TYPOGRAPHY / TASK 1 : EXERCISES

27.8.2021 - 24.9.2021 (Week 1 - Week 5)
Muhammad Azka Farezi Septenal / 0351345 / Bachelor of Design (hons) in Cretive Media
Typography
Task 1 / Exercises




JUMP LINK


LECTURES

Week 1 : - Lecture 1 

Early letterform development : Phoenician to Roman
  • Writing meant using a sharpened stick to scratch wet clay or carving stones with chivel.
  • Tools or instrument has a very important influence on the type of writing that is created

Figure 1.1 Left : Evolution of phoenician letter
Right : Realtion to thr others

  • Phoenicians like other semitic peoples (middle east) wrote from right to left, however the greek changed the direction of writing from right to left and left to right (boustrophedon)
  • The greek also changed the orientation of the letterform.
  • Similar with phoenicians, The greek did not use letter space or punctuations, they were move to strict left-to-right writing.

Figure 1.2 The greek reading orientation

Handscript ( 3rd - 10th century C.E.)
  • Square Capitals : This letterform can be found in Roman monuments. These letterforms have serifs added to the finish of the main strokes.
Figure 1.3 Square Capitals (4th or 5th Century)

  • Rustic Capitals : A compressed version of square capitals, it is also allowed fr twice as many words on a sheet of parchment and took less time to write, Altough more convenient (faster and easier) this letter form were slightly hard to read because they’re more condensed.

Figure 1.4 Rustic Capitals (3rd - mid 4th Century)


  • Roman Cursive : Typically reserved for documents of some intended perfomance. Everyday transactions, however were written in cursive hand (simplified forms for speed). It is also the beginning of lowercase letterform.

Figure 1.5 Roman Cursive (4th Cenury)

  • Uncials : It is incorporated some aspects of the Roman cursive hand (especially A, D, E, H, M, U, and Q). Uncials means twelfth of anything; as a result some scholars think that is refer to letter that one twelfth of foot (one inch). It is also simpifly as smal letters and more readable at small size than rustic capitals.

Figure 1.6 Uncials (4th - 5th Century)
  • Half Uncials : A more formalize type of the cursive hand. It is also mark the formal beginning of lowercase letterforms, replete with ascenders and descenders, 2000 years after the origin of the Phoenician alphabet.

Figure 1.7 Half Uncials (C. 500)

  • Calolie Minuscule : The first unifier of Europe since the romans, Charlemagne, issued an edict in 789 to standarize all ecclesiastical texts. This task entrusted to Alcuin of York. The monks rewrote the texts using both majuscules (uppercase), miniscule, capitalization and punctuation which set the standard for caligraphy for a century.

Figure 1.8 Caloline Minuscule (C. 925)


  • Blackletter to Gutenberg’s type : With the dissolution of charlemagne’s empire came regional variations upon Alcuin’s script. a condense strongly vertical letterform gained popularity and known as Blackletter or textura in northern europe. In the south, a rounder more open hand called ‘rotunda’ also become popular. The humanistic script (in italy) based on Alcuin’s miniscule.

Figure 1.9 Blackletter (C. 1300)

Text type Classification (Alexander Lawson)
  • Blackletter (1450)
The earliest printing type. Forms based upon hand-copying styles then used for books (northern Europe)

Figure 1.10 blackletter (1450)

  • Oldstyle (1475)
Based upon the lowercase foms used by italian humanist scholar for book copying and the uppercase letterform found inscribed Roman ruins.

Figure 1.11 Oldstyle (1475)

  • Italic (1500)
First italic were condensed. Now they’re to complement roman forms.

  • Script (1500)
Not appropriate in long text. Very decorative.

  • Transitional (1750)
Refinement of oldstyle - achived because of the advances in technology.

  • Modern (1775)
Further rationalize of oldstyle. Serifs were unbracketed, contrast between thick and thin strokes are extreme.

  • Square Serif/Slab Serif (1825)
Developed for advertising for heavy type in commercial printing. Doesn’t have much contrast between thick and thin strokes.

  • Sans Serif (1900)
    • Eliminated serifs altogether. Introduce by Caslon (1816)
    • Reffered to as grostesque (ugly) and gothle
  • Serif/ Sans Serif (1990)
    • Enlarges the notion of a family of serifs and sans serif (often stages between the two)
    • Example : Rotis, Scala, Stone.

Week 2 : - Lecture 2

Typography : Basic / Describing letterform
  • Baseline: imaginary line the visual base of the letterforms
  • Median: imaginary line defining the x-height of letterforms
  • X-height: the heigh of the typeface in the lowercase x
Figure 2.0


  • Capitals are lower than ascender height – they’re usually wider.
    • Ascending stroke of the lowercase is usually above capital letter to give the impression that the lowercase is also as large as capital letter

  • Stroke: Any line that defines the basic letterform
Figure 2.1


  • Apex/Vertex: The point created by joining two diagonal stems
Figure 2.2 Apex/Vertex (03/09/21)


  • Arm : Short strokes off the stem of the letterform, either horizontal (E, F, L) or inclined upward (K, Y).
Figure 2.3 Arm (03/09/21)


  • Ascender : The portion of the stem of a lowercase letterform that projects above the median.
Figure 2.4 Ascender (03/09/21)


  • Barb : The half-serif finish on some curved stroke
Figure 2.5 Barb (03/09/21)


  • Beak : The half-serif finish on some horizontal arms.
  • Bowl : The rounded form that describes a counter. The bowl may be either open or closed.
Figure 2.6 (03/09/21)


  • Bracket : The transition between the serif and stem
Figure 2.7 Bracket (03/09/21)


  • Cross Stroke : The horizontal stroke in a letterform that joins two stems together.
Figure 2.8 Cross Stroke (03/09/21)


  • Crotch : The interior space where two stroke meet.
Figure 2.9 Crotch (03/09/21)


  • Ear : The stroke extending out from the main stem or body of the letterform.
Figure 2.10 Ear (03/09/21)


  • 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 size of an em. Most often used to describe em/en spaces and em/en dashes.
Figure 2.11 Em/En (03/09/21)


  • Ligature : Character formed by the combination of two or more letterform
Figure 2.12 Lignature (03/09/21)


  • Link : The stroke that connects the bowl and the loop of a lowercase (G).
Figure 2.13 Link (03/09/21)


  • Loop : in some typefaces, the bowl created in the descender of the lowercase (G).
Figure 2.14 Loop (03/09/21)


  • Serif : The right-angled or oblique foot at the end of the stroke.
Figure 2.15 Serif (03/09/21)


  • Spine : The curved stem of the (S).
Figure 2.16 Spine (03/09/21)


  • Spur : The extension the articulates the junction of the curved and rectilinear stroke.
Figure 2.17 Spur (03/09/21)


  • Stress : The orientation of the letterform, indicated by the thin stroke in round forms.
Figure 2.18 Stress (03/09/21)


  • Swash : The flourish that extends the stroke of the letterform.
Figure 2.19 Swash (03/0921)


  • Terminal : The self-contained finish of a stroke without a serif. This is something of a Catch-all term.
    • (T) above
    • Flared
    • Acute
    • (t) above
    • Grave
    • Concave
    • Convex
    • Rounded as a ball or a teardrop.

Figure 2.20 Terminal (03/09/21)



Typography : Basic / The font

  • Uppercase : Capital letters, including certain accented vowels.
Figure 2.21 Uppercase (03/09/21)


  • Lowercase : Lowercase letters, include the same character as uppercase.
Figure 2.22 Lowercase (03/09/21)


  • 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 (expert set).
    • Usually use in acronyms without making the typeface too messy.

Figure 2.23 Small Capitals (03/09/21)


  • Uppercase Numerals : also called lining figures. Used with tabular material or in any situation that calls for uppercase letters.
Figure 2.24 Uppercase Numerals (03/09/21)


  • Lowercase numerals: Also known as old style figures/text figure. Far less common in san serifs than in serif.
Figure 2.25 Lowercase Numerals (03/09/21)


  • Italic : Most fonts today are produced with a matching italic. Small caps, however, are almost always only roman.
Figure 2.26 Italic (03/09/21)


  • Punctuation, miscellaneous characters : Although all fonts contain standard punctuation marks, miscellaneous characters can change typeface to typeface.
Figure 2.27 Punctuation (03/09/21)


  • Ornaments : Used as flourishes in  invitations or certificates (usually are provided as a font in larger typeface family)
Figure 2.28 Ornaments (03/09/21)


Typography : Basic ? Describing typefaces

  • Roman : The letterform is so called because the uppercase forms are derived from inscriptions of Roman monuments. A slightly lighter stroke in roman is known 'book'
Figure 2.29 Roman (03/09/21)


  • Italic : Named for fifteenth century Italian handwriting on which the forms are based. 
  • Oblique : conversely are based on roman form of typeface.
Figure 2.30 Italic, Oblique (03/09/21)


  • Boldface : thicker stroke than a roman form
    • Can be semibold, medium, black, extra bold
    • The boldest is referred to as poster
Figure 2.31 Boldface (03/09/21)


  • Light : lighter stroke than roman form
    • Even lighter strokes are called thin
Figure 2.32 Light (03/09/21)



Week 3 : - Lecture 3

Typography : Text tracking : Kerning and Letterspacing

  • Kerning : 
    • refers to the automatic adjustment of space between letters. 
    • Often mistakenly referred to as 'letterspacing'.
    • It is NOT letterspacing, letterspacing means to add space between the letters.

Figure 3.1 Kerning (10/09/21)


  • Tracking : The addition or removal of space in a word or sentence.
    • Normal Tracking.
    • Loose Tracking : 
      • Loose tracking in lowercase letters require counterform between letters to be created to maintain the line of reading
    • Tight Tracking.

Figure 3.2 Tracking (10/09/21)



Typography : Text / Formating 

  • Flush Left : 
    • Most closely mirrors the asymmetrical experience of handwriting.
    • Each line starts at the same point but ends wherever the last word on the line ends.
    • Space between words are consistent throughout the text.

Figure 3.3 Flush Left (10/09/21)


  • Centered :
    • This format imposes symmetry upon the text.
    • It transforms fields of text into shapes, thereby adding a pictorial quality to material that is non-pictorial by nature.
    • It's important to amend line breaks so that the text does not appear too jagged.

Figure 3.4 Centered (10/09/21)


  • Flush Right : 
    • This format places emphasis on the end of a line as opposed to its start.
    • Can be useful in situations (like captions) where the relationship between text and image might be ambiguous without a strong orientation to the right.

Figure 3.5 Flush Right (10/09/21)


  • Justified : 
    • This format imposes a symmetrical shape on the text.
    • Achieved by expanding or reducing spaces between words and, sometimes, between letters.
    • The resulting openness of lines can occasionally produce 'rivers' of white spaces running vertically through the text.
    • Attention to line breaks and hyphenation is required to amend this problem.

Figure 3.6 Justified (10/09/21)



Typography : Text / Texture
    • Different typefaces suit different messages.
    • A good typographer has to know which typefaces best suits the message at hand.
    • Type with relatively generous x-height or relatively heavier stroke width produces a darker mass on the page than smaller x-height or lighter stroke.
    • Thicker stroke increases readability (on prints)

Figure 3.7 Texture (10/09/21)



Typography : Text / Leading and Line Length

  • Type Size : 
    • Text type should be large enough to be read easily at arms length - imagine yourself holding a book in your lap.

  • Leading :
    • Text that is set too tightly encourages vertical eye movement; a reader can easily loose his or her place.
    • Type that is set too loosely creates stripped 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 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 lengths impairs reading.

Figure 3.8 Text / Leading and Line Length (10/09/21)



Typography: Text / Type Specimen Book
    • Shows samples of typefaces. You can only determine choice on screen when its final version is to read on screen.
    • A Type specimen book (or ebook for screen) is to provide an accurate reference for type, type  size, type leading, type line length.
    • It is useful to enlarge type to 400% on screen to get a clear sense of relationship between descenders on one line and ascenders on the line below.
    • The best screen is still an electronic approx. of the printed page (unless you are designing for screen)



Week 4 - Lecture 4

Typography : Text / Indicating Paragraphs (cr. Esther Vanessa)

  • Linespace : The base line of one sentence to the desencender of the other sentence
  • Leading : Space between 2 sentences.

  • Standard Indentation : Typically here the indent in the same size of the line spacing or the same as the point size of your text.
    • Used to save some spaces
    • Too short of a paragraph will cause more ragging
    • Don't use ragging on the right (remember to always use justify if you're using indentation)

  • Window : Is a short line of type left alone at the end of a column of text.
    • Break line endings through out paragraph so that the last line of paragraph is not noticeably short.

  • Orphan : Is a short line of type left alone at the start of new column.
    • It must be avoided or you can adjust the column height.


Typography : Text / Highlighting Text :
 
  • Making it bold, italic, change the typeface or has a different colors (cyan, magenta, or black)
  • When changing the typeface, you need to adjust depends of the point size.

Figure 4.1 Typeface with same point size but look different

  • You can also align number with the capital.
  • You can also create box of text to highlight text.

Figure 4.x Field of text adjusting to the text below and after it.


  • It is also necessary occasionally to place certain typographic elements outside the left margin of a column of type to maintain a strong reading axis.
    • This includes Quotation, bullets - they can create indent and breaking left reading axis




Text / Headline within text 
  • Make sure to signify the relative importance of these heads and their relationship to each other
Figure 4.X Different Type of Headlines

Figure 4.X Subordinate to A heads

Figure 4.X heads to highlights specific facets of material within B text


(cr. Esther Vanessa)


Week 5 : Lecture 5

Typography : Letters / Understanding letterforms

  • The uppercase letter forms bellow suggest symmetry, but in fact it is not symmetrical. It is easy to see the two different stroke weights of the Baskerville stroke form (below); more noteworthy is the fact that each bracket connecting the serif to the stem has a unique arc.

Figure 5.1 Baskerville

  • The uppercase letter forms may appear symmetrical, but a close examination shows that the width of the left slope is thinner than the right stroke. Both Baskerville (previous) and Univers (below) demonstrate the meticulous care a type designer takes to create letterforms that are both internally harmonious and individually expressive.

Figure 5.2 Univers

  • The complexity of each individual letterform is neatly demonstrated by examining the lowercase 'a' of two seemingly similar sans-serif typefaces -- Helvetica and Univers. A comparison of how the stems of  the letterforms finish and how the bowls meet the stem quickly reveals the palpable difference in character between the two.

Figure 5.3 Helvetica and Univers (comparison)


Typography : Letters / Maintaining x - height

  • X - height generally describe the size of the lowercase letterforms. However, you should keep in mind that curved strokes, such as in 's', must rise above the median (or sink below the baseline) in order to appear to be the same size as the vertical and horizontal strokes they adjoin.

Figure 5.4 Median and Baseline

Typography : Letters / Forms / Counterform

  • Counter or Counterform -- the space describes, and often contained, by the strokes of the form. When letters are joined to form words, the counter form includes the space between them

Figure 5.5 Counterform


Typography : Letters / Contrast

  • The basic principles of Graphic Design apply the directly to typography. The following are some example of contrast -- the most powerful dynamic design -- as applied to type, based on a formate devised by Rudi Ruegg.

Figure 5.6 Contrast

Figure 5.7 contrast




Week 6 : Lecture 6

Typography in Different Medium :

  • In the past, typography was viewed as living only when it reached paper. Once a publication was edited, typeset and printed, it was done. Nothing changed after that. Good typography and readability were the result of skilled typesetter and designers.

  • Today typography exist not only on paper but on a multitude pf screens. It is subject to many unknown and fluctuating parameters, such as operating system, system fonts, the device and screen itself, the viewport and more. Our experience of typography today changes based on how the page is rendered, because typesetting happens in the browser.


Print Type vs Screen Type :

  • Type for Print :
    • Primarily, type was designed intended for reading form print long before we read from screen. It is designer's job to ensure that text is Smoot, flowing, and pleasant to read.
    • A good typeface for print-Caslon, Garamond, Baskerville are the most common typefaces that is used for print. Because of their characteristic which are elegant and intellectual but also highly readable when set at small font size
    • They are versatile, easy0to-digest classic typeface, which has a neutrality and versatility that makes typesetting with it breeze.

Figure 6.1 Example for Print Type


  • Type for Screen : 
    • Typefaces intended for use on the web are optimized and often modified to enhance readability and performance onscreen in a variety of digital environments. This can include a taller x-height (or reduced ascender and descenders), wider letterforms, more open counters, heavier thin strokes and serifs, reduced stroke contrast, as well as modified curves and angles for some designs.

    • Another important adjustment -- especially for the typefaces intended for smaller sizes -- is more open spacing. All of these factors serve to improve character recognition and overall readability in the non-print environment, which can include the web, e-books, e readers, and mobile devices.

  • Hyperactive Link/ hyperlink :
    • A hyperlink is a word, phrase, or image that you can click on to jump to a new document or a new section within the current document. Hyperlinks are found in nearly all web pages, allowing users to click their way from page to another. Text hyperlink, whether it is text or an image, the arrow should change to a small hand pointing at the link.

  • Font size for Screen :
    • 16 - pixel text on a screen is about the same size as text printed in a book or magazine ; this is accounting for reading distance. Because we read book pretty close -- often only a few inches away -- they are typically set at about 10 points. If you were to read them at arm's length, you'd want at least 12 points, which is about the same size as as 16 pixels on most screen.

  • System Fonts for Screen/Web safe Fonts :
    • Open sans, Lato, Arial, Helvetica, Times New Roman, Times, Courier New, Courier, Verdana, Georgia, Palatino, Garamond.

Figure 6.2 The difference between Screen and Print


  • Pixel differential Between Devices :
    • The screens used by our PCs, tablets, phones and TVs are not only different sizes, but the text you see on-screen differs in proportion too, because they have different sized pixels. 100 pixels on a laptop is very different from 100 pixels on a big 60" HDTV.

Figure 6.3 

  • Static vs Motion :
    • Static typography has minimal characteristic in expressing words. Traditional characteristic such as bold and italic offer only a fraction of the expressive potential of dynamic properties.

Figure 6.4 Example for Dynamic in static

Figure 6.5 Example for Dynamic in static

  • Temporal media offer typography opportunities to "dramatize" type, for letterforms to become "fluid" and "kinetic" (Woolman and Bellatoni, 1999). Film title credits present typographic information overtime, often bringing it to life through animation. Motion graphics, particularly the brand identities of film and television production companies, increasingly contain animated type.



INSTRUCTIONS




EXERCISES :

Week 1 : Sketches

Mr vinods assigned us to create various sketches from 4 optional words from the facebook group (terror, abyss, water, and space). 

I tried to use a paper in case I made a mistake, so I decided drew it first on a paper by exploring several words using a pencil.


Figure 1.12 sketch

After receiving several feedback from mr Vinod, I started to re create some of the sketches that mr vinos said it is lack of exploration in Week 2 

Week 2 : Digitalise

During this week, we were assigned to digitalize our sketches with Adobe Illustrator, the final result which contains 4 different types need to be submitted by the next week (week 3) and will be discussed with our lecturer (Mr. Vinod and Mr. Charles)


Figure 2.1 First trial using Adobe Illustrator (03/09/21)

For the first word, terror, I tried to re create my original sketch with the given app (adobe illustrator), however, the design isn't acceptable enough to be submitted, so I changed the composition so that the crosshair could stand out enough but ended up covering the other elements and objects.


Figure 2.2 The using of Pathfinder (03/09/21)

Figure 2.3 Apply it on my design (03/09/21)


I decided to create the scratch effect using pathfinder, by combining two different elements, it helped to slice several elements on my design


Figure 2.4 Digitalisation Progress (03/09/21)

For the second word, water, I was trying to use the left design one, however, I found that the font is too mainstream and seemed similar with my friend, so I decided to change it eventually. I tried to combine and merge the previous design by eliminating several parts.

I also tried to explore some of the tools and ended up using wrinkle tools because it really helps me to make the wavy effect on my design.



Figure 2.5 Wrinkle Tool (03/09/21)


Figure 2.6 Digitalisation Progress "Water" (03/09/21)


For space, I chose to apply the same concept and composition similar with my original sketch, i sliced the middle part of "space" to create another space inside of it. However, I decided to choose another design instead of the first one. 

Figure 2.7 Transform my design and creates outline (03/09/21)

Figure 2.8 Slicing the letter with line segment tool (03/09/21)

Figure 2.9 Eliminate some parts using pathfinder (03/09/21)




I chose to delete some objects from my design using pathfinder, by creating outlines and I started to create another elements (using line segment tools). you can slice them together and eliminate those part that I didn't want to.

Figure 2.10 Digitalisation Progress "Space" (03/09/21)



I didn't doing so much on this word because suddenly this type of design appeared in my head, so I decided to directly digitalize the word of 'broken'.

Figure 2.11 Final Result "Broken"






Figure 2.12 Final Result




FINAL RESULT TYPE EXPRESSION :







Week 3 : Type Expression Animation


Figure 2.13 Type Animation First Attempt (10/09/21)



Our lecturer (Mr Vinod and Mr Charles) Demonstrated us to create our first type expression animation through illustrator and photoshop.


Here is the final result, I chose to animate this word because the complexity that they had, and also, I tried to create the water movements by editing and using wrinkle tools. it may not be perfect but I like the idea.

I ended up using 12 frames to create a little bit more details there.


Figure 2.14 Reflect how many frames that I used (10/09/21)

I'm also playing around with the wrinkle tool to create wavy movement effect on my design so that the word of water could moving like a real water.

Figure 2.15 Wrinkle Tool




FINAL ANIMATED TYPE EXPRESSION :


Here is the final result, I chose this specific word because of its complexity, I tried really hard to make the wavy effect looks real. I didn't receive any specific feedback, and since I heard several feedback that my friend perceived, I decided not to change anything because there isn't anything that I should adjust.

Figure 2.16 Type Expression Final (10/09/21)





Week 4 : Text Formatting

For this week, all students were assigned to create and try letter formatting using Adobe In Design. By following the given video, we tried to explore several formats for instance kerning, leading, paragraph spacing, etc. 

Here are some examples and my progression using Adobe In Design to create letter formatting :



Figure 2.17 Text Formatting (with kerning) (17/09/21)


I also documented the original version without using any kind of letter formatting incase my lecturer demand for my progression


Figure 2.18 Letter Formatting (without kerning) (17/09/21)



There is a noticeable distinction between kerning text and text without kerning, we can see the text without kerning looks a bit tight while kerning makes a little gap between the letter.


Figure 2.19 The Different between Text with or without kerning


Figure 2.20 Overlaying both Kerning and without Kerning (17/09/21)



Otherwise, I tried to explore several things using adobe in design related to our lessons and new task. We were assigned to watch Mr Vinod's videos from YouTube and reflect it throughout our work.


    Figure X.X First Attempt using In Design (17/09/21)

Figure X.X  Screenshot of Hidden Characters (17/09/21)




Afterwards, I ended up made 3 different types of design layout, I tried to play around with the composition as what Mr Vinod said to us. For the first composition, I decided to make simple yet appealing composition with a huge picture on top of the paper.


Figure X.X First Composition (17/09/21)

Fonts: Univers LT Std (55 Roman)
Point size: 9 pt (body text), 8 pt (captions), 24 pt (heading)
Leading: 11 pt (body text), 22 pt (heading)
Paragraph spacing: 14.4 pt
Line length: 54 
Alignment: Left align



For the second composition, I decided to re arrange the composition by placing the photo at the bottom of the paper, by that, I could play around a little bit with the text and other compositions.

Figure X.X Second Composition (17/09/21)


Fonts: Univers LT Std (55 Roman)
Point size: 9 pt (body text), 8 pt (captions), 24 pt (heading)
Leading: 11 pt (body text), 22 pt (heading)
Paragraph spacing: 14.4 pt
Line length: 54 
Alignment: Left align


Figure X.X Third Composition (17/09/21)



Fonts: Univers LT Std (55 Roman)
Point size: 9 pt (body text), 8 pt (captions), 24 pt (heading)
Leading: 11 pt (body text), 22 pt (heading)
Paragraph spacing: 14.4 pt
Line length: 54 
Alignment: Left align


FINAL OUTCOME TEXT FORMATTING :








Figure X.X Final Result (17/09/21)




FEEDBACK

Week 1
General FeedbackMr vinods taught us to create and start our first E - Portofolio with the proper orders. 
Specific Feedback : He also reminds me to fill my major’s name into the description as well as not to make any typos.

Week 2
General Feedback : Mr vinods divided us to 10 different rooms, we can receive as well as suggest our personal feedback to other person in the same room.
Specific Feedback : We received a very important feedback and several recommendations from our facilitator (Mr Charles and Mr Vinods) related to our sketches .

Week 3
General Feedback : Mr Vinod reminded me to be aware and be more careful in terms of composition, he also suggest me to analyze in order to find out what makes others' word looked appealing.
Specific Feedback : Mr Vinod told me that the used of balance in 'water' is right and make it even better than the other sketches, he also told me to aware about composition and font sizes so that my word could be better.

Week 4
General Feedback :
All students can put additional frames to the animation in order to make the animation looks smoother. 
Specific Feedback : 

- Is the animation suitable? yes my animation looks suitable with the word
- Does the animation reflect or enhance the meaning of the word? yup, it is undoubtedly reflect the meaning of 'water' - Does the animation reflect the form being expressed? yes it is - Does the animation create a smile in your mind? The animation makes me calm honestly, because the waving effects kind of smooth for me and give the relax sensation for me.



REFLECTIONS
 
Experience : The class was amazing, I felt a bit tired because this is my first time using and creating my E-Portfolio, but Mr Vinod gave us a very understandable explanation about this blogspot. We also learned about type expression, it was a bit hard for me, The words from Facebook was too limited and challenging for me. But I know this won't stop me to keep going. We also tried to animate our design and we've been given a very clear feedback to evolve our design. Otherwise, Mr Vinod also taught about letter formatting throughout his video by using Adobe In Design.

Observations : For the observation, I found that even blog has a lot of tools that is quite complex and hardly understandable. We also observed several things form adobe illustrator to create our design. Photoshop also provided to animate our design. Lastly, mr Vinod taught us to use in design in order to finish our letter formatting task.

Findings : I've discovered that typography has many rules, typography also has a lot background story and history throughout typography. Mr Vinod also taught us little bit deeper about typography by providing us his lecture videos on YouTube. I found that typography also can be digitalise as well as animate to evolve our design. Additionally, we've discovered more about letter formatting and found out how to even adjust it.





FURTHER READING


Figure X.X A Type Primer


I started to read this book and learned about typography even deeper


Figure X.X The Vignelli Canon

Throughout our creative lives we have sifted through everything to select what we thought best. We sifted through materials to find those for which we have the closest affinity. We sifted through colors, textures, typefaces, images, and gradually we built a vocabulary of materials and experiences that enable us to express our solutions to given problems - our interpretations of reality.
It is imperative to develop your own vocabulary of your own language - a language that attempts to be as objective as possible, knowing very well that even objectivity is subjective.




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