast.
On the streets, you look at girls [or boys]. I look at type. -Hannes von Döhren
INSTRUCTIONS
Fig 2.1 Instruction of this exercise PDF(page7-9)
SUBMISSIONS
Week1-Week3/Task1:Exercises - Type Expression
WEEK1
Fig 3.1 First simple sketch, Week1 (25/9/2023)
We given seven words from lecturer and make a idea sketch for visualize the meaning of four word that choose from seven.I choose four words that came up my mind first.Dizzy is looks like the objects duplicate or distort, so I overlapped the words. I want to make a lump with last two characters of Electric but it is difficult to understand my intention from this expression. Gun is using letter U as the bullet and this idea seems the best among my ideas. Using letter I to looks like a people have ski stock and slide the slope but it is also difficult to understand.
As a result, I can’t express the word meaning in right way and made little confuse in understand. I need to conscious of controlling the screen in next time.
Fig 3.2 First Digital sketch, Week1 (25/9/2023)
In my first digital sketch, I couldn’t use the screen well because its white space is too much with no meaning. So next I trying to fix it and learn from others screen management.
Fig 3.3 Simple sketch before Digitalize Typo Expression, Week1 (29/9/2023)
Then I want to change each word layout to use whole screen because my works are too small in this screen box.
Fig 3.4 Simple sketch before Digitalize Typo Expression, Weel1 (29/9/2023)
When I feel dizzy, my all eyesight is turn into distort. In the first sketch, I want to duplicate the letters and express the “Dizzy”. But it didn’t work, so I need to spread the words to whole screen to express the word meaning clearly.
Fig 3.5 Simple sketch before Digitalize Typo Expression, Week1 (29/9/2023)
By Mr Vinod’s advice, the “Electric” is no sense and I try other way to make Viewers understanding. I caught in the mind that I need to express “Electric” using street light. So I change my idea to use light bulb.
WEEK2
Fig 4.1, 2 Digitalizing Type Expression, Week2 (2/10/2023)
I showed the Fig 4.1and 2 “Electric” for Mr. Vinod and he said the second one is better.
Fig 4.3 Dizzy making
By my Week1 feedback and findings, I need to be conscious of manage the whole screen. Make small move in the screen is less visible and more boring.
Fig 4.4 Slide making
I stuck in the “Slide” expression and made 5 types. When I made this expression, I was imaging the train door slide and open. The lower side of Slide is express a ground and also make a depth in this expression.
FINAL DIGITALIZING TYPE EXPRESSION
Fig 4.5 Final Digitalizing Type Expression, Week3, JPEG(9/10/2023)
Fig 4.6 Final Digitalizing Type Expression, Week3, PDF (9/10/2023)
WEEK3
Fig 5.1 the structure of animation, Week3 (9/10/2023)
I made 17 layers and change the movement individually. Based on Mr Vinod’s advice, I want to make them iconic and attractive by showing the word “Gun” meaning. He said I should avoid to express the word meaning over and just make it simple not boring simple.
FINAL ANIMATION
Fig 5.2 Week3 Final Animation, Week3, GIF (9/10/2023)
WEEK4
Fig 6.1 Fonts that can be use in this exercise
In this lecture, we can only use these 10 fonts.
Fig 6.2 My name in different typefaces
This part is using own name and practicing manage the letter spaces.Press Option key and left key is decrease the letter spaces. On the opposite, press option key and right key is increase letter space. It works in the whole letter spaces. Select the whole letters and press option and right key is increase the whole letter spaces and vise versa.
Select the letters that you want to change and use eyedropper tool at the other font is automatically changes its font.
Fig 6.3 First Kerning and Tracing Layout, Week4 (16/10/2023)
In this first draft, I didn't focus enough on the margins, leading and kerning. And the result it is lose readability.
Fig 6.4 Changing, Week5 (25/10/2023)
First I put one image into this work but I want to make similarities in headline, body paragraph and images. So I put here to make them looks like stairs. And also I realized this particular has two pilcrow sign. It shows that we change a line with enter key. It is not made by me because it’s came from original sentence but it has no meaning in practicing adjustment so I changed it.
Fig 6.5 Explanation of structure
In this exercise, I want to make the sympathy with headline, subtext, pictures and body text. In week4, Mr. Vinod said my work’s ragging is too much and column and margins is failed. First I didn’t understand that advice well but after few times of fix, I finally find where is the problem. First my problem is the body text leading is too small and the paragraph spacing is too much. And the columns and margins are not fitting.
Fig 6.6 more explanation
FINAL KERNING AND TRACING
Heads
Fonts: Univers LT Std (Roman and Bold Condensed)
Type size: 9 pt (captions), 20pt, 56pt (heading)
Leading: 44pt, 48pt (heading)
Paragraph spacing: 0.5mm(captions), 3.811mm(heading)
BODY
Fonts: Univers LT Std (Roman)
Type Size: 9pt
Leading: 11pt
Paragraph spacing: 4mm
Characters per-line: 50-60, 7-56(Last line)
Alignment: top
Fonts: Univers LT Std (Roman)
Type Size: 9pt
Leading: 11pt
Paragraph spacing: 4mm
Characters per-line: 50-60, 7-56(Last line)
Alignment: top
Margins: 12.7mm top, 12.7mm left + 12.7mm right + 50mm bottom
Columns: 4
Gutter: 5mm
Columns: 4
Gutter: 5mm
Fig 6.7 Final Kerning and Tracing Layout without grid, Week5, JPEG(30/10/2023)
Fig 6.8 Final Kerning and Tracing Layout without grid, Week5, PDF (30/10/2023)
Fig 6.9 Final Kerning and tracing Layout Grid visible, Week5, JPEG (30/10/2023)
Fig 6.10 Final Kerning and tracing Layout Grid visible, Week5, PDF (30/10/2023)
FEEDBACK
Task1/Week2
Specific Feedback ..."Electric","Dizzy"is make no sense. "Slide" is have expression issue so little bit confused in understand."Gun" idea is good but need to manage how it works in the screen box.
General Feedback ...Need to understand the ideas how work in the screen and not to make viewers confuse.
Week3
Specific Feedback ...Need to go to the student counter and install the adobe.(9/10/2023)
Almost good but the first “electric” is lack of readable, so I need to choose the second one.Slide, Dizzy, Electric is good.(16/10/2023)
General Feedback ...We need to add the date and the description of the transition of word expressions because it makes us more effective in aware of what we learned and how we expressed the idea. Stick the individual letter together makes the lack of visibility of whole words.
Week4
Specific Feedback...The move is looks like the letters transforming into a gun and it’s good job.
General Feedback...W4 is collect opinions from students and teacher gave us an advice for our future learning in this class.E-portfolio is force us to re-think our mind that we thinking while making works. If you doing the study like scratch the surface is no meaning and cannot learn from class so we need to study more deeper./ The object moving too fast causes uncomfortable and do not understandable so we should make a gap between the speed while moving and stop moving. It makes slow and urgent for screen.
REFLECTIONS
Experience...I was too nervous in my idea sketch so I didn't notice the spelling mistakes. Also I seems to very nervous in the class and need to more relax to concentrate on creating a work. I want to be able to stick out the flame of screen and be aware of text as pictorial lumps.
In week5, I had mistake in the grids, numbers, and text number but I cannot realize it until fix it few times.
Observations...The classmate using the text like humans face, and make good use of arc shape that leading the viewer smoothly. In my opinion, the most effective works are Yong Zhen Xing's Dizzy, Chelsea Yang's cry, Iman Mikudim's slide (week2). They have in common that beautiful contraction in the screen box and convey the meaning of a phrase succinctly and appropriately.
Findings...The idea is not bad but the wrong occupied area of the text makes viewer uncomfortable.
The one that making little move in whole screen at same time is disperse view points and viewers can’t concentrate.The one that the view point is big and viewers can concentrate on one point is more dynamic and more impressive but when the idea is aiming at wrong, it is more become to boring.Too much space between headline and body text is less readable. The " is called “dumb quotes” and designers should avoid using it. Because of this I need to fix the whole sentences in this e-portfolio.
FURTHER READING
Fig 7.1 A Type Primer Second Edition by John Kane
A bestselling practical introduction to typography, this book analyzes the basic principles and applications of type. In this revised and expanded edition, the author includes more on digital type, as well as new material on setting of type, choosing an appropriate typeface, and the use of color to reinforce typographic hierarchy. The section on grid systems has been strengthened with the addition of new explanatory diagrams. The book also includes a brief history of typography, numerous examples to illustrate the points raised, and a series of useful exercises to help readers put basic principles into practice. John Kane has set up an accompanying website with further information and exercises to be used in conjunction with the book. Engagingly written, this is an invaluable resource for all students of graphic design and typography.
Fig 7.2 Punctuation, miscellaneous characters, Dingbats
Although all fonts contain standard punctuation marks, miscellaneous characters can change from typeface to typeface. It's important to be acquainted with all the characters available in a typeface before you choose the appropriate type for a particular job.
Various symbols and ornaments that are intended for use with type are called dingbats. The majority of dingbats are marketed as their own fonts and not in conjunction with any particular typeface.
Fig 7.3 Type size
Along with its own lexicon, typography also has its own units of measurement. Originally, type size was determined by the height of actual pieces of lead type. Obviously, we no longer commonly use lead type in setting type; however, the concept of letterforms cast on small pieces of lead remains the most useful way of thinking of type size. Although type size originally referred to the body of the type (the metal slug on which the letterform was cast), today we typically measure it from the top of the ascender to the bottom of the descender.
Similarly, the space between lines of type is called 'leading' because it was originally strips of lead placed between lines of metal type. We calculate the size of type with units called 'points! A point as we use it now is 1/72 of an inch or 35mm. The 'pica; also used extensively in printing, is made up of twelve points. There are six picas to an inch. When writing out a dimension in picas and points, the standard abbreviation is p.
Fig 7.4 Fibonacci sequence
Another useful model when considering proportions is the Fibonacci sequence. Named for Italian mathematician Leonardo Fibonacci (c.1170 -1240), a Fibonacci sequence describes a sequence in which each number is the sum of the two preceding numbers.
As the numbers in a Fibonacci sequence increase, the proportion between any two numbers very closely approximates the proportion in a golden section (1:1.618). For example, 21:34 approximately equals 1:1.618. Nature is full of examples of the Fibonacci sequence and the golden section, from the intervals of branches on a tree to the shell of a chambered nautilus.
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