TASK 1 :TEXT EXPRESSION & TEXT FORMATTING

TYPOGRAPHY TASK 1: EXERCISE 1&2
4/4/2023 - 2/5/2023/ starting week-ending week
DAVIES ANNIKA ANGELA /0362108
TYPOGRAPHY/BACHELORS OF DESIGN(HONOURS) IN CREATIVE MEDIA

LECTURES

Week 1: Mr. Vinod showed us the feed on the Facebook as well as the google feedback sheet . He then gave a briefing on our module booklet and the importance of completing all our work on time . He also gave us the rules of the classroom and what kind of etiquette we should have. We were also shown examples of e portfolios from other students and then we proceeded to create our own. He explained what each section in the e-portfolio is about and how we update it .We also learnt what lines breakers (Enter) are and what forced line breakers(shift + enter) are and how to get them. We also learnt how to insert lines by changing to HTML view and changing the br in the code to hr. He also showed us how to embed a document and how to make sure the document can be viewed by everyone . He then showed us how to check document is visible entering the permalink of the post on an incognito page .

LECTURE 1

TYPOGRAPHY : DEVELOPMENT / TIMELINE

Typeface vs Font

Typeface is the underlying visual design that can exist in many different typesetting technologies
Font is one of these implementations for example there is a typeface named 'Bembo std' and 'Bembo std italic' would be the font

Early letterform development

The tools they used influenced the appearance of the letterforms as they used wet clay and sharpened sticks or stones as shown in the image in Fig 1.0

Fig 1.0 4th century B.C.E - Phoenician stele Carthage

fig 1.1 evolution of letterforms from Phoenician alphabet to modern Latin and early Arabic

Direction of writing

The Greeks decided to change the direction of writing from right to left (used by Semetic people (people in the middle east) )to a style of writing called 'boustropdedon" where by one reads from right to left then left to right and as this changes the orientation of the letter forms also changed

fig 1.2 Boustropdedon

Phoecian to Roman

Etruscan (Roman carvers) work first by painting letterforms before inscribing them to avoid making mistakes and wasting stone.

Qualities of their strokes

a change in weight from vertical to horizontal
broadening of the stroke at start and finish

fig 1.3 Late 1st century B.C.E., Augustan inscription in Roman Forum, Rome.

Handscript from 3rd - 10th Century C.E.

Square Capitals

letter form found in Roman monuments
qualities - have serifs added to the finish of main strokes
The variety of their stroke width was achieved by the reed pen held at an angle of approximately 60degrees off the perpendicular

fig 1.4 4th or 5th century Square Capitals

Rustic capitals

compressed version of square capitals using pen at 30degrees off the perpendicular
advantages - allowed for more words on sheet of parchment
- took less time to write
disadvantages - slightly harder to write due to compressed nature and more difficult to read

Fig 1.5 Bamboo reed pen Fig 1.6 Late 3rd - mid 4th century : Rustic capitals

Roman cursive

used in everyday transactions as it could be written fast
This is were the beginning of lowercase letter forms developed

Fig 1.7 4th century Roman cursive

Uncials

incorporated some aspects of Roman cursive hand especially in shape of A,D,E,H,M,U and Q. 'Uncia' is Latin for a twelfth of anything this could relate to the small size of the letter forms as there are an 'uncia' of the uppercase letterforms

Fig 1.8 4th- 5th century: Uncials

Half uncials

these mark the beginning of lowercase letterforms. They were developed 2000years after the origin of the Phoenician alphabet
Qualities - replete with ascenders and descenders

Fig 1.9 C.500 Half-uncials

Charlemagne, the first unifier of Europe since the Romans issued an eddict in 789 to standardize all ecclesiastical texts.

He entrusted Alcuin of York, Abbot of St Martin of Tours
The monks rewrote the texts using both majuscules(uppercase) , miniscule(lowercase), capitalization and punctuation which the standard for calligraphy for a century

Fig 2.0 C.925 Caloline miniscule

Blackletter to Gutenberg's type

variations upon Alcuins.
This condensed, strongly vertical letterform known as Blackletter or Textura gained popularity in Northern Europe
In the south , a rounder more open hand gained popularity called 'rotunda'.
The humanistic script in Italy is based on Alcuin's miniscule.
Gutenberg skills included engineering, metalsmithing, and chemistry.
He used all these skills to build pages that accurately mimicked the work of a scribe's hand. He developed a mechanism where the documenting of information can be done faster by developing small mental matrices that can be put together to form a word and words put together to form sentences like the 42line bible that he created,this saved money and the production of books was less costly and done more efficiently.

Fig 2.1 C. 1 300: Blackletter (Textura) Fig 2.2 C.1455: line bible, Johann Gutenberg, Mainz

fig 2.3 42 line bible by Gutenberg c.1455

SUMMARY OF TYPOGRAPHY DEVELOPMENT TIMELINE

Fig 2.4 Typography Development timeline

Black letter 1450

Earliest printing type, based upon hand copying styles used for books in Northern Europe
examples - Cloister black, Goudy Text
THIS IS GOUDY TEXT

1475 Oldstyle

Based upon lowercase forms by Italian humanists’ scholars for book copying and uppercase letterforms found on Roman ruins. Forms evolved away from calligraphic origins over 200 years as they migrated across Europe
Bembo, Caslon, Dante, Garamond
THIS IS BEMBO TEXT

1500 Italic

first were close-set and condensed allowing for more words per page, though they were considered their own class of Type, they eventually used to complement roman forms
this is italic

1550 Script

very decorative , not appropriate for lengthy words , range from formal and traditional to causal and contemporary
examples - Mistral, Snell Roundhand
this is mistral

1750 Transitional

a refinement of oldstyle forms.
Thick to Thin relationships were exaggerated and brackets were lightened
examples - Baskerville, Bulmer , Century

1775 Modern

Further rationalisation of oldstyle letterforms.
Serifs were unbracketed and contrast between thick and thin strokes were extreme
examples - Bell, Bondoni, Caledonia

1825 Square Serif/Sans Serif

originally heavily bracketed serif with little variation between thick and thin strokes.
Used in advertising for heavy type in commercial printing as brackets were dropped
examples - Clarendon, Memphis, Rockwell

1900 Sans Serif

also referred to as grotesque and gothic
examples - Meta, News Gothic, Optima

1990 Serifs/ Sans

enlarges the notion of a family of typefaces to include both serif and sans serif alphabets
examples - Scala, Stone ,Rotics

WEEK 2 : introduction to who Mr Vinod is and his background - created type faces and stencils and tried to standardize number plate.

He showed us Work done by students (type faces created by students) .

Job speed -Why is publishing important 20- 30% higher chances if you have published online

Fahmi Reza- Malaysian political graphic designer, street artist and documentary filmmaker

LECTURE 2

TYPOGRAPHY TEXT/TRACKING

Kerning: Automatic adjustment of space between letters

Letterspacing: The addition of space between letters

Tracking: The addition and removal of space in a word or
sentence (Kerning + Letterspacing)

Fig 2.5 Kerning and Letterspacing

Fig 2.7 showing 'step' in font univers 55 normal tracking (top right),tight tracking (bottom left)and loose tracking (bottom right)

Designers find it acceptable to letter space uppercase letterforms
It is not encouraged to letter space lowercase letters as the readability reduces

FORMATING TEXT

Tight tracking, normal tracking and Loose tracking

It is important to track words appropriately to make sure the readability of the word is good

Fig 2.6 Tight tracking(left) , Normal tracking(middle) , Loose tracking(right)

FLUSH LEFT	- Each line starts at the same place but ends wherever the last word of the text ends. Spaces between texts are consistent allowing the type to create an even gray value.
CENTERED TEXT	assigns equal value and weight as the start and end of each sentence . symmetry is imposed should be used sparingly with small bodies of text
FLUSH RIGHT	- where the nd of the line opossed the start and is used in cases like captions for pictures or if there is an axis in the centre of a page
JUSTIFIED	- imposes symmetrical shape of text, achieved by expanding or reducing spacing between words can occasionally produce rivers of white space running vertically through text.

TYPE THAT CALLS ATTENTION TO ITSELF BEFORE THE READER CAN GET TO ACTUAL WORDS IS SIMPLY INTERFERENCE AND SHOULD BE AVOIDED (if you see the type before the words then change the type)

TYPOGRAPHY : Text/Texture

Different typefaces suit different messages
Text with generous X height or relatively heavy stroke width produces a darker mass on the page(high gray value)
Text with smaller X height or lighter stroke produces lighter mass on the page(low gray value)
This is Key to making successful layouts

Fig 2.7 Anatomy of A Typeface

Grayscale

Most suitable gray vale would be a middle gray value such as Baskerville shown in fig 2.8

Fig 2.8 Different Typefaces and gray scale values

Leading and Line length

Goal - easy, prolonged reading. Field of Type should occupy the page as much as photograph does

Type size: Text type should be large enough to be read easily at arm's length.

Leading: Text that is set too tightly encourages vertical eye movement; a reader can easily lose track. Type that is set too loosely creates striped patterns that cause distraction.

Line Length: determined by gray value Shorter lines require less leading; longer lines more. Keep the line length between 55-65 characters. Extremely short or long line lengths impair reading

Fig 2.9 tight leading and short line length (right) and loose leading and long line length(left)

Type specimen book

A type specimen book shows samples of typefaces in various different sizes.
It is to provide an accurate reference for type, type size, type leading, type line length, etc.
Useful to enlarge type to 400% to get a clear sense of the relationship of ascenders on one line and descenders on the other

Fig 3.0 Sample type specimen sheet

Fig 3.1 10 Typefaces used for this module

WEEK 3:
Mr Vinod examined our e portfolios and gave feedback . He also looked at our digitalised words for the Type expression exercise and gave feedback and also gave some tutorials on how to illustrate some of the words.

LECTURE 3

Indicating paragraphs

PILCROW (¶)

a holdover from medieval manuscripts seldom use today

LINE SPACING

a line space (leading) between lines

12pt leading should have 12pt line spacing as it maintains a good reading rhythm and ensures cross alignment across columns of text

STANDARD INDENATION

typically same size as of line spacing of text or same as point size of text

used to save space in newspapers

Best used in justified text ( never use for left align otherwise there is ragging on both sides of text)

Fig 3.2 use of pilcrow (left)(left)line spacing of 12pts(middle) Standard indentation(right)

Line spacing and leading

Fig 3.3 Line spacing vs Leading

Widows and orphans

should never occur in your designs
widow- a short line of type left at the end of a column of text
orphan- a short line of type left at the start of a new column
reducing column width or height is how you avoid it as well as introducing a second line

Fig 3.4 Widows and Orphans

In Justified text widows and orphans are very noticeable and in flush right text ragged left it is more pardonable
forced line break
rebreak column to remove this so that last line isn't noticably short
kerning can also help reduce this but not more than 3 times or less the 3 times(Tracking must be 5/1000em)
make sure that no column of text starts with the last line of the preceding text fixed by reducing line length of column

Highlighting text

making text bold
making text italic
changing font of text - make sure to make font size is similar to other font ( from Sans to Sans serif ) reduce by 0.5
Reduce aligned numbers or capital acronyms by 0.5 to ensure visual cohesion
changing colour of text to cyan ,magenta and black
Shade box of text best when indentation is used for indicating paragraphs
Bullet points(maintaining good reading axis by aligning bullet points to axis)
Quotation marks may be necessary by making it outside of headlines(A prime is not a quote. The prime is for inches and feet. They were later known as ‘dumb quotes’.
Using them inappropriately as a designer is offensive)

Fig 3.5 San serifs font (univers) reduced by 0.5 to match x height of serif typeface

Creating hierachy of information

A Heads

indicates a clear break between the topics within a section

B Heads

Subordinate to the A head
used to show new supporting argument or example for a topic at hand
they should not interrupt text as much as A heads

C Heads

followed by an 'em' space for visual separation
highlight specific facets of material within B head text.
They don't interrupt the flow of reading

Fig 3.6 A head (left), B head(middle), C head( right)

Cross alignment

cross aligning headlines and captions reinforces architectural sense of the page
if using a big font for the captions compared to text double the leading to maintain cross alignment

Fig 3.7cross alignment with captions and headlines being different font sizes

WEEK 4 :

Mr Vinod examined our animations and spot checked a few portfolios and gave a briefing on the next task on text formatting.

LECTURE 4

Typography basic

Describing letterforms

capital letters are wider and have more surface area at the top and that is why the ascender height is greater that it so that there is more balance optical adjustment

Fig 3.8 describing different letterforms

The Font

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

Fonts have

Uppercase letterforms
lowercase letterforms - Lowercase letters include the same characters as uppercase.
small capitals- primaraly found in serif fonts to make even gray value they are the size of x height for acronyms do not use force capitals as it makes strokes thin
uppercase numerals - also known as lining figures . all set to same kerning width succesful ,with tabular material
lowercase numerals-also known as old style figures /text figures less common in sans serif than serif , set to x height with ascenders and descenders
italics- small capitals do not have italics
punctuation and miscellaneous characters - can change from typeface to type face make sure they are available in certain typefaces
ornaments - found in traditional or classical typefaces used as flourishes in invitations and certificates (adobe caslon)

Describing typefaces

Fig 3.8 different typefaces

Roman

uppercase forms are derived from inscriptions of roman monuments . A slightly lighter stroke is known as book"

Italics

named for fifteenth century Italian handwriting on which the forms are based

oblique-based on roman form of typeface

Boldface

Characterized by a thicker stroke than a roman form. It can also be called ‘semi bold’, ‘medium’, ‘black’, ‘extra bold’, or super.

Light

A lighter stroke than the roman form. Even lighter strokes are called ‘thin’.

Condensed

A version of the roman form, and extremely condense styles are often called ‘compressed’.

Extended

An extended variation of a roman font.

Comparing typefaces

Ten type faces below represent 500years of type design the goals of the creators of there type faces had two goals easy readability and an appropriate expression of contemporary aesthetics
strong typefaces are simple and be used for various uses

Fig 3.9 comparing typefaces

In Fig 3.9 Some of the Rs and As are whismical, awkward, mechanical, harmonous calligraphic

WEEK 5 :

LECTURE 5

UNDERSTANDING LETTERFORMS

Fig 4.0 Baskerville A

The uppercase letterforms give the impression of symmetry, although it is not. There are two different Baskerville stroke weights, but what's more noticable is that each bracket joining the serif to the stem has a distinctive arc.

Fig 4.1 Univer's A

Although the uppercase letterforms appear to be symmetrical, closer inspection reveals that the left slope is narrower than the right stroke. A type designer takes great care to produce letterforms that are both internally unified and individually expressive, as seen in Baskerville (prior) and Univers (Fig. 4.1).

Fig 4.2 Helvetica vs 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 the stems quickly reveals the palpable difference in character between the two

Maintaining x height

Fig 4.3 overlapping baseline and median

Size of the lowercase letterforms (X-height). Curved strokes, like the letter's' as it has less real estate, must rise above the median (or dive below the baseline) in order to seem to be the same size as the adjacent vertical and horizontal strokes

3. Form / Counterform

Fig 4.4 Form and Counterform

The space that the form's strokes describe and frequently contain is known as the counterform (or counter). The spaces between letters are included in the word's counterform when they are combined to form letters. The way the counters are handled affects how nicely the words flow together and how simple it is for us to read what has been established.

Contrast

Fig 4.5 Contrast of different letters

contrast is used in differentiated different information

WEEK 6:

LECTURE 6

SCREEN AND PRINT

Type for print

paper communication has reduced exponentially
designer needs to make sure that the text is smooth, flowing and pleasant to read good typefaces for print are Caslon, Garamond, Baskerville as they are elegant and intellectual but also highly readable when set at small font size. versatile, easy to digest and neutral which makes typesetting simple
Fig 4.6 showing type for print

Type for screen

Typefaces are often modified to enhance readability.
This is done by increasing x height , reducing ascenders and descenders, using wider letterforms, more open counters, heavier thin strokes and serifs, reduced stroke contrast, as well as modified curves and angles for some designs examples of typefaces badana, georgia.
another adjustment is making more open spacing for smaller sizes of text

hyperactive link/hyperlink

A hyperlink is a word, phrase or image that you can click on to jump to a new document or new section within current document they are normally blue and underlined by default . when you move your arrow over a hyperlink it turns into a hand pointing . hashtags are a form of hyperlinks

good point sizes for screen - 12points/16 pixels

system Fonts for Screen/ Web Safe Fonts

Open Sans, Lato, Arial, Helvetica, Times New Roman, Times, Courier New, Courier, Verdana, Georgia, Palatino, Garamond

Static vs motion

static

has minimanal characteristic in expressing words .
Traditional characteristics such as bold and italic offer only a fraction of the epressive potential of dynamic properties
Typically used in magazines, billboards and posters

motion

dramatize Type for letterforms to become fluid and kinetic
used in Film and television production, music videos and advertisements

Fig 4.7 the movie "Seven" (1995) showing title credits(depicting motion typography)by David Fincher, showing motion typography

INSTRUCTIONS

Task 1 :Exercises- Types Expression

select 4 words and represent each word in a way that conveys their meaning by sketching out ideas that can represent each word well then digitalising it

The words available are

KILL
DANCE
THROW
SPEED
BLUR
SHATTER

SKETCHES

Fig 4.8 sketches of throw,speed,dance and kill 17/04/2023

Above are my sketches for each word I included annotations to elaborate more on the idea I'm trying to bring out. I also attempted to do the sketches in the given typefaces that we are allowed to use so that when its easier to envision each idea once I am digitalising them in Adobe illustrator.

My favourite type expressions for kill were kill #1 and kill #5 because I found them to be very unique and simple yet they also have a strong impact when bringing out the meaning of the word . I also made the 'I' in kill #5 lowercase so that it can look like a person I also gave it an outline look to give the sense the 'person' who has committed suicide felt a sense of emptiness.

My other favourite designs were Throw #1 , dance #1 and speed #2 .i especially liked dance #1 as it has three factors that express its meaning firstly the baseline of each letter is different to give off that th 'a' and 'c' are jumping which is something that people typically do when dancing at raves to pumped up songs .This difference in baselines also makes the letters form a wave like shape like the wave dance like the arm wave or the stadium wave that spectators do at sports games . The lowercase 'c's look like musical notes to depict music that in turn results in dancing

Fig 4.9 arm wave

DIGITALISING IDEAS

Fig 5.0 Digital ideas for word dance 20/04/2023 Fig 5.1 Digital ideas for Kill 18/04/2023

fig 5.2 digitalised ideas for speed and throw 20/4/2023

PROGRESSION

Fig 5.3 progression for Dance 21/4/2023

I used a Bodoni typeface to give it a youthful vibe and I chose to make it lowercase so that there is a good flow from one letter to the next

Fig 5.4 progression for Kill 21/4/2023

I made the backround black to give the word a dark feel.

Fig 5.5 progression for speed 21/4/2023

I used the alt key and eraser tool to delete the stem of 'E' and dragged it to the left to elongate it to make the streaks of motion. I also put a gradient to show represent the streaks of motion well. I decided on a black background so that the letters appear like light essentially evoking the speed of light.

Fig 5.6 Progression for Throw 21/4/2023

This was very simple to do on illustrator .

Fig 5.7 progression for final Kill 21/04/2023

1)I typed out the word but made the I lower case so it can depict a person

2)I elongated the 'i'

3)made the top of the stem more rounded

4)added a line that connects to the head to show a rope the line was 0.5pts thick

Fig 5.8 initial idea for final Type expressions 18/04/2023

FINAL TYPE EXPRESSIONS

Fig 5.9 Final type expressions 3/5/2023

Fig 6.0 Final Type expressions pdf 3/5/2023

TASK 2 : TYPE EXPRESSION ANIMATION

Fig 6.1 First attempt at animating the word throw 24/4/2023

I made the T and H of the word spin to show the effect of them being thrown up in the air

I used 12 frames to make this

for my next attempt I will try to make the 'O' spin as well and the W go straight up

Fig 6.2 FINAL RESULT of throw animation 25/04/2023

Fig 6.2 16 frame animation 21/04/2023

Mr vinod advised that I make each letter look like its being thrown individually and to make all the letters spin. I also made the 'O' leave the frame

TASK 1 : EXERCISE 2 : TEXT FORMATTING

We must design a single final style for Exercise 2 that takes into account many aspects of text formatting, including kerning, leading, paragraph spacing, alignment, etc. We will build and practise our spatial arrangement and information hierarchy skills with this exercise. For this assignment, Adobe InDesign is to be used.

LECTURE 1 :Text Formatting: Kerning and Tracking

Fig 6.3 Text formatting with kerning and tracking on the left and Text formatting without kerning and tracking on the right 1/5/2023

fig 6.4 with kerning done (left) and without kerning(right)

LECTURE 2 - 4

Range of words per line - 55- 65words per line

Leading 2pts or larger than font size

Leading used is same as paragraph spacing

Evenness in text (good gray scale)

Not too much hyphenation

No widows and orphans

When using justified 5mm gap should change to 7mm

Right alignment and centered alignment not suitable for a lot of text

fig 6.5 first layout 2/5/2023

Fig 6.6 showing cross alignment 2/5/2023

I liked this layout but I did think the gray value was too high and the image was too big

Font used - Gill sans MT Regular

HEADING

'I am Helvetica' - font size -23pt , kerning done - (-20)

'by John Doe' - font size 19pt done in Gill sans MT Italics

Leading between 'I am Helvetica' and 'John Doe' - 21pt

BODY OF TEXT

Font size- 10pt

Leading - 12pt

Paragraphs - 12pt

CROSS ALIGNMENT

done manually by moving text boxes so that text lies on base grid lines

Fig 6.7 layout 2 2/5/2023

I liked this layout as well but i think making all the text in one column made the text look like it was a lot and so it wouldn't be appealing to the reader

HEADLINE
'I am Helvetica' - font size -43pt , kerning done - (-20)
'by John Doe' - font size 33pt done in Gill sans MT Italics
Leading between 'I am Helvetica' and 'John Doe' - 33pt

BODY OF TEXT

Font size- 10pt

Leading - 12pt

Paragraphs - 12pt

average Characters per line -60

Margins top 12.7mm, left 12.7 ,right 12.7mm. bottom 50mm

columns 2

gutter - 5mm

Fig 6.8 layout 3 2/5/2023

HEADLINE
'I am Helvetica' - font size -43pt , kerning done - (-20)
'by John Doe' - font size 33pt done in Gill sans MT Italics
Leading between 'I am Helvetica' and 'John Doe' - 33pt

BODY OF TEXT

Font size- 10pt

Leading - 12pt

Paragraphs - 12pt

average Characters per line -60

Margins top 12.7mm, left 12.7 ,right 12.7mm. bottom 50mm

columns 2

gutter - 5mm

fig 6.9 Layout 4 (week 5) 2/5/2023

fig 7.0 final layout with grids and guidelines

Final layout format

HEADLINE
'I am Helvetica' - font size -43pt , kerning done - (-20)
'by John Doe' - font size 33pt done in Gill sans MT Italics
Leading between 'I am Helvetica' and 'John Doe' - 33pt

BODY OF TEXT

Font size- 10pt

Leading - 12pt

Paragraphs - 12pt

average Characters per line -60

Margins top 12.7mm, left 12.7 ,right 12.7mm. bottom 50mm

columns 2

gutter - 5mm

I also reduced the font size of the acronyms in the text so that there is harmony in the text.

fig 7.0 Final layout 3/5/2023

Fig 7.1 Final layout with guidelines and grids (week 5)3/5/2023

FEEDBACK

WEEk 1

General Feedback : Mr Vinod expressed the importance of further reading and reading something every week even if its a paragraph or page and document it in the e portfolio and that we shouldn't embed something from power point but rather screen grab and when updating your feedback in the google sheet the latest week should be at the top. He then explained how to embed a document and how to make sure it is made public and he also showed us how to check that the document is public by copying the permalink of the post and searching for it in an incognito tab. Mr Vinod also advised that after each update we check that it is visible in the browser and he told us to label each post. He also encouraged to unpublish and then edit it and not to customize the eportfolio for the first 5 weeks. Mr vinod advised us to make sure we put labels on each post . He also elaborated on the importance of labelling each image as well as describing and dating it. He advised that we number the images before we submit to avoid numbering wrong and that our final work should be screengrabbed and should be jpeg

WEEK 2

Specific Feedback :more shattering for the word shatter

reduce amount of distortion in the word melt

give perspective and more shake to the dance to show movement

General Feedback : keep the format of typeface and reduce distortion of certain words especially "melt"

make sure each word is readable

be prudent in use of melt droplets and limit graphical elements

If graphical elements are used make them grey so they do not take away from concept being shown

create contrast in ideas as it pronounces the idea more

thickness of line strokes to show some sort of motion should a thickness of 0.5mm

come up with distinct ideas rather than the same concept in different forms

use appropriate typeface for what you want to portray

4 questions to ask yourself

are the explorations sufficient
Does the expression match the meaning of the word
On a scale of 1-5 , how strong is the idea
How can the work be improved

WEEK 3

general Feedback: Reduce graphical elements. Place words well in each box.

specific Feedback:designs were good just need to add an element of impact in composition. Label and date each picture in e portfolio. update lectures in e portfolio. make font size 7 pts for font labels. use ITc font type

WEEK 4

general feedback: for smooth animation use 25 frames per second

specific feedback: Good animation for 'throw' but make letters go out of the frame or return back to the bottom

WEEK 5

general feedback: if justified make sure zero formatting has been done before hand

reduce rivers by introducing hyphenation Do not make entire body of text bold use black and white images only

reduce point size of capitals in acronyms

Specific feedback:

Questions to ask yourself

1.Is Kerning and tracking appropriately done?

2.Does the font size correspond to the line-length,leading & paragraph spacing

3.Is the alignment choice conducive to reading?

4.Has the ragging been controlled well?

5.Has cross-alignment been established using base-grids?

6.Are widows and orphans present?

WEEK 6

general feedback: use of bodoni is a bad idea for large amounts of text . Do not use different line lengths throughout your text focus on one thing at a time instead of trying to multitask

specific feedback: Line length is too long ,improve on layout

REFLECTIONS

Experience: setting up e portfolio was fairly simple. Updating consistently required a

lot of effort but it helped a lot as I did not need to catch up much. Sketching was interesting and it allowed me to be really visualize my ideas .Writing the lecture notes were a struggle as some were quite long but watching the lecture videos at 1.5x speed helped as well as taking breaks after every 15mins.Learning about the development of letterforms was quite intriguing and discovering certain information about certain characters that I was using wrongly (quotes and primes). Formatting the layout of my e-portfolio was difficult as first but eventually i got the hang of it. Using Adobe Illustrator for the first time was quite laborious I still need to develop my technical skills a bit more by watching more tutorials on the creative cloud. Animating was fairly easy and I enjoyed seeing the breakdown of it all as I have always been fascinated by animation. Picking a good layout for Exercise 2 was okay Mr. Vinod did gave really good feedback and I liked the final outcome. Overally it was an interesting and educational experience though they were several times where I almost had mental breakdowns

Observations:

I noticed i enjoy being challenged to be creative while being given strict limitations especially with the type expression exercise . I also realized that 'simplicity is the the ultimate sophistication'-Leonardo da Vinci in the type expression exercise especially with the my final selection for the words throw, dance and Kill. I managed to portray the meanings of each word with minimal effort .I also learned that researching on each task before beginning is imperative to producing impactful and meaningful work basically using Semantics (something I learned in my further reading). I observed that i need to improve on my discipline and time management skills as sometimes i do end up doing things in a rush due to deadlines and my work suffers because of it . I also got to use my skills that i learnt in my Illustrative and visual narrative class as well as my digital imaging and photography class as when i was compiling all my sketches and progression I used Adobe photoshop which was something I found to be very useful which resulted in my work being more tidy and presentable

Findings: In conclusion the tasks I had to complete here really tested my creative abilities and brought to light some of my shortcoming in terms of my technical abilities which I will improve on my watching tutorials online and learning certain shortcut keys to allow me to work faster. I learned a lot about the presentation of text and when to use appropriate fonts and typefaces for certain projects . I also got to appreciate letterspacing and kerning so much more as now whenever I see certain logos or posters I start to say stuff like "they could've kerned that word a bit more" which is something I thought I would never say