TYPOGRAPHY - FINAL COMPILATIONS & REFLECTION

TYPOGRAPHY - FINAL COMPILATION & REFLECTION.

WEEK 1 - WEEK 14

(17, April 2020 - 17, July 2020)

Angdio Nagarico (0340052)

Typography

Final Compilation & Reflection.

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INSTRUCTION.

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LINKS.

EXERCISES

PROJECT 1

PROJECT 2A

PROJECT 2B

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EXERCISE 1.

fig. 1.1 Final Work.

fig. 1.2 Exercise 1 Final Work PDF.

fig. 1.3 LOUD final work.

fig. 1.4 LOUD Final Work GIF PDF.

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EXERCISE 2.

fig. 1.5  Name Card JPEG.

fig. 1.6  Article 1 JPEG.

fig. 1.7 Article 2 JPEG.

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PROJECT 1.

fig. 1.8 Final work JPEG.

fig. 1.9 Project 1 Final Work PDF.

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PROJECT 2.

fig. 2.1 Project 2 Final Work JPEG.

fig. 2.2 Project 2 Final Work PDF.

Download font here.

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FINAL PROJECT.

fig. 2.3 SIN N SOLVE POSTER JPEG.

fig. 2.4 SIN N SOLVE Poster PDF.

fig. 2.5 SIN N SOLVE GIF PDF.

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REFLECTION. 

This is my reattempt Typography class and it is definitely different with the last typography class that I had in semester 1, the main reason is we attend the class via online instead of having the class physically and learning also seems to be a little bit harder than usual but because I had already attempted this class before on semester 1, I don't find that this semester is any different than the last one and it makes my work easier because I already know what ai should do for every exercises and project. being a senior in the class is not fun at all because you will have this burden in your shoulder thinking about the lecturer must be expecting something more advance from the senior, but overall I kind off enjoying this semester more than last semester because I understand more and had an experience about the task that the lecturer has given to do and it might help me in the future.                                               

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FURTHER READINGS.

fig. 2.6 Typographic Design: Form and Communication. (vol.7).

Typographic Design: Form and Communication (vol.7) is the book that I chose because of this book it contains a lot of information about the reference for graphic designers and it also provides a comprehensive introduction to the visual word. This book also reminds us about typography can communicate so much more than the words themselves and it also tells you about typographic design that can determine you about the way you feel from a message. This book provides essential guidance on everything related to type: from letterforms and negative space to messaging, processes, and history, aspiring designers will find great utility in mastering these critical concepts.

fig. 2.7 An Essay on Typography by Eric Gill's book.

I read about typography in this book and it says one of the most alluring enthusiasms that can occupy the mind of the letterer is that of inventing a really logical and consistent alphabet having a distinct sign for every distinct sound for the letters we use only inadequately symbolize the sound of our language. It says we need many new letters and revaluation of existing ones. And Eric Gill said that there are 3 alphabets in common use for English people and they are Roman Alphabet of Capital Letters (upper-case), and the second is Roman lower-case & Italic. And there are qualities of making good typography like the matter of slope, serifs, or the thickness or thinness of the type. Typography was originally done by pressing the inked surface or 'face' of a letter made of wood or metal against a surface of paper or vellum.

fig. 2.8 Adobe InDesign CS5 Book.

A page from this book also tells us the best way to practice using Adobe InDesign step by steps and according to this book the best step of how to use keyboards as the shortcuts, Open documents from a local hard drive, Do a Save As when your project is completed, Use the least number of texts frames possible, Use context menus, Use shortcut keys in dialog boxes, Never remove the .indd file extension from any of the files, Use quality fonts, and How to Create folders to organize your projects.

fig. 2.9 Texts on Type Critical Writings on Typography Book.

Typography inspires passion. The magnificent orchestration of forms in a beautifully crafted type font, the unlimited possibilities of spatial syntax. In the motion picture, book publishing, and fine arts arenas, critics monitor, evaluate, and explain new material. Compositors controlled type during the four hundred years of handset metal type, then layout artists became important when handset display type was combined with machine-set type from keyboard-operated Linotype and Monotype machines in the 1800s. The nature of type professionals changed markedly as the nineteenth century yielded to the twentieth century. Designing typefaces and composing pages were largely the province of punch -cutters machines.