Typography - Task 2 - Typographic Exploration & Communication

After finalising our Task 2, we got a preview of what our Task 3 would be; analysing letters in different typefaces. Ms. Hsin said that she would give a demonstration of writing the letters on graph paper when we got back from our Individual Learning week. Then, we all agreed on a deadline for our Task 2 E-Portfolio which would be Sunday 19/11/2023.

Week 8:

Individual Learning Week so no classes (੭ ᐛ )

2. INSTRUCTIONS

File 2.1 Module Information Booklet (PDF)

3. PROGRESS WORK FOR EDITORIAL LAYOUT

For our Editorial Layout Task, we were given three different materials to adapt into an editorial layout. The headlines of which were:

The role of Bauhaus thought on modern culture
A code to build on and live by
Unite to visualise a better world

For Research, I decided to go look into Code and Unite.

3.1 Research

A CODE to build on and live by

Fig. 3.1.1 Code References

Links:

https://www.interviewbit.com/problems/hello-world/

https://www.flaticon.com/free-icon/code_6528597

https://en.m.wikipedia.org/wiki/File:Logo_CODE.svg

https://www.electronics-tutorials.ws/binary/bin_5.html

UNITE to visualise a better world

Links:

https://waderyan.com/UNITE-TYPEFACE-DESIGN-CONCEPT

https://www.vectorstock.com/royalty-free-vector/connection-typography-logo-symbol-design-vector-31361158

https://pin.it/6rQnePX

https://pin.it/34SONTJ

https://pin.it/7DTfPfN

3.2 Ideation

Initial Headline Expressions

Fig. 3.2.1 'Unite' headline expressions #1 and #2.

Headline Expression #1 (Unite): I actually quite liked the choice of the bold 'Unite' and using the tittle (dot) of the letter 'i' as the connecting point for 'un' and 'te'; but, I couldn't really think of a way to incorporate the rest of the headline into the design so I slightly winged the rest of the words into the design.

Headline Expression #2 (Unite): I had an idea to make 'Unite' as a sort of bridge but I couldn't really get past the current design.

Fig. 3.2.2 'Code' headline expressions #1 and #2.

Headline Expression #1 (Code): I fully went into the binary definition of code whereby I aligned all the letters that resembled 0s and 1s from the words into a straight line like a line of binary code. Then, to add slight differences between the numbers and letters, I changed the typeface of the letter to a lighter one.

Headline Expression #2 (Code): I reworked the previous design slightly by changing the "LIVE" placement in the design so that it wouldn't be as confusing to read as the previous design.

Fig. 3.2.3 'Code' headline expression #3.

Headline Expression #3 (Code): I went for a more HTML definition of code for this design.

After feedback from Ms. Hsin, I went and reworked my headline expression #2 (Code) and finalised it.

Fig. 3.2.4 'Code' final headline design.

I changed the numbers to a slightly thicker typeface to not create too much contrast between them and the letters. After some feedback, I changed the initial 'and' to an ampersand with a matching typeface with the numbers so that it wouldn't look too out of place. Additionally, I repositioned 'A' to follow the binary code line because the slanted 'A' in the previous design was too distracting.

(I actually finalised the design throughout designing the whole editorial layout so you will see previous headline designs when I try out compositions :])

Exploration of Editorial Layouts

Initially, I actually set my artboard to the incorrect size so please try and amuse these attempts which turned out to be mistakes ( ; ω ; ). However, I'll use what I learned from these mistakes for the properly sized layouts.

Fig. 3.2.5 Editorial Layout #1

Initially, I went for a simple composition for the layout, with only three columns and the headline would be put at the bottom left of the text. You can see I didn't use my finalised design but it was because I reworked it in-between compositions. Aside from that, I separated the last paragraph of the body text as it differs in terms of format from the rest of the text.

Fig. 3.2.6 Editorial Layout #2

For #2, I worked from the previous layout and improved parts of it such as the indents in the paragraphs. I italicised the first sentences of the paragraphs (except the last) to show that the sentences have a connection to each other. In other words, I showed distinction in the topic sentences.

Fig. 3.2.7 Editorial Layout #3

For this layout, I changed the headline design to the one right before my final design.

Now for the properly sized layout:

Fig. 3.2.8 Finalised Editorial Layout

In my finalised layout, I learned from my previous layouts and improved on them. The main things I changed were:

The headline design into the finalised version and increasing the size to give more of an impact;
The number of columns is now 6;
The typeface of the topic sentences of the paragraphs;
Separating the last paragraph into two to give emphasis on "Please do it right."

3.3 Final Outcome

HEAD
Fonts: ITC New Baskerville Std Roman (Letters); Univers LT Std 49 Light Ultra Condensed (Numbers and '&')
Type Sizes: 108pt (Letters); 100pt (Numbers and '&')
Leading: -
Paragraph spacing: -

BODY
Font: ITC New Baskerville Std Roman (Body Text), Italic ("Correct it...Get another one.."), Bold ("Please do it right."); Futura Std Medium ("A designer..")
Type Sizes: 10pt, 9.5pt ("A designer..")
Leading: 12pt
Paragraph spacing: 8mm (First line Left Indent), 4.2mm (Space After)
Characters per-line: 38
Alignment: Left
Margins: 12.7mm top, 12.7mm left, 12.7mm right, 12.7mm bottom
Columns: 6
Gutter: 5 mm

Fig. 3.3.1 Final Editorial Layout - No Guidelines (JPEG) [Week 7 - 7/11/2023]

Fig. 3.3.2 Final Editorial Layout - With Guidelines (JPEG) [Week 7 - 7/11/2023]

File 3.3.1 Final Editorial Layout - No Guidelines (PDF) [Week 7 - 7/11/2023]

4. FEEDBACK

Week 6

General Feedback:

- It's fine to set the title in the centre, but it needs certain guidelines to help the reader know the reading hierarchy.

- It's important to give rationalisation to a design to give readers an idea of what you are trying to portray.

- Usually, indents start in the second paragraph.

Specific Feedback:

The title of my e-portfolio used a cursive typeface so Ms. Hsin advised that I try to keep things as default as I can.

Editorial Layout

- "A" in the heading is too distracting; almost like it's waving 'hey! look at me!'

- Change 'and' to ampersands (&). - Be mindful of indents.

- Create a balance between the numbers and letters in the heading (aka thicken the numbers slightly).

Week 7

General Feedback:

- Setting body text in different directions affects reading direction; advised to not change the reading direction of body text.

- Characters should not exceed 50 per line; eyes become naturally tired when there is visually more text to read per line.

Specific Feedback:

-The final layout is good.

- The first sentences of each paragraph (A designer...) have the ascender and descender slightly too close; advised to reduce the typesize of the sentences by 0.5pts.

Week 8

*Individual Learning Week ヽ(*・ω・)ﾉ*

5. REFLECTION

5.1 Experiences

Coming straight out of Task 1 and into Task 2, I felt like it was quite a breeze to get through this task because I had proper knowledge of type expressions as well as making appealing editorial layouts beforehand. I was also still getting used to using InDesign and had a couple of moments of confusion as you could see from my editorial layout progression.

The thing I liked most during this task was the type expression because like in the previous task, I personally least favoured the "static placement" of the body text. Not to say I didn't like the process, I just liked designing type expression most because I feel like I had more space for creativity there than the text formatting of the layout.

5.2 Observations

During classes, I felt like things definitely went smoother in terms of our progression because we were prepared for the task. Of course, some were probably still left behind slightly but I'm merely speaking generally. Again, it was really nice to see everyone's editorial works and how they went about their designs with their own research and interpretations of the headlines. (〃´𓎟`〃)

5.3 Findings

I found that I actually get easily nauseous and can physically feel my eyes get heavier if I stay too long doing my assignments on my computer (ᵕ — ᴗ —). Besides that glaring health issue that I should definitely try to fix, I did find that I'm slightly growing to like text formatting slightly more than the previous task, even by a smidge.

Overall, I found this task to be an interesting blend of type expression and text formatting!

6. FURTHER READING

For these three weeks, I managed to find the time to read only one book that I borrowed from the Taylor's Library. I used high-quality screenshots from an online PDF of the book but please do trust me when I say that I, in fact, did read the physical copy (>﹏<)

Thinking with Type

Fig. 6.1 "Thinking with Type: 2nd Edition" by Ellen Lupton.

Personally, I think this book is a good blend or straightforwardness and detail. It covers a wide range of typographic topics like the anatomy of typefaces, mistakes in text, using grids as frames for text etc. Overall, I think students who are really interested in typography should have a look into this book because even I, a person who usually gravitate towards books that have mostly illustration/graphics, found this book to be a really interesting read!

Fig. 6.2 "Thinking with Type: 2nd Edition" by Ellen Lupton; page 90.

As mentioned before in a pre-recorded lecture video, white rivers of text could appear when using justified text. That's why it's so important to know of balancing space between words. However, it's quite surprising that the book (Fig 6.2) was fully published without a proper evaluation of how terribly the text formatting looked.

Fig. 6.3 "Thinking with Type: 2nd Edition" by Ellen Lupton; page 111.

In general text, line spacing is often uniform and rarely has their ascenders and descenders clash. However, a typographer can utilise the use of line spacing in less linear designs whereby they break the normal line spacing rules in favour of well-maintained chaos.

For example, in Fig. 6.3, you can see in the design at the top of the page that the use of different typefaces with extremely tight line spacing and differing sizes creates a dramatic density that bodes well with the whole vibe of the page/entire book.

Fun fact: Though it may look digitally made, the designs were actually made long before the innovation of digital typography. The book (where the designs came from) itself entirely depended on phototypesetting* as well as dry transfer lettering.

* Phototypesetting refers to the typesetting technique that creates columns of type on a scroll of photographic paper by using photography.

~~~

For the next part, I will mostly critique some typography I found out in the wild during the past three weeks. Though it might not count as further reading, I still consider it as further learning on my part since I'm using what I've learned and applying it to my observations of my surroundings :D

My first critique:

Fig. 6.4 Hidang's questions and reservations screen that was placed above their cashier counter.

Context: I recently went to a restaurant in KL called "Hidang" which was situated in a neighbourhood-esque area with my family. At first glance at the screen, I thought "Woah, so many glaring colours.". Then, I looked closer and saw the different clashing typefaces they used in the design.

I think the "Hidang" logo itself isn't bad, I'd say it's quite nice and simple; it's only the slogan "selera kampung selera kita" that really clashes with the whole logotype. Comic Sans, in general, isn't deemed appropriate for logos by professional graphic designers. So using that knowledge, perhaps a more fitting typeface could be a Sans-serif. E.g. Josefin Sans, Merriweather Sans.

The same would go for the QR code caption "SILA IMBAS UNTUK PERTANYAAN & TEMPAHAN". It just needs a matching typeface to really pull the piece together

However, I will say that the restaurant had a really home-y vibe so I slightly like the authentic "homemade-ness" that the whole screen portrays. It feels like a parent hurriedly making a slide for their kid's school project, and I mean it in a comforting and nostalgic kind of way ᐠ( ᐛ )ᐟ

My next critique:

Fig. 6.5 "My Love Story with Yamada-kun at Lv999" manga by Mashiro; ENG (Right) and JP (Left).

Context: "My Love Story with Yamada-kun at Lv999" is a popular romantic comedy shoujo* manga written and illustrated by Mashiro. The story follows Akane Kinoshita, a college student. Following her boyfriend's breakup, she resumes playing the massively multiplayer online role-playing game Forest of Savior (FoS) and attends an offline event. There, she meets Akito Yamada, a gorgeous but heartless high school student.

* Shoujo refers to the genre of Japanese animated movies and comics that target mostly young girls and are usually defined by an emphasis on romantic and interpersonal relationships.

I personally have not read this manga but I came across these covers while scrolling through Twitter (now called X) and saw that English fans of the manga critiqued the differences between the English and Japanese covers, and I... couldn't agree more with their critiques.

First, the Japanese cover has a pixel-like typeface for the 'Lv999' which goes hand-in-hand with the theme of the story. Additionally, the bubbly typeface for the Japanese writing helps give the casual and soft vibe of the manga clearly to the reader.

Onto the English cover, the absence of anything game-related in the design really pulls it down. The typeface used here is not inherently offensive, but it doesn't properly convey the theme or vibe of the manga. Additionally, it covers almost half of the page and I personally like it when covers have their title not blocking most of the actual art. Yes, in the Japanese cover, the title also covers parts of the art; however, the composition of the title is balanced whilst the English title is just sitting there.

Overall, I think the simple overlook in typography within the English cover really makes it look like a generic read when in reality, according to fans, it's a comforting and funny manga. (•ᴗ•)

My last critique:

Fig. 6.6 "Tunnel II" by Dafi Kühne.

Context: Dafi Kühne is a Swiss designer and letterpress printer. To create cultural posters, he uses an unconventional combination of analog and digital tools in his studio. Using letterpress printing presses, he prints all of the posters in his studio under the one major rule that "no PDF ever leaves the studio as a final product." His primarily typographic posters have been displayed globally and have garnered international recognition. This is the second letterpress in his tunnel series for tunnel-glarus.ch.

I came across Dafi Kühne through a website that Ms. Hsin herself recommended us to just browse for inspiration. I really liked the composition of the poster. The way the bold letters are shaped into the impression of a tunnel and how the rest of the information follows the shape and is put in between the letters is really nice. Though it lacks colour, the boldness of the poster helps with its appeal.

Overall, I only have good things to say about which is a refresher from the previous critiques. To see more of Dafi Kühne's work, click here!

🐚

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Qistina Nuralya Maria Binti Azly (0354180)