Typography Task 1 ( 0366371 )

Typography / Task 1 : Exercises 

23 April 2024 

23/04/2024

Justin Wilbert Sipasulta / 0366371 

Typography 

Task 1 / Exercises 

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List JUMPLINK

Week 1

Week 2 

Week 3 

Week 4 

Week 5 

Week 6

Week 7

Week 8

Week 9 

Week 10 

Week 11 

Week 12

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LECTURE

Week 1 : 

Typo_0_Eportfolio Briefing 

In the first day of the class we are going to take the e-portfolio breifing . Mr Vinod teaches us how to make e portfolio using blogger.com as our class programme . 

Typo_0_Introduction 

Typography is the art of arranging letters and text in a way that makes the copy legible , clear and visually appealing to the reader . 

Typo_1_Development 

Early letterform development : Phoenician to Roman 

Writing Directions : 

- Phoenicians : Right to Left . 

- The Greeks : From Right to Left and Left to Right . 

Week 2 : 

Type_3_Text_P1

Typography : Text Tracking , Kerning and Letterspacing 

Kerning : Automatic Adjustment between space and letters . 

Letterspacing : To add between space and letters . 

Tracking : The addition and removal of space in a word of sentence 

Formatting text : 

Flush left : The text should appear with a straight and even edge on the left side and it will be uneven on the right side . 

Centered : This format imposes symmetry among the text . 

Flush Right : Text is aligned along the right margin or gutter . '

Justified : This format imposes a symetrical shape on the text . 

Week 3 : 

Typo_4_Text_Part_2

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Text/Indicating Paragraph 

Pilcrow ( ¶ ) : A hand written or typographical character used to identify a paragraph . it is called a paragrpah mark ( sign or symbol ) , paraph or symbol P   

Leading : Line space between paragraph . 

Standard indentation : To ensure that papers are formatted in a consident and readable manners . 

Extended Paragraph : An extended paragraph is just a long paragraph . 

ypography : 

Describing Letterform

Baseline : The Imaginary line at the visual at the visual base of the letterforms . 

Median : The Imaginary line defining the x-height of letterforms . 

X-Height : The height in any typefaces of the lowercase " Y " 

                                                                    Stroke

Stroke : Any line that defines the basic letterform . 

                                                                Apex / Vertex 

Apex / Vertex : The point created by joining two diagonal stems ( apex above and vertex below ) 

                                                                    Arm 

Arm : short strokes off the stem of the letterform, either horizontal (E, F, L) or inclined upward (K, Y) . 

                                                                 Ascender 

Ascender : The portion of stem of a lowercase letterform that projects above the median .

                                                                       Barb 

Barb : The hald-sherif finish on some curved stroke . 

                                                                     

                                                                       Beak 

Beak : The half - serif finish on some horizontal arms . 

                                                                   Bracket 

Bracket : The serif between the serif and stem .

                                                                 Cross Stroke

Cross Stroke : The horizontal stroke in letterform that joins two stems together . 

                                                                             Crotch 

Crotch : The interior space where two strokes meet . 

                                                                 Descender 

Descender : The portion of stem of a lowercase letterform that projects below the baseline . 

                                                                      Ear 

Ear : The stroke extending out from the main stem or body of the letterform 

Week 5 : 

Typo_5_Understanding 

Typography : Understanding letterform 

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 . 

The uppercase letterforms may also appear symmetrical, but a close examination shows that the width of the left slope is thinner than the right stroke. Both Baskerville (previous) and Univers (below) demonstrate the meticulous care a type designer takes to create letterforms that are both internally harmonious and individually expressive.

The complexity of each individual letterform is neatly demonstrated by examining the lowercase ‘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 . 

Task 1 : Exercises - Type Expression 

As seen from this module it shows 4 different types of typography .

                                                                         

                                                                           CRASH

                                                                          

                                                                              ROLL

                                                                          JUMP

                                                              BALANCE 

                                                            CRASH GIF 

Task 1 | Exercise 2: Text Formatting

Fig 1.4 Final Text Formatting (JPEG) | Week 5 (23/10/23)

Fig 1.5 Final Text Formatting (PDF) | Week 5 (23/10/23)

Fig 1.6 Final Text Formatting with Gridlines (JPEG) | Week 5 (23/10/23)

Fig 1.7 Final Text Formatting with Gridlines ([DF) | Week 5 (23/10/23)

• Head:

• Font: Gill Sans Std (Light)
• Type Size/s: 48 pt (Headline), 12 pt (Byline)
• Leading: 51 pt (Headline), 15 pt (Byline)
• Paragraph spacing: 0 pt
  
  

• Body:

• Font/s: Gill Sans Std (Regular)
• Type Size/s: 9 pt
• Leading: 12 pt
• Paragraph spacing: 12 pt
• Characters per line: 45 - 50
• Alignment: Left align
  
  

• Margins:

• mm: top: 40.5 mm, bottom: 36.5 mm, left: 12.7 mm, right: 12.7 mm
• Columns: 3
• Gutter: 5 mm
  
  
  
  

Task 2 | Typographic Exploration & Communication

Fig 1.8 Final Text Formatting & Expression (JPEG) | Week 7 (6/11/23)

Fig 1.9 Final Text Formatting & Expression (PDF) | Week 7 (6/11/23)

Fig 1.10 Final Text Formatting & Expression with gridlines (JPEG) | Week 7 (6/11/23)

Fig 1.11 Final Text Formatting & Expression with gridlines (PDF) | Week 7 (6/11/23)

Task 3 | Type Design & Communication

[Link to Download Font]

Fig 1.12 Final Type Construction "Seridoni" (JPEG) | Week 12 (11/12/23)

Fig 1.13 Final Type Construction "Seridoni" (PDF) | Week 12 (11/12/23)

Try typing characters from the set — o l e d s n c h t i g , . ! #

Task 3 | Type Design & Communication

[Link to Download Font]

Fig 1.12 Final Type Construction "Seridoni" (JPEG) | Week 12 (11/12/23)

Try typing characters from the set — o l e d s n c h t i g , . ! #

Fig 1.14 Font Tester Preview | Week 12 (11/12/23)

Fig 1.15 Final Poster (JPEG) | Week 12 (15/12/23)

Fig 1.16 Final Poster (PDF) | Week 12 (15/12/23)

REFLECTION

Experience

The Typography module has been a riveting journey, standing out as the most engaging among all the courses I've undertaken. While challenging, especially during the creation of my own typeface in the third task, the experience has been academically and personally enriching. The well-spaced assignments throughout the semester significantly contributed to my learning curve. Mr. Vinod's consistent and insightful feedback fostered a conducive learning environment, encouraging us to voice concerns or difficulties comfortably. Overall, this semester has been a source of gratitude, offering a positive and fulfilling experience.

Observations

Over these 14 weeks, my perception of typography has undergone a profound evolution. I've become more observant, analyzing typography in diverse contexts and recognizing its ubiquitous presence in daily life. Not only have I realized the immense role typography plays in design, but I've also discovered the individuality in interpreting and appreciating its nuances. Witnessing my peers' work has been enlightening, showcasing the vast spectrum of creative expression within typography.

Findings

Moreover, this semester has unveiled a genuine passion for typography that extends beyond the classroom. Amid the learning process, a significant lesson learned from Mr. Vinod resonates deeply—less is more. Additionally, I've gained invaluable insight into the importance of not comparing my design journey to others'. Mr. Vinod's guidance emphasized that everyone interprets and approaches their work uniquely. Instead of self-comparison, I've learned to derive inspiration and knowledge from my peers, appreciating diverse perspectives. This shift in mindset has been instrumental in my growth, fostering a healthier approach to learning and creativity. Despite occasional struggles and moments of dissatisfaction, learning typography has instilled discipline and deepened my appreciation for its transformative potential in design. It has not only honed my observational skills but also emphasized the importance of blending artistic instincts with precision and attention to detail.