OUGD204: Self Evaluation

1. What skills have you developed through this module and how effectively do you think you have applied them?

This module for me was all about getting to grips with the technical aspects of type and grasping how to apply fundamental elements and rules in relation to point size, weight, case and leading etc. In making progress on this I believe that I have also developed a much stronger sense of hierarchy with some areas almost developing into intuition. In addition, the application of grid structures and understanding what you can explore in regards to margins and gutters has assisted me no end in producing more consistent layouts that suit the purpose of the document.

2. What approaches to/methods of research have you developed and how have they informed your design development process?

Primarily my research has been driven through collecting and sourcing relevant materials to be documented within the type journal. Furthermore, I have also requested numerous stock samples from suppliers such as Benwells which has been useful no end; especially as you can specify what you would like to receive in terms of letter heads, business cards and compliment slips etc. In direct relation to magazine layout, analysing publications such as Grafik and Creative Review was also useful.

3. What strengths can you identify in your work and how have/will you capitalise on these?

My strengths in this module have come through understanding the fundamental rules of typography taught to us within the timetabled sessions. In gaining this knowledge I have been able to rapidly advance in producing more consistent layouts that suit the purpose and temperament that they were designed for. In order to capitalise on this and make the most of what I have learnt, I would like to push the boundaries further and explore what is achieving whilst breaking rules through being informed of what they were in the first place.

4. What weaknesses can you identify in your work and how will you address these more fully?

As stated by a few of my peers, I also feel that my weakness within this module has been the type journal. Although I have engaged with it well at points, I largely felt I was compiling it as means of assessment; not because I actually enjoyed it and found the benefits of its existence helpful. Through collecting source materials for research I have been able to enhance my learning of typography, however I feel I may have over analysed what I was looking at – subsequently causing me to not enjoy the process. Next time I feel it would be beneficial treat the type journal in a more light hearted manner and enjoy researching in ‘little and often’ visits, as opposed to ‘intense but not so often’.

5. Identify five things that you will do differently next time and what do you expect to gain from doing these?

1. Dedicate time to engage with type journal and the benefits that it provides.
2. Spend those extras few minutes/hours to explore just a few more possible outcomes in terms of layout.
3. Make decisions faster, as although I improved on this I still idle about too much.
4. Try to focus more time on collecting useful materials for research. Research I have learnt; is vital.
5. Push boundaries in terms of hierarchy and try to make progress more quickly.

6. How would you grade yourself on the following areas:

Attendance 4
Punctuality 5
Motivation 4
Commitment 3
Quantity of work produced 4
Quality of work produced 4
Contribution to the group 3

Type 10: Magazine 10 Layouts

Professional Journal



Creative Magazine

Type 09: Grid Painting

Type 07: Pagination, Business Card & Tabs

Type 07: Choosing Typeface

Type 06: 32pg Leading Tests & Skip Hire Business Card

Type 05: Allotment Leaflet & Layout Text cont.

Type 04: Allotment Leaflet & Page Layout

Type 03: Anti BNP Leaflet

Type 02: Type Connotations & Press Ads

Type 01: Anatomy of ITC Lubalin Graph Std

ITC Lubalin Graph Std is a 1970’s slab-serifed typeface where all ascenders are equal in height to the cap height and all lower case crossbars are equal to the x-height; as are all lower case head serifs. The construction of every letterform is consistently continuous, although deliberate points of transition can be found between the straight and curved strokes. The curves themselves are of a perfectly circular and continuous nature and all letterforms have been modelled with no contrast; thicks and thins are even. Likewise there is no axis of contrast. All upper case characters sit on the baseline with upright stems, except for obvious letters such as v, w, x and z. The upper case crossbar on the letter A is equal in height to that of the lower case E, whilst the bottom edge of the upper case G crossbar is equal to half the x-height; where the two stems intersect. Meanwhile the crossbars on the upper case E, F and H are all set slightly higher and sit on a plain equal in height to the upper edge of the upper case G crossbar. Overall the typeface is light in colour and the weights within the family are book and demi. Two key characters that stand out are both found within the upper case letterforms. The upper case R is distinctive in having an open counter where the bowl and upright stem do not meet. The upper case Q is distinctive for its oval-curved tail that contrasts against other curves within the family.