Typography - Task 1 : Exercise 1 & 2

On this class, Mr. Vinod briefing about this module and giving us information about what we need to know about this module (familiarize ourself with teams, how to create e-portfolio, watch the lecture videos, etc). Also giving us the first task to create a sketch of words that have been chosen and watch lecture 0 - lecture 1 that has been provided on youtube.

Typography : Introduction

Typography is the art and technique of arranging type to make written language legible, readable, and appealing when displayed. The arrangement of type involves selecting typefaces, point sizes, line lengths, line-spacing (leading), and letter-spacing (tracking), as well as adjusting the space between pairs of letters (kerning). The term typography is also applied to the style, arrangement, and appearance of the letters, numbers, and symbols created by the process.

(Source : https://en.wikipedia.org/wiki/Typography)

Font : Refer to individual font or weight within a type face

For example : Georgia Regular, Georgia Italic, and Georgia Bold

Typeface : Refers to the entire family of fonts/weights that share similar characteristics/styles.

For example : Georgia, Arial, and Times New Roman.

Typography : Development

Early letterform development : Phoenician to Roman

Basically, the early letterform began with Phoenician handwriting from right to left, but then The Greeks changed the direction of a writing from left to right, this method named Boustrophedon. According to Wikipedia, Boustrophedon is a style of writing in which alternate lines of writing are reversed, with letters also written in reverse, mirror-style. This is in contrast to modern European languages, where lines always begin on the same side, usually the left.

Fig. 1.1 Phoenician letter evolution

Fig. 1.2 Phoenician to Roman

Fig. 1.3 Direction of writing by The Greeks

(Boustrophedon)

Fig. 1.4 Example of Boustrophedon

(https://upload.wikimedia.org/wikipedia/commons/0/00/Boustrophedon_text.png)

Typography Development Timeline (Hand script from 3rd - 10th century C.E.)

Square capitals were the written version that can be found in Roman monuments. These letterform have serifs to the finish of the main strokes.

Fig. 2.1 Square capitals

Rustic capitals a compressed version of square capitals. It took less time to write (the pen brush was held at an angle approximately 30°). However, rustic capitals were slightly harder to read due to their compressed nature.

Fig. 2.2 Rustic capitals

Roman cursive simplified for speed, the beginning of lowercase letterforms.

Fig. 2.3 Roman cursive

Uncials, incorporated some aspects of the Roman cursive hand. The broad forms of uncials are more readable at small sizes than rustic capitals.

Fig. 2.4 Uncials

Half-Uncials, a further formalization of the cursive hand.

Fig. 2.5 Half-Uncials

Charlemagne, the first unifier of Europe since the Romans, issued an edict in 789 to standardize all ecclesiastical texts. He entrusted this task to Alcuin of York, Abbot of St Martin of Tours. The monks rewrote the texts using both majuscules (uppercase), minuscule, capitalization and punctuation which set the standard for calligraphy for a century.

Fig. 2.6 Charlemagne

Blackletter to Gutenberg's type, with the dissolution of Charlemagne's empire came regional variations upon Alcuin's script. In northern Europe, a condense strongly vertical letterform know as Blackletter or textura gained popularity. In the south, a rounder more open hand gained popularity, called 'rotunda'. The humanistic script in Italy is based on Alcuin's miniscule.

Fig. 2.7 Blackletter to Gutenberg's type

Text Type Classification

Fig. 3.1 Text Type Classification

WEEK 2 - WEEK 3: Text

6/10/2023 - 13/10/2023)

(There are 2 parts of this lecture)

Text: Kerning and Letterspacing

Kerning : refers to the automatic adjustment of space between letters. It is often mistakenly referred to as ‘letterspacing’. In fact, letterspacing means to add space between the letters. The addition and removal of space in a word or sentence is referred to as ‘tracking’.

Fig. 4.1 Kerning and letterspacing

Fig. 4.2 Normal tracking, loose tracking, and tight tracking

However, letterspacing in lowercase is not suggested because it could make the words are harder to read.

Fig. 4.3 Normal tracking (left) and loose tracking (right)

The text on the left are easier to read rather than the right text that has been given letterspace, it reduce the readability of the right text.

Tex: Formatting Text

Flush Left : this format most closely mirrors the asymmetrical experience of handwriting. Each line starts at the same point but ends wherever the last word on the lines ends. Spaces between words are consistent throughout the text, allowing the type to create an even gray value.

Fig. 4.4 Flush left

Centered : This format imposes symmetry upon the text, assigning equal value and weight to both ends of any line. It transform fields of text into shapes, thereby adding a pictorial quality to material that is non-pictorial by nature. Because centered type creates such a strong shape on the page, its important to amend line breaks so that the text does not appear too jagged.

Fig. 4.5 Centered

Flush right : this format places emphasis on the end of a line as opposed to its start. It can be useful in situations (like captions) where the relationship between text and image might be ambiguous without a strong orientation to the right.

Fig. 4.6 Flush right

Justified : Like centering, this format impose a symmetrical shape on the text. It is achieved by expanding or reducing spaces between words and, sometimes, between letters. The resulting openness of lines can occasionally produce 'rivers' of white space running vertically through the text. Careful attention to line breaks and hyphenation is required to amend this problem whenever possible.

Fig. 4.7 Justified

Texture

Fig. 4.8 Anatomy of a typeface

Fig. 4.9 Different typefaces with different gray values

Leading and Line Length

Type size : Text type should be large enough to be read and easily at arms length-imagine yourself holding a book in your lap.

Leading : Text that is set too tightly encourages vertical eye movement; a reader can easily loose his or her place. Type that is set too loosely creates striped patterns that distract the reader from the material at hand.

Line Length : Appropriate leading for text is as much a function of the line length as it is a question of type size and leading. Shorter lines require less leading; longer lines more. A good rule of thumb is to keep line length between 55-56 characters. Extremely long or short lines lengths impairs reading.

Fig. 4.10 Example of a bad leading

left (less leading) and right (too much leading)

Fig. 4.11 Leadings from tight to loose

in this picture that suits the best leading is 10/12 (top right)

Type Specimen Book

A type specimen book shows samples of typefaces in various different sizes. Without printed pages showing samples of typefaces at different sizes, no one can make a reasonable choice of type. We can only determine choice on screen when its final version is to read on screen. A type specimen book (or e-book for screen) is to provide an accurate reference for type, type size, type leading, type line length etc.

Fig. 4.13 Sample Type Specimen Sheet

Compositional requirement : Text should create a field that can occupy a page or a screen. Think of your ideal text as having a middle gray value (on the left, in the diagram below), not a series of stripes (as seen of the one on the right).

Fig. 4.14 Text example

Indicating Paragraph

Fig. 4.15 Pilcrow

There are several options for indicating paragraphs. In the first example, we see the ‘pilcrow’ (¶), a holdover from medieval manuscripts seldom use today

Fig. 4.16 The example of leading

The picture displays a ‘line space’ (leading) between the paragraphs. Hence if the line space is 12pt, then the paragraph space is 12pt. This ensures cross-alignment across columns of text.

Fig. 4.17 Leading vs Line spacing

Fig. 4.18 The example of standard indentation

The example here displays the standard indentation. Typically here the indent is the same size of the line spacing or the same as the point size of your text. Indentation is best when you use justified.

Fig. 4.19 Extended paragraphs method

The method of extended paragraphs below creates unusually wide columns of text. Despite these problems, there can be strong compositional or functional reasons for choosing it.

Widows and Orphans

In traditional typesetting (the kind that still endures among conscientious commercial publishers), there are two unpardonable gaffes-widows and orphans. Designers (specifically those that deal with large amounts of text in websites or books on online magazines or printed magazines, news papers or online journals) must take great care to avoid the occurrence of the above mentioned.

A widow is a short line of type left alone at the end of a column of text.

An orphan is a short line of type left alone at the start of new column.

Fig. 4.20 Widows and orphans

In justified text both widows and orphans are considered serious gaffes. Flush right and ragged left text is some what more forgiving towards widows, but only a bit. Orphans remains unpardonable.

The only solution to widows is to rebreak your line endings through our your paragraph so that the last line of any paragraph is not noticeably short.

Orphans, you might expect, require more care. Careful typographers make sure that no column of text starts with the last line of the preceding paragraph.

Highlighting Text

Fig. 4.21 Highlighting text with italic and bold

The following are some simple examples of how to highlight text within a column of text. Different kinds of emphasis require different kinds of contrast.

Fig. 4.22 Highlighting text

by changing the typeface and color

Color that can apply to highlighted text are cyan, magenta, and black.

Fig. 4.23 Highlighting text with quotation mark

Quotation marks, like bullets, can create a clear indent, breaking the left reading axis. Compare the indented quote at the top with the extended quote at the bottom.

Fig. 4.24 prime and quotation mark

A prime is not a quote. The prime is an abbreviation for inches and feet. Due to the limited number of keys on a typewriter, they were substituted. They were later known as ‘dumb quotes’.

Headline Within Text

There are many kinds of subdivisions within text of a chapters. In the following visuals these have been labelled (A, B, and C) according to the level of importance.

Fig. 5.1 Example of headline/A head

A head indicates a clear break between the topics within a section. In the following examples 'A' heads are set larger than the text, in small caps and in bold. The fourth example shows an A head 'extended' to the left it the text.

Fig. 5.2 Example of subordinate head/B head

The B head here is subordinate to A heads. B heads indicate a new supporting argument or example for the topic at hand. As such they should not interrupt the text as strongly as A heads do. Here the B heads are shown in small caps, italic, bold serif, and bold san serif.

Fig. 5.3 Example of C head

The C heads, although not common, highlights specific facets of material within B head text. They not materially interrupt the flow of reading. As with B heads, these C heads are shown in small caps, italics, serif bold and san serif bold. C heads in this configuration are followed by at least an em or give two space bar for visual separation.

Fig. 5.4 Example of the using

of A, B, and C heads combination

Cross Alignment

Fig. 5.5 Example of type cross-aligns

Cross aligning headlines and captions with text type reinforces the architectural sense of the page—the structure—while articulating the complimentary vertical rhythms. In this example, four lines of caption type (leaded 9 pts.) cross-align with three lines of text type (leaded to 13.5 pts).

WEEK 4 : Describing Letterforms

20/10/2023

Fig. 6.1 Anatomy of typeface

Fig. 6.2 Stroke

Baseline: The imaginary line the visual base of the letterforms.

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

X height: The height in any typeface of the lowercase ‘x’.

Stroke: Any line that defines the basic letterform.

Fig. 6.3 Apex and vertex

Fig. 6.4 Arm

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

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

Fig. 6.5 Ascender

Fig. 6.6 Descender

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

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

Fig. 6.7 Barb

Fig. 6.8 Beak

Barb: The half-serif finish on some curved stroke

Beak: The half-serif finish on some horizontal arms

Fig. 6.9 Bowl

Fig. 6.10 Bracket

Bowl: The rounded form that describes a counter. The bowl may be either open or closed.

Bracket: The transition between the serif and the stem.

Fig. 6.11 Cross Bar

Fig. 6.12 Cross Stroke

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

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

Fig. 6.13 Crotch

Fig. 6.14 Ear

Crotch: The interior space where two strokes meet.

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

Fig. 6.15 Em/en

Em/en: Originally referring to the width of an uppercase M, and em is now the distance equal to the size of the typeface (an em in 48 points, for example). An en is half the size of an em. Most often used to describe em/en spaces and em/en dashes.

Fig. 6.16 Finial

Finial: The rounded non-serif terminal to a stroke.

Fig. 6.17 Leg

Leg: Short stroke off the stem of the letterform, either at the bottom of the stroke (L) or inclined downward (K, R).

Fig. 6.18 Ligature

Ligature: The character formed by the combination of two or more letterforms.

Fig. 6.19 Link

Link: The stroke that connects the bowl and the loop of a lowercase G.

Fig. 6.20 Loop

Loop: The loop created in the descender of the lowercase G in some typefaces.

Fig. 6.21 Stress

Stress: The orientation of the letterform, indicated by the thin stroke in round forms.

Fig. 6.22 Swash

Swash: The flourish that extend the stroke of letterform.

The Font

The full font of a typeface contains much more than 26 letters, numerals, and a few punctuation marks.

Fig. 7.1 Uppercase

Uppercase: Capital letters, including certain accented vowels, the c cedilla and n tilde, and the a/e and o/e ligatures.

Fig. 7.2 Lowercase

Lowercase: Lowercase letters include the same characters as uppercase.

Fig. 7.3 Small capitals

Small Capitals: Uppercase letterforms draw to the x-height of the typeface. Small Caps are primarily found in serif fonts as part of what is often called expert set. Most type software includes a style command that generates a small cap based on uppercase forms. Do not confused real small caps with those artificially generated.

Fig. 7.4 Uppercase numerals

Uppercase Numerals: Also called lining figures, these numerals are the same height as uppercase letters and are all set to the same kerning width. They are most successfully used with tabular material or in any situation that calls for uppercase letters.

Fig. 7.5 Lowercase numerals

Lowercase Numerals: Also known as old style figures or text figures, these numerals are set to x-height with ascenders and descenders. They are best used when ever you would use upper and lowercase letterforms. Lowercase numerals are far less common in sans serif type-faces than in serif.

How to find lowercase numerals in InDesign : Type > glyphs > character map and scroll down

Fig. 7.6 Italic letters

Italic: Most fonts today are produced with a matching italic. Small caps, however, are almost always only roman. The forms in a italic refer back to fifteenth century Italian cursive handwriting. Oblique are typically based on the roman from of the typeface.

Fig. 7.7 Italic vs Roman

Fig. 7.8 Punctuation, miscellaneous character

Punctuation, miscellaneous characters although all fonts contain standard punctuation marks, miscellaneous characters can change from typeface to typeface. It is important to be acquainted with all the characters available in a typeface before you choose the appropriate type for job.

Fig. 7.8 Ornaments

Ornaments Used as flourishes in invitations or certificates. They usually are provided as a font in a larger typeface family. Only a few traditional or classical typefaces contain ornamental fonts as part of the entire typeface family (Adobe Caslon Pro).

Roman the letterform is so called because the uppercase forms are derived from inscriptions of Roman monuments. A slightly lighter stroke in roman is known as ‘Book’.

Italic named for fifteenth century Italian handwriting on which the forms are based. Oblique conversely is based on roman form of typeface.

Boldface characterized by thick strokes. It is depended on the relative stroke widths, it can be called semi bold, medium, black, extra bold, or super. In some typefaces (notably Bodoni), the boldest rendition of the typeface is referred to as ‘Poster’.

Light characterized by lighter stroke than the roman form. Even lighter strokes are called thin.

Fig. 7.9 Type family categories

The 10 typefaces represent 500 years of type design. The men and women who rendered them all sought to achieve two goals: easy readability and an appropriate expression of contemporary aesthetics. These typefaces (and there are others) have surpassed the latter goal. They have remained in use for decades—in some cases, centuries—after they were first designed, still considered successful expressions of how we think, how we read and write, and how we print. As a beginning typographer we should learn more about these ten faces carefully and to appreciate these typefaces.

Fig. 7.10 The typefaces

Comparing Typefaces

In typography, we have to choose an appropriate type family that respect the message that we want to convey. Good typeface presents the message of the writer. The Rs display a range of attitudes, some whimsical, some stately, some mechanical, others calligraphic some harmonious and some awkward.

Fig. 8.1 A's and R's typefaces

WEEK 5 : Understanding Letterforms

The uppercase letter forms below suggest symmetry. But in fact, it is not symmetrical. We can see it that there are 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.

Fig. 9.1 Not symmetrical letterforms (Baskerville)

Picture below may looks symmetrical, but a close examination shows that the widht of left stroke is thinner than the right stroke.

Fig. 9.2 Not symmetrical letterform (Univers)

Fig. 9.3 Lowercase (left: Helvetica) (right: Univers)

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 at the stems quickly reveals the palpable difference in character between the two.

Maintaining X-height

Fig. 10.1 X-height

The x-height generally describe the size of the lowercase letterforms. However, the curved strokes, such as in o, a, s, and r, must be rise above the median (or sink beyond the baseline) in order to appear to be the same size as the vertical and horizontal strokes they adjoin.

Counterform

Fig.11.1 Counter form example

Counterform: Counterform is the blank spaces between individual letters and as designers this can be used to significant effect, also referred to as ‘negative space’. By definition, a word has the potential to express an idea, object, or event.

(https://brucewilsongraphics.wordpress.com/2012/10/17/counter-form/)

Fig. 11.2 Close examination typeface

Fig. 11.3 Simple contrast example

Helvetica (left) & Baskerville (right)

Fig. 11.4 Contrast variation

The basic principles of Graphic Design apply directly to typography. The following are some examples of contrast—the most powerful dynamic in design—as applied to type , based on a format devised by Rudi Ruegg.

Tell me you like typography without telling me you like typography:

🔝

INSTRUCTION

TASK 1 : Exercise 1 - Type Expression

For this task, Mr. Vinod gave us some words and we have to chose four words. Those words are smoke, soup, drunk, power, crunch, fold, impact, and spooky. I chose words : Drunk, power, soup, and crunch. Distortion is not allowed, minor exceptions can be considered, if approved. We are limited to use only 10 fonts that provided, which are Adobe Caslon Pro, Bembo Std, Bodoni Std, Futura Std, Gill Sans Std, ITC Garamond Std, ITC New Baskerville Std, Janson Text LT Std, Serifa Std, Universe LT Std.

Research

For this task, I googled the keywords and use some pictures as references.

Fig. 1 References
(6/10/2023)

1. Sketches

Fig. 1.1 Rough Sketches (6/10/2023)

Fig. 1.2 Rough Sketches (6/10/2023)

Words I choose are : Drunk, power, soup, and crunch. These are my rough sketches draw digitally in 'Sketchbook' app.

2. Digitization

Fig. 2.1 Digitization (12/10/2023)

The final result slightly different with the rough sketches and for sketches number 1 I made a major changes and simplify the words placement. While for the entire sketches (2-4) they still remain the same design.

Fig. 2.2 Drunk and Power digital version (12/10/2023)

Fig. 2.3 Power, Soup, and Crunch

digital version (12/10/2023)

Fig. 2.4 Crunch digital version (12/10/2023)

Fig. 2.5 Crunch crumbs detail (12/10/2023)

Fig. 2.6 soup detail (12/10/2023)

For most detail (pics 2.5 & 2.6), I'm using type on a path feature. To maximize the words usage I made some elements using the words that I chose as the compliment of the design.

Fig. 2.7 Final outcome process
(4/11/2023)

TYPE EXPRESSION FINAL OUTCOME

Fig. 2.8 Final outcome (4/11/2023)

After few changes, I came up with these type expression. I simplified the final outcome and replaced some unnecessary detail.

Fig. 2.9 Final outcome PDF (4/11/2023)

3. Animation

Fig. 3.1 Crunch animation (20/10/2023)

Fig. 3.2 Crunch animation editing 11 frames

(20/10/2023)

In this animation, I tried to make a loop animation. The crunch effect was given by breaking the word 'crunch' and the crumbs were spread all over the frame. There are 11 frames in this animation.

Fig. 3.3 Crunch animation editing 14 frames

(26/10/2023)

On week 4 our animations were reviewed by Mr. Vinod. By this week, I made some change in my animation. Compared to the first animation, I add more pause into the animation so it is more enjoyable to watch. I also made the crumbs effect stay still instead of spreading it all around the frame.

ANIMATION FINAL OUTCOME

Fig. 3.4 Final Outcome

(26/10/2023)

TASK 1 : Exercise 2 - Text Formatting

For this exercise, we are directed to create final layout addressing different areas of text formatting, such as leading, leading, paragraph spacing, alignment, etc. This exercise will develop our skills in spatial arrangement and information hierarchy. In this matter, we use Adobe InDesign.

Fig. 4.1 Before kerning

(28/10/2023)

Fig. 4.2 After kerning

(28/10/2023)

Fig. 4.3 Layout Progress

(27/10/2023)

I came out with 3 different layouts and pictures. Turned out that the pictures I have attached did not related with the text. I made another one with related pictures.

Fig.4.4 Layouts progress
(28/10/2023)

Fig. 4.5 Letter formatting 1st layout

(28/10/2023)

HEAD
Font/s: Gill Sans MT
Type Size/s: 48/12
Leading: 24
Paragraph spacing: 12

BODY
Font/s: Gill Sans MT
Type Size/s: 10
Leading: 12
Paragraph spacing: 12
Characters per-line: 54-64
Alignment: Left Justified

Margins: 12,7mm top + 12,7 left + 12,7 mm right + 50 mm bottom
Columns: 4
Gutter: 10 mm

TEXT FORMATTING FINAL OUTCOME

Fig. 4.6 Final outcome without grids

(28/10/2023)

Fig. 4.7 Final outcome with grids

(28/10/2023)

HEAD
Font/s: Gill Sans MT
Type Size/s: 33/12
Leading: 24
Paragraph spacing: 24

BODY
Font/s: Gill Sans MT
Type Size/s: 10
Leading: 12
Paragraph spacing: 12
Characters per-line: 54-60
Alignment: Left Justified

Margins: 12,7 mm top + 12,7 mm left + 12,7 mm right + 80 mm bottom
Columns: 4
Gutter: 8 mm

Fig. 4.8 Letter formatting final outcome without grids PDF

(28/10/2023)

Fig. 4.9 Letter formatting final outcome with grids PDF

(28/10/2023)

🔝

FEEDBACK

Week 1 - Online Class

On week 1 Mr. Vinod only do a brief for this class

Week 2 - Exercise 1 : Type Expression

Mr. Vinod reviewed some of student's sketches in front of the class and breakdown some idea and gave feedbacks that can be applied to our designs.

General Feedback :

- Before sketching our design, better to look the entire typeface so we can imagine what our design will be.

Personal Feedback :

- Important to number the sketches.

- Some words are not clear enough too be read.

- For the 'POWER' sketch, the words will be better if it's placed lower so it looks like the big 'P' is the leader.

Week 3 - Exercise 1 : Digitalization

On week 3, we showed our type expression that has been digitalize and reviewing it together in front of the class.

General Feedback :

- Make the design bigger

Personal Feedback :

- Change the type expression power

- Change the additional elements of 'CRUNCH' into alphabets

- Remove the wave element on the 'SOUP'

Week 4 - Exercise 1 : Animation

On week 3 we are already digitalized our design, as for week 4 we're instructed to make an animation of our word expression. In this, I am choosing word 'CRUNCH'. Mr. Vinod has reviewed our designs and gave us some feedbacks.

General Feedback :

- Give pause for the effect

Personal Feedback :

- Let the crumbs stay still instead of spreading it

Week 5 - Exercise 1 : Text Formatting

On week 5 our works were reviewed by Mr. Vinod and he gave us some feedback on our Text Formatting exercise.

General Feedback :

- Use related image

Personal Feedback :

- The kerning is too tight

- For Futura usage, increase the leading so the ascenders does not collide with the descenders

🔝

REFLECTION

Experience

Throughout this task, I learned how to make a design with some specific rules. During this task, I found difficulty in designing the type expression as we're not allowed to distort the fonts and only allowed to use fonts that has been provided. After we're able to make our sketches, we have to digitize it with Adobe Illustrator and then turned it into an animation. It was an amazing experience, because I get to know how to turn our design into simple animation by using Photoshop. And by the end of week 5, I learned how to formatting text, and I got a lot of knowledge about writing, making layout, especially how to use InDesign. Throughout the exercises I have learn that typography is fun but also challenging.

Observation

In these exercises, I've observed that designs are aligned with typography. And typography has the important role in design as an element that delivered message. Also It is good to look out to different style of design to gain our references.

Findings

Beside of the struggles, I found out that typography has interesting history behind its difficulties. Before this I never notice that typography is much more than just a words and fonts.

🔝

FURTHER READING

Fig. 1.0 A Type Primer (2002)

Based on the booklist that has been provided in the module information booklet, I did some further reading with the book "A Type Primer"

Reference :

John Kane (2002)

A Type Primer

Prentice Hall, 1 Lake St,

Upper Saddle River, NJ 07548.

Fig. 1.2 Page 2

Chapter 1 : Basic - Describing Letterforms

Fig. 1.3 Page 3

Chapter 1 : Basic - Describing Letterforms

Fig. 1.4 Page 4

Chapter 1 : Basic - Describing Letterforms

These parts summarize all of the important things that I need to know about letterforms, especially the part of letterforms. It is more easier to understand because the book also giving me the illustration. It is like learning human's body, and it is getting interesting because it makes me feel that a letter is not just a stroke that we can stare and recognize, but it is also has its own story.

Fig. 1.5 Page 5

Chapter 1 : Basic - The Font

Fig. 1.6 page 6

Chapter 1 : Basic - The Font

Fig. 1.7 Page 7

Chapter 1 : Basic - The Font

These parts introducing different kind of fonts, shows a particular kind of fonts, numbers, and symbols that we have to know. In the description next to the examples the author also put history and the usage of the font.

🔝
QUICK LINKS

TASK 2: Typographic Exploration & Communication

TASK 3: Type Design & Communication

Typography: Final Compilation & Reflection

HOME

🔝