23/10/2023 - 6/11/23 | Week 5 - Week 7

Iman Mikudim | 0338004 | Section 1

Typography | Bachelor of Design (Hons) in Creative Media

Task 2: Typographic Exploration & Communication (Text Formatting and Expression)

SECTIONS

| Lectures (All lectures documented in Task 1)

| Instructions

| Feedback

| Reflections

| Further Reading

INSTRUCTIONS

Sections:

1. Research

2. Sketches

3. Digitalization

4. Final (Submission)

For this task, we are to choose 1 from the 3 text options provided and express the content typographically.

Brief:

Page size: 200mm x 200mm per page (total length: 400mm).
No images allowed.
Some very minor graphical elements, i.e. line, shade, etc. might be allowed.
May use Adobe Illustrator to create the headline expression.
Final layout (text formatting and layout) is to be completed in Adobe InDesign.
Explore several options in expression and layout (sketches).
Execute a good layout, with an expressive and appropriate headline in line with the spirit/message of the text.

Text options:

The role of Bauhaus thought on modern culture
A code to build on and live by
Unite to visualise a better world

Note:

The headline is a crucial element of the layout and should be both attractive and readable.
Alignment leads to good layouts, and understanding information is essential for effective layout design.
To create an impactful yet compact headline, select a keyword and express it effectively.
Design a balanced layout that engages the reader and delivers visual impact.

Steps:

Choose a text option.
Research and understand the headline's meaning.
Flow text in InDesign, considering typeface, space usage, and available space.
Express one word/spirit of the headline with impact and compactness. Place it strategically on the spread.
Ensure the headline commands attention and allows space for text. Use minor graphical elements for depth when necessary.

1. Research

(i) Background and Founding:

The Bauhaus was founded by the architect Walter Gropius.
It was created by combining two schools: the Weimar Academy of Arts and the Weimar School of Arts and Crafts.
The name "Bauhaus" is derived from inverting the German word "Hausbau," which means "building of a house".

(ii) Bauhaus Movement and Design Principles:

The Bauhaus Movement emerged in Germany during the 1920s and 1930s.
It is primarily defined by its design principles.
The motto of the movement is "Form Follows Function."
Characteristics of Bauhaus design include functional shapes, sparing use of abstract decoration, simple colour schemes, and an emphasis on simplicity with clean lines and geometric shapes.
The style combines elements of the Arts and Crafts movement with modernism.
Its goal is to integrate art into everyday life.
The Bauhaus style is geometric and abstract, minimizing sentiment and avoiding historical references.

(iii) Inspiration:

Fig 1.1 Bauhaus Style (Inspirations) | Week 5 (23/10/23)

2. Sketches

Fig 1.2 Headline Expressions (Sketches) | Week 5 (23/10/23)

Once I had done some research, I proceeded to create rough sketches in Procreate, with a focus on the word "Bauhaus" as it is the main subject of the heading. While designing the headlines, I kept in mind the emphasis on simplicity, clean lines, and geometric shapes, as these are key characteristics of Bauhaus design.

3. Digitalization

(i) Headline Expressions:

Fig 1.3 Headline Expressions (Illustration) | Week 5 (23/10/23)

I then went ahead and created the headlines in Adobe Illustrator, experimenting with various designs and shades.

I chose Futura because it is often used as a headline typeface for Bauhaus-inspired designs. Its bold, attention-grabbing characters and geometric design work well for making a strong visual impact and conveying a sense of modernity, which I believe aligns with the Bauhaus emphasis on clarity and simplicity.

(ii) Layout Progress:

After narrowing down the headline expressions to the ones I thought were the best, I proceeded to work on the text formatting layouts for the different expressions.

I chose Univers as the body text font for its versatility and readability, making it well-suited for Bauhaus-inspired designs. Univers features clear and balanced letters, ensuring that longer text passages are easily legible. By combining it with Futura for headlines, I aimed to achieve a typographic balance that reflects Bauhaus principles of functional design and communication clarity.

Fig 1.4 Layout #1 (Preferred) | Week 5 (23/10/23)

Fig 1.5 Layout #2 | Week 5 (23/10/23)

Fig 1.6 Layout #3 | Week 5 (23/10/23)

Fig 1.7 Layout #4 | Week 5 (23/10/23)

In week 6, Mr. Vinod commented that the headline expressions and text formatting were good; however, he pointed out that the alignment could be improved. While he liked the 3rd and 4th layouts, with the letters 'A' and 'H' separated by a gap, he thought it might be a bit confusing to read the words separately. He suggested going with layout #1 instead, as it was clearer and easier to read.

Fig 1.8 Layout #1 Progress (Subheading) | Week 5 (23/10/23)

Fig 1.9 Layout #1 Progress (Subheading) | Week 5 (23/10/23)

After receiving feedback from Mr. Vinod, I moved the heading down to align it with the paragraph in the second column on the right page. I also changed the font of the subheading to a condensed font and aligned it with the paragraph. However, after making the changes mentioned above, I felt that the original font for the subheading was better, and I believed that I could further improve on its alignment instead.

Fig 1.10 Layout #1 Progress (Heading) | Week 5 (23/10/23)

For the updated progress on layout #1, I removed the shadings in the letter 'U' as I felt it didn't correspond with the Bauhaus style. I also reverted the second letter 'A' of the word Bauhaus to its original typeface, as it was distracting, and I wanted to emphasize the first letter 'A,' which resembles the shape of a house.

However, even after making the necessary changes, I still felt unsatisfied with the headline. I realized that the letter "H" hanging on its own felt awkward and out of place. I believed that the headline could be expressed more effectively while maintaining the simplicity and minimalism of the Bauhaus style. Looking back at inspirations and the design works of others for reference, I proceeded to refine the same expression with slightly altered designs.

Fig 1.11 Headline Expressions (Refined) | Week 6 (30/10/23)

Once more, considering the Bauhaus style's emphasis on simplicity with clean lines and geometric shapes, I chose to extend some of the lines of the letters where I thought it would look best. However, to convey the idea of wanting the word to be read separately, with "Bau" (building) and "haus" (house) as distinct parts, I thought that the design where the letter 'U' is extended on the right side of the stem, in particular, would best signify a pause before continuing to read the rest of the word.

Fig 1.12 Forced line break (Mistake) | Week 6 (30/10/23)

Upon turning on the hidden characters (a setting I should have enabled from the start), I realized that I had made a mistake by using a forced line break in the first paragraph. I then went back and adjusted the paragraph's kerning, aligning it as best as I could, and ensuring there were no widows present.

Fig 1.13 Final layout with hidden characters turned on | Week 6 (30/10/23)

Final Text Formatting & Expression

Fig 1.14 Final Text Formatting & Expression (JPEG) | Week 7 (6/11/23)

Fig 1.15 Final Text Formatting & Expression (PDF) | Week 7 (6/11/23)

Final Text Formatting & Expression (Gridlines)

Fig 1.16 Final Text Formatting & Expression with gridlines (JPEG) | Week 7 (6/11/23)

Fig 1.17 Final Text Formatting & Expression with gridlines (PDF) | Week 7 (6/11/23)

Final Text Formatting & Expression (Details)

Head:
- Font/s: Futura (Book)
- Type Size/s: 30 pt (Subheading)
- Leading: 25 pt (Subheading)
- Paragraph spacing: 12.5 pt
- Alignment: Left Align (Heading), Left Align and Right Align (Subheading)
Body:
- Font/s: Univers LT Std (Roman, Oblique, Light Oblique)
- Type Size/s: 10 pt (Body text), 22 pt (Lead in text), 8.5 pt (Subtext)
- Leading: 12.5 pt (Body text), 25 pt (Lead in text), 12.5 pt (Subtext)
- Paragraph spacing: 12.5 pt
- Characters per line: 45-55
- Alignment: Left Align
Margins:

mm: top: 10 mm, bottom: 10 mm, left: 10 mm, right: 10 mm
Columns: 2 per page, 4 total as a spread
Gutter: 5 mm

FEEDBACK

Week 5

General feedback:

The headline needs to be attractive, but also readable. Play around with different fonts from the same typeface.

When you create alignment, you create good layouts. When you understand the information, you understand how to treat the layout.

Analyze the headline, choose a word and express that word in a way that creates an impact while also compact for it to be able to fit into the page.

The key part of the layout is the headline.

Week 6

General feedback:

The expression can’t just look good, it also needs to be meaningful.
Remember not to use italics and bold for long bodies of text.
Make sure you are able to explain whatever it is you are trying to convey in your designs.
If you lack alignment, it is going to look cohesive in the design.
Do not use Bodoni as body text.

Specific feedback:

Text formatting is good, however, alignment can be better.
The heading can be brought down to align with the paragraph.
The subheading can be aligned with the paragraph as well.

Week 7

General feedback:

Only submit pdf as final (not processes in your designs).
Body text has to be consistent in designs.
Remember next time to update feedback in the right columns in the Google sheet (else marks will be deducted).
Do not create layouts where there is no use / create layouts where there are no columns. Columns and margins are there to help manage content.
Understanding layout and formatting text is fundamental when it comes to design.

Specific feedback:

Mr. Vinod was pleased with the layout for the e-portfolio and submission process for task 1.
Approval of refined headline expressions for task 2.

REFLECTIONS

Experience

This task provided a valuable learning experience as it taught me how to create a layout, understand the rules and general requirements of layout design, and effectively arrange and format text. I faced some challenges, particularly with the headlines, as I was frequently dissatisfied with the designs. However, in the end, I managed to select a design that I was pleased with.

Observations

During the process of arranging text and creating layouts, I observed the importance of aligning each element to establish a sense of structure and stability. This alignment is crucial, especially when focusing on the hierarchy of information in layout design.

Findings

From this task, I discovered that proper alignment is essential for creating effective layouts. It's also important to avoid placing headings in the middle (gutter) as it can lead to misalignment when printed. Additionally, I learned that creating layout designs is a complex and challenging process.

FURTHER READINGS

Book 1 (Cont.) | The Vignelli Cannon

Fig 2.1 The Vignelli Cannon by Massimo Vignelli

Part 2 (The Tangibles)

Paper Sizes

Fig 2.2 A sizes, based on the golden rectangle

Two main global paper size systems: international A sizes and American sizes
A sizes based on the golden rectangle, practical, and widely adopted
US primarily uses letter size (8 1/2 x 11"), leading to diverse paper sizes
A4 considered a fundamental size for stationary due to pleasing proportions
Extensive paper market, but ecological considerations are crucial
Different paper types used in book printing based on content
Standardizing paper sizes promotes environmental sustainability
Designers need awareness of printing processes and paper for cost-effective production
Paper market offers diverse sizes driven more by competition than uniform standards
Designers responsible for considering ethical, aesthetic, and environmental factors in paper size selection for publications

Grids, Margins, Columns and Modules

Fig 2.3 Different grids, margins columns, and modules

Graphic design focuses on effectively organizing information.
Grids are fundamental, offering structure, consistency, order, and intellectual elegance.
Different types of grids exist, and choosing the right one is essential for each project.
Smaller grids have limited utility, while overly coarse grids can be overly restrictive.
Factors like outside margins, column divisions, and modules influence the choice of an appropriate grid.
A well-chosen grid enhances continuity and clarity of the message in design.
Grids, when skillfully employed, provide flexibility rather than strict constraints for designers.

A Company Letterhead

Fig 2.4 Examples of stationary layouts

The company's letterhead design employs a grid-based layout with specific column divisions for information placement.
Two main design approaches are described:

an asymmetrical layout with three columns and a modern feel
a five-column central axis design.

These designs ensure organized placement of key information such as company name, addressee details, and sender's address.
The grid-based approach extends to envelopes and other stationery, maintaining a structured and versatile design.

Grids for Books

Fig 2.5 Examples of grids for different types of books

Grids are pivotal in book design, ensuring structural consistency from cover to cover.
Configuration varies, with columns and sub-columns tailored to the book's content.
Book size is determined by content, choosing square or rectangular dimensions to suit the material.
Aligning the grid with image proportions minimizes the need for cropping images.
Consideration of modern photographers' composition is vital when designing the grid.
Adapting the grid to content type enhances the book's overall integrity.
Illustrations in the book showcase diverse grid examples for various types of books.

Fig 2.6 Example of a complex grid

Grids are crucial for organizing information in printed materials like books, magazines, newspapers, and posters.
Alignment of type and illustrations to the same grid is essential for refined design.
Specific leading for type areas and modules is necessary for elegant printed pages.
Maintaining a tight space between columns and modules, akin to a line of type, is preferred for good typography.
Computers offer advantages in defining precise grids based on leading size and picture proportions.
However, complex grids can complicate layouts, requiring careful handling and attention to detail.

Typefaces (The Basic Ones)

Fig 2.7 Examples of typography in designs

Desktop publishing led to an overflow of typefaces, causing cultural clutter.
An exhibition emphasized structure by showcasing work created using only four specific typefaces: Garamond, Bodoni, Century Expanded, and Helvetica.
Most typefaces are primarily associated with commercial or identity purposes; a few are considered exceptional.
Preferred typefaces include Optima, Futura, Univers, Caslon, Baskerville, and others.
Focus is on achieving superior results with a limited set of typefaces.
Typography prioritizes organizing information objectively, stressing clarity over self-expression.
The goal is to effectively delineate message components using space, weight, and typographic alignments.
Certain type designs may suit logos or brief promotional text, but clarity remains the primary focus.
The author contends that good design is never boring, asserting that only bad design is dull.

Flush Left, Centered, Justified

Fig 2.8 Text alignment (Flush Left, Centered, Justified)

Preferred text alignment:

Flush left is the most common and preferred alignment for text.
Stemming from historical reasons related to metal composition and ease of reading from left to right.

Rationale behind flush left alignment:

Aesthetically pleasing and maintains readability.
Allows for controlling the ragged side by adjusting text from line to line.

Uses of centered alignment:

Reserved for special occasions like lapidary text, invitations, or rhetorical compositions.
Suitable for addresses at the bottom of a letterhead and on business cards.

Justified alignment:

Common in textbooks but not favoured due to its contrived nature.
Not as widely preferred because of readability concerns and the forced appearance it creates.

Type Size Relationship

Fig 2.9 Different heading type sizes

Recommended type size examples for columns up to 70 mm: 8 on 9, 9 on 10, 10 on 11 pt.
Larger columns may utilize: 12 on 13, 14 on 16, 16 on 18, or 18 on 20 pt.
Generally, limit the use of more than two type sizes on a page for consistency.
Consistency in type size is favored for intellectual elegance and economy in a book's presentation.
Visual contrast through small and large type is common but should be balanced.
Typographic composition achieved through leading, use of different font styles (roman, italic), regular spacing, tight kerning, rulers for separation, and logical use of bold, regular, and light weights.
Avoid using type decoratively or deforming it, favoring a more restrained approach even in packaging design.

Rulers

Fig 2.10 Examples showing different weights used in rulers

Typography utilizes rulers of different weights to establish hierarchy and clarity in text:

Bolder rulers (2 pt) separate major parts.
Lighter rulers (1/2 pt or 1 pt) divide items within each part.

Forms emphasize the importance of alignment by placing type (typically 8 pt) closer to the above ruler.
Detail-oriented typography is highly regarded within the Canon.
The speaker holds a deep appreciation for typography, inspired by 20th-century Masters.
Although basic typography rules exist, talented artists have creatively reinterpreted these rules, leaving their own legacy and innovations in typography.

Contrasting Type Sizes

Fig 2.11 Examples of contrast with different type sizes

Typography highlights contrasting type sizes, favoring a significant difference between large headlines and smaller body text.
Emphasis is placed on proper white space, considered essential for graphic composition, enabling the type to stand out effectively.
The relationship among type sizes on a page is crucial, typically limited to one or two sizes for coherence.
Differentiation through styles like bold, light, roman, and italic is recommended, while excessive variations should be avoided.
Type weights should serve a specific function rather than being used for color or phonetic analogy.
The approach aims to avoid intellectual vulgarity of loud typography, focusing on creating noticeable silence through white space.
The essence of this typography style lies in emphasizing the importance of white space in a visually crowded world.

Scale

Scale in design is the appropriate size of an object within its context.
Mastery of scale involves understanding tangible and intangible elements.
It applies to all aspects of design and demands precision to avoid errors.
Controlling details like material, thickness, texture, color, weight, sound, and temperature is essential for effective communication.
Design involves control over every detail, with scale being a crucial consideration.
Examples, such as Claus Oldenburg's sculptures, demonstrate the transformative nature of scale.
Manipulating scale requires deep knowledge and understanding of its significance in design.

Texture

Light interaction with materials is fundamental in comprehending form and texture in design.
Reflection and absorption of light are pivotal in crafting objects, influencing appearance.
Texture choice (polished or matte) affects perceived richness or restraint in design.
Designers must refine perception to articulate and master diverse tactile and visual experiences.
Harmony between texture, color, and materials defines and enriches creative artifacts.
Choice of materials and finishes expresses an object's shape, content, and essence.

Colour

Color primarily functions as a signifier or identifier, not pictorially.
Preference for a primary palette: Red, Blue, and Yellow.
Emphasis on using color to convey messages or serve as identifiers in Corporate Identity Programs.
Entire color spectrum can express moods and connotations.
Limited palette chosen to ensure clear message communication.
Selection of colors guided by appropriateness for effective communication.
Acknowledgment of the importance of using the right color at the right time.

Layouts

Fig 2.12 Examples showing different layout designs

Publication layouts reflect the designer's interpretation and select images conveying content essence.
The grid structure, determined by margins and divisions, ensures consistency in design.
Different grid designs accommodate various visual materials like square or rectangular images.
Grid adjustments (outlined images, bold initials) add visual excitement to layouts.
White space management is key for an enhanced overall design.
Margins in literary books consider practical and aesthetic factors.
Attention to small details (e.g., margins) is crucial for the final publication look.
These principles are widely applicable, from brochures to newspapers, ensuring consistently good outcomes.

Sequence

Fig 2.13 Examples showing different sequencing layouts

Publication process involves meticulous layout arrangement for magazines, books, brochures, or tabloids.
Views publication as cinematic objects, crucial for the reading experience.
Sequencing of layouts is crucial for a forceful yet simple design.
Preferred book layout: text beside a picture, followed by full-bleed picture spreads.
Aims to avoid scattered arrangements and favors a neutral, unobtrusive approach.
Goal: Layout should almost disappear, highlighting the importance of the reading experience.

Binding

Fig 2.14 Examples of bindings of different books

Cover Material:

Calendered cardboard for paper lamination
Chipboard for cloth or leather lamination

Spine Shape:

Round or square
Preference for a square spine for a sharper appearance

Headband:

Preferably plain white

Endpapers:

Stronger paper connecting the book to its binding
Possibly printed or illustrated for added aesthetic value

Sandwich Binding Technique:

Features chipboard panels glued to endpapers
Utilizes a white cloth spine with a hot-stamped title
Enables books to open flat, especially beneficial for spread images in picture books

Advantages of Sandwich Binding:

Ability to open flat, enhancing presentation of images across spreads
Commonly used with printed and laminated covers wrapped around the cardboard, adding durability and aesthetic appeal.

Identity and Diversity

Fig 2.15 Examples of identity and diversity in design

Balance between identity and diversity is crucial in two and three-dimensional design.
In Corporate Identity Programs, the right level of diversity avoids monotony and enhances engagement.
Excessive diversity can lead to fragmentation; too much identity can cause redundancy.
Striking a balance or offering flexible design solutions is essential.
The goal is to create a strong identity program that accommodates appropriateness without losing identity.
Examples include book series with consistent identifiers but changing illustrations and user-involved furniture designs.
The interplay between identity and diversity is vital for bringing life to design.

White Space

Importance of White Space:

More crucial than the black of the type in typography
Functions like architectural space, defining context and hierarchy

Roles of White Space:

Separates message parts and positions content on a page
Tight margins create tension, while wider margins offer serenity

Manipulation of White Space:

Adjusting letter spacing transforms words into lines or dots
Delicate relationship between type size and surrounding space

Significance in American Graphic Design:

Viewed as a distinctive attribute, akin to Frank Lloyd Wright's architectural importance
Used by great American graphic designers as a powerful element for composition and message clarity

QUICK LINKS

| Task 1: Type Expression & Text Formatting

| Task 3: Type Design & Communication

| Task 4: Final Compilation & Reflection

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Iman Mikudim (0338004)

Typography | Task 2: Typographic Exploration & Communication