TYPOGRAPHY / TASK 1 : EXERCISES

August 26, 2021

TYPOGRAPHY / TASK 1 : EXERCISES

27.8.2021 - 24.9.2021 (Week 1 - Week 5)
Luisa Audrey / 0348741 / Bachelor of Design in Creative Media
Typography
Task 1 / Exercises

LECTURE

Week 1 :

It is important for students who are doing research to research on local content. However, this particular discipline also relies on the students themselves.

Early letterform development: Phoenician to Roman

Initially writing meant scratching into wet clay with a sharpened stick or carving into stone with a chisel. The forms of uppercase letterforms can be seen to have evolved out of these tools and materials. At their core, uppercase forms are a simple combination of straight lines and pieces of circles, as the materials and tools of early writing required.

Fig 1.1 Right: 4th-century B.C.E. Phoenicians votive stele Carthage, Tunisia. The stele bears a four-line inscription to Tanit and Baal Hammon. Left: Evolution from Phoenician letter

The Greeks changed the direction of writing. Phoenicians, like other Semitic people, wrote from right to left. The Greeks developed a style of writing called 'boustrophedon', which meant that the lines of text read alternatively from right to left and left to right. As they change the direction of reading they also changed the orientation of the letterforms.

Fig 1.2 Explanatory picture

Etruscan carvers working in marble painted letterforms before inscribing them. Certain qualities of their strokes a change in weight from vertical to horizontal, a broadening of the stroke at the start and finish carried over into carved letterforms.

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

Fig 1.4 Left: Phoenician 1000 B.C.E, Middle: Greek 900 B.C.E, Right: Roman 100 B.C.E

Hand script from 3rd - 10th century C.E.

Square capitals were the written version that can be found in Roman monuments. These letterforms have serifs added to the finish of the main strokes. The variety of stroke width was achieved by the reed pen held at an angle of approximately 60 degrees off the perpendicular.

Fig 1.5 4th or 5th century, Square Capitals

A compressed version of square capitals, rustic capitals allowed for twice as many words on a sheet of parchment and took far less time to write. The pen or brush was held at an angle of approximately 30 degrees off the perpendicular. Although rustic capitals were faster and easier to, they were slightly harder to read due to their compressed nature.

Fig 1.6 Late 3rd - mid 4th century, Rustic Capitals

Both square and rustic capitals were typically reserved for documents of some intended performance. Everyday transactions, however, were typically written in cursive hand in which forms were simplified for speed. We can see here the beginning of what we refer to as lowercase letterforms.

Fig 1.7 4th century, Roman cursive

Uncials incorporated some aspects of the Roman cursive hand, especially in the Roman cursive hand, especially in the shape of the A, D, E, H, M, U, and Q. 'Uncia' is Latin for a twelfth of anything, as a result, some scholars think of uncials simply as small letters. The broad forms of uncials are more readable at small sizes than rustic capitals.

Fig 1.8 4th - 5th century, Uncials

A further formalization of the cursive hand, half-uncials mark the formal beginning of lowercase letterforms, replete with ascenders and descenders, 2000 years after the origin of the Phoenician alphabet.

Fig 1.9 C. 500: 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, minuscule, capitalization, and punctuation which set the standard for calligraphy for a century.

Fig 1.10 C. 925: Caloline miniscule

Blackletter to Gutenberg's type

With the dissolution of Charlemagne's empire came regional variations upon Alcuin's script. In northern Europe, a condensed strongly vertical letterform know as Blackletter or texture gained popularity. In the south, a rounder more open hand gained popularity, called 'rotunda'. The humanistic script in Italy is based o Alcuin's minuscule.

Fig 1.11 c. 1300: Blackletter (Textura)

Gutenberg's skills included engineering, metalsmithing, and chemistry. He marshaled them all to build pages that accurately mimicked the work of the scribe's hand Blackletter of northern Europe. His type mold required a different brass matrix, or negative impression, for each letterform.

Fig 1.12 c. 1455: 42 line bible, Johann Gutenberg, Mainz

Development / Timeline

Text type classification (Dates of origin approximated to the nearest quarter century)

Typeforms have developed in response to prevailing technology, commercial needs, and esthetic trends. Certain models have endured well past the cultures that spawned them.

The following Typeform classification here, based on one devised by Alexander Lawson only covers the main form of text type.

1450 Blackletter

Fig 1.13 Blackletter

1475 Oldstyle

Fig 1.14 Oldstyle

1500 Italic

Fig 1.15 Italic

1550 Script

Fig 1.16 Script

1750 Transitional

Fig 1.17 Transitional

1775 Modern

Fig 1.18 Modern

1825 Square Serif / Slab Serif

Fig 1.19 Square Serif

1900 Sans Serif

Fig 1.20 Sans Serif

1990 Serif / Sans Serif

Fig 1.21 Serif

Week 2:

BASIC

DESCRIBING LETTERFORMS

As with any craft that has evolved over 500 years, typography employs a number of technical terms. These mostly describe specific parts of letterforms. It is a good idea to familiarize yourself with the lexicon,

Knowing a letterform's component parts make it much easier to identify specific typefaces.

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

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

X-height: the heighten any typeface of the lowercase 'x'

Fig 2.1 Letterforms description

Stroke: Any line that defines the basic letterforms

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

Fig 2.2 Apex

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

Fig 2.3 Arm

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

Barb: The half-serif finish on some curved stroke

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

Fig 2.4 Bowl

Bracket: The transition between the serif and the stem

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

Crotch: The interior space where two strokes meet

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

Fig 2.5 Ear

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.

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

Fig 2.6 Ligature

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

Loop: In some typefaces, the bowl created in the descender of the lowercase G

Serif: The right-angled or oblique foot at the end of the stroke

Shoulder: The curved stroke that is not part of a bowl

Spine: The curve stem of the S

Spur: The extension that articulates the junction of the curved and rectilinear stroke

Stem: The significant vertical oblique stroke

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

Fig 2.7 Stress

Swash: The flourish that extends the stroke of the letterform

Fig 2.8 Swash

Tail: The curved diagonal stroke at the finish of certain letterforms

Terminal: The self-contained finish of a stroke without a serif.

Fig 2. 9 Terminal

THE FONT

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

To work successfully with type, you should make sure that you are working with full font and you should know how to use it.

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

Fig 2.10 Uppercase

Lowercase: Lowercase letters include the same characters as uppercase.

Fig 2.11 Lowercase

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 no confuse real small caps with those artificially generated.

Fig 2.12 Small Capitals

Uppercase Numerals: Also called lining figures, these numerals are the same height as uppercase letters and are all set to the same or in any situation that calls for uppercase letters.

Fig 2.13 Uppercase 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 whenever you would use upper and lowercase letterforms. Lowercase numerals are far less common in sans serif type-faces than in serif.

Fig 2.14 Lowercase Numerals

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

Fig 2.15 Italic

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

Fig 2.16 Punctuation

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).

DESCRIBING TYPEFACES

Once you can recognize the parts of a letterform, you can apply what you know to identify different type-faces. Keep in mind that some, all, or combinations of these styles may be found within one type family.

Roman: The letterform is so called because the uppercase forms are derived from inscriptions of Roman monuments. A slight lighter stroke in roman is known as 'Book'.

Fig 2.17 Roman

Italic: Named for fifteenth century Italian handwriting on which the forms are based.

Fig 2.18 Italics

Oblique: conversely are based on roman form of typeface.

Fig 2.19 Oblique

Boldface: Characterized by a thicker stroke than a roman form. Depending upon the relative stroke widths within the typeface, it can also be called 'semibold', 'medium', 'black', 'extra bold', or super. In some typefaces (notably Bodoni), the boldest rendition of the typeface is referred to as 'Poster'.

Fig 2.20 Boldface

Light: A lighter stroke than the roman form. Even lighter stroke are called 'thin'.

Fig 2.21 Light

Condense: A version of the roman form, and extremely condense styles are often called 'compressed'.

Fig 2.22 Condense

Extended: An extended variation of a roman font.

Fig 2.23 Extended

COMPARING TYPEFACES

The 9 typefaces mentioned in the following slide represents 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 the contemporary. These typefaces have surpassed the latter goal. As a beginner typographer, you should study these 9 typefaces carefully. Once you understand how to use these faces appropriately and affectively, you'll be well prepared to understand and appreciate other typefaces as you encounter them.

Fig 2.24 9 Typefaces

What is worth noting isn't the similarities but rather the differences, the accumulation of choices that renders each unique.

Beyond the gross differences in x-height, the forms display a wealth of variety, in line weight, relative stroke width and in feeling. For any typographer these feelings connote specific use and expression.

The Rs display a range of attitudes, some whimsical, some mechanical, others calligraphic some harmonious and some awkward.

As much as anything, what this examination tells you is how you feel about type and specific typeface. It tells you what you bring to the discussion of appropriateness in type choices.

As you study other designers' work, you will notice that many people who work seriously with type employ a limited palette of typefaces. Some, in fact, go through their entire careers using only one or two.

Fig 2.25 a and R comparison

Week 3:

TEXT / TRACKING

KERNING AND LETTERSPACING

The term '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 3.1 kerning

Normal tracking, loose tracking and tight tracking

Fig 3.2 tracking

Designers always letterspace uppercase letters, but there has long been strong resistance within the type community to letterspace lowercase letters within text.

Uppercase letterforms are drawn to be able to stand on their own, whereas lowercase require the counterform created between letters to maintain the line of reading.

Fig 3.3 normal tracking & lower tracking

Fig 3.4 tight tracking

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

Fig 3.5 flush left

Centered: This format imposes symmetry upon the text, assigning equal value and weight to both ends of any line. It transforms 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 3.6 centered

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

Justified: Like centering, this format imposes 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 an hyphenation is required to amend this problem whenever possible.

Fig 3.7 Justified

FORMATTING TEXT

Designers tend to set type one way or another depending upon several factors, personal preference, the prevailing culture, and the need to express play important roles. However, when setting the field of type, keep in mind the typographer's first job clear, the appropriate presentation of the author's message.

You should never use script-type letters in capital letters. Instead, it can be used with the text on the right.

Fig 3.8 script type comparison

TEXTURE

Beyond learning about the unique characteristics of each typeface and understanding its place in history, it is important to understand how different typefaces feel as text. Different typefaces suit different messages. A good typographer has to know which typeface best suits the message at hand.

Consider, too, the different textures of these typefaces. Type with a relatively generous x-height or relatively heavy stroke width produces a darker mass on the page than type with a relatively smaller x-height or lighter stroke. Sensitivity to these differences in color is fundamental for creating successful layouts.

Fig 3.9 Description

The line above the baseline is known as the median line. The area between the baseline and the median line is called x-height. The space above the x-height is called ascender and the one under is called descender.

Fig 3.10 Adobe Caslon & Baskerville

Baskerville tend to have a larger text height and more readable.

Fig 3.11 Bembo & Adobe Garamond Pro

Garamond has a larger ascender and descender and the thickness on the stroke makes it more readable. As for Bembo, the contrast is a little bit more which makes it harder to read in a screen.

Fig 3.12 Bauer Bodoni & Adobe Jenson Pro

Bodoni has a high contrast level which reduces the readability. As for Jenson, it has a thicker stroke which makes it easier to read.

Fig 3.13 More fonts

LEADING AND LINE LENGTH

The goal in setting text type is to allow for easy, prolonged reading. At the same time, a field of type should occupy the page as much as a photograph does.

Type size: Text type should be large enough to be read easily at arm's length, imagine yourself holding a book in your lap.

Leading: Text that is set too tightly encourages vertical eye movement; a reader can easily lose his or her place. A 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 55-65 characters. Extremely long or short lines length impairs reading.

TYPE SPECIMEN BOOK

A type specimen book shows samples of typefaces in various different sizes. Without printed showing samples of typefaces at different sizes, no one can make a reasonable choice of type. You only determine choice on screen when its final version is to read on-screen.

A type specimen book is to provide an accurate reference for type, type size, type leading, type line length, etc.

Composition 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), not a series of stripes (as seen of the one on the right).

It is often useful to enlarge type to 400% on the screen to get a clear sense of the relationship between descenders on one line and ascenders in the line below.

Fig 3.14 comparison texts

There's a difference between the top and the bottom in the leading. The one on the bottom is lighter than the top.

Week 4:

INDICATING PARAGRAPH

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

Fig 4.1 pilcrow

The example here displays a 'line space' 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 4.2 Line space

Fig 4.3 Line space

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.

Fig 4.4 standard indentation

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.

Fig 4.5 Wide columns of text

WIDOWS AND ORPHANS

In traditional typesetting, there are two unpardonable gaffes, widows and orphans.

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

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

Fig 4.6 Widow and orphan

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

The only solution to widows is to rebreak your line endings throughout 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 columns of text start with the last line of the preceding paragraph.

HIGHLIGHTING TEXT

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 4.7 highlights (1)

Fig 4.8 highlights (2)

In this example, the sans serif font has been reduced by 5 to match the x-height of the serif typeface. ( 8 =/ 7,5)

Fig 4.9 highlights (3)

Fig 4.10 highlights (4)

Also take a note, when highlighting text by placing a field of color at the back of the text, maintaining the last reading axis (right example) of the text ensures readability is at its best.

Fig 4.11 highlights with field color

Sometimes it is necessary to place certain typographic elements outside the left margin of a column of type (extending as opposed to indenting) to maintain a strong reading axis.

Fig 4.12 highlights typographic elements

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 4.13 highlights with marks

HEADLINE WITHIN TEXT

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

Typographers' task is to make sure these heads clearly signify to the reader the relative importance within the text and to their relationship to each other.

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

Fig 4.14 A head subdivision

The B head here is subordinate to A heads. B heads indicate a new supporting argument of 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 the small caps, italic, bold serif, and bold san serif.

Fig 4.15 B Head subdivision

The C heads, although not common, highlights specific facets of materials within B head text. They do 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 space for visual separation.

Fig 4.16 C Head subdivision

Putting together a sequence of subheads = hierarchy. Obviously, there is no single way to express hierarchy within the text, in fact, the possibilities are virtually limitless.

Fig 4.17 division

CROSS ALIGNMENT

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 (led to 13,5 pts).

Below, one line of headline type cross aligns with two lines of text type, and (right; bottom left) four lines of headline type cross-align with five lines of text type.

Fig 4.18 cross-alignments

INSTRUCTION

Week 1 :

We were given a task to do 3 sketches for 4 words that we have chosen from the Facebook poll.

Fig 1.22 The sketches, 09.03.2020

After making the sketches I decided to transfer them to Adobe Illustrator.

Week 2:

At first, I decided to use the 4 words from the sketches which are "Terror", "Space", "Glitch", and "Water". The first word I tried to make was Water.

Fig 2.26 Water 1st attempt, 09.09.2021

Fig 2.27 Water 2nd attempt, 09.09.2021

I was not satisfied with both ideas and found out that the 2nd attempt of Water might be suitable for terror instead.

Fig 2.28 Terror attempt, 09.09.2021

I also did the 2nd attempt for Terror.

Fig 2.29 Terror 2nd attempt, 09.09.2021

However, after doing a few comparing, I decided to use the first one instead.

Fig 2.30 result, 09.09.2020

After hearing feedback from Mr. Vinod, I decided to change my Digitalized version.

Final Result:

Fig 2.31 FINAL RESULT, 24.09.2021

PDF File Final Result, 24.09.21

Week 3:

After doing it in Adobe Illustrator, we were instructed to animate the best one. After going through a dilemma, I decided that I'm going to animate space.

Fig 3.15 First attempt, 17.09.21

The first attempt looks rather rough and not smooth enough. At first, I was trying to make the word space behind to float around to show that there is no gravity. I also tried to make the ring swing around the planet.

I did few attempts and managed to make it look slightly better.

Fig 3.16 2nd attempt, 17.09.21

As for the second attempt, instead of making the word space float around, I tried to make them twinkle. As for the ring, I managed to make it look a bit more natural even though it still moves rather odd.

Fig 3.17 3rd attempt, 17.09.21

Here I tried to emphasize the look of stars in the letter space by adding a bit of outer glow.

Fig 3.18 final result process, 17.09.21

Fig 3.19 result, 17.09.21

Here I tried to make a new look by adding a satellite to make the ring look less odd.

After receiving feedback from Mr. Vinod, I tried to change my gif and this is my final result.

Final Result:

Fig 3.20 FINAL RESULT, 24.09.2021

Exercise 2:

In Exercise 2, we are instructed to make a layout with the technique that has been taught such as kerning, leading, paragraph spacing, alignment, etc. It is to help us improve our sense of arranging information with the right hierarchy.

In the lecture, first, we were taught how to do kerning and tracking. I followed the lecture's description step by step.

Fig 4.19 Tutorial attempt, 24.09.21

After changing all of the fonts and tried to do kerning, we were asked to vary the texts using the 10 typefaces with the additional kerning and tracking according to our preferences. After few attempts, I managed to make this.

Fig 4.20 Tutorial attempt (2), 24.09.21

And, here is the final result for the kerning and tracking practice.

Fig 4.21 Result for the tutorial, 24.09.21

I tried to do experiments with the kerning and tracking with my name and this is what I got. Everything does seem more aesthetically pleasing to the eye as now I know how to control the spacing between each word.

After doing the practice, I did the tasks given by Mr. Vinod which is to create a layout based on the texts and pictures that have been given. Firstly, I followed the tutorial videos.

Fig 4.22 Layout tutorial attempt, 24.09.21

Here I separated the Title and the texts first. Afterward, I learned that the leading of the text should be plus 2 points of the text size. In addition, we also need to make sure that the amount of space after is the same as the leading.

Fig 4.23 Layout tutorial attempt, 21.09.21

Here I tried to align the text so there would be less ragging hence it looks much neater.

Fig 4.24 Layout tutorial attempt, 21.09.21

Here I also tried out to use the text frame option which is to control the text so it would match the grids.

To view the grids we need to go to view > grids & guides > Show baseline grid. To change the amount of grid, we go to edit > preferences > grids. There we can adjust the grids to match our leading so we can create cross alignments.

Fig 4.25 Layout tutorial attempt, 21.09.21

This is the final result of my trial with Mr. Vinod's lecture. After getting the idea of what we should do, I tried to do few experiments to try to find a better layout.

Fig 4.26 Experiment 1, 24.09.21

Here is the first attempt and a few details:

Font: Janson Text LT Std (Roman, Italic, Bold)

Font size: 10 pt and 21pt (Title)

Leading: 12 pt and 24 pt (Title)

Paragraph spacing: 12 pt

Alignment: Left align

Fig 4.27 Experiment 2, 24.09.21

Font: ITC Garamond (Book, Book Italic, Bold condensed)

Font size: 11,5 pt and 22pt (Title)

Leading: 13,5 pt and 27 pt (Title)

Paragraph spacing: 13,5 pt

Alignment: Left align

Fig 4.28 Experiment 3, 24.09.21

Font: Bembo Std (Regular, Bold Italic, Bold)

Font size: 11 pt and 28 pt (Title)

Leading: 13 pt and 26 pt (Title)

Paragraph spacing: 13 pt

Alignment: Left align

After doing several experiments, I decided that I would go with the third one.

Fig 4.29 third attempt progress, 24.09.21

Fig 4.31 third attempt progress, 24.09.21

Final Result:

Fig 4.31 FINAL RESULT, 24.09.21

PDF File Final Result, 24.09.21

FEEDBACK

Week 1 :

General feedback: We learned how to create our E-portfolio according to what has been instructed. We set up our own label for the typography module.
Specific feedback: Make sure we design our own blog later on after we got used to it.

Week 2 :

General feedback: We received feedback for our task 1 and learned that we shouldn't have too much distortion and illustrations to make sure that it is focused more on the letter.
Specific feedback: Many works need to be revised and make sure that there is not much illustration next.

Week 3:

General feedback: Try not to have too much distortion and illustrations.

Specific feedback: My terror doesn't need too much drip and try to replicate the blood drip better. Also, Mr. Vinod suggested I make the drip inside the pierced letter. For the Abyss, try to make it taller and try to get rid of the little box under the A. As for the space, the could be smaller and the ring behind the word space could be removed.

Week 4:

General feedback: Try to move the text and not the illustration since we are trying to communicate through words.

Specific feedback: Try to expand the back background so there will be no white space. Change the ball into letter o.

Reflection

Experience: Mr. Vinod's class is a bit strict compared to others as it requires more discipline. I also like how in Mr. Vinod's class, we all posted our results so we can learn from seeing each other's design. Not only that, but Mr. Vinod's also choose some random students to give feedback on our work which I believe will improve our process in learning to get better.

Observations: After attending typography class several times, I realized that typography isn't as simple as I thought. There are few rules to be followed when doing typography. There is also a lot of history behind the texts including the 10 typefaces that we have been using.

Findings: I found that my sketches still need more improvement as sometimes I still lack ideas. However, I realized that getting feedback from friends could be as useful as getting feedback from the lecturer.