Typography Task 1 - Exercises

The first lecture we had an online briefing session with Mr.Vinod and learned how to set-up our e-portfolio by showing some examples of the previous students e-portfolio. Mr.Vinod let us vote for 8 words that we provided in the lecture. These words are used for the Task 1:Exercises - Type Expressions and we have to choose within 4 words to accomplish it. Mr Vinod have also prepared some of the YT videos for us to know more about the development and introduction of Typography.

Typo_0_Introduction

Development 1. Typography is the creation of typefaces / type families / animation form (example: movie titles . gif animations)/ website design / app design / signage design / product design etc.

2. Typography has evolved over 500 years history

Calligraphy ➤ Lettering ➤ Typography

3. The difference between

FONTS & TYPEFACE

FONTS : The individual font or weight within the typeface.

TYPEFACE: The entire family of fonts/weights that share similar characteristics/styles.

Figure 1.1 Fonts

Figure 1.2 Typeface

Typo_1_Development

As a student, we can choose our researches on local content or content that come from our community.

GIVE VOICE TO THE VOICELESS ---Mr.Vinod

Early letterform development

Writing direction

Phoenician : right to left

Greek : right to left and left to right (they also change the orientation of the letterforms)

Greek like the Phoenician, did not use letter space or punctuations. Latter or the Greeks would move to a strictly left to right writing.

Figure 1.3 'Boustrophedon'(Greek create a style of writing)

Figure 1.4 Early letterform development from Phoenician to Roman

Hand Script from 3rd-10th centuryC.E.

Figure 1.5 4th or 5th century: Square capitals

Square capitals were the written version that can be found in Roman monuments. These letterforms have serifs added to the finish of the main strokes. The variety of stroke width was achieved by the reed pen held at an angle of approximately 60° off the perpendicular.

Figure 1.6 Late 3rd-mid 4th century: Rustic capitals

A compressed version of square capitals, rustic capitals allowed for twice as many words on a sheet of parchment and took far less time to write. The pen or brush was held at an angle of approximately 30° off the perpendicular. Although rustic capitals were faster and easier to, they were slightly harder to read due to their compressed nature.

Figure 1.7 4th century: Roman cursive

Both square and rustic capitals were typically reserved for documents of some intended performance. Everyday transactions, however were typically written in cursive hand in which forms were simplified for speed. We can see here the beginning of what we refer to as lowercase letterforms.

Figure 1.8 4th-5th century: Uncials

Uncials incorporated some aspects of the Roman cursive hand, especially in the shape of the A, D, E, H, M, U and Q.‘Uncia’ is Latin for a twelfth of anything; as a result, some scholars think that uncials refer to letters that are one inch (one twelfth of foot) high. It might, however, be more accurate to think of uncials simply as small letters. The broad forms of uncials are more readable at small sizes than rustic capitals.

Figure 1.9 C.500: Half-uncials

A further formalization of the cursive hand, half-uncials mark the formal beginning of lowercase letterforms, replete with ascenders and descenders, 2000 years after the origin of the Phoenician alphabet.

Figure 1.10 C.925: Caloline miniscule

Charlemagne, the first unifier of Europe since the Romans, issued an edict in 789 to standardize all ecclesiastical texts. He entrusted this task to Alcuin of York, Abbot of St Martin of Tours. The monks rewrote the texts using both majuscules (uppercase), miniscule, capitalization and punctuation which set the standard for calligraphy for a century.

Figure 1.11 C.1300: Blackletter (Textura)

With the dissolution of Charlemagne’s empire came regional variations upon Alcuin’s script. In northern Europe, a condense strongly vertical letterform know as Blackletter or textura gained popularity. In the south, a rounder more open hand gained popularity, called ‘rotunda’. The humanistic script in Italy is based on Alcuin’s miniscule.

Figure 1.12 C.1455: 42 line bible, Johann Gutenberg, Mainz

Gutenberg’s skills included engineering, metalsmithing, and chemistry. He marshaled them all to build pages that accurately mimicked the work of the scribe’s hand –Blackletter of northern Europe. His type mold required a different brass matrix, or negative impression, for each letterform.

Text Type Classification

Figure 1.13 Text Type Classification

1450 Blackletter
The earliest printing type, its forms were based upon the hand-copying styles that were then used for books in northern Europe.
Examples: Cloister Black , Goudy Text

1475 Oldstyle
Based upon the lowercase forms used by Italian humanist scholars for book copying (themselves based upon the ninth-century Caroline minisule) and the uppercase letterforms found inscribed on Roman ruins, the forms evolved away from their calligraphic origins over 200 years, as they migrated across europe, from Italy to England.
Examples: Bembo , Caslon , Dante , Garamond , Janson , Jenson , Palatino

1500 Italic
Echoing contemporary Italian handwriting, the first italics were condensed and close-set, allowing more words per page. Although originally considered their own class of type, italics were soon cast to complement roman forms. Since the sixteenth century, virtually all text typefaces have been designed with
accompanying italic forms.

1550 Script
Originally and attempt to replicate engraved calligraphic forms, this class of type is not entirely appropriate in lengthy text settings. In shorter applications, however, it has always enjoyed wide acceptance. Forms now range from the formal and traditional to the casual and contemporary.
Examples: Kuenstler Srcipt , Mistral , Snell Roundhand

1750 Transitional
A refinement of oldstyle forms, this style was achieved in part because of advances in casting and printing. Thick to thin relationships were exaggerated, and brackets were lightened.
Examples: Baskerville , Bulmer , Century , Time Roman

1775 Modern
This style represents a further rationalization of oldstyle letterforms. Serifs were unbracketed, and the contrast between thick and thin strokes extreme. English versions (like Bell) are also known as Scotch Romans and more closely resemble transitional forms
Examples: Bell , Bodoni , Caledonia , Didot , Walbaum

1825 Square Serif / Slab Serif
Originally heavily bracketed serif, with little variation between thick and thin strokes, these faces responded to the newly developed needs of advertising for heavy type in commercial printing. As hey evolved, the brackets were dropped.
Examples: Clarendon , Memphis , Rockwell , Serifa

1900 Sans Serif
As their name implies, these typefaces eliminated serifs all together. Although the forms were first introduced by William Caslon IV in 1816, its use did not become wide-spread until the beginning of the the twentieth century. Variation tended toward either humanist forms (Gill Sans) or rigidly geometric (Futura). Occasionally, strokes were flared to suggest the calligraphic origins of the form (Optima). Sans serif is also referred to as grotesque (from the German word grotesk) and Gothic.
Examples: Akzidenz Grotesk , Grotesk , Gill Sans , Franklin Gothic , Frutiger , Futura , Helvetica , Meta , News Gothic , Optima , Syntax , Trade Gothic , Univers

1990 Serif/Sans Serif

A recent development, this style enlarges the notion of a family of typefaces to include both serif and sans serif alphabets (and often stages between the two).
Examples: Rotis , Scala , Stone

Week 2 : Lecture 2

Typo_3_Text_P1

Kerning and Letterspacing

Figure 2.1 The different between kerning and lettering

Kerning - The automatic adjustment of space between the letters.

Letterspacing - To add space between the letters.
Tracking - The addition and removal of space in a word or sentence.

Figure 2.2 Normal tracking, loose tracking and tight tracking

Formatting Text

Figure 2.3 Flush Left

Flush Left (ragged right): Most closely mirrors the asymmetrical experience of handwriting. Each line starts at the same point but ends whenever the last word on the line ends. Spaces between words are consistent throughout the text, allowing the type to create an even gray value.

Figure 2.4 Centered

Centered (ragged right and left): Imposes symmetry upon the text, assigning equal value and weight to both ends of any line. It transforms fields of text into shapes, thereby adding a pictorial quality to material that is non-pictorial by nature.

Figure 2.5 Flush Right

Flush Right (ragged left): Places emphasis on the end of a line as opposed to its start. It can be useful in situations (like captions) where the relationship between text and image might be ambiguous without a strong orientation to the right.

Figure 2.6 Justified

Justified : Imposes a symmetrical shape on the text. It is achieved by expanding or reducing spaces between words and sometimes between letters. The resulting openness of lines can occasionally produce 'rivers' of white space running vertically throughout the text. Carefully attention to line breaks and hyphenation is required to amend this problem whenever possible.

Text and Texture

Figure 2.7 Different kind of typefaces

Readers would be affected from the look, colour and the gray value in different typefaces.

Leading and Line Length

Type size : Large enough to be read easily at arms length.

Leading :Text that is set too tightly encourages vertical eye movement that readers can easily loose his or hers place. Type that is set too loosely creates striped patterns that distract the readers.

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

Week 3: Lecture 3

Typo_4_Text_Part 2

Indicating Paragraph

Figure 3.1 Pilcrow’ (¶)

Pilcrow’ (¶): A holder from medieval manuscripts seldom use today.

Figure 3.2 Line space (leading*)

Line space (leading*) : If the line space is 12pt, then the paragraph space is 12pt. This ensures cross-allignment across columns of text.

Figure 3.3 Line space vs Leading

Figure 3.4 Standard Indentation

Standard Indentation: The indent is the same size of line spacing or the same as the point size of your text.

Figure 3.5 Extended Paragraph

Extended Paragraph : Create unusually wide columns of text. Despite these problems, there can be strong compositional or function reasons of choosing it.

Widows and Orphans

Figure 3.6 Widow and Orphan

Widows - Short line of type left alone at the end of a column of text.

Orphans - Short line of type left alone at the start of new column.

Highlighting Text

Different kinds of emphasis require different kinds of contrast.

Figure 3.7 Highlighting Text (example 01)

Figure 3.8 Highlighting Text (example 02)

Figure 3.9 Highlighting Text (example 03)

*Take note:When highlighting text placing a field of colour at the back of the text, maintaining the left reading axis (right example) of the text ensures readability is at its best.

Figure 3.10 Highlighting Text (example 03)

Figure 3.11 Highlighting Text (example 04)

Figure 3.12 Quotation Marks

Headline within Text

Figure 3.13 A Heads

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

Figure 3.14 B Heads

B heads here is subordinate to A heads. B heads indicate a new supporting argument or example for the topic at hand. Not interrupting the text as strongly as A heads do. B heads are shown in small caps, italic, bold serif and bold san serif.

Figure 3.15 C Heads

C heads, highlights specific facets of material within B head text. Not materially interrupt the flow of reading. C heads shown in as with B heads. In this configuration are followed by at least an em space for visual separation.

Figure 3.16 Putting Together a Sequence of Subheads = Hierarchy

Cross Allignment

Figure 3.17 Cross Alignment 01

Figure 3.18 Cross Alignment 02

Cross aligning headlines and captions with text type reinforces the architectural sense of the page - the structure - while articulating the complimentary vertical rhythms.

Week 4: Lecture 4

Typo_2_Basic

Describing Letterforms

Figure 4.1 Describing Letterforms

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’.

2)Stroke : Any line that defines the basic letterform.

3)Apex / Vertex : The point created by joining two diagonal stems (apex above and vertex below).

4)Arm : Short strokes off the stem of the letterform, either horizontal (E, F, L) or inclined upward (K, Y). 5)Ascender : The portion of the stem of a lowercase letterform that projects above the median.

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

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

8)Bowl : The rounded form that describes a counter. The bowl may be either open or closed.

9)Bracket : The transition between the serif and the stem.

10)Cross Bar : The horizontal stroke in a letterform that joins two stems together.

11)Cross Stroke : The horizontal stroke in a letterform that joins two stems together.

12)Crotch : The interior space where two strokes meet. 13)Descender The portion of the stem of a lowercase letterform that projects below the baseline.

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

15)Em/en : Originally referring to the width of an uppercase M, and em is now the distance equal to the size of the typeface (an em in 48 points for example). An en is half the size of an em. Most often used to describe em/en spaces and em/en dashes.

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

17)Leg : Short stroke off the stem of the letterform, either at the bottom of the stroke(L) or inclined downward (K,R). 18)Ligature : The character formed by the combination of two or more letterforms.

19)Link : The stroke that connects the bowl and the loop of a lowercase G.

20)Loop : In some typefaces, the bowl created in the descender of the lowercase G.

21)Serif : The right-angled or oblique foot at the end of the stroke.

22)Shoulder : The curved stroke that is not part of a bowl.

23)Spine : The curved stem of the S.

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

25)Stem The significant vertical or oblique stroke.

26)Stress : The orientation of the letterform, indicated by the thin stroke in round forms. 27)Swash : The flourish that extends the stroke of the letterform.

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

29)Terminal : The self-contained finish of a stroke without a serif. This is something of a catch-all term. Terminals may be flat (‘T’ above), flared, acute, (‘t’ above), grave, concave, convex, or rounded as a ball or a teardrop (see finial).

The Font

Figure 4.2 Uppercase

Uppercase : Capital letters, including certain accented vowels, the c cedilla and n tilde, and the a/e and o/e ligatures.

Figure 4.3 Lowercase

Lowercase : Lowercase letters include the same characters as uppercase.

Figure 4.4 Small Capitals

Small Capitals : Uppercase letterforms draw to the x-height of the typeface. Small Caps are primarily found in serif fonts as part of what is often called expert set.

Figure 4.5 Uppercase Numerals

Figure 4.6 Lowercase Numerals

Uppercase Numerals : Also called lining figures, these numerals are the same height as uppercase letters and are all set to the same kerning width. They are the most successfully used with a=tabular material or in any situation that calls for uppercase letters.

Lowercase Numerals : Also known as old style figures or text figures, these numerals are set to x-height with ascenders and descenders.They are best used when ever you would use upper and lowercase letterforms. Lowercase numerals are far less common in sans serif type-faces that in serif.

Figure 4.7 Italic vs Roman

Figure 4.8 Punctuation, Miscellaneous Characters

Punctuation, miscellaneous characters : Although all fonts contain standard punctuation marks, miscellaneous characters can change from typeface to typeface. It's important to be acquainted with all the characters available in a typeface before you choose the appropriate type for a particular job.

Figure 4.9 Ornaments

Ornaments : Used as flourishes in invitations or certificates. They usually are provided as a font in a larger typeface family. Only a few traditional or classical typefaces contain ornamental fonts as part of the entire typeface family (Adobe Caslon Pro).

Figure 4.10 Describing Typefaces

Describing Typefaces

Roman : The uppercase forms are derived from inscriptions of Roman monuments. A slightly lighter stroke in roman is known as 'Book'.

Italic : Named for fifteenth century Italian handwriting on which the forms are based. Oblique converselt are based on roman form of typeface.

Boldface : Characterised by a thicker stroke than a roman form. It can also be called 'semibold', 'medium','black', 'extra bold' or super. In some typefaces (notably Bodoni), the boldest rendition of typeface is reffered to as 'Poster'.

Light : A lighter stroke than the roman form. Even lighter strokes are called 'thin'.

Condense : A version of the roman form and extremely condense styles are often called 'compressed'.

Extended : An extended variation of a roman font.

Figure 4.11 Comparing Typefaces

Comparing Typefaces

The gross differences in a x-height, the forms display a wealth of variety, in line weight, relative stroke widths and in feeling. The Rs display a range of attitudes, some whimsical, some stately, some mechanical, others calligraphic, some harmonious and some awkward.

Week 5 : Lecture 5

Typo_5_Understanding

Understanding Letterforms

Figure 5.1 Baskerville

The uppercase letter forms below suggest symmetry, but in fact it is not symmetrical. It is easy to see the two different stroke weights of the Baskerville stroke form (below); more noteworthy is the fact that each bracket connecting the serif to the stem has a unique arc.

Figure 5.2 Univers

The uppercase letter forms may appear symmetrical, but a close examination shows that the width of the left slope is thinner than the right stroke. Both demonstrate the meticulous care a type designer takes to create letterforms that are both internally harmonious and individually expressive.

Figure 5.3 Helvetica (left)&Univers(right)

The complexity of each individual letterform is neatly demonstrated by examining the lowercase ‘a’ of two seemingly similar sans-serif typefaces—Helvetica and Univers. A comparison of how the stems of the letterforms finish and how the bowls meet the stems quickly reveals the palpable difference in character between the two.

Figure 5.4 x-height

The x-height generally describe the size of the lowercase letterforms. However, you should keep in mind that curved strokes, such as in ‘s’, must rise above the median (or sink below the baseline) in order to appear to be the same size as the vertical and horizontal strokes they adjoin.

Counterform

Figure 5.5 Counterform

The space describes, and often contained, by the strokes of the form. When letters are joined to form words, the counterform includes the spaces between them. How well you handle the counters when you set type determines how well words hang together—in other words, how easily we can read what’s been set.

Figure 5.6 Helvetica Black (left) & Baskerville (right)

One of the most rewarding way to understand the form and counter of a letter is to examine them in close detail.

Contrast

The simple contrasts produces numerous variations: small+organic/large+machined; small+dark/ large light …

Figure 5.7 Simple contrasts - Helvetica Bold (left) & Baskerville (right)

Figure 5.8 Contrast Example

INSTRUCTIONS

Task 1: Exercise 1 - Type Expressions

The task for this week is to create the type expressions by choosing 4 words within the 8 words provided. The 8 words are smoke, soup, spooky, power, impact, crunch, drunk, fold. The 4 words I choose which are FOLD, CRUNCH, DRUNK and SMOKE. The requirement is not to use any of the graphical elements and colour when doing our sketches. Thus, we are limited to use only 10 fonts which are :

Adobe Caslon Pro
Bembo Std
Bodoni Std
Futura Std
Gill Sans Std
ITC Garamond Std
ITC New Baskerville Std
Janson Text LT Std
Serifa Std
Univers LT Std

Sketches

FOLD CRUNCH DRUNK SMOKE

Figure 5.1 Sketches (Week 2) 4/10/2023

At first, I decided to find some reference on Google and Pinterest to get some inspiration for my sketches drawing. It's quite interesting when I designed my own fonts with a lot of ideas. Despite the process is quite hard for me but I have a lot of fun on it.

Digitised Sketches

Figure 5.2 Digitised Sketches (Week 2) 8/10/2023

FOLD
The first word 'FOLD' is inspired by the picture of folded paper and make it less opacity from the top to bottom.

CRUNCH

The second word 'CRUNCH' reminds me of the cookies so I used the small alphabet to represent the it since we can’t use any graphic elements.

DRUNK

The feeling of being drunk is dizzy so my 'DRUNK' word have been written thrice and I put the wave effect on it to make it look more blurry.

SMOKE

The last word 'SMOKE' is to show the smoky vibes by drawing some illustration effect on it.

New Digitised Sketches

Figure 5.3 New Digitised Sketches (Week3) 13/10/2023

After I got my week 3 feedback by Mr.Vinod, I edited some of the digitised sketches to make it look more better. I edited most of the 'FOLD' and let it look more folded and 3D. Besides, I revised my 'CRUNCH' with the thinner stroke and add more alphabet at the lower part. Thus, I change the colour of 'SMOKE' from black to grey.

FINAL OUTCOME TASK 1: Exercise 1 - Type Expressions

Figure 5.4 Final Outcome - Type Expressions JPG (Week3) 13/10/2023

Figure 5.5 Final Outcome - Type Expressions PDF (Week3) 13/10/2023

Animation

Rough GIF Animation

Figure 5.6 Rough GIF Animation (Week 3) 13/10/2023

Figure 5.7 DRUNK Timeline (Week 3) 13/10/2023

Mr.Vinod let us do a quick rough GIF animation in class according to the video that he provided. We firstly used the Adobe IIlustrator to set up our fonts position and plan it on how to do on our design. Then, we used the Photoshop to make it as a GIF animation.

FOLD GIF Animation

Figure 5.8 FOLD GIF Animation (Week 4) 17/10/2023

Figure 5.9 FOLD Timeline (Week 4) 17/10/2023

I chose the word 'FOLD' as my final GIF animation so I make it into 3D kind of word to express the action and meaning of FOLD. I also create 7 frames to make it look more smoothly. But after I got the feedback from Mr. Vinod, I adjusted the timeline to make it look more clearly.

Figure 5.10 Final Timeline (Week 4) (Adjusted)20/10/2023

FINAL OUTCOME - GIF Animation

Figure 5.11 Final Outcome - GIF Animation (Week 4) 20/10/2023

Task 1 : Exercise 2 - Formatting Text

For this exercise 2, we are using different Adobe on it which is InDesign. We were informed that we have to use only that 10 fonts to complete the exercise.This week exercise will be more concentrate on kerning, leading, paragraph spacing, alignment etc.

Figure 5.12 Text Formatting without kerning (Week 5) 24/10/2023

Figure 5.13 Text Formatting with kerning (Week 5) 24/10/2023

Figure 5.14 (Wee) Before kerning (Week 5) 24/10/2023

Figure 5.15 (Wee) After kerning(Week 5) 24/10/2023

Figure 5.16 Layout #1 (Week 5) 24/10/2023

Figure 5.17 Layout #2 (Week 5) 24/10/2023

Figure 5.18 Layout #3 (Week 5) 24/10/2023

Figure 5.19 Layout1&2&3 (Edited)

I change the image of layout#1&2 to make it relating to the topic and adjust the column of layout#2. The leading part I also change it from 11pt to 11.5pt because leading must be 2.5 - 3 larger than the text.

HEAD
Font/s: Janson Text LT Std

Type Size/s: 55pt (Layout #1) ,41pt (Layout #2), 53pt (Layout #3)
Leading: 58pt (Layout #1), 44pt (Layout #2), 56pt (Layout #3)

Paragraph spacing: 4mm

BODY
Font/s: Univers LT Std
Type Size/s: 9pt
Leading: 11.5pt
Paragraph spacing: 4mm
Characters per-line: 50 ~ 62
Alignment:Left align

Margins: 12.7 mm top, 12.7 mm left + 12.7 mm right + 12.7mm bottom
Columns: 2
Gutter: 5mm

FINAL OUTCOME TASK 1: Exercise 2 - Formatting Text

HEAD
Font/s: Janson Text LT Std

Type Size/s: 55pt
Leading: 58pt

Paragraph spacing: 4mm

BODY
Font/s: Univers LT Std
Type Size/s: 9pt
Leading: 11.5pt
Paragraph spacing: 4mm
Characters per-line: 50 ~ 62
Alignment:Left align

Margins: 12.7 mm top, 12.7 mm left + 12.7 mm right + 12.7mm bottom
Columns: 2
Gutter: 5mm

Figure 5.20 Final Outcome - Formatting Text JPG (Week 5) 27/10/2023

Figure 5.21 Final Outcome - Formatting Text PDF (Week 5) 27/10/2023

Figure 5.22 Final Outcome - Formatting Text with grids JPG (Week 5) 27/10/2023

Figure 5.23 Final Outcome - Formatting Text with grids PDF (Week 5) 27/10/2023

FEEDBACK

Task 1: Exercise 1 - Type Expressions

Week 2

General Feedback : Not too much distortion and not to use too much graphical elements in the design, some of them are acceptable and must use only the 10 fonts that have been provided.

Specific Feedback : The upper quarter design of (3)SMOKE is ok.

Week 3

General Feedback :Adjust the digitised sketches more bigger to fill up the frame because that will make your artwork presentation look more better.

Specific Feedback : For the digitised formatting text, Mr.Vinod likes the design of the 'Smoke' word but he recommended the colour can be more grey instead of using black. The word 'Fold' is not expressing the meaning and 'Crunch' will be better when the stroke is thinner.

Week 4

General Feedback :Make sure the presentation of artwork is understandable.

Specific Feedback : The timeline of each frame should be longer to clearly express the meaning of 'FOLD' one by one.

Task 1: Exercise 2 - Formatting Text

Week 5

General Feedback : The leading must be 2.5 - 3 larger than the text and the column must be in the same size. Specific Feedback: The black part of the second layout is too big and the body part have to separate it into 2 columns.

REFLECTIONS

Experience : These exercises I felt quite interesting but also had a lot of challenges and difficulties in it. The first exercise was to do our own designs of sketches and not to use any graphical elements and should use only 10 fonts that were provided. But I always habitually break the rules while progressing the final sketches. I’m new in using Adobe Illustrator, Photoshop and InDesign so I feel struggling when I’m doing my exercises. But the more I familiar with it the more I got interested in accomplishing my work.

Observations : Doing these kinds of exercises, I observe that I should be more paying attention in improving our creativity. The reason why I would say that is because everyone is doing the same exercise but only the eye-catching one would get noticed.

Findings : We go through a lot of the history of Typography which are very important in our studies. In addition, we get to gain these knowledge and let us be more familiar with Typography. I also found out that there are a lot of small details and rules that we need to be more careful."The devil is in the details" we should always do more research and check properly when we do our work.

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Chong Wee Han (0368863)

Typography Task 1 - Exercises

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