TYPOGRAPHY - PROJECT 1
10.10.2018 (Week 7 - Week 8 )
Rausha Aminath (0337000)Typography
Project 1
LECTURES
Lecture 7: Text Formatting / Types of Fonts
10.10.2018 (Week 7)
TYPES OF FONTS
Fonts can be divided into:
- Serif: Most common used text / body font. Can be used as headlines too
- San Serif: Lack contrast and difficult to read and has a modern look
- Display: Very Expressive and decorative. Not good for large text or body
- Script: Designed to touch each other. Never use in all capitals
- Text: Mostly used for certificates and official documents. Not used all capitals
- Mono-spaced: proportionally spaced
- Dingbats: Small pieces of art to enhance the design of the text or page
- Underline
- Small caps & all caps
- Text Scaling
- Special-Purpose Style
- Outline and Shadow
Terminologies:
- Kerning: the automatic adjustment of space between letters
- Letter Spacing: add space between letters
- Tracking: The addition and removal of space in a word or sentence
- Leading: the distance between 2 lines of types
- Line Length: the distance between the left and right edges of text block
- Type Specimen book: samples of typefaces in different sizes
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| Fig 1.0 Types of Kerning: Normal (Top Right), Tight (Bottom left), Loose (Bottom Right) |
There are 4 ways of formatting text:
- Flush left: closely mirrors the asymmetrical experience of handwriting, where each line starts at the same point but ends where ever the last word on the line ends.
- Centered: imposes symmetry upon the text, giving equal value and weight to both end of line
- Flush right: places emphasis on the end of a line
- Justified: Similar to centering, it imposes a symmetrical shape on the text. It is achieved by expanding/ reducing spaces between words/letters. This results in 'rivers' of white space running through text.
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| Fig 1.1 Examples of Alignments |
10.10.2018 (Week 8)
No lecture today. Everyone was working on their type expression of the book "First things First" while Mr.Vinod and Mr.Shamsul went around giving feedback on the work we did over the weekend.
INSTRUCTIONS
Project 1 | WEEK 7
We started our project one with an introductory lesson to InDesign and figuring out our basic layout and alignment for the text taken from the following link: http://www.eyemagazine.com/feature/article/first-things-first-manifesto-2000
We were asked to choose the typeface, number of columns and text formatting before we proceed. And then we were asked to make four copies of 4 alignments and decide which one looks best for us.
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| Fig 2.0 Left Alignment (Left) Right Alignment (Right) |
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| Fig 2.1 Center Alignment (Left) Justified (Right) |
Here is the first draft of my work on the book.
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| Fig 2.2 Front Page |
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| Fig 2.3 Second (Left) and Third page (Right) |
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| Fig 2.4 Fourth Page (Left) and Fifth Page (Right) |
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| Fig 2.5 Second Design (Book Cover) |
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| Fig 2.6 Second Design (Page 2 and 3) |
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| Fig 2.7 Second Design (Page 4 and 5) |
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| Fig 2.8 Second Design (Back Cover) |
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| Fig 2.9 Final Cover |
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| Fig 2.10 Final Page 2 and 3 |
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| Fig 2.11 Final Design Page 4 and 5 |
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| Fig 2.12 Final Design Page 6 and 7 |
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| Fig 2.13 Final Design Cover Page |
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| Fig 2.14 Thumbnails of Final Design for Project 1 |
Fig 2.15 Embedded File of the Final Design of the Book
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| Fig 2.16 Printed Book Cover |
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| Fig 2.17 Printed Page 2 and 3 |
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| Fig 2.19 Printed Page 6 - 7 |
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| Fig 2.20 Printed Back Cover |
The link to pdf:
https://drive.google.com/file/d/1CTh4oiWdqGICcWSnmw7IV33SXjzuif-s/view?usp=sharing
FEEDBACK
Week 8: | 17.10.2018General Feedback: Update the blog regularly and to try to keep everything according to the example blog given. Mr.Vinod told us to give credit and source for the extra information and photos we post.
He also said to read the portfolio in the MIB and follow the instructions. Also when capturing photos of the works, he urged us not to loose the white of the paper. He also mentioned that formatting of the text is also very important and having a hierarchy of the texts and works.
Specific Feedback: Mr.Vinod said that my text size should be increased a bit and my type expression needs to show unity and to leave some white space. Later he looked at my changed expressions and said it was acceptable and to print it out to see if its good as on screen its different and on actual paper it looks different.
REFLECTIONS
EXPERIENCE
Week 7:
I felt lost a bit in the class and I was confused and didn't really know how to proceed with the work.
Week 8:
The class was less hectic than most classes. I was able to take my time and work on my type expression.
OBSERVATIONS
Week 7:
I noticed that InDesign is slightly complicated and is a bit difficult to get used to and everyone was struggling a bit.
Week 8:
I noticed that the lecturers were giving us more time to work on our project in class and this was helping us stay calm and work well.
FINDINGS
Week 7:
I found out that our eye for detailing is very important.
I realized that I cant fall behind as our schedule was very tight and has small time for each projects.
FURTHER READING
Typeface: Classic Typography for Contemporary Design by Tamye Riggs
Week 7
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| Book Cover |
Chapter 2: UNIVERS
Swiss designer Adrian Frutiger first conceived of Univers when he was studying at School of Applied Arts in Zurich between 1949 and 1951. Seeing how successful Futura was Frutiger wanted a completely new design appropriate for longer texts - unusual for a Sans at the time. He worked with his old sketches to flesh out a full family in the Legible, realist/Neo-Grotesque class.
Univers was originally designed with 21 variants, and was drawn with optically even stroke weights and a large x-height for optimal legibility.
Univers was released by Deberny & Peignot in 1957, and by Linotype thereafter. It became a huge success upon its release and inspired Frutiger to base future designs on its forms - Serifa (1967) and Glypha (1977). In 1977, Frutiger collaborated with the with the design team at Linotype to redesign and update Univers, resulting in a superfamily of more than 60 fonts.
The Fundamentals of Typography
Week 8
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| Book Cover |
Chapter 4: Words and Paragraphs (Kerning and Letter spacing)
Kerning is removing of space and letter spacing is the addition of space between letters to improve the visual look of type. With traditional printing which set text in blocks it was not possible however, digitalization means that letters can be set close or over each other. In practice, a combination of values may be used for these techniques with an overall tracking value for body copy that either opens or close up the text. Headlines and larger copy may require additional tweaking.
As type increases, so does that quantity of white space between characters while texts smaller may appear very tight. The larger the text the more kerning will be required.
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