TYPOGRAPHY - FINAL PROJECT
29/05/18 - 29/06/18 (Week 10 - Week 14)
Mohamad Irfan Mohamad Zaim (0326620)
Typography
Final Project - Event Typography
LECTURE
Mohamad Irfan Mohamad Zaim (0326620)
Typography
Final Project - Event Typography
LECTURE
12/06/18 (Week 12)
No Lecture.
19/06/18 (Week 13)
No Lecture.
INSTRUCTIONS
Event Typography
To start out our final project, we were tasked with writing 150 words on one thing we love and 150 words on one thing we hate. We had to design and format the text adhering to the tone of the text on two seperate A4 pages in a square of 200mm x 200mm with 0.5pt width stroke outline.
The instructions given are as followed :
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| Fig 1.1 - One thing I love |
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| Fig 1.2 - One thing I hate |
Fig 1.3 - Embedded PDF of Love and Hate text
We were then tasked to come up with a short title for both love and hate, here are 3 sketches expressing my title "I love and I hate".
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| Fig 2.1 - Sketch #1 for Love and Hate |
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| Fig 2.2 - Sketch #2 for Love and Hate |
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| Fig 2.3 - Sketch #3 for Love and Hate |
After doing sketches for the Love and Hate title, we were tasked to put our body text and title together into an artwork. The final project has to include type expression, layout, and information hierarchy. Before going into InDesign I did a several sketches for the design and composition.
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| Fig 3.1 - Idea Sketches for Final Project Design |
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| Fig 4.1 - Final Design Attempt #1 |
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| Fig 4.2 - Final Design Attempt #2 |
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| Fig 4.3 - Final Design Attempt #3 |
Fig 4.4 - Final Project Design Embedded PDF
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| Fig 4.5 - Final Project Design |
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| Fig 4.6 - Framed Final Project |
FEEDBACK
Week 12
No class.
Week 13
General Feedback: Mr Vinod said that further readings need to be done each and every week and that it is counted as research. He said that our final project needs to be an artwork, not something that follows a certain layout. He said to be quick and clear when doing sketches.
Specific Feedback: Mr Vinod said that my piece isn't exciting enough and told me to think outside the box. After making changes Mr Shamsul said to start on a new design as soon as I finish one.
No class.
Week 13
General Feedback: Mr Vinod said that further readings need to be done each and every week and that it is counted as research. He said that our final project needs to be an artwork, not something that follows a certain layout. He said to be quick and clear when doing sketches.
Specific Feedback: Mr Vinod said that my piece isn't exciting enough and told me to think outside the box. After making changes Mr Shamsul said to start on a new design as soon as I finish one.
REFLECTION
Experiences:
Week 13 - While the instructions for the final project seemed manageable, I was stressing out over making good designs more than usual.
Observations:
Week 13 - While the instructions for the final project seemed manageable, I was stressing out over making good designs more than usual.
Observations:
Week 13 - I noticed that using horizontal text and alignment looked too organize and safe. This can still be used in the right design.
Findings:
Week 13 - I need to do several designs on InDesign instead of zoning into one. The more designs I have the better my final design will be.
FURTHER READING
I LOVE DIN: I Love Type Series Volume 4
5/06/18 (Week 11)
5/06/18 (Week 11)
Dutch font designer Albert -Jan Pool is the creator of the font FF DIN. He was proposed by Erik Spiekermann in a cab on the way to San Francisco Airport in 1994 to design FF DIN for FontShop International.
In 1995 Fontshop International published FF Din as a FontFont. The book is the best proof that the typeface has been very successful ever since and keeps on being very attractive for designers. Why is FF DIN so successful as a font?
Based on Albert's own understanding, the success is equally based on 3 things:
The abbreviation DIN is something many designers easily make associations with. Starting with obvious ones like (German) industrial quality and maintaining standards, one can easily imagine that DIN is also being associated with things such as being accurate, striving for perfection, and most of all, neutrality.
The second reason is the FontShop's marketing power. No matter how well the design of your magazine, campaign, packaging and website may be, it needs good concept and a lot of marketing power to get the attention it deserves. Typeface designs are products with the potential to be used all over the world. Well known typeface designs usually outlive global corporate design projects by decades.
Lastly it is due to Albert improving the overall design from his previous versions and extended the typeface family whilst respecting the look and feel of the intentions it was made with. On Typophile Erik recently has said "FF DIN looks as if DIN had always had those weights because Albert didn't let his ego interfere with his job."
Typography Workbook by Timothy Samara
12/06/18 (Week 12)
You might think that making everything in the space as different as possible would clearly indicate their hierarchy, but the opposite is actually true. If all elements appear very different, then they also appear equally important to each other, and the sense of hierarchy is destroyed.
At first glance, all text appears equally important in raw form. If placed on a page as is, there is a uniform field of texture formed. However by manipulating the spaces around and between the text, the designer creates levels of importance. The uniformity that is usually desirable to keep the reader moving is purposefully broken, creating a fixed point. The fixed point is interpreted as deserving attention and creating a higher sense of importance than other elements.
Spatial differentiations not only distinguish the importance of elements, but also their function. The primary text is located in a prominent, central area of the page. it is the focus of the format. The title for a section also appears in a specific location. The top and bottom of a page spread, the title of the book or the title of the chapter may appear in the same place on every spread. This running header and footer is obviously not a title, because it is not in the proximity to the beginning of the running text. The distance from these elements signifies its function of secondary importance.
What is Typography? by David Jury
19/06/18 (Week 13)
The Grid
To make sure that the position of text was the same on every page, it was common practice for the scribe to push a pin (though a master sheet) into several sheets of parchment or vellum placed underneath to provide a guide for the beginning and end of each baseline. It was important that every line of text being directly beneath that on all the following pages other wise there would be the disruptive effect of "see-through". If the lines on the following pages are moved, they will appear on the white spaces between each line of text as gray forms. The master sheet, providing the baselines and the position of the text on the sheet which forms margins above, below and to each side is what is called the 'grid' today.
The grid provides a rational basis on which a set of recognizable arrangements can be repeated. which enables toe reader to navigate around a document and its individual pages. This is useful when many people are working on the same longer, more complex series of projects, such as newspapers or a weekly magazine.
The grid increases efficiency. It gives the typographer freedom to make choices. Most complaints for grids come from typographers having to use a grid system that is not their own. The grid is as simple, or as complex, confining or liberating the original maker of that grid requires it to be.
The grid structure of any spine-bound document is used as a double-page spread. Traditionally, the grid structure of a book was based on the 'golden ratio', which incorporated principles rediscovered during the renaissance. The ratio 1:1:618 helped establish the facing pairs of text areas plus margins at the head, foot, spine, and opening. This geometrically constructed grid structure requires no calculations, with the text areas derived solely from the shape of the pages themselves.
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| The Golden Ratio page. |
REFERENCES
I love Din. (2012). Hong Kong: Viction:ary.
Samara, T. (2006). Typography workbook: A real-world guide to using type in graphic design. Beverly, MA: Rockport Publ.
Jury, D. (2017). What is typography?Brighton, United Kingdom: Ivy Press.
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