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Friday, 30 October 2009
Tuesday, 27 October 2009
Thursday, 22 October 2009
Type Workshop 04
Carrying on from the final exercise of last weeks workshop, progress today was centered around spanning an entire page of text across columns and experimenting with readability in layout.
The first task was more of a warm up to refresh the memory. It did however show how line breaks can provide the deception that there is less text on a page.
Original:
Alteration:
After playing around with type and a single column alone, the logical progression was to experiment with more columns and to add in an image; thus working toward the realms of page design and layout. Again the focus was on the readability of the type... weight, point size and Co. all being crucial as before - especially the number of words per line. Not to mention line breaks!
Two Column:
Text was aligned to the left, point size and leading adjusted accordingly as to give an 8-12 word per line average... Text wrapping is awfully awkward in InDesign. I'll get the hang of it soon I hope.
Three Column:
Same as before here, type aligned to the left and all the same precautions were made to achieve a readable average word per line count. I'm not too keen on the image positioning, but as that is a layout issue I won't go into detail.
Four Column:
Heading into the depths of a four column grid, I was forced to drop the point size slightly as to fit all of the text on neatly alongside the image. My main mistake here was substituting readability for aesthetics, a valuable lesson learned! As you can see the average word per line count is bordering four to five. Much, much too low.
Five Column:
The five column grid however, was where the real lesson was learned. Due the document size and greater number of columns, the logical thing to do was to reduce the point size and leading further. The problem arose though in the same ways as before. Not enough words per line to read comfortably and fluently. Cue Grahams words of wisdom... Revert back to spanning text across multiple columns. HOW OBVIOUS. The result is shown below:
In addressing the problem this way the text is much more readable across two sets of two columns for a number of reasons. Most primarily, the fact that a greater column width allows for more words on a line means that the point size can be increased for an easier and more fluid read. Genius.
Other lessons learnt:
- Leading should be 20% larger than point size. i.e 10pt on 12, 16pt on 19.
-The name for white space that runs through text is called a WIDOW.
- An indent is usually three characters in size.
- ALWAYS print to check readability. Just because it works on screen doesn't mean that it is going to work for print.
x
The first task was more of a warm up to refresh the memory. It did however show how line breaks can provide the deception that there is less text on a page.
Original:
Alteration:
After playing around with type and a single column alone, the logical progression was to experiment with more columns and to add in an image; thus working toward the realms of page design and layout. Again the focus was on the readability of the type... weight, point size and Co. all being crucial as before - especially the number of words per line. Not to mention line breaks!Two Column:
Text was aligned to the left, point size and leading adjusted accordingly as to give an 8-12 word per line average... Text wrapping is awfully awkward in InDesign. I'll get the hang of it soon I hope.Three Column:
Same as before here, type aligned to the left and all the same precautions were made to achieve a readable average word per line count. I'm not too keen on the image positioning, but as that is a layout issue I won't go into detail.Four Column:
Heading into the depths of a four column grid, I was forced to drop the point size slightly as to fit all of the text on neatly alongside the image. My main mistake here was substituting readability for aesthetics, a valuable lesson learned! As you can see the average word per line count is bordering four to five. Much, much too low.Five Column:
The five column grid however, was where the real lesson was learned. Due the document size and greater number of columns, the logical thing to do was to reduce the point size and leading further. The problem arose though in the same ways as before. Not enough words per line to read comfortably and fluently. Cue Grahams words of wisdom... Revert back to spanning text across multiple columns. HOW OBVIOUS. The result is shown below:
In addressing the problem this way the text is much more readable across two sets of two columns for a number of reasons. Most primarily, the fact that a greater column width allows for more words on a line means that the point size can be increased for an easier and more fluid read. Genius.Other lessons learnt:
- Leading should be 20% larger than point size. i.e 10pt on 12, 16pt on 19.
-The name for white space that runs through text is called a WIDOW.
- An indent is usually three characters in size.
- ALWAYS print to check readability. Just because it works on screen doesn't mean that it is going to work for print.
x
Thursday, 15 October 2009
Stocks and Substrates
Today was interesting on many levels, primarily due to the stocks and substrates seminar with Justin. I felt that some of the things that I learnt were invaluable, even though they were arguably of a trivial nature...
- Ink drys faster on coated paper stocks.
In light of todays industry this is increasingly useful for quick turn around. Printing on uncoated paper can often lead to a one or two day wait on the drying process which some clients cannot afford.
- Coated paper is cheaper to print on.
This is because it is mass produced to a greater extent than uncoated. Decisions such as this are important whilst considering the budget of the client.
- It is important to consider the postal costs for heavier stocks.
Something as straight forward as this is an easy aspect to overlook. The simple fact that a weighter stock may be more expensive to post out to customers is all inclusive of your clients budget for the project. Cost is everything.
- Ensure the paper weight is suitable to the format.
Another obvious issue that could be overlooked. Heavier stocks do not always lend themselves well to the mechanics of publications that may be folded. Problems arising from this could include ink cracking and if the documented is intended to remain flat.
All of the above are crucial when considering the process of design for print.
x
- Ink drys faster on coated paper stocks.
In light of todays industry this is increasingly useful for quick turn around. Printing on uncoated paper can often lead to a one or two day wait on the drying process which some clients cannot afford.
- Coated paper is cheaper to print on.
This is because it is mass produced to a greater extent than uncoated. Decisions such as this are important whilst considering the budget of the client.
- It is important to consider the postal costs for heavier stocks.
Something as straight forward as this is an easy aspect to overlook. The simple fact that a weighter stock may be more expensive to post out to customers is all inclusive of your clients budget for the project. Cost is everything.
- Ensure the paper weight is suitable to the format.
Another obvious issue that could be overlooked. Heavier stocks do not always lend themselves well to the mechanics of publications that may be folded. Problems arising from this could include ink cracking and if the documented is intended to remain flat.
All of the above are crucial when considering the process of design for print.
x
Type Workshop 03
Following on from the previous session, the third type workshop today was also quite an eye-opener; not to mention exciting due to the fact there was an actual block of text to work with.
The main issues addressed this time were were all related to how a paragraph(s) of text reads:
01. Started with upper case, bold type. Fairly big point size for body copy. 12pt if my memory serves correct. Reduced line feed and fully justified.
02. Same as before, dropped the point size a little and increases the leading for a bigger line feed.
03. Dropped the type to lower case and a lower point size that was easier on the eye. Increased the leading again slightly and maintained justification.
04. Dropped the point size even further, I believe it was down to 8.5pt. Leading was increased again, by this point however I think it was beginning to become less readable again.
Exercise two dealt with spanning text across columns; in this instance one, two and one half of a column.
Each example was aimed to further illustrate how point size, leading and alignment can alter how text reads. The most educational benefit of this task for me was understanding how justified text alters the pace of reading through inconsistent word spacing... Something that you would think makes large chunks of text harder to read. This technique is actually used within novels, which was a confusing aspect of this lesson.
Further things of importance that I learnt:
-A heading is usually 20% superior / inferior to the text size.
-Using upper case type is a brilliant way to make people not read something as it is less readable.
-It's not good if the reader has to keep moving their head, this means the type is probably too small for the width and the reader is therefore having to hold the paper/document too close.
-Large bodies of text are more readable with a serifed typeface. This is due to the fact that it creates a horizontal reading line; the serifs themselves 'interrupt' the ascenders and descenders. Something that is subtle, but effective.
x
The main issues addressed this time were were all related to how a paragraph(s) of text reads:
Readability through:
Serif or Sans Serif
Upper case or Lower Case
Justification and Alignment
Maximum and Minimum word count per line of text
Maximum and minimum character count per line of text
Serif or Sans Serif
Upper case or Lower Case
Justification and Alignment
Maximum and Minimum word count per line of text
Maximum and minimum character count per line of text
The first exercise was designed to make a clear example of this. Filling a column with a passage of type with the aims of making it as readable as possible, then revising it and representing it a further three times. The only rules were that the allocated typeface remained the same. Weight, kerning and leading etc could all be altered at will. I admittedly cheated by trying to make my first attempt particularly difficult to read. I felt the effects of altering different characteristics would then become more apparent this way.
01. Started with upper case, bold type. Fairly big point size for body copy. 12pt if my memory serves correct. Reduced line feed and fully justified.02. Same as before, dropped the point size a little and increases the leading for a bigger line feed.
03. Dropped the type to lower case and a lower point size that was easier on the eye. Increased the leading again slightly and maintained justification.
04. Dropped the point size even further, I believe it was down to 8.5pt. Leading was increased again, by this point however I think it was beginning to become less readable again.
Exercise two dealt with spanning text across columns; in this instance one, two and one half of a column.
Each example was aimed to further illustrate how point size, leading and alignment can alter how text reads. The most educational benefit of this task for me was understanding how justified text alters the pace of reading through inconsistent word spacing... Something that you would think makes large chunks of text harder to read. This technique is actually used within novels, which was a confusing aspect of this lesson.Further things of importance that I learnt:
-A heading is usually 20% superior / inferior to the text size.
-Using upper case type is a brilliant way to make people not read something as it is less readable.
-It's not good if the reader has to keep moving their head, this means the type is probably too small for the width and the reader is therefore having to hold the paper/document too close.
-Large bodies of text are more readable with a serifed typeface. This is due to the fact that it creates a horizontal reading line; the serifs themselves 'interrupt' the ascenders and descenders. Something that is subtle, but effective.
x
What is Good? - Part 02
The second part to the What is Good? briefing today demanded clarification on our proposal and concept statement. After a short yet particularly beneficial conversation with Lorenzo I settled with the notion that:Left Handed is Good Because it is a Catalyst for Change.
This stemmed from the basis that left handed people are scientifically believed to think different to the way that right handers do and what's more, many of the notable left handers I have unearthed from background research have been credited with implementing change in society.
My initial ideas at the moment are still largely within the confines of my skull, but I am keen to focus on design within a series; particularly with the left handed personalities identified previously.
Format ideas may include: Business cards, postcards, stamps or a collection of small books.
x
My initial ideas at the moment are still largely within the confines of my skull, but I am keen to focus on design within a series; particularly with the left handed personalities identified previously.
Format ideas may include: Business cards, postcards, stamps or a collection of small books.
x
Thursday, 8 October 2009
Type Workshop 02
Round two of the typography workshops today and as ever the knowledge I learnt was insightful to say the least.
First things first, when trying to Kern a word you should always start by looking for the largest space that you can't alter and then work with the other spaces accordingly to make them more even. In simplified terms, the starting point should always maintain a kerned measurement of zero.
With both of the above examples, the letter forms have been spaced further apart as a result of the process mentioned previously. This tends to give a more open and relaxed feel as the word itself maintains a clearer readability and is presented to the eye in an easy to digest format.
Equally however, reducing the kerning can convey the complete opposite given that the spaces are made tighter and more condensed. This example using the word Railway shows how the smaller spaces force the text upon the eye in a more solid chunk and therefore generates a greater pace of reading.
Another aspect touched upon was hierarchy and the order in which the text will be read. Graham's nifty advice was that in order to have a clear idea of how your composition will work, you should write down and construct your hierarchy prior to arranging the text on the page. This way the design process can often be a lot smoother and less problematic. The examples below are a few attempts at forcing the eye to read from right to left despite our cultural habit to do the opposite, as well as a vertical mix instead a simple top to bottom movement.
Finally, to build on from this I attempted to apply the same logic with a proverb chosen at random. The idea was that it would be more challenging to the lead around and entire block of text in the order that I was aiming for, especially as I limited myself to only using point size and weight.
Overall I don't believe that hierarchy isn't as precise as I would have liked. A few words get mixed up and confused when I try to let my eye navigate at its own free will. Non-the-less the exercise was still highly beneficial to me.
x
First things first, when trying to Kern a word you should always start by looking for the largest space that you can't alter and then work with the other spaces accordingly to make them more even. In simplified terms, the starting point should always maintain a kerned measurement of zero.
With both of the above examples, the letter forms have been spaced further apart as a result of the process mentioned previously. This tends to give a more open and relaxed feel as the word itself maintains a clearer readability and is presented to the eye in an easy to digest format.
Equally however, reducing the kerning can convey the complete opposite given that the spaces are made tighter and more condensed. This example using the word Railway shows how the smaller spaces force the text upon the eye in a more solid chunk and therefore generates a greater pace of reading.Another aspect touched upon was hierarchy and the order in which the text will be read. Graham's nifty advice was that in order to have a clear idea of how your composition will work, you should write down and construct your hierarchy prior to arranging the text on the page. This way the design process can often be a lot smoother and less problematic. The examples below are a few attempts at forcing the eye to read from right to left despite our cultural habit to do the opposite, as well as a vertical mix instead a simple top to bottom movement.
Finally, to build on from this I attempted to apply the same logic with a proverb chosen at random. The idea was that it would be more challenging to the lead around and entire block of text in the order that I was aiming for, especially as I limited myself to only using point size and weight.
Overall I don't believe that hierarchy isn't as precise as I would have liked. A few words get mixed up and confused when I try to let my eye navigate at its own free will. Non-the-less the exercise was still highly beneficial to me.x
Sunday, 4 October 2009
Unique
Although this has been a realisation that I have had to live with all of my life, the past couple of days worth of research has led me to the idea that one positive aspect of being a lefty is that it's more unique. The amount of right handed people moaning that their handedness is boring and common has been quite surprising! Obviously I already knew being left handed was more unique and cool, but you know... I had to prove it and right handers don't usually admit to things such as this! A step in the right direction I feel!
Anyway, to visualize this more effectively I rounded up statistics from across all three year groups that are currently studying on the course and presented their names on two sheets, leftys Vs rightys...
Overall there are 147 students, 130 of which are right handed, just 17 are left handed. That's roughly one in every eight to nine students. Slightly below the 1 in 7 average I was educated by as a kid.
It's quite interesting that their aren't more of us however as left handers are supposed to excel in the arts due to the way our brains work.
x
Anyway, to visualize this more effectively I rounded up statistics from across all three year groups that are currently studying on the course and presented their names on two sheets, leftys Vs rightys...
Overall there are 147 students, 130 of which are right handed, just 17 are left handed. That's roughly one in every eight to nine students. Slightly below the 1 in 7 average I was educated by as a kid.It's quite interesting that their aren't more of us however as left handers are supposed to excel in the arts due to the way our brains work.
x
Thursday, 1 October 2009
Leftys
Following on from a morning of typographical heaven, I spent this afternoon conducting a bit of research into my finalised topic of interest 'Being Left Handed is Good'. One of the first things that bizarrely interested me was to find out who actually is (or was) left handed in this world and besides the obvious and prime example of myself, I was aiming to unearth a range of high profile personnel that had in one way or another contributed to society in positive way or had perhaps done something worthy of praise, celebration or recognition.
In sifting through countless websites and pages in books I resulted with an initial list of just over eighty - a list that was admittedly quite selective. Still looking at the names in front of me now, I am rather surprised by the diversity of personalities that include some of the most significant figures in recent history, aka. Ross Kemp.
On a serious note though, here are some of the most credible and surprising individuals that should capture your interest:
Einstein, Da Vinci, Michelangelo, Napoleon, Issac Newton, Aristotle, Julius Caesar, Gandhi, Mozart, Beethoven, Churchill, both Brad Pitt AND Angelina Jolie, both Neil Armstrong AND Buzz Aldrin, Bill Gates, Pele, Maradona.
oh erm... Charlie Dimmock and Jack The Ripper too.
x
In sifting through countless websites and pages in books I resulted with an initial list of just over eighty - a list that was admittedly quite selective. Still looking at the names in front of me now, I am rather surprised by the diversity of personalities that include some of the most significant figures in recent history, aka. Ross Kemp.On a serious note though, here are some of the most credible and surprising individuals that should capture your interest:
Einstein, Da Vinci, Michelangelo, Napoleon, Issac Newton, Aristotle, Julius Caesar, Gandhi, Mozart, Beethoven, Churchill, both Brad Pitt AND Angelina Jolie, both Neil Armstrong AND Buzz Aldrin, Bill Gates, Pele, Maradona.
oh erm... Charlie Dimmock and Jack The Ripper too.
x
Type Workshop 01
The first of the typography workshop sessions today was all about considerations that should be addressed before you even place anything on the page as well as during the design progress as an on-going awareness of the letter forms and how they affect the compositions readability.
The key aspects are as follows:
The main thing that I took away from today was how these different considerations can alter the connotations of a letter form or word in regards to sound or temperament. Loud, soft, quiet or angry, happy, lonely for example.
Exercise 01: Lonely Dog.
To portray a lonely dog I used a light looking, sans serif typeface in lower case. The weighting was Roman and point size fairly small; 12pt I think. What's more I also placed the word in the bottom right-hand corner of the page as it's the last place you look when reading left to right as our culture does.
Exercise 02: Angry Dog.
To demonstrate an angry dog I used a bold and strong structured typeface that was of a large point size and in uppercase. I aimed to make it bigger than the actual size of the composition to give the impression that the 'dog' was close up and in your face with an attitude... I actually feel like a geek, but aspects such as these are crucial.
Anyway, thanks to a brief demonstration by Graham I was also educated in thinking about how a reader actually reads a document; something so straight forward it's easy to overlook. A magazine is held further away than a novel for instance and as a result different typographic decisions have to be made to compensate for this. The number of words on a line, the word alignment/justification... not to mention all of the above.
Such a headache, but I love it!
x
The key aspects are as follows:
Size / Size
Weight / Weight
Serif / Sans Serif
UPPER CASE / lower case
Weight / Weight
Serif / Sans Serif
UPPER CASE / lower case
The main thing that I took away from today was how these different considerations can alter the connotations of a letter form or word in regards to sound or temperament. Loud, soft, quiet or angry, happy, lonely for example.
Exercise 01: Lonely Dog.
To portray a lonely dog I used a light looking, sans serif typeface in lower case. The weighting was Roman and point size fairly small; 12pt I think. What's more I also placed the word in the bottom right-hand corner of the page as it's the last place you look when reading left to right as our culture does.Exercise 02: Angry Dog.
To demonstrate an angry dog I used a bold and strong structured typeface that was of a large point size and in uppercase. I aimed to make it bigger than the actual size of the composition to give the impression that the 'dog' was close up and in your face with an attitude... I actually feel like a geek, but aspects such as these are crucial.Anyway, thanks to a brief demonstration by Graham I was also educated in thinking about how a reader actually reads a document; something so straight forward it's easy to overlook. A magazine is held further away than a novel for instance and as a result different typographic decisions have to be made to compensate for this. The number of words on a line, the word alignment/justification... not to mention all of the above.
Such a headache, but I love it!
x
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