TYPOGRAPHY | TASK 2 EXERCISES - TYPOGRAPHIC EXPLORATION & COMMUNICATION
TYPOGRAPHY | TASK 2 EXERCISES - TYPOGRAPHIC EXPLORATION & COMMUNICATION (Text Formatting & Expression)
Typography in Different Medium
In the past, typography was viewed as living only when it reached paper. Once a publication was edited, typeset and printed, it was done. Nothing changed after that. Good typography and readability were the result of skilled typesetters and designers.
Today, typography exists not only on paper but on a multitude of screens. It is subject to many unknown and fluctuating parameters, such as operating system, system fonts, the device and screen itself, the viewport and more. Our experience of typography today changes based on how the page is rendered, because typesetting happens in the browser.
Print Type Vs Screen Type
1. Type for Print
- Primarily, type was designed intended for reading from print long before we read from screen. It's the designer's job to ensure that the text is smooth, flowing, and pleasant to read.
- A good typeface for print-Caslon, Garamond, Baskerville are the most common typefaces that is used for print. Because of their characteristic which are elegant and intellectual but also highly readable when set at small font size.
- They are versatile, easy-to-digest classic typeface, which has a neutrali and versatility that makes typesetting with it a breeze.
Print Type Vs Screen Type
Print Type Vs Screen Type
2. 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 ×-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.
- Another important adjustment - especially for typefaces intended for smaller sizes - is more open spacing. All of these factors serve to improve character recognition and overall readability in the non-print environment, which can include the web, e-books, e-readers, and mobile devices.
Print Type Vs Screen Type
3. 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.
Print Type Vs Screen Type
4. Font Size for screen
16-pixel text on a screen is about the same size as text printed in a book or magazine; this is accounting for reading distance. Because we read books pretty close -often only a few inches away -they are typically set at
about 10 points. If you were to read them at arm's length, you'd want at least 12 points, which is about the same size as 16 pixels on most screens
Print Type Vs Screen Type
5. 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.
Let's say the designer picked some obscure, paid font family for this site's design. If you don't have that font already installed and it's not pulling from a web-friendly place - more on that later - the font you see would default back to some basic variation like Times New Roman. You, as the visitor, wouldn't necessarily know that's what happened, though. To you, it would just look plain ugly.
Web safe' ones, however, appear across all operating systems. They're the small collection of fonts that overlap from Windows to Mac to Google
System Fonts for Screen/ Web Safe Fonts
-Open Sans, Lato, Arial, Helvetica, Times New Roman, Times, Courier New, Courier, Verdana, Georgia, Palatino, Garamond
Font Size for Screen
Screen Print
Print Type Vs Screen Type
6. 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
Print Type Vs Screen Type
Pixel Differential Between Devices
Print Type Vs Screen Type
7. Static vs Motion
Static typography has minimal characteristic in expressing words. Traditional characteristics such as bold and italic offer only a fraction of the expressive
potential of dynamic properties.
From billboards to posters, magazines to fliers, we encounter all forms static typography with wide ranging purposes. Whether they are informational, promotional, formal or aspirational pieces of designs, the level of impression and impact they leave on the audience is closely knitted to their emotional connection with the viewers.
Motion Typography
Type is often overlaid onto music videos and advertisements, often set in motion following the rhythm of a soundtrack. On-screen typography has developed to become expressive, helping to establish the tone of associated content or expressive set of brand values. In title sequences, typography must prepare the audience the film by evoking a certain mood.
Process of Work - Editorial Text Options
Mr.Vinod prepare the text to be formatted. From a few paragraphs I choose the following one :
Headline: The impact of Bauhaus on modern culture
Lead-in text: As Bauhaus turns 100, we explore its modern legacy.
Text: Today marks 100 years since the founding of the German design school, Staatliches Bauhaus, or the Bauhaus. The school opened on 1 April 1919 and spawned a movement that we know today as Bauhaus.
This movement has impacted on everything from furniture to fonts to famous buildings, and influenced countless designers and illustrators across the decades. To celebrate its anniversary, we're taking a look at how the Bauhaus has influenced modern culture.
There’s a tendency to overlook the role artists like Wassily Kandinsky and Paul Klee played within the Bauhaus. However, the way these artists interacted with the design theory being developed at the Bauhaus is fascinating.
Stephen J Eskilson is professor of art history at Eastern Illinois University and is the author of Graphic Design: A History, the third edition of which has just come out. “I love the way Kandinsky’s painting shows a shift from gestural expressionism to the machine aesthetic, although painters no longer fit the design thinking model so nobody mentions him and Klee anymore,” he says.
Perhaps this is due to the powerful influence the designer László Moholy-Nagy had between 1923 and 1928. But as the author points out, Kandinsky’s paintings do shift from rather discordant and abstract compositions towards a form of geometric order. Circles and triangles became the order of the day for him.
Paul Klee’s paintings never really conformed to the same sense of structure, but the artist did focus more on colour theory. Indeed, his notebooks are full of it, with rich reds, blues and yellows filling patterns of triangles alongside his handwritten notes. The mosaic at Paul-Klee-Platz in Düsseldorf is a creative monument that reflects Klee’s Bauhaus period.
Then there’s Oskar Schlemmer’s Triadic Ballet, which was honoured on the designer’s 130th birthday with a Google homepage animation last September. Divorcing itself from the history of ballet itself, he reinvented the art form using three-dimensional costumes constructed from vividly coloured cones and triangles. Each dancer is a mime, and the look has inspired the likes of David Bowie.
This article is part of a longer piece celebrating 100 years of the Bauhaus in Computer Arts 291, which is out now. To read the article in full, buy issue 291 or subscribe to Computer Arts.
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Font: Gill Sans Std
Typeface: (Bold, Medium, Medium Italian)
Font size: 10 pt (Text), 14 pt (Sub-heading), 100 pt,12 pt,18pt (Headline)
Leading: 12 pt
Paragraph spacing: 12 pt
Average characters per line: 55-62
Alignment: Left justified (Text), Left aligned (Sub-heading)
Margins: 10 mm (Top, Left, Right, Bottom)
Columns: 2
Gutter (for columns): 5 mm
Specific feedback: For Design, do not put any graphic as we need to express it by using text formatting and expression and also do not put too many elements as i will make everything too messy and not recommended. Simple and simplistic, it's two very different things that i need to find more research on how to express it a better way to express Bauhaus theory or design.
We have exercises before for this topic which is Text Formatting and Expression. We design followed the rules and our own creation. But i still find it hard as we need to design it using text expression that i done a lot of reasearch and also sketches to outcome a most perfect and simplicity design. But i keep recall the steps from the youtube video as i keep forgetting as it has too much steps.
Observation
Findings
For overall concept as i choose the most ideal one which is "Simplicity". It was importsnt as for my personal ideas and taste that it was attractice, clean and neat. I followed the desgin rules but i worried that i might miss out or some of the part are not followed exactly. I done alot of research i pinterest, magazine & other design platform.
FURTHER READING/STUDY
This book offers a connoisseur's overview of typeface design, exploring the most elegant fonts from the history of publishing. Taken from a distinguished Dutch collection, this exuberant two-volume edition traces the evolution of the printed letter via exquisitely designed catalogs, showing type specimens in roman, italic, bold, semi-bold, narrow, and broad fonts. Borders, ornaments, initial letters and decorations are also included, along with lithographic examples, letters by signwriters, inscription carvers, and calligraphers.
Featuring works by type designers including: William Caslon, Fritz Helmuth Ehmcke, Peter Behrens, Rudolf Koch, Eric Gill, Jan van Krimpen, Paul Renner, Jan Tschichold, A. M. Cassandre, Aldo Novarese, and Adrian Frutiger.
In order to accommodate a vast amount of material, we have divided this text into two volumes. This, the second volume, covers the period from 1900 to the mid-20th century, and contains a historical outline by Alston W. Purvis.
Fonts have different personalities that can create trust or mistrust, give you confidence, make things seem easier to do or make a product taste better. Understand the science behind how fonts influence what you read. They're hidden in plain sight, they trigger memories, associations and multi-sensory experiences in your imagination. You may not believe it, but fonts can change the meanings of words right before your very eyes, alter the taste of your food, evoke emotional responses and reveal their users' personalities.
Graphic designer Sarah Hyndman specializes in exploring how fonts influence us as type consumers; Why Fonts Matter synthesizes Hyndman's 20 years of experience as graphic designer with her typographic research and the findings of experimental psychologists and neuroscientists.
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