Wednesday, 20 March 2013
STUDY TASK 2 - The Birth of a Font
Using our Roman, Gothic, Script and Block fonts we were asked to deconstruct each letterform and reconstruct these using the different elements to create variations of new possible letterforms. UPPPER
CASE A VARIATIONS
5 VARIATIONS CHOSEN FROM THE NEW CONSTRUCTIONS:
Visual Literacy - Accents - 11/12/12
In the previous session on the 4/12/12 we were set a task to bring along with us 11 a4 sheets with 11 different fonts that represented particular accents, the accents we were given to carry out this task upon were:
- Scottish
- South African
- Italian
- Texan (Texas)
- Mexican
- Somerset
- Brummy
- Cockney
- German
- Swedish
- Chinese
When set this task we were told that we were allowed to change the weight, the scale and the point size, we were allowed to use a range of fonts that we thought best represented the particular accent.
After collating me 11 a4 sheets of paper and taking them along with me to the session we were put in groups of four and assigned a new table to sit at which consisted of another groups (group of 4) set of 11 sheets of accents.
TASK 1:
The first task we were set was too separate each set of 11 accents into the categorises of accents (1-10) shown above. Whilst splitting these into 11 different piles we were also asked to make a list of some of the design decisions we made based on why we had chosen a particular font to be put in that particular category.
(Image from the first task we were set)
Design decisions when splitting the accents into different categories:
- Characteristics of the font based on whether it is a script, roman, gothic or block.
- Looking at the weight also effects our decisions, whether it is regular, bold, light or italic
- The point size of the words when spoken out loud.
TASK 2:
From the 11 piles we had made we were then asked to select the 3 piles which we thought were the most correct in terms of the selections we had made. Our group thought that the strongest accents fonts were:
- Mexican
- Scottish
- Chinese
Mexican
Scottish
Chinese
Findings from this task as a entire group:
International accents seem to be easier to distinguish a font for rather than regional accents in Britain, even if the majority of us have most likely visited the regional areas in comparison to the international locations where accents have derived from.
TASK 3:
Go to back to our own tables and rearrange what the previous groups have done into what each font is suppose to be in each accent categories, ending up with 11 piles of each accent.
This task was carried out to ultimately see how well the group who were distinguishing each accent did.
Notes from session:
Visual Literacy - The language of graphic design
Before the session on tuesday 4th December 2012 we were asked to bring along with us a gothic or roman font in light, regular, and bold in the point sizes of 24, 36, 72, 144, these were asked to be cut out into separate words.
After doing so the session started with the delivery of a presentation on the 'dynamics o type' in terms of type being a:
- visual metaphor
- Metonym
- synecdoche
As you can see from my notes which I made above there are clear definitions of each term within this typographic language for each term listed above.
'Type is speech made visible.''
(notes based the tasks carried out)
After being presented with this new language and identifying that in order to type to have an impact on an individual there must be context we then moved onto some tasks in groups of 4 using the material that we had brought to the session with us.
Original series out cut out words:
Task 1- To mix up the lights, regular and bolds within the same group of point sizes then to say what you see from this new sentence and reiterate this to your group.
As you can see we were asked to carry out this task by making 5 of these mixture sentences, it was interesting to discover that when when putting together the sentence and speaking in our heads had a completely different tonal outcome when relating our sentences to our group.
Task 2 - Create 5 new dynamics distinctly new visual dynamics and consider pace and volume when doing so.
As you can see on this task the best way to portray the understanding of pace and volume would be to use the quietest words/words that sound low when you say it and next to the words that are the loudest and strongest in terms of weight (boldness).
Task 3 - To say 'Who are you?' in a particular manner whether it may be in a angry way seductive way, nervous etc. The other 3 people in your group have to use there cut outs to interpret your speech.
From this task we realised that it was fairly difficult to establish/construct the sentence using our cut outs due to the fact that if we did not listen carefully enough the tone and pace would not be understood thus finding its difficult to construct a sentence.
Visual Literacy - Part 5
Notes from visual literacy session on the 20/11/12:
At the start of the session we were asked to pin-up on the wall our 'The quick brown fox jumps over the lazy dog' typefaces which were asked to print out taking into consideration which point size was the most readable out of 12pts, 32pts and 72pts, this was purely dependent on the typeface itself, we were asked to select a 5 new fonts and discover there full typeface family and select the most readable in the appropriate size.
FINDINGS:
- READABILITY IS EFFECTED BY THE LINE LENGTH, MULTIPLE LINES MAKE IT HARDER TO READ.
- WHEN TYPE IS ON ONE LINE IT IS MUCH MORE LEGIBLE & READABLE.
After discussing our findings we were then were asked to gather our 4 NEW fonts which we were asked to bring along with us to the session.
My four new chosen fonts were:
- BLOCK - Velvenda Cooler
- ROMAN - Roman T
- SCRIPT - Vivaldi
- GOTHIC - Sans-serif
Task 1- To get our lower case 'b' from gothic typeface 'sans-serif', to use the regular letterform as a template/guidance to create the light version and bold version of the letterform.
Outcome:
Task 2 - As we found the previous task difficult due to increasing and decreasing the counter freehand we were then asked to take the uppercase 'A' from our Roman typeface (Roman T) and perform the same task, using the upper case 'A' as a template to create a light and bold version of the letterform.
Outcome:
Task 3 - Once we had completed the previous task we then moved onto a new strip of tracing paper, where we were first asked to create the lightest possible uppercase 'C' from our gothic typeface and the most condensed 'c' (which is shown to the right) using the template underneath.
Task 4 - Choosing from either making the stem as light as possible or the counter as thick as possible we had create these two letterforms using our gothic typeface. As you can see I decided on making the stem as light as possible.
The Anatomy of Type - Type & Character
During the send and receive session today 13/11/2012 we started by discussing the five typefaces we investigated using the website identifont.com in the groups we were divided into the previous week. During this task we were also asked to share the information we had gathered to for the 'becoming an expert in .... typeface'.
Session Notes:
Once we completed this task we were further asked to collect our original typeface from the individual who had been investigating our typefaces and decided as a group which typefaces would fit under the categories:
1) Regular
2) Light
3) Bold
4) Ultrabold
This judgement was purely based on the typeface we had out in-front of us, rather than the background knowledge that we had on each typeface.
ALTOGETHER:
1) REGULAR
2) LIGHT
3) BOLD
4) ULTRABOLD
We were them asked to categorise these into:
1) SCRIPT
2) GOTHIC
3) BLOCK
4)ROMAN
ALTOGETHER
1) SCRIPT
2) GOTHIC
3) BLOCK
4) ROMAN
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