Advanced Typography - Task 2 : Key Artwork and Collateral
Advanced Typography Task2-Key Artwork and Collateral
22/10/2024- 2024
huang jia qi (0371553)
Advanced Typography /Bachelor of Design (Honours) in Creative Media
Advanced Typography - Task 2 : Key Artwork and Collateral
TABLE OF CONTENTS
1.Instructions
2.Lectures
3.Task 1Exercises 1 & 2
4.Feedback
5.Reflections
6.Further Reading
Instructions
Module Information Booklet
2.Lectures
week5 Perception And Organisation
Perception is the way in which something is regarded, understood or interpreted".Perception in typography deals with the visual navigation and interpretation of the reader via contrast, form and organisation of the content. Content can be textual, visual, graphical or in the form of colour.
- Size, 2.weight, 3. contrast of form, 4.contrast of structure, 5. contrast of texture,6.contrast of colour and 7,contrast of direction.
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| fig1.1 Contrast |
- Contrast / Size
- A contrast of size provides a point to which the reader's attention is drawn. For example if you have a big letter and a small letter you will obviously see the big letter first before the small. The most common use of size is in making a title or heading noticeably bigger than the body text.
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| fig1.2 size |
- Contrast /Weight
- Weight describes how bold type can stand out in the middle of lighter type of the same style. Other than then using bold, using rules, spot.squares is also provide a “heavy area" for a powerful point of visual attraction or emphasis, therefore not only types of varying weight.
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| fig1.3 weight |
- Contrast / Form
- Contrast of form is the distinction between a capital letter and it slowercase equivalent, or a roman letter and its italic variant,condensed and expanded versions of typeface are also included under the contrast of form.
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| fig1.4 form |
- Contrast /Structure
- Structure means the different letter forms of different kinds of typefaces. For example, a monoline sans serif and a traditional serif.or an italic and a black letter.
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| fig1.5 structure |
- Contrast /Texture
- By putting together the contrasts of size, weight, form, and structure and applying them to a block of text on a page, you come to the contrast of texture. Texture refers to the way the lines of type look as a whole up close and from a distance. This depends partly on the letterforms themselves and partly on how they're arranged.
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| fig1.6 texture |
- Contrast /Direction
- Contrast of direction is the opposition between vertical and horizontal, and the angles in between. Turning one word on its side can have a dramatic effect on a layout. Text blocks also have their vertical or horizontal aspects of direction. Mixing wide blocks of long lines with tall columns of short line can also create a contrast.
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| fig1.7 colour |
- Contrast / Colour
- The use of color is suggested that a second color is often lessemphatic in values than plain black on white. Therefore it is important to give thought to which element needs to be emphasized and to pay attention to the tonal values of the colors that are used.
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| fig1.8 direction |
- to represent a concept
- to do so in a visual form.
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| fig 1.9 form |
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| fig 2.1 |
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| fig2.2 Example Of Forms and Communication |
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| fig2.3 Example Of Forms and Communication |
- Organisation /Gestalt
- Gestalt is a german word meaning the way a thing has been “placedor "put together". Gestalt Psychology is an attempt to understand the laws behind the ability to acquire and maintain meaningful perceptions.
- Law of Similarity
- Law of Proximity
- Law of Closure
- Law of Continuation
- Law of Symetry
- Law of Simplicity
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| fig 2.4 Gestalt |
- The Law of Similarity
- is the gestalt grouping law that states that elements that are similar to each other tend to be perceived as a unified group. Similarity can refer to any number of features including color, orientation, size, or indeed motion
- The Law of Proximity
- is the gestalt grouping law that states elements that are close together tend to be perceived as a unified group. This straightforward law states that items close to each other tend to be grouped together, whereas items further apart are less likely to be grouped together.
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| fig2.5 Similarity and Proximity |
- The Law of Closure
- refers to the mind's tendency to see complete figures or forms even if a picture is incomplete, partially hidden by other objects, or if part of the information needed to make a complete picture in our minds is missing
- Law of (Good) Continuation
- holds that humans tend to perceive each of two or more objects as different, singular, and uninterrupted object even when they intersect. The alignment of the objects or forms plays a major role for this principle to take effect
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| fig2.6 closure and continuation |
- The Law of Symmetry
- You can find out more about these laws by viewing the links provided or simply Googling them. However keep in mind that you will find variation in the interpretation and you will have to weigh them all to come to a consensus.of your own.
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| fig2.7 symmetry |
3.Task 2
Task 2(A) - Key Artwork
Sir said that my fonts are similar in style, and let me use the first font to carry out the following work.
The final design of the finished product
| fig 1.9 Wordmark in actual colours on the lightest shadeof your colour palette（14/11/2024） |
| fig 1.5 Instagram interface （14/11/2024） |
| fig 1.6 Instagram interface （14/11/2024） |
5.Reflections
Throughout these weeks, my understanding of font design has deepened significantly. In the early stages, I realized that even small details, like font alignment and consistency in size, play a crucial role in creating a cohesive and professional design. Initially, I struggled to align my designs with keywords and ensure that the fonts conveyed the intended themes. However, the consistent feedback from Mr. Vinod helped me recognize the importance of visual alignment and thematic coherence.
In Week 6, I was reminded of the need for uniformity in font thickness and size. This insight pushed me to think more critically about balance and precision. Week 7's feedback on image consistency highlighted the importance of not only the font but also the surrounding visual elements. Ensuring that the colors and context support the font allowed me to create a more unified and engaging design.
Through this journey, I have learned that refining a design is a process of trial, feedback, and continuous improvement. My goal moving forward is to incorporate feedback more effectively and to approach each design with an eye for detail and alignment with the overall theme
Ever since the first scribes lettered books by hand centuries ago, the primary goal of typography has been readability. If the typography makes the information on the page harder to read, no matter how "pretty" the layout is or how "unique" the font selection is, the page fails in its main duty: to transfer information to the reader efficiently.
Renowned publication designer Jan White states, "We prefer designs that are logical and visually structured. These basic ideas not only make reading easier for the reader but also make the designer's job simpler." (The Grid Book, Letraset 1987)
Writing a report may not seem to require much design knowledge, but as soon as one chooses a specific font or adjusts the margins to create more white space, the author becomes a designer. By learning about the differences between fonts, how fonts "work" on the computer, and how to use various computer font options, the "designer" can produce a report that not only contains useful information but is also easy to read and therefore easy to understand.
Fonts are available in various sizes and are measured using a system called points. Computers standardize this by using 72 points per inch, while traditional typography used 72.27 points per inch, a measurement that is rarely used today.
Different font designs at the same point size can physically differ in size. The appropriate size for a font depends on its usage, but this can be somewhat subjective. Typically, body text should range from 9 to 12 points, depending on the font, the audience, and the column width. Some fonts are readable at smaller sizes, while others require larger sizes. Consider the age of the audience; older readers need larger fonts. Additionally, wider columns call for larger body text sizes.
A text column generally contains about 50 characters per line, and should not exceed 65 characters. If the font size is too small, it will "cram" too many letters into each line, making the text difficult to read. Keep in mind that text that is hard to read may not be read at all.
The adjustment of word spacing is called Tracking. It is similar to kerning but refers to the adjustment of a selection of characters, words, and spaces. Its main purpose is to make type fit a required space without altering the type size or line spacing. Tracking can be either negative, making the words closer together;or positive, making the words farther apart, An important use for tracking is to fix single words (or 2-3 short words) at the end of a paragraph (sometimes calledorphans or danglers). Although not always avoidable, the problem usually can be solved with some minor tracking. Of course, this should be done only after all editing is complete
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