October 27,2023
WEEK5-WEEK7
LI JINGBU/0367209
Bachelor of Design (Honors) in Creative Media
LECTURE
Lecture 06: Typo_5_Understanding
1.Understanding letterforms
The uppercase letter forms 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.
2.Letters
The uppercase letter forms may 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.
3.Maintaining x-height
the x-height generally describe the size of the lowercase letterforms. However, you should keep in mind that curved strokes, such as in ‘s’, must rise above the median (or sink below the baseline) in order to appear to be the same size as the vertical and horizontal strokes they adjoin.
4.Counterform
The latter is particularly and important concept when working with letterforms like lowercase ‘r’ that have no counters per se. How well you handle the counters when you set type determines how well words hang together—in other words, how easily we can read what’s been set.
5.Contrast
The basic principles of Graphic Design apply directly to typography. The following are some examples of contrast—the most poweful dynamic in design—as applied to type, based on a format devised by Rudi Ruegg.
The simple contrasts produces numerous variations: small+organic/large+machined; small+dark/ large light …
Lecture 07:Typo_6_Screen& Print
Good typography and readability were the result of skilled typesetters and designers.
Type for Print
They are versatile, easy-to-digest classic typeface, which has a neutrality and versatility that makes typesetting with it a breeze.
Type for Screen
Typefaces intended for use on the web are optimized and often modified to enhance readability and performance onscreen in a variety of digital environments. This can include a taller x-height (or reduced ascenders and descenders), wider letterforms, more open counters, heavier thin strokes and serifs, reduced stroke contrast, as well as modified curves and angles for some designs.
Hyperactive Link/ hyperlink
A hyperlink is a word, phrase, or image that you can click on to jump to a new document or a new section within the current document. Hyperlinks are found in nearly all Web pages, allowing users to click their way from page to another. Text hyperlinks are normally blue and underlined by default. When you move the cursor over a hyperlink, whether it is text or an image, the arrow should change to a small hand pointing at the link.
System Fonts for Screen/ Web Safe Fonts
Each device comes with its own pre-installed font selection. Which is based largely on its operating system. The problem is that each differs a little bit.Windows-based devices might have one group. While MacOS ones pull from another. Then Google’s own Android system uses their own as well.
Pixel Differential Between Devices
The screens used by our PCs, tablets, phones and TVs are not only different sizes, but the text you see on-screen differs in proportion too, because they have different sized pixels. 100 pixels on a laptop is very different from 100 pixels on a big 60″ HDTV.
Even within a single device class there will be a lot of variation
INSTRUCTION
TASK2 : Exploration & Communication
1:Research
For project2, we have to choose one of the three choices given by the teacher. I choose the first one, "The role of Bauhaus thought on modern culture".
Bauhaus is a modernist style characterized by its intellectual simplicity, and it's not just applied to architecture. Apple applies it to technology, and Muji applies it to home improvement.
2.Sketch
In my sketch, I tried to use the Bauhaus concept of simplicity.
3.Layout
4.Final design
HEAD
Font/s: ITC Garamond Std Serifa Std
Type Size/s: 165pt
Leading: 12pt
Paragraph spacing: 0
BODY
Font/s: Bembo Std
Type Size/s: 13pt
Leading: 15pt
Paragraph spacing: 15pt
Characters per-line: 41
Alignment: Double aligned last line aligned left
Margins: 10 mm top, 10mm left + 10mm right + 10 mm bottom
Columns: 2
Gutter: 5 mm
jpeg
jpeg
pdf
pdf
FEEDBACK
Week 6
General feedback：Further proficiency In the use of id and a deeper understanding of text. Specific feedback: Remember to align text.
Week 7
General feedback:Through this week's study, my typography skills have improved
Specific feedback:The layout is too simple and the grid is not aligned
REFLECTION
Through this task, I have a preliminary understanding of the Bauhaus, but also more adapted to the skills and methods of typography, and learned a lot
FUTHER READING
I decided to read ideas which is about computer typography basics. It said that Fonts come in many different designs. Some of these differences are subtle, while others stand out like the proverbial "sore thumb." Many references subdivide type into only two major categories: serif and sans serif. However, these simplified categories are not adequate for the great variety of fonts that one might encounter on today's computers. This report will use these expanded categories to clarify the difference:
Serif fonts are the most common text or "body" copy font. They can work nicely for headline fonts, as well. "Serifs" are the little feet or arms that hang off the end of letter strokes, and typically add a thick/thin look to the letter. Serif fonts are considered the easiest fonts to read and come in three sub-categories: Oldstyle, Modern, and Square Serif.
OLDSTYLE
Oldstyle is based on classical Roman inscriptions. The letters are very open, wide, and round with pointed serifs and a pleasing contrast between the heavy and light strokes.
Modern
Their name not withstanding, Modern fonts are based on fonts designed over 200 years ago. They have a greater degree of mechanical perfection than Oldstyle fonts, and a greater distinction between the heavy/light strokes, and thin/squared off serifs.
SQUare SeRIF
Slab Serifs are a contemporary style used mainly for small amounts of text, such as advertising copy, subheads, and headlines. The letters have square serifs and mostly uniform strokes with little contrast.
As the name implies, Sans Serif fonts are "without serifs," and usually have an overall even stroke weight, which creates little contrast for the letters. Sans Serif fonts can evoke a more modern look for a report, but can be harder to read than Serif fonts. Although generally used for small amounts of copy, subheads, and headlines,
Sans Serif can be used for larger amounts of body copy, if applied with care.
As the name implies, Sans Serif fonts are "without serifs," and usually have an overall even stroke weight, which creates little contrast for the letters.
Sans Serifs fonts can evoke a more modern look for a report, but can be harder to read than Serif fonts.
Example of a paragraph set in a Sans Serif font (Futura).
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