OUGD204 - Type Session

Tabbing

Organising the structure of text

Doesn't rely on columns

Refinement

View > Invisibles allows you to view the spacing, indents and line breaks 

cmd + shift + 'T' - Paragraph attributes

1) Add tabs between each value

2) Select all of the text

3) cmd + shift + t

4) Manually place tabs

5) Align depending on information

OUGD204 - Own branding / CV

After we created a business card and letterhead for our chosen profession, we were then required to formulate a CV with a strong emphasis on its layout as opposed to a creative CV which may have more decorative elements.

Insert CV with details cut out

OUGD204 - Business Card / Letterhead Task

We were all assigned a chosen profession, mine being a locksmith and then set a task to devise a business card within a 5 minute time frame, ensuring we put thought into choice of font, placement, scale and so on. As a 'locksmith' I wanted to give the impression I was professional yet reliable - someone who is attentive and good at what they do. 

I used a slab serif font to give a strong stance to the type; giving the impression it is secure. I used varied weights to emphasise certain aspects / copy, predominantly the tagline - 'Your security is key' - a play on words. It was noted, however, that those who just provided a mobile number seemed less professional than those with other contact details.

OUGD204 - Type session

I wasn't in last week but asked the others what we needed to create for the next session. We are required to fit a body of text amounting to around 5000 words in an 8 page, A5 booklet, focusing primarily on readability and legibility. I first read the essay in the order to gain insight into the content, message and what it is ultimately intending to communicate.

I initially decided to use a structured layout formation using 3 columns with a 3mm gutter to increase space availability. To give a balanced aesthetic with plenty of white space to engage the reader, I positioned the text in just 2 of the 3 columns. This was also to allow various pull out / call out quotes which supported the essay.

Final selection

Cambria - 8 on 10pt

2 columns, 54mm width, 3mm gutter

Margins - 18mm (L & R), 10mm (T & B)

OUGD204 - Essay on Typography Task

OUGD204 - Shape / Colour Task

Just using 1 Shape and varied tones of 1 colour, connote the following words simply by changing the placement, orientation and scale on the page. It was noted that this is what we need to consider when arranging elements within a publication layout, for example - there has to be a reason for everything - choice of font, scale, weight; everything has a voice.

- Dreamy
- Aspiring
- Powerful
- Calm
- Intense
- Relaxed
- Stormy
- Precious

OUGD204 - Type Session 5

Leaflet from last week

Gatefold leaflet with inner page listing the reasons why and how you start an allotment.

Other main content (regarding getting a new plot started) is listed on the page adjacent

Update for feedback

One image missing

Break up paragraphs in 'original allotments' paragraph

General spacing issues - alter leading inbetween paragraphs

Utilising white space to create emphasis

The size, the weight and the spacing surrounding the content alters the way someone reads the content. Utilising the white space is essential in breaking up content and controlling how it is read. Within my leaflet, I removed the line break between the later sub-headings and although the last 2 paragraphs are under the same subheading, it seems the content consists of 3 different paragraphs.

General notes

- Find the longest sub heading, enlarge it to a suitable size and use this as the format for all other sub-headings

- A page works when there is a geometric relationship

- Learn subtle skills to create white space

- Where should a line be broken?

- Style > Format for line indents

OUGD204 - Type session 4

Leaflets 

Designed to inform
All proportional to A-sizes
Purpose / function

• Concertina
• Gate fold
• Double gate
• Booklet

A booklet with a certain amount of pages / area size will cost more than a leaflet with the exact specifications. Booklets are charged VAT.

Text Content Tool > Linking tool to link columns

OUGD204 - Type session 3

Creating a double-sided flyer with appropriate hierarchy

Advertising an Anti-BNP meeting in Leeds. Substantial amount of text therefore effective heirarchy, layout and organisation are essential. What is it for? Who is it for? What is the importance of the content?

Response to task 2

Looking at the history of the brand - reference points
Provides a broader context
What materials is the brand applied to? Context.
Technical terminology / language
Highlighting key characteristics
Critical analysis
No lengthy annotation - short and brief

Independent research
Own understanding
Incorporate a yellow ad & critique
General enquiry
Detail!

Promotional flyer task

What is it for? Who is it for?
How will you engage recipients?
What is the heirarchy of text?
How important is the content?

The content of the meeting we are advertising is the most important content
This is followed by the whereabouts and time

cmd + e = Import
cmd + alt + shift + f = Scale picture to box
cmd + shift = Re-size and keep to scale

Tone of voice - Immediate
Who are you aiming to attract?
Fundamentally thinking about layout and organisation
It is not about having a style of your own - What is its purpose?

Logos

Logos need to be visually similar - Not all the same height
Your eyes are not drawn to them immediately
Black frame neutralises the space - geometric form

OUGD204 - Type session 2

Type analysis task


It was interesting to analyse a typeface in more depth, discovering aspects I would have ignored at glance - that of which could potentially alter how I choose a typeface in the future. I kept the layout relatively simple, splitting the canvas in half - definition / description and the key characteristics / comparison with Helvetica.

The letters most common for defining and representing a typeface are 'g', 'Q', 'a', and 'j', for example, as these have the potential for decorative 'flourishes', especially the tail on the uppercase 'Q'.

Summary of session

The key characteristics which define a brand should be reflected in the type
Is the typeface sophisticated? Friendly? Corporate? Approachable
This is the culture we live in - we understand brands


Calibri characteristics

Friendly
Contemporary
Approachable

Applying to a brand

HMV is a contemporary, media-orientated brand, associations of which apply to the aforementioned characteristics of Calibri. This is reflected in the subtle, rounded terminals which add a friendly and personal aesthetic.

Opposite / worst associations

Whittard is a traditional retailer of coffee. The distinction in terms of products is apparent immediately. 

The brand becomes a word as opposed to a brand name

Through typeface selection, we utilise communication

Task 2

Using a set body copy, create a Yellow Pages advert at 30mm x 60mm

What is the hierarchy? How important is the content?

This is a very small advert, will the text be legible?

Response

We many judgements on the smallest detail. The font, arrangement, composition, colour, weight and so on all utilise communication. Where is the balance of aesthetics and communication? The website is extremely important for an interior designer - consumers need to view some work examples.

Professional / Reliable

Use of white space

Arrangement

Attention to detail

Cheapest

Busy

Unorganised

Variation of font and weight

Exercise for type journal

Find 6 brand names and analyse type in terms of case, weight and so on.

Why do the characteristics suit that brand? What is it communicating?

Large? Corporate? Friendly? Family-orientated?

OUGD204 - Type session 1

Aim

• To create complex layouts with a thorough understanding of all components
• Thinking in the language of type
• Understand and utilise QuarkXPress - Although InDesign is more prominent in the industry, particularly due to the cost, many jobs require skill in QuarkXPress

'Typography is the craft of endowing human language with a durable visual form'
Stanley Morison (1937)

'Type well used is invisible as type just as the perfect talking voice is the unnoticed vehicle of the transmission of words and images'
Beatrice Warde

We are used to pre-existing typefaces as we are 'creatures of habit' (Aldous Huxley)
Typography is 'the basis unit of all printed communication'

Terminology


Images

Classification

Linotype

• Old face
• Transitional (17th - 19th century)
• Modern Face (20th century)
• Slab serif (19th century)
• Sans Serif (1890)
• Decorative and display
• Script and bush (Utilitarian) 
• Black letter and broken (Gutenberg Press)

Times New Roman was created in 1937 (47 years after the first sans serif font)

Catherine Dixon

• Source
• Pattern
• Format attributes

QuarkXPress

QuarkXPress is very similar to InDesign, albeit it with a few small differences. 

We were required to form a pattern using just one letterform (our initial) from a sans-serif typeface. I used the letter 'j' and decided to interlink the terminals of the descenders. I also merged the dot when used as a repeated pattern. The terminals almost form an invisible circle.

We were then asked to repeat this process using an uppercase letteform (the initial of our last name). I duplicated the letter 'W', flipped it vertically and matched the terminals to form two diamond shapes.