Typography/ Task 2: Typographic Exploration & Communication

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04.05.2022 - 18.05.2022 [Week 6-8]
Janaan Ahmed (0353333) / B'Des Creative Media
Typography
Task 2: Typographic Exploration & Communication

Lectures 

Week 6 

Typo Task 2: Process demo

Part of the lecture demo series where Mr. Vinod shows us an example of how to go about doing our task 2. We learn how to export Illustrator files into Indesign and also how to create spreads. 

Week 7 

Task Feedback Session

Mr. Vinod basically gave us feedback for progress of task 2. Though I hadn't yet come up with a layout on Indesign, it helped me streamline how I would go about creating it, and avoid some mistakes that I would've made in the process.

Instructions

Task 2: Text formatting & expression

Task Info:

This task is basically an amalgamation of what we've learned in the previous task 1. We use our knowledge of type expression and text formatting to create a 2-page spread layout from a choice of 3 editorial text (provided on the Facebook group). As with last time, we are to keep distortion and graphical elements to a minimum and are required to use black & white. We also have to utilise the provided 10 type families.

Visual Research:

Having read all three pieces of text, I was kinda torn between 'The Impact of Bauhaus on Modern Culture' and 'Visualise for a Better World'. 

OPTION 1: BAUHAUS
To get a better understanding of Bauhaus and implement its characteristic design features into my layout I did some research into it. 

Fig 1.1: Bauhaus Posters (12/05/22)

As well as learning a little history about the school itself, I learned that the Bauhaus Art Movement evolved from a place of inventively combining fine arts into functional design. We see that Bauhaus is characterised by simplicity and a sense of straight-forwardness that connects to its aim of economic sensibility and functionality. Therefore we see a focus on simple lines and basic geometric forms such as the triangle, circle, and square in addition to some abstract ones. It is associated most with the primary colours, red, blue, and yellow.


OPTION 3: VISUALISE
I personally thought this was a great read that is super relevant. With the aim of placing emphasis on the word 'visualise',  I looked through Pinterest to get some ideas for the headline type expression: 

Fig 1.2: Reference 1 (12/05/22)

Fig 1.3: Reference  2 (12/05/22)

Fig 1.4: Reference 3 (12/05/22)

Fig 1.5: Reference 4 (12/05/22)

Process:

I decided to go with the 3rd text option – Visualise for a Better World – and copy-pasted it onto Word. I also made very rough sketches.

Fig 2.1 : Text on Word (14/05/22)
Fig 2.2: Extremely rough sketches (14/05/22)

HEADLINE TEXT (ILLUSTRATOR)
I didn't have a layout in mind per se, and just kinda experimented with the headline text on Illustrator first to see where it went from there. Since our spread layout is to measure 200mm x 200mm, I made sure the artboard on Illustrator had the same dimensions. Below are my attempts:

Fig 2.3: 1st Attempt (15/05/22)

Fig 2.4: Attempts (15/05/22)

Fig 2.5: More Attempts (15/05/22)

Fig 2.6: More Attempts (15/05/22)

Fig 2.7: Variations in black & white (15/05/22)

Fig 2.8: typeface variation of visualise (15/05/22)

Fig 2.9: bg variation (15/05/22)

Fig 2.10: changing placement to visualise layout structure (15/05/22)

SPREAD LAYOUT (INDESIGN)
The first order of business was to set the 2-page spread and determine the margins. I initially just went with 6 columns.
 
Fig 3.1: Unticking 'allow selected spreads to shuffle' so pages can be joined (16/05/22)

The next sequence of steps involved setting the initial stages of formatting the body text, which involves:
  1. determining an appropriate line length
  2. setting the typeface and point size
  3. complementary leading space (+2-3 pts of point size)
  4. paragraph space adjustments (equal to leading)

Fig 3.2: longest line length before formatting (16/05/22)

Fig 3.3: Selected typeface, point size, and leading (16/05/22)

Fig 3.4: paragraph spacing (16/05/22)

I chose to use left-aligned text. Before proceeding with fixing the ragged ends, I first chose to adjust the baseline grid options.

Fig 3.5: Changing increments to match leading of 11pt (16/05/22)

Fig 3.6: Changing offset to leading (16/05/22)

Fig 3.7: Adjusting text frame options (16/05/22)

Afterwards, I imported the ai file of my selected headline text into Indesign. I chose to place it in a different spread from the text at first.

Fig 3.8: Selected headline design (16/05/22)

With that out of the way, it was time to do some tracking to fix the ragging. Afterwards, I moved the body text into the same spread as the headline. Below is my initial layout with the selected headline text. I have not yet included the leading text:

Fig 3.9: 1st layout attempt (17/05/22)

At this point, I quite struggled to add the leading text without suffocating the layout. I realised I preferred to keep the headline and body text on separate pages to achieve a cleaner look, so decided to experiment with another headline design. 

Fig 3.10: Selected headline design (17/05/22)

But first, I redid the tracking and layout of my text and inserted a drop cap:

Fig 3.11: before and after drop cap (17/05/22)

Fig 3.12: before tracking (17/05/22)

Fig 3.13: After tracking (17/05/22)

To further achieve that clean look, I also experimented with left justified alignment. 

Fig 3.14: Setting alignment to left justified (17/05/22)

Fig 3.15: Increasing gutter space to accommodate justification (17/05/22)                    

However despite my efforts, no amount of tracking or hyphenation could fix the last paragraph to match the overall 'colour' of the body text, and so I had to abandon this formatting.
 
Fig 3.16: stubborn last paragraph with excessive spacing (17/05/22)

No matter, I proceeded with the left alignment, and added the lead-in text as well. I used Serifa Std (65 Bold) of 20/22 pt. 
Fig 3.17: Progress of layout and formatting (17/05/22)

I suddenly realised that I had to achieve cross-alignment between the 'for a better world' and the body text. I went back to Illustrator to remove that bit and re-imported only the vertical 'visualise'. I wrote the rest of the text on Indesign and adjusted the leading to match that of my body text (multiple of 11). 
Fig 3.18: 'for a better world' replicated on Indesign (17/05/22)

Fig 3.19: Typeface setting of 'better' (17/05/22)

Fig 3.20: Typeface setting of 'for a world' (17/05/22)

Feeling like my headline didn't quite capture the semantics of the word 'visualise', I made some changes as shown below:

Fig 3.21: 2nd Attempt (17/05/22)

I simply changed the font to Bodoni Std (Bold), and created duplicates with lower opacity. I then made minor adjustments to the headline text again, moving it so overlaps with the other page to reinforce better flow:
Fig 3.22: 3rd Attempt (17/05/22)

Further experimented with the headline slightly to create a glitchy vertigo-like effect. I also changed the typeface of the leading text from 65 Bold to 45 Light (Serifa Std) since I felt the larger pt size was enough to establish a higher visual hierarchy. 

Fig 3.23: 4th Attempt (17/05/22)

Below are more attempts, which in all honesty has only very very slight differences. 

Fig 3.24: 5th Attempt with slight adjustment to headline (17/05/22)

Fig 3.25: 6th Attempt with different headline design (17/05/22)


Final Outcome:

Final Outcome in JPG (18/05/22)

Final Outcome in PDF (18/05/22)
Final Outcome with grids in PDF (18/05/22)

DETAILS:
  • Font: Univers LT Std (body), Bodoni Std (heading), Univers LT Std (heading), Serifa Std (subheading)
  • Typeface: Univers LT Std 55 Roman, Bodoni Std Bold, Univers LT Std 47 Light Condensed, 67 Bold Condensed, Serifa Std 45 Light
  • Font size: 9 pt (body), 40 pt and roughly 127 pt (heading), 40 pt (heading), 20 pt (subheading)
  • Leading: 11 pt (body), 44 pt (heading), 22 (subheading)
  • Paragraph spacing: 11 pt
  • Avg Characters per line: 51
  • Alignment: Left alignment
  • Margins: Top (18 mm), Bottom (20.5 mm), Left (20 mm) & right (10 mm)
  • Columns: 2
  • Gutter: 5 mm

Feedback 

Week 7
GENERAL FEEDBACK
  • It can help to research the textual information so that the context of the design is relevant.
  • Consider alignment as a gauge for a good layout.
  • Make sure the idea integrated within the layout is good
  • 'Form should follow function'

SPECIFIC FEEDBACK
(Some feedback to my peers that applies to my work as well):
  • Type expression should emphasise the meaning of the word better
  • Line length of columns should be equal if textual information is same category.
  • Be careful of excessive white space dominating the layout, when the text (grey space) is the main focus.

Reflection

EXPERIENCE
I was very excited about creating layouts especially after scrolling through Behance and Pinterest. Additionally, while I didn't pursue text option 1, doing my research on the Bauhaus Art Movement was very intriguing!

OBSERVATION
I found myself getting extremely stuck on documenting my work in a logical manner since I frantically took screenshots throughout my progress but lost track of what some of them were for. I also observed that I was very unmotivated and slower than usual during this task because I didn't work structurally and just did whatever because I was afraid that it would come at a cost of creativity. At some point I lost interest in my work since it was actually much harder to achieve thoughtful results and I was exhausted. I can honestly say that I did not do my best for this task, and need to work harder.

FINDINGS
It is definitely a challenge to balance creativity and efficiency and I have discovered the importance of discipline to complete a task efficiently. I also recognise that being organised is key when needing to document your work. I believe I did not make enough layout sketches or even utilise my improved Illustrator skills learned from other modules to create something intriguing. It's definitely not an easy feat to create beautiful layouts! However I will carry forward what I have from my mistakes.

Further Reading 

Typographic Design: Form and Communication

Fig 4.1: Reading Resource from Mr. Vinod (13/05/22)

THE TYPOGRAPHIC GRID
Space: I learned about the fundamental relationship between space and type in creating effective communication. It was interesting to note that depending on the placement of a letterform within a given space, there can be varying kinetic energy and movement. 
For eg. a letterform placed in the center appears motionless. Placing it off centre appears to give it motion.

Fig 4.2: Screenshot from chapter (13/05/22)

Fig 4.3: Screenshot from Chapter (13/05/22)

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