Typography - Task 2: Typographic Exploration and Communication
30.05.2025 - 19.06.2025 (Week 6 - Week 7)
Yuan Xiaoyue ,0367988
Typography
Task 2，Typographic Exploration and Communication
Table of Content:
I. Lecture
2. Instructions
3. Process Work
4. Feedback
S. Reflection
6. Further Reading
1. Lecture：
week 5：
Typo_5_Understanding：
1. Understanding letterforms：
The structure of capital letters is not actually completely symmetrical. The strokes often have two different weights. Of particular note is the unique curve at each junction between the serif and the stem—the brackets. Although capital letters appear symmetrical, they have different weights and the radius of curvature of the brackets is also unique.
Most capital letters appear symmetrical on the surface, but they are not actually identical. If you look closely, you will see that the diagonal stroke on the left is usually slightly thinner than the right.
Helvetica and Univers are two sans-serif typefaces that appear similar at first glance, but a comparison of their lowercase “a” reveals significant differences. A closer look at the way the strokes of each letter are closed and the way the bowl joins the stem clearly reveals the unique design characteristics of each. This comparison reveals the complexity behind the typeface’s structure, especially in the differences in how the strokes are closed and elements are connected.
2. Maintaining x-height：
Curved glyph outlines, like the letter “s,” often need to extend slightly beyond the midline or below the baseline to visually balance in size with adjacent vertical or horizontal strokes. While the x-height generally represents the standard height for lowercase letters, letters with curves like the “s” often extend slightly beyond this height range to visually balance with straight strokes.
3. Letters/Form/Counter：
Contrast (or contrast) - the empty space enclosed or left by the strokes - is also a key element in type design. When letters are arranged into words, the spaces between and around the letters play a vital role in visual effect and reading fluidity. In addition to identifying the shape of each letter, we also need to pay attention to the treatment of these negative shapes.
The basic principles of graphic design also apply to font design. Among them, contrast is one of the most expressive techniques. It not only gives the layout rhythm, hierarchy and visual tension, but also effectively strengthens the communication effect of information.
2.Instructions：
TASK 2：Text Formatting and Expression：
Soon we will enter Task 2, which will further expand Task 1 and aim to design the layout of an article. I selected 《Bauhaus: The Movement That Changed Design》 from three candidate articles as the content basis for the layout design.
The task requires us to use InDesign to layout a 200×200 mm double-page layout based on the provided English text, and the title part can be designed in Illustrator. Images and colors are not allowed in the design, but basic graphic elements such as lines and shadows are allowed to be used appropriately to enhance the visual effect.
First I sketched, then I worked on it in Adobe Illustrator and InDesign, resizing and typography.
The final version of the title design is now complete and appears as follows:
I made six different layouts:
Finally, I and my teacher decided to use the following one:
HEAD LINE：
Typeface: Academy Engraved LET
Font/s: Plain
BODY：
Typeface: Univers LT Std
Font/s: 55 Roman
Type Size/s: 11 pt
Leading: 12 pt
Paragraph spacing: 10 pt
Characters per-line: 52
Alignment: left justified
Margins: 14.7 mm top + left + right + bottom
Columns: 2
Gutter: 10 mm
4. Feedback：
Week 5：
General Feedback：We started the second task and the instructions it required, and once the instructions were completed we had time to sketch and solicit feedback.
Specific Feedback: After showing the sketch to the professor, the professor gave me many suggestions and I started to re-work.
Week 6：
General Feedback：Start refining Task 2 and experiment with lettering and graphic elements
Specific Feedback: I started to use the software to start working on the final sketch. The teacher gave me a lot of inspiration for my title ideas.
Week 7：
General Feedback：This course is mainly based on consultation and feedback, and mainly revolves around the progress of task two. We showed the final design to the teacher and modified the composition, layout and overall effect.
Specific Feedback: The professor approved my design, but made some comments on the composition or layout, and finally selected a layout design.
5. Reflection：
Experience: Through previous practice, I became more confident in using typesetting tools in this task. When designing the article, I gradually realized that it was necessary not only to highlight the visual focus, but also to take into account the fluency of reading. At first, I put the title in the center, but the overall look was scattered and lacked coherence. In order to solve this problem, I re-drew many versions and finally achieved a satisfactory effect. This task was full of challenges. I went through countless attempts and overturning and reconstruction processes, and realized that it was not easy to achieve the ideal overall visual effect.
Observation: I realized that in the overall layout, the readability of the text is crucial. In order to maintain the coherence of the content, there should be a clear guide line between the title and the text. To achieve the right balance between design and readability, you need to have a highly sensitive perception of visual hierarchy and layout rhythm. First, you should focus on completing the sketch design of the title, and then check whether the layout of the text is smooth one by one. Any elements that do not conform to the reading path should be adjusted in time or discarded decisively to ensure the harmony and unity of the overall effect.
Findings: Compared with previous exercises, I have become more proficient in the logic and tool operation of typesetting. I have also gradually realized that text typesetting is not an easy task. It requires finding the right balance between beauty and practicality, while constantly exploring how to strengthen the theme expression with the simplest visual language, and improve the creative expression of the layout on the basis of ensuring readability. Especially the title design must be closely related to the text content, otherwise it will not only lack personality, but may also lead to a disconnection in the overall style and affect the reading experience.
6. Further Reading：
Continue reading from last time:《typographic design: FORM AND COMMUNICATION》
Syntax and Communication：This chapter compares typography to the "grammar" of a visual language, constructing a clear and powerful visual expression through font matching, spatial layout and directional guidance. I was particularly attracted by the discussion on "visual rhythm" and "visual hierarchy", which made me realize that typography is far more than just a pile of words, but more like "speaking" with images - it requires attention to the tone, rhythmic pauses and emphasis on information. This analogy of typography as language has deepened my understanding of its essence and inspired me to explore more emotional and expressive visual expressions in future designs.
The Typographic Message：This chapter deeply analyzes the core role of text as an "information carrier" in typesetting, not only from a semantic level, but also emphasizes the unity and collaboration between tone, style and form. Through specific cases, the author vividly shows that text not only conveys content, but also shapes emotional atmosphere and strengthens brand recognition. This made me realize that the "expression method" of typesetting is as important as the content it conveys. For example, the same sentence can present completely different visual feelings and emotions if it uses different fonts, line spacing or color schemes. Designers must constantly think: "What is my typesetting expressing? What tone is it conveying the information in?"
The Evolution of Typographic Technology：This chapter systematically reviews the development of printing and typesetting technology, from hot lead typesetting, phototypesetting technology, to the evolution of digital typesetting and variable fonts. Through reading, I have a better understanding of the historical background behind many "default functions" in today's design software. This not only makes me respect the engineering technology that typesetting relies on, but also makes me think: in today's world of constantly changing technology, how should designers still master the creative initiative in the changes of tools. Technology is only a means of implementation, and what determines the quality of visual effects is still the designer's way of thinking and aesthetic vision.
Overall, these insights have provided me with valuable practical knowledge that not only enriches my understanding of typography, but will also effectively improve my judgment in future designs and help achieve higher readability and visual harmony.
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