18/9/2023--22/10/2023 (Week4--Week8)
LIU JUNXUAN/ID NO. 0358508
Typography/Bachelor of Design (Honours) in Creative Media
Task 2（A/B）
Lecture
Handwriting
3.1
We study handwriting because the first mechanically producedletterforms were designed to directly imitate handwriting. Handwritingwould become the basis or standard for form, spacing andconventions mechanical type would try and mimic.
The shape and line of hand drawn letterforms are influenced by thetools and materials used to make them. Sharpened bones, charcoasticks, plant stems, brushes, feather and steel pens all contributed tothe unique characteristics of the letterform.
Additional factors included the material upon which the forms were written clay, papyrus, palm leaf, animal skins (vellum and parchment) and paper.
3.2 CuneiformC.3000 B.C.E
3.3 Hieroglyphics2613-2160 B.C.E
The Egyptian writing system is fused with the art of relief carving. The system was a mixture of both rebus and phonetic characters--the first link to a future alphabetic system. Hieroglyphic images have the potential to be used in three different ways:
1. As ideograms, to represent the things they actually depict.
2. As determinatives to show that the signs preceding is meant as phonograms and to indicate the general idea of the word.
3. As phonograms to represent sounds that "spell out" individual words.
3.4 Early Greek / 5th C.B.C.E
3.5 Roman Uncials
3.6 English Half Uncials, 8th C
3.7 Black Letter12-15 C. CE
Gothic was the culminating artistic expression of the Middle Ages, occurring roughly from 1200-1500.The term Gothic originated with thallations who used it to refer torude or barbaric cultures north of the Italian Alps.
3.9 Chinese printing
Type printing is an ancient printing method, which was invented by the ancient Chinese people of labor, which was invented by long-term practice and research, and this invention became the last great technological revolution in the history of printing. The clay type invented in the northern song festival in the northern song dynasty (1041 -1041), which was invented in China, was the first inventor of the world, about 400 years earlier than the German John neth Gutenberg type printing. Wang zhen, the yuan dynasty, succeeded in making wood and invented the typo. In the middle of the Ming dynasty, copper characters were used more in jiangsu, nanjing, wuxi and suzhou.
type design carries a social responsibility so one must continue toimprove its legibility.
type design is a form of artistic expression.
“Adrian Frutiger is a renowned twentieth century Swiss graphic designer. His forte was typeface designing and he is considered responsible for the advancement of typography into digital typography. His valued contribution to typography includes the typefaces; Univers and Frutiger.
Let us look at the typeface Frutiger, his name sake. Frutiger is a sansserif typeface designed by the Swiss type designer Adrian Frutiger in1968 specifically for the newly built Charles de Gaulle International Airport in France. A more detailed history can be found here.
Purpose: "The goal of this new typeface was create a clean, distinctive and legible typeface that is easy to see from both close upand far away. Extremely functional."
Considerations/Limitations: letterforms neded to be recognized even in poor light conditions or when the reader was moving quickly past the sign. He tested with unfocused letters to see which letterforms could still be identified.
Matthew Carter is the son of Harry Carter, Roval Designer for Industry. contemporary British type designer and ultimate craftsman. Carter trained as a punchcutter at Enschede by Paul Radisch, responsible for Crosfield's typographic program in the early 1960s, Mergenthaler Linotype's house designer 1965-1981.
Many of Carter's fonts were created to address specific technicalchallenges, for example those posed by early computers... Let us lookat Verdana (1996) for Microsoft
Purpose: the font was tuned to be extremely legible even at very smallsizes on the screen due in part to the popularity of the internet andelectronic devices
Considerations/limitations: The Verdana fonts exhibit characteristics derived from the pixel rather than the pen, the brush or the chisel. Commonly confused characters, such as the lowercase i j l.
Off screen, Georgia and Verdana have also made appearances inprint. In 2010 there was a lot of "fontroversy” when it was announced that IKEA would be changing from Futura to Verdana.
In 1976, AT&T commissioned the design of a new typeface whose sole purpose would be for use in their telephone directories. The design had to solve multiple technical and visual problems related with the existing phonebook typeface, Bell Gothic. The solution, named inhonour of the company's 100thanniversary. was Bell Centennial!
Edward Johnston is the creator of the hugely influential London“Underground”typeface, which would later come to be knows asJohnston Sans”(1916)
He was asked to create a typeface with “bold simplicity” that was trulymodern yet rooted in tradition. Johnston's design, completed in 1916.combined classical Roman proportions with humanist warmth.
Purpose: London's Underground railway ordered a new typeface for its posters and signage from the calligrapher Edward Johnston. He handed over details and examples of letter shapes that would set the tone for printed text until the present day.
Perception in typography deals with the visual navigation and interpretation of the reader via contrast, form and organisation of the content. Content can be textual, visual, graphical or in the form of colour. However, our focus today is on typography.
contrast
There are several methods in typography to create contrast theone on the left is devised by Rudi Ruegg. They are self-explanatory.
Carl Dair on the other hand adds a two more principles into the mix:texture and direction “to make design work and meaning pop out clearly and unambiguously, and with flair." via the use of contrast intypography.More here.
Dair posits 7 kinds of contrast (most of which has already been covered by Rudi Reugg albeit using different terms): 1. Size, 2. weight, 3. contrast of form, 4. contrast of structure, 5. contrast of texture, 6. contrast of colour and 7. contrast of direction.
Contrast/ Size
A contrast of size provides a point to which the reader's attention is drawn. For example, if you have a big letter and a small letter you will obviously see the big letter first before the small. The most common use of size is in making a title or heading noticeably bigger than the body text.
Contrast / Weight
Weight describes how bold type can stand out in the middle of lighter type of the same style. Other than then using bold, using rules, spot squares are also providing a “heavy area” for a powerful point of visual attraction or emphasis, therefore not only types of varying weight.
Contrast/ Form
Contrast of form is the distinction between a capital letter and its lowercase equivalent, or a roman letter and its italic variant, condensed and expanded versions of typeface are also included under the contrast of form.
Contrast / Structure
Structure means the different letterforms of different kinds of typefaces. For example, a monoline sans serif and a traditional serif. Or an italic and a blackletter.
Contrast / Texture
By putting together, the contrasts of size, weight, form, and structure and applying them to a block of text on a page, you come to the contrast of texture. Texture refers to the way the lines of type look asa whole up close and from a distance. This depends partly on the letterforms themselves and partly on how they're arranged.
Contrast/ Direction
Contrast of direction is the opposition between vertical and horizontal, and the angles in between. Turning one word on its side can have a dramatic effect on a lavout. Text blocks also have their vertical or horizontal aspects of direction. Mixing wide blocks of longlines with tall columns of short line can also create a contrast.
Contrast / Colour
The use of color is suggested that a second color is often less emphatic in values than plain black on white. Therefore, it is important to give thought to which element needs to be emphasized and to pay attention to the tonal values of the colors that are used.
Week4:
7.1 Key artwork (19/9/2023)
Week5:
8.1 Key artwork (25/9/2023)
8.2 Key artwork (27/9/2023）
8.3 Key artwork (27/9/2023)
Week6:
9.1 Key artwork final (4/10/2023)
9.2 Key artwork (4/10/2023)
9.3 competition (6/10/2023)
Week7:
10.1 Key artwork (9/10/2023)
10.2 Key artwork (9/10/2023)
10.3 Key artwork (9/10/2023)
10.4 Key artwork (9/10/2023)
10.5 Key artwork (9/10/2023)
10.6 Key artwork (9/10/2023)
10.7 Key artwork (9/10/2023)
10.8 Key artwork (9/10/2023)
10.9 Key artwork (9/10/2023)
10.10 Key artwork (9/10/2023)
Week 8:
11.1 Key artwork (22/10/2023)
IG Link:
Final submission：
12.1 Key word of Gif
12.2 IG in phone
12.4 Instagram post
12.5 Instagram post
12.6 Instagram post
12.7 Instagram post
12.8 Instagram post
12.7 Instagram post
12.8 Key artwork
12.9 Key artwork
12.10 Key artwork
12.11 Key artwork
Week4:
General Feedback: I need to design several more options for me to choose, and I need to be readable to recognize what words are designed and also need to have its own meaning in it, rather than the design of this kind of design.
Week5:
General Feedback: My keyword needs to improve its color on black T-shirts so that it can see the design letters on black T-shirts. There needs to be some balance between X and N to make the senses better.
Week6:
General Feedback: In the design can be in different forms to combine them together, do not repeat too much will be boring, you can add some elements. Instead of stacking the entire design, you can stack a few letters.
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