Typography // Task 1: Exercises
28th March 2022 - 25th April (Week 1 - Week 5)
Emran Tarek Sayed // 0346648Bachelor of Design (Hons) in Creative Media
Typography // Task 1: Exercises
28th March 2022
LECTURES
Week 1 / Lecture 1
Funny enough, I was late for my first class of the week. Anyway, in the
first week, after we were welcomed by Mr Vinod, our friendly lecturer briefed
us on what to expect in the module and the tasks we would be given
throughout the semester. Along the way, he gave us recommendations on which
websites and books to refer to on Typography and told us that we could find
updates on the module on Facebook.
Furthermore, he introduced us to Blogger, a website where we have to fill
in our weekly updates on the module. Afterwards, he instructed us to
create our e-portfolio by referring to a video he prepared for us. Lastly,
in the last 30 minutes, we played Mr Vinod suggested a game of that to let
us get to know each other.
fig. 1.1.1 A photo of everyone playing the game through Zoom
28th March 2022
What did I learn this week?
Typography Development
Early letterform development: Phoenician to Roman
Direction of writing
Phoenicians: right to left
Boustrophoedon: right to left and left to right
Boustrophoedon: right to left and left to right
Greek, like the Phoenicians, did not use letter space or
punctuations
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| fig. 1.1.2 Evolution from Phoenician letters |
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| fig. 1.1.3 Boustrophoedon |
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| fig. 1.1.4 Early letterform development from Phoenician to Roman |
30th March 2022
Hand script from 3rd – 10th century C.E.
Square Capital
-Serif added.
-Stroke has width.
fig. 1.1.5 4th or 5th Century: Square Capitals
30th March 2022
Rustic Capitals
-Faster and easier to write.
-Because of the compressed nature, its harder to read.
fig. 1.1.6 Late 3rd - Mid 4th Century: Rustic capitals
30th March 2022
Roman Cursive
-Refer as lowercase letterforms.
-Written in cursive for speed.
fig. 1.1.7 4th Century: Roman cursive
30th March 2022
Uncials
-Its a small letter.
-It incorporated some aspects of the Roman cursive hand.
| fig. 1.1.8 4th - 5th Century: Uncials |
Half uncials
-It mark the formal beginning of lowercase letterforms.
fig. 1.1.9 C. 500: Half-uncial
30th March 2022
Caloline Miniscule
-Standardized letter.
-The texts was wrote using both majuscules (uppercase),
miniscule, capitalization and punctuation.
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fig. 1.2.0 C.925: Caloline miniscule 30th March 2022 |
Blackletter (Textura)
-A condense strongly vertical letterform.
-Popular in Northern Europe.
-Has a rounder version called Rotunda in the South (also
popular).
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fig. 1.2.1 C.1300: Blackletter (Textura) 30th March 2022 |
Gutenberg’s type
-Developed printing from Blackletter.
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fig. 1.2.2 C.1455, 42 line bible, Johann Gutenburg,
Mainz 30th March 2022 |
Text type classification
1450 Blackletter
-One of the earlier printing type.
-Based on the hand-copying styles employed for books in Northern
Europe at the time.
Examples: Cloister Black, Goudy Text
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fig. 1.2.3 1450 Blackletter 30th March 2022 |
1475 Oldstyle
-Based on the lowercase forms employed for book copying.
by Italian humanist scholars.
Examples: Bembo, Casino, Dante, Garamond, Janson, Jenson,
Palatino
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fig. 1.2.4 1475 Oldstyle 30th March 2022 |
1500 Italic
-The first italics were condensed and close-set.
-Originally considered their own class of type, but were soon
cast to complement roman forms.
-Since sixteenth century, text typefaces have been designed with accompanying italic
forms.
No Examples
fig. 1.2.5 1500 Italic
30th March 2022
1500 Script
-Originally and attempt to replicate engraved calligraphic
forms.
Examples: Künstler Script, Mistral, Snell Roundhand
fig. 1.2.6 1500 Script
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-A refinement of oldstyle forms.
-Thick to thin relationships were exaggerated.
-Brackets were lighten.
Examples: Baskerville, Bulmer, Century, Time Roman
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fig. 1.2.7 1750 Transitional 30th March 2022 |
1775 Modern
-Represents a further rationalization of oldstyle letterforms.
-Serif unbracketed.
-Contrast between thick and thin strokes extreme.
Examples: Bell, Bodonni, Caledonia, Didot, Walbaum
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fig. 1.2.7 1775 Modern 30th March 2022 |
1825 Square Serif / Slab Serif
-Originally a heavily bracket serif.
-Little variation between thick and thin strokes.
-Brackets were dropped after "hey" evolved.
Examples: Clarendon, Memphis, Rockwell, Serifa
1900 Sans Serif
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fig. 1.2.8 1825 Square Serif / Slab Serif 30th March 2022 |
-These typefaces eliminated serifs alltogether.
-Humanist forms (Gill Sans) or rigorously geometric forms (Gill
Sans) were the most common variations (Futura).
-The strokes were flared to represent the form's calligraphic
beginnings (Optima)
-Is is also known as Gothic and grotesque (from the German term
grotesk).
Examples: Akzidenz Grotesk, Grotesk, Gill Sans, Franklin Gothic,
Frutiger, Futura, Helvetica, Meta, News Gothic, Optima, Syntax,
Trade Gothic, Univers
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| fig. 1.2.9 1900 Sans Serif |
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1990 Serif / Sans Serif
-A recent one.
-The style enlarges the notion of a family of typefaces to include both
serif and sans serif alphabets.
Examples: Rotis, Scala, Stone
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fig. 1.3.0 1990 Serif / Sans Serif 30th March 2022 |
Week 2 / Lecture 2
Mr Vinod mentioned he forgot to talk about himself, what he did before,
how our lecturer got here and so on, in the first week, so he decided to
do it in the second week instead. So he started by reintroducing himself,
Mr Vinod J Nair. And he has four skillsets: photography, design,
education, and writing.
As a photographer, he works on fashion, commercial and editorial
photography. Furthermore, he too worked on magazines such as Of the Age
and Haven as a photographer while he was doing education on design for
about ten years. Then, as a writer, he did feature writing and was an
author of three books. Finally, he is also a type and identity designer
who did publishing design as a graphic designer.
Fun fact about Mr Vinod, he graduated from Mumbai, and initially, he
studied medicine, not design.
What did I learn this week?
Typography: Text
Kerning and Letterspacing
Kerning
-Automatic adjustment of space between letters.
Letterspacing
-To add space between letters.
-Automatic adjustment of space between letters.
Letterspacing
-To add space between letters.
fig. 2.1.1 Kerning and letterspacing
4th April 2022
Tracking
-The addition and removal of space in a word or sentence.
fig. 2.1.2 Normal tracking, loose tracking and tight tracking
4th April 2022
Formatting Text
Flush left
-Handwriting's uneven sensation is closely mirrored.
Flush left
-Handwriting's uneven sensation is closely mirrored.
-Each line begins at the same spot but terminates at the end of the previous line's last word.
-Spaces between words are consistent throughout the text,
allowing the type to create an even gray value.
fig. 2.1.3 Flush left
4th April 2022
Centered
-At both ends of any line, symmetry, equal value, and weight are
imposed.
-It turns text fields into shapes, giving them a graphical appearance.
-Because Centered Type makes such a strong form on the page, it's critical to adjust line breaks so the text doesn't appear jagged.
-It turns text fields into shapes, giving them a graphical appearance.
-Because Centered Type makes such a strong form on the page, it's critical to adjust line breaks so the text doesn't appear jagged.
fig. 2.1.4 Centered
4th April 2022
Flush right
-It emphasizes the conclusion of a line rather than the
beginning.
-It can be effective in instances (such as captions) when the
link between text and image is confusing without a strong
right-hand orientation.
fig. 2.1.5 Flush right
4th April 2022
Justified
-Imposes a symmetrical shape on the text by expanding or contracting the spaces between
words and, in some cases, characters.
-The openness of the lines, as a result, can occasionally
result in 'rivers' of white space
running vertically through the text.
-To correct this problem, careful attention to line breaks and
hyphenation is essential.
fig. 2.1.6 Justified
4th April 2022
Texture
fig. 2.1.7 Anatomy of a typeface
4th April 2022
fig. 2.1.8 Different typefaces, different gray values
4th April 2022
Compositional requirement
-The ideal grey value for text is in the middle.
-The ideal grey value for text is in the middle.
-Fig. 6.2 shows how different typefaces have varying grey values,
some lighter and some. darker. The best option is to go with the
intermediate grey value.
Leading and Line Length
Type size
-At arm's length, the text type should be large enough to read easily.
-At arm's length, the text type should be large enough to read easily.
Leading
-Too-tightly set text increases vertical eye movement, making it
easy for a reader to lose track.
-Type that is set too flexibly results in distracting striped
patterns.
Line Length
-Shorter lines necessitate less leading, while longer lines
necessitate more.
-Aim for a line length of 55-65 characters.
-Extremely long or short line lengths make it difficult to
read.
fig. 2.1.9 Leading and line length
4th April 2022
A type specimen book displays typeface examples in various sizes. Its
purpose is to provide a precise reference for things like type, type
size, type leading, type line length, and so on.
fig. 2.2.0 Sample Type Specimen Sheet
4th April 2022
Week 3 / Lecture 3
First, we were given feedback by Mr Vinod for each of the progress we
made, the digitalization part of our work especially. Then, after we were
done with those, he put out a poll on our recorded lectures and gave a
short explanation of the history of typography. Finally, we were tasked
with creating a gif for one of the four words, and we were given feedback
by Mr Vinod afterwards.
What did I learn this week?
Typography: Text / Indicating Paragraphs
Pilcrow (¶)
-A relic of mediaeval manuscripts that is hardly used nowadays.
Line space (leading*)
-Between paragraphs
-If the line space is 12pt, the paragraph space is also 12pt.
-This ensures cross-alignment between text columns.
fig. 3.1.1 Line space vs leading
14th April 2022
Standard indentation
-The indent is the same size as the line spacing or the text's
point size.
fig. 3.1.2 Standard indentation
14th April 2022
Extended paragraphs
-Make text columns that are exceptionally wide.
-It may be chosen for compelling compositional or functional
reasons.
fig. 3.1.3 Extended paragraphs
14th April 2022
Widows and Orphans
Widow
-Short line of type left alone at the end of a column of
text.
Orphan
-Short line of type left alone at the start of a new
column.
14th April 2022
Highlighting Text
-Like bullets, quotation marks can create a distinct indent,
breaking the left reading axis.
-At the top, compare the indented quote with the extended quote
at the bottom.
14th April 2022
A quotation is not the same as a prime. An shorthand for inches
and feet is prime. They were substituted due to the limited
number of keys on a typewriter. They became known as 'stupid
quotations' later on.
fig. 3.1.6 Prime and quote
14th April 2022
Headline within Text
A head
-Indicates a distinct break in the themes within a section.
fig. 3.1.7 A heads
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B head
-A heads have a subordinate, B heads.
-B heads denote the addition of a new supporting argument or
example for the current topic.
-B heads should not be as disruptive to the text as A heads are.
Small capitals, italic, bold serif, and bold san serif are all
used in the B heads.
fig. 3.1.8 B heads
14th April 2022
C heads
-It highlight specific facets of material within B head
text.
-They don't interrupt the flow of reading.
-C heads in this configuration are followed by at least an
empty space for visual separation.
fig. 3.1.9 C heads
14th April 2022
Hierarchy
-Putting together a sequence of subheads = hierarchy.
-Obviously there is no single way to express hierarchy
within text; in fact the possibilities are virtually
limitless.
fig. 3.2.0 Hierarchy in a sequence of subheads
14th April 2022
Cross Alignment
-Cross aligning headlines and captions with text type
reinforces the architectural sense of the page—the
structure—while articulating the complimentary vertical
rhythms.
fig. 3.2.1 Cross alignment
14th April 2022
Week 4 / Lecture 4
I was sick so I didn't attend the class for the week.
Typography: Basic / Describing letterforms
Baseline
-The letterforms' visual base is the imaginary line.
Median .
-An imagined line that defies letterform x-height.
X-height
-The height of the lowercase 'x' in any typeface.
fig. 4.1.0
23rd April 2022
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Stroke
-Any line that defines the letterform's basic shape.
23rd April 2022
Apex/Vertex
-A point made by bringing two diagonal stems
together.
fig. 4.1.2 Apex / Vertex
23rd April 2022
Arm
-Short, horizontal (E,F,L) or upward-inclined
strokes from the letterform's stem (K,Y).
23rd April 2022
Ascender
-The section of a lowercase letterform's
stem that extends over the median.
23rd April 2022
Bard
-The half-serif is completed by a curving
stroke.
fig. 4.1.5 Bard
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Beak
-Some horizontal arms have a half-serif finish.
fig. 4.1.6 Beak
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Bowl
-A counter's rounded form (which might be open
or closed).
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Bracket
-The intersection between the serif and the
stem.
fig. 4.1.8 Bracket
23rd April 2022
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Cross Bar
-In a letterform, the horizontal stroke
that connects two stems.
23rd April 2022
Cross Stroke
-The horizontal stroke in a letterform
that joins two stems together.
fig. 4.2.0 Cross Stroke
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Crotch
-The area within a stroke when two strokes meet.
fig. 4.2.1 Crotch
23rd April 2022
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Ear
-A stroke that extends from the letterform's primary stem/body.
23rd April 2022
Em/en
-Em (distance equal to typeface size) (for example, 48 point = size);
en (half the size of an em).
fig. 4.2.3 Em / en
23rd April 2022
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Finial
-The non-serif, rounded end of a stroke.
fig. 4.2.4 Finial
23rd April 2022
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Ligature
-A character that is created by combining two or more
letterforms.
fig. 4.2.5 Ligature
23rd April 2022
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Link
-The lowercase G's bowl and loop are connected by this stroke..
fig. 4.2.6 Link
23rd April 2022
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Spine
-Curved stem of the S.
23rd April 2022
Spur
-The articulates extension connects the curved and rectilinear
strokes.
23rd April 2022
Stress
-In round forms, the thin stroke indicates the letterform's
orientation.
fig. 4.2.9 Stress
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Swash
-A flourish is a flourish that extends the letterform's stroke.
fig. 4.3.0 Swash
23rd April 2022
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Terminal
-A stroke without a serif's self-contained finish; may be flat,
flaring, sharp, grave, concave, convex, or rounded as a
ball/teardrop.
23rd April 2022
Uppercase
-Capital letters, including certain accented vowels, the c cedilla
and n tilde, and the ligatures a/e and o/e.
fig. 4.3.2 Uppercase
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Lowercase
-Uppercase characters must be included.
fig. 4.3.3 Lowercase
23rd April 2022
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Small Capitals
-Uppercase letterforms are drawn to the typeface's x-height. Small
capitals are commonly encountered in serif fonts as part of the
"expert set."
fig. 4.3.4 Small Capitals
23rd April 2022
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Uppercase Numerals (lining figures)
-The
uppercase letters are the same height as the capital letters, and they
all have the same kerning width.
fig. 4.3.5 Uppercase Numerals
23rd April 2022
Lowercase Numerals (old style figures/text figures)
-Ascenders and descenders are set to x-height.
fig. 4.3.6 Lowercase Numerals
23rd April 2022
Italic
-Italian cursive handwriting from the fifteenth century.
fig. 4.3.7 Italic
23rd April 2022
Punctuation, miscellaneous characters
-Can switch between typefaces; it's necessary to be familiar with all
the characters available so you can pick the right one for the
job.
fig. 4.3.8 Punctuation
23rd April 2022
Ornaments
-Used in invitations and certificates as flourishes.
fig. 4.3.9 Ornaments
23rd April 2022
Roman
-The uppercase forms are based on Roman tomb inscriptions.
Italic
-Unlike "oblique," which is named for the fifteenth-century Italian
handwriting on which the forms are based, "oblique" is named after the
roman form of typeface.
Boldface
-Different from a roman form in that it has a thicker stroke (it can
also be called semi bold, medium, black, extra bold, super).
Light
-A thinner stroke than the roman form (thin strokes are referred to
as such).
Condense
-A compressed variant of the roman form (styles that are severely
condensed are referred to as "compressed").
Extended
-A roman typeface that has been extended.
fig. 4.4.0
23rd April 2022
Week 5 / Lecture 5
Typography / Understanding
Understanding letterforms
Different stroke weights
-Uppercase letterforms imply symmetry, but it is not.
-The two different stroke weights of the Baskerville stroke form below are easily discernible.
-And each bracket connecting the serif to the stem has a distinct arc.
.png) |
| fig. 5.1.0 Different stroke weights 30th April 2022 |
-The image below shows that the width of the left slope is narrower than the width of the right
slope.
-This demonstrates that Baskerville and Univers were created with great care, as they are both internally harmonious and individually expressive..
-This demonstrates that Baskerville and Univers were created with great care, as they are both internally harmonious and individually expressive..
.png) |
| fig. 5.1.1 Width of left slope thinner than the right |
30th April 2022
-A comparison of how the stems of the letterforms finish and how the bowls meet the stems in these two similar sans-serif typefaces, Helvetica and Univers.
-By comparing the two, it is clear that they have very different personalities.
.png) |
| fig. 5.1.2 Comparison of stems and bowls 30th April 2022 |
Maintaining x-height
Comparing x-heights of curved strokes
-Lowercase letterforms are generally described by X-heights, but curved stokes such as 's' must rise above the median (or sink below the baseline).
-This ensures that it appears to be the same size as the adjacent vertical and horizontal strokes.
.png) |
| fig. 5.1.3 Comparing x-heights of curved strokes 30th April 2022 |
Form / Counterform
-The counterform is where the space describes and is frequently contained by the form's strokes.
-When letters are joined to form words, for example, the counterform includes the space between them.
-When letters are joined to form words, for example, the counterform includes the space between them.
-The manner in which you handle the counters when setting type determines how well words hang together and how easily we can read what has been set.
.png) |
| fig. 5.1.4 Forms and Counterforms 30th April 2022 Examining the form and counter of a letter in great detail is an excellent way to understand them. It also gives you a good sense of how the balance between form and counter is achieved, as well as a clear view of the letterform's distinctive characteristics. |
.png) |
| fig. 5.1.5 Close details of form and counter 30th April 2022 |
Contrast
-The image below is an example of contrast, the most powerful design dynamic when applied to type.
-Numerous variations result from the simple contrasts: small+organic vs. large+machined vs. small+dark vs. large+light
.png) |
| fig. 5.1.6 Contrast 30th April 2022 |
.png) |
| fig. 5.1.7 More examples of contrast 30th April 2022 |
INSTRUCTIONS
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TASKS
Task 1: Exercises - Type Expression & Type Formatting
Week 1 / Type Expression: Part 1
The first challenge of the week was Type Expression, and the task given to
us was to choose and sketch four out of six words that were voted highest by
us those are Cough (compulsory), Squeeze, Pop, Explode, Grow and Wink. The
goal of the task is to build an expression for each of the words chosen by
us. There are some rules, though; we are required only to use black and
white colour, make it as clean yet straightforward as possible and not
allowed to depend on dots, outer lines, etc., to a great extent.
fig. 1.3.1 A pic of the list of the words chosen
28th March 2022
After a few thoughts, I decided to choose Grow, Wink and Pop as my
other three words to express other than Cough. It took me a while before
I started drawing; I had to know what does precisely what each word
meant and how I could express them. Here are some of the ideas and
sketches I put out created by Procreate.
fig. 1.3.2 Ideas and Sketches
31st March 2022
31st March 2022
.jpg)
1st April 2022
I was not satisfied with my first sketches, so I decided to do a second
one which you can see above.
.jpg)
fig. 2.2.1 Additional Content On The Words
4th April 2022
After another inspection from Mr Vinod, my designs were finally approved.
These are the four types of expression design for each of the words that
Mr Vinod approved:
fig. 2.2.2 Approved Designs
4th April 2022
Lastly, using the ten typefaces given to us by Mr Vinod, I have created
the final form for each of the words.
fig. 2.2.3 Final Designs
4th April 2022
FINALE DIGITALIZATION
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Week 3 / Type Expression: Final Part
In week 3, we are to choose one word from our final digitalization design
to make a gif out of it. With this, I started by experimenting with all the
gif outcomes I could get from each word.
Here are the results I get:
fig. 3.2.2 Grow Animated Gif
16th April 2022
fig. 3.2.3 Cough Animated Gif
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Looking through the opinions given by my friends above. It seems Pop has
won the most votes between Pop and Cough. And I do agree that Pop looks
cleaner than Cough in terms of the smoothness and animation. It has more
pop, you know. In conclusion, Pop has been decided as my final gif
result.
I think I did pretty ok for my first time doing animated gifs. Yes, it
is not smooth, and I'm not too fond of the wink's version as it looks
weird. The same goes to Grow because it looks effortless and not lovely
for different reasons. As for the other two, Cough and Pop, I like them.
I feel that I did pretty well for those two. After a few thought, I
thought that it is quite hard for me to pick one, therefore I decided to
ask three friends of mine for their opinion.
fig. 3.2.6 Friend 1
16th April 2022
fig. 3.2.7 Friend 2
16th April 2022
fig. 3.2.8 Friend 3
16th April 2022
Here are the improved and final version of the Pop Gif:
.gif)
fig. 3.2.9 Final Version Pop Gif
fig. 3.3.0 19 Frames
Total Frames: 19
Frames Per Second: 12
Week 4 / Type Formatting
Type Formatting is the second part of task 1. In the second part, we were instructed first to watch the pre-recorded video that Mr Vinod gave. Then, we can proceed to create a final design layout using the pre-recorded video as a guide.
Part 1
Kerning & Tracking (letter-spacing)
Type Formatting is the second part of task 1. In the second part, we were instructed first to watch the pre-recorded video that Mr Vinod gave. Then, we can proceed to create a final design layout using the pre-recorded video as a guide.
Part 1
Kerning & Tracking (letter-spacing)
In the first part of the pre-recorded video, Mr Vinod talks about Kerning
& Tracking. It means the space between the letters. Not only that, but
he also teaches us how to use it. Using the video as a guide, this is what I
have come up with using the ten typefaces given by Mr Vinod for the first
part of this second exercise.
fig. 4.4.1 Kerning & Tracking
24th April 2022
24th April 2022
Part 2
Text Formatting
Moving on to the next video, the video teaches me about the relationship between font size, line length, leading and paragraph spacing. At the same time, its the start of formatting a paragraph of text.
Text Formatting
Moving on to the next video, the video teaches me about the relationship between font size, line length, leading and paragraph spacing. At the same time, its the start of formatting a paragraph of text.
Here is the outcome of the it:
fig. 4.4.2 text formatting part 2
24th April 2022
24th April 2022
Part 3
Text Formatting 2
In this part, I will be continuing to format a paragraph of text from
part 2 according to the third pre-recorded lecture video given by Mr
Vinod.
Here is the progress:
I learnt how to smoothen the rag by using kerning and tracking (try not
to do more than three units) and how to remove hyphens that can be found
at the edge of the paragraphs.
24th April 2022
I also learned how to adjust if I used any other format such as
left-justified, central justified, etc.
fig. 4.4.4 Left Justified
24th April 2022
Part 4
Text Formatting 3
As for the final video of how to format a paragraph of text, Mr Vinod
talks about how to achieve cross alignment using baseline grid.
Here is my shot at it:
.jpg)
fig. 4.4.5 Cross alignment with baseline grid
24th April 2022
After this video, I have decided to create a few layouts by using the
knowledge I have learn from the pre- recorded videos.
fig. 4.4.6 Layout 1
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fig. 4.4.7 Layout 2
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As you can see, I have made three layouts according to what I
have learned from the pre-recorded videos. Although it looks fine,
I don't feel it will have much of an impact. The third layout is a
no go, as you're supposed to make the width of the text the same,
although it looks interesting (I noticed after I was done with
it). Layout 2 is not good because of the vast space left there. As
for Layout 1, it's okay enough to get me a pass, but I wouldn't
say I like it. In conclusion, I have decided to make one final
layout, referring to the mistakes I made; I can come up with a
better one.
Indeed it was challenging, but I finally came up with a decent
layout for the final layout. I feel this is the best I can come up
with within my skillset. Using this image as the replacement.
24th April 2022
24th April 2022
Type Formatting Final Layout
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width="640" height="480" allow="autoplay"></iframe>
Font: Janson Text Lt Std
Typeface: Janson Text Lt Std (55 roman, 75 bold &
76 bold italic)
Font size: 36pt, 15pt, 12pt
Leading: 14pt
Paragraph Spacing: 14pt
Average characters per line: 50 average
Alignment: Left-aligned
Margins: 3p0 (top, left, right), 5p0 (bottom)
Columns: 4
Gutter (for columns): 5mm
FEEDBACK
Exercise 1: Type Expression
Week 1
No feedback for the week
Week 2
We were told to contemplate these four questions;
1. Are the explorations sufficient?
2. Does the expression match the meaning of the word?
3. On a scale of 1–5, how strong is the idea?
4. How can the work be improved?
Then each of us got a feedback from Mr Vinod regarding our first week
sketches.
And here are my feedbacks;
WINK
I got a positive feedback from Mr Vinod for this letter as it was well
created.
GROW
Need more exploration.
POP
It is not bad, said by Mr Vinod. He suggested I should make the middle of
the word POP , O looking more like an O popping up since currently it
looks more of a star.
COUGH
Need more exploration.
Week 3
My designs for each word were finally approved by Mr Vinod.
Cough
Mr Vinod said it is an interesting concept, he like it.
Grow
It is not bad and simple.
POP
Very nice design
Week 4
I didn't join class for the week so I wasn't able to get any feedback from
Mr Vinod
Week 5
Mr Vinod mentioned we need a grayscale with 300 dpi for all the exercises.
As for my feedback, I needed to change the location of where I put the
instruction. And try not to put more headings other than what's written in
the instruction. Furthermore, I would need to fill up all the tasks in the
blog before the deadline as mine wasn't inserted in the blog yet when he
checked.
REFLECTION
Exercise 1: Type Expression & Type Formatting
Experience of the task
I definitely would say that the experience was quite fun and challenging.
I was a total disaster as I had no experience using Adobe or learning
Typography before. However, I did manage to complete the task even when I
was a little late with submitting it because of an accident that happened
the day of the submission. Learning how to use Adobe and learning about
Typography, in general, was good. I have attained a lot of skills and
knowledge from it. And I am grateful for it.
Observations of the task
I notice that I crave to be a perfectionist person, trying to do every
single detail, don't want to miss a single part of anything. So I would do
every step carefully and even re-check everything to ensure everything was
good. You know, trying my best to make everything as smooth as possible.
Because at the same time, I did feel like skipping some parts, but luckily
I did not.
Findings of the task
I thought Typography was just about fonts, but nope. It is more than that;
typography is the art and technique of arranging type to make written words
legible, appealing, and readable. Without it, there wouldn't be a brand's
logo, no car plate number, etc. The history of typography itself is crucial.
I notice that it is not an easy task; typography is challenging and
impossible to master in a night. It takes patience and dedication to master
it.
FURTHER READING
source: https://youtu.be/wOgIkxAfJsk
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