Typography - Task 1: Exercises

22.09.2025 - 26.10.2025 / Week 1-Week 5

Aida Tan Jie Fei / 0385645

Typography/ Bachelor of Design (Honours) in Creative Media / Taylor's University

Task 1: Exercise

LIST

LECTURES

Week 1 :

Typo_0_Introduction

Typography is the creation of typefaces or type families.It has evolved over 500 years from"calligraphy>lettering>typography".

Typography can be describe as the style and appearance of printed matter (by Oxford dictionaries) or the art and technique of arranging type to make language legible, readable, and appealing when displayed(by Wikipedia).

Font: The individual font or weight within typeface, l.e.:Georgia Regular, Georgia Italic and Georgia Bold.

Typeface:The entire family of font/weights that share similar characteristic/style, l.e.:Georgia, Arial, Times New Roman, Didots and Futura.

Typo_1_Development

Early letterform development:Phoenician to Roman

Figure 1.1.1 Early Letterform Development

Initially writing meant scratching into wet clay with 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, the forms are simple combination of straight lines and pieces of circles.

Figure 1.1.2 Early Letterform Development

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

Figure 1.1.3 Early Letterform Development

Etruscan (and then Roman) 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 start and finish-carried over into the carved letterforms.

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

Figure 1.2 Hand Scripts

Text type classification

Figure 1.3 Text Type

Week 2 :

Typo_3_Text_Part 1

Text/Tracking: Kerning and Letterspacing

Figure 1.4.1 Kerning and Letterspacing

Kerning: automatic adjustment of space between letters

Letterspacing: add space between the letters

Tracking:addition and removal of space in a word or sentence

Figure 1.4.2 Tracking

Tracking can increase or decrease the readability of the text.

Figure 1.4.3 Text Formatting

Flush text:This format is similar to handwriting—each line starts at the same place but ends naturally. Even word spacing keeps the text looking balanced in tone.

Centered:This format centers the text, making it look balanced and more visual. To keep it smooth, line breaks need to be adjusted carefully.

Flush right:This format highlights the end of the line rather than the beginning. It's useful when text needs a clear right-side alignment, like in captions near images.

Justified:This format creates symmetry by adjusting spacing, but it can cause vertical gaps. Careful line breaks and hyphenation help prevent this.

Text/Texture

It is important to understand how different typefaces feel as text. Different typefaces suit different messages, and their textures need to be considered. Sensitivity to these differences in color is fundamental for creating successful layouts.

Figure 1.5.1 Anatomy of a Typeface

Figure 1.5.2 Texture

Figure 1.5.3 Texture

Text/Leading and Line Length

Type size:Text type should be large enough to be read easily at arms length.

Leading:Text set too tight encourages vertical eye movement, causing readers to lose focus. Text set too loose creates distracting stripes.

Line Length:Shorter lines require less leading, while longer lines require more.A good rule of thumb is to keep line length between 55-65 characters.

Week 3 :

Typo_4_Text_Part 2

Text/ Indicating Paragraphs

Figure 1.6.1 Type of Paragraphs

Pilcrow: A holdover from medieval manuscripts and it seldom use nowadays.

Line Space:To ensures cross-alignment across columns of text.

Indentation:The indent is about the same as the line spacing or the text size.

Figure 1.6.2 Line Space vs Leading

Line Space:The base line of one sentence to the descender of the other sentence.

Leading:A space between two sentences.

Text/ Widows and Orphans

Figure 1.7 Widows and Orphans

Widows:A short line of type left alone at the end of a column of text.

Orphans:A short line of type left alone at the start of new column.

In justified text, widows and orphans are serious mistakes.To fix widows, must adjust the line breaks so the last line of each paragraph isn’t too short.To fix orphans, make sure a new column or page never starts with the last line of the previous paragraph.

Text/ Highlight text

Figure 1.8 Highlighting Texts

Text / Headline within Text

Figure 1.9.1 A Head

A head indicates a clear break between the topics within a section.

Figure 1.9.2 B Head

B heads indicate a new supporting argument or example for the topic at hand.

Figure 1.9.3 C Head

C heads highlights specific facets of material within B head text.

Text / Cross Alignment

Figure 1.10 Cross Alignment

Aligning headlines and captions with the text makes the page look more structured and balanced, showing a clear vertical rhythm.

Week 4:

Typo_2_Basic

Basic / Describing letterforms

Typography has developed many technical terms over the past 500 years to describe parts of letters. Learning these terms helps us identify different typefaces more easily.

Figure 1.11.1

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

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

X-height:The height in any typeface of the lowercase 'x.

Figure 1.11.2

Stroke:Any line that defines the basic letterform.

Apex/Vertex:The point created by joining two diagonal stems.

Arm:Short strokes off the stem of the letterform, either horizontal or inclined upward.

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

Barb:The half-serif finish on some curved stroke.

Beak:The half-serif finish on some horizontal arms.

Bowl:The rounded form that describes a counter.

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.

Descender:The portion of the stem of a lowercase letterform that projects below the baseline.

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

Em/en:Em is the distance equal to the size of the typeface. An en is half the size of an em.

Finial:The rounded non-serif terminal to a stroke.

Leg:Short stroke off the stem of the letterform, either at the bottom of the stroke or inclined downward.

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

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 curved stem of the S.

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

Stem:The significant vertical or oblique stroke.

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

Swash:The flourish that extends the stroke of a letterform. Swashes should never be used together in capital letters to form a word or name.

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

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

Basic/The font

Figure 1.12.1 Uppercase

Figure 1.12.2 Lowercase

Figure 1.12.3 Uppercase Numerals

Also known as lining figures are numbers the same height as uppercase letters with uniform spacing, ideal for tables or text using all caps.

Figure 1.12.4 Lowercase Numerals

Also known as old style figures or text figures，these numbers match the x-height with ascenders and descenders and work well with regular text. They are less common in sans serif fonts.

Figure 1.12.5 Italic

Most fonts have italics, but small caps are usually roman. Italics come from 15th-century Italian handwriting, while oblique letters are slanted roman forms.

Figure 1.12.6 Punctuation,Miscellaneous and Characters

All fonts contain standard punctuation marks but miscellaneous characters can change from typeface to typeface.

Figure 1.12.7 Ornaments

Ornaments used as flourishes in invitations or certificates.

Basic/ Describing typefaces

Figure 1.13 Describing typefaces

Roman:Roman letters are named for their uppercase forms from Roman inscriptions. A lighter version is called “Book.”

Italic:Italic comes from 15th-century Italian handwriting, while oblique is slanted roman letters.

Boldface:Boldface has thicker strokes than roman. Variations include semibold, medium, black, extra bold, or super. In some fonts like Bodoni, the boldest rendition is called “Poster.”

Light:Light has thinner strokes than roman; even thinner is called “Thin.”

Condense:Condense is a narrow version of roman and the extremely styles are called “Compressed.”

Extended:An extended variation of a roman font.

Basic/Comparing typefaces

Figure 1.14 Comparing typefaces

INSTRUCTIONS

Figure 2 Module Briefs

Task 1:

Type Expression

We have been given 6 words, from which we must select 4 to create sketches.

1.burn/BURN

2.glitch/GLITCH

3.shake/SHAKE

4.noisy/NOISY

5.squish/SQUISH

6.bleed/BLEED

Figure 2.1 Sketches

After receiving feedback from the lecturer, we were required to digitize the words in Adobe Illustrator. Below are the words I designed. Among these four words, “Bleed” and “Noisy” are usable. The “Shake” design looks too intense, like a jump, so it could be made lighter. The “Burn” design doesn’t work well.

Figure 2.2 Words of Concepts

We received feedback from the lecturer in class, and I made some changes to the word design. Below is the final type expression that can be used.

Figure 2.3 Final Type Expression

Animation Explosion

After completing our type expressions, we were required to choose one final design and animate it. I chose “Noisy” as my animation concept, representing an explosion.

Figure 2.4 Process Work of Noisy GIF

Figure 2.5 Noisy GIF

FINAL WORK

Figure 2.6 Final Type Expression

Figure 2.7 Final Type Expression (PDF)

Figure 2.8 Noisy GIF

Task 2:

Type Formatting

For this task we are required to design our name using the 10 fonts that are given in Adobe Indesign.

Figure 2.9 Kerning and Letterspacing in 10 Fonts

Figure 2.10 Kerning and Letterspacing in 10 Fonts

I did three types of formatting, and after exploring, I received some feedback. The picture should be changed to a more design-related one, and the text can be rearranged to look more balanced.

Figure 2.11 Three Type Formatting Design

Figure 2.12 Type Formatting Explore

After receiving the feedback, this is my Final Type Formatting work.

Figure 2.13 Final Type Formatting

HEAD

- Font/s: Univers LT Standard
- Type Size/s: 34 pt
- Leading: 32 pt
- Paragraph spacing:2

BODY
- Font/s: Univers LT Standard
- Type Size/s: 10 pt
- Leading: 11 pt
- Paragraph spacing: 3.881mm
- Characters per-line: 50-60
- Alignment: Left Alignment

Page Margins

- top + left + right + bottom: 12.7 + 12.7 + 12.7 + 30 (mm)
- Columns: 4
- Gutter: 5mm

FINAL WORK

Figure 2.14 Final Type Formatting

Figure 2.15 Final Type Formatting (PDF)

Figure 2.16 Final Type Formatting with Grids (PDF)

HEAD

- Font/s: Univers LT Standard
- Type Size/s: 34 pt
- Leading: 32 pt
- Paragraph spacing:2

BODY
- Font/s: Univers LT Standard
- Type Size/s: 10 pt
- Leading: 11 pt
- Paragraph spacing: 3.881mm
- Characters per-line: 50-60
- Alignment: Left Alignment

Page Margins

- top + left + right + bottom: 12.7 + 12.7 + 12.7 + 30 (mm)
- Columns: 4
- Gutter: 5mm

FEEDBACK

Week 2

Specific Feedback:

Following the task, we should use the 10 typefaces that are provided. The word "burn" can be designed to reflect the idea that after burning, it captures the fall. We should be more creative because most word designs are repetitive.

General Feedback:

Mr. Vinod emphasized that "less is more." Making subtle adjustments such as changing the font or position of just one or two words can be enough to create impact. Overcomplicating the design by altering too many elements or directions can lead to confusion and hinder readability. The focus should remain on creating typography that is simple, clear, yet memorable.

Week 3

Specific Feedback:

The “shake” can make the background appear lighter or softer, unlike a “jump.” Be a little more critical if you’re making your assessment based on your own work.

General Feedback:

We should select our best piece to show Mr. Vinod, instead of showing all of our designs. We need to make our own choice.

Week 4

Specific Feedback: Overall, it’s fine.

General Feedback:We have to make sure the artboards are aligned so our work stays stable. We also need to keep updating our e-portfolio and avoid using dark backgrounds on the pages.

Week 5

Specific Feedback:Be careful with the letter spacing the unit needs to be changed from mm to pt. The layout is acceptable, but there’s still room for improvement to make the text alignment look more balanced.

General Feedback:The article should have two or more columns, and the paragraph should be adjusted carefully for proper spacing and alignment to keep the layout balanced.

REFLECTIONS

BACK TO TOP

Experience：

When I first started my work, I found it really challenging. It was my first time learning design, so I wasn’t sure which tools to use or how to approach it.Every week, we received new tasks to complete, and each time I found them quite challenging. I made mistakes in almost every task, but I learned from each one.

Observations：

During Mr. Vinod’s review session, we submitted our works and received individual feedback. Seeing my classmates’ projects, I was impressed by how they experimented with various design ideas and distilled the essence of each. It made me realize the importance of learning from their creativity and dedication.

Findings：

I have to learn more and keep practicing. Even though I’ve made quite a lot of mistakes, it’s not a bad thing because I can learn from them and improve.

FUTHER READING

Figure 3 A Type Primer by John Kane

A Type Primer (2nd Edition) by John Kane is a foundational guide to understanding typography and its role in visual communication. The book introduces essential concepts such as type anatomy, spacing, hierarchy, and grid systems through clear explanations and practical exercises. Kane emphasizes that typography is a form of visual language—how letters are shaped, spaced, and arranged influences not just readability but also emotion and meaning. It’s an ideal resource for design students seeking to master the fundamentals of type and layout.

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Aida Tan Jie Fei (0385645)

Typography - Task 1: Exercises

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