Typography Task1 exercise
z 22/04/24 – Week 1 ——Week5
ZHANGWANRU
0368214
Timeline
-Kerning：The automatic adjustment of space between letters.
2.Formatting Text
3.Texture
-Line space (leading)～between each line of text. If the line space is 12pt, then the paragraph space is 12pt.This ensures cross-alignment across columns of text.
-Standard Indentation ～is the same size of the line spacing
or the same as the point size of your text.
-Draw a colorful area.
4. Headline within text
-C head highlights specific facets of materials within B head text, 2 spacebar (em space) is used for visual separation.
Week 4
Bachelor of Design (Honours) of Creative Media
Typography
Task 1 Exercise
Typography
Task 1 Exercise
Week1( Introduction & E-portfolio ）
YouTube Link : Type_0_Introduction
Typo_0_Introdution
Typography is like the design of words and sentences, making sure they
are easy to read and beautiful to look at. The important thing is to
arrange them just right so that they can effortlessly understand what
they are reading, and even enjoy reading more directly.
-The arrangement of type involves selecting typefaces, point size, line
length, line-spacing (leading), letter-spacing (tracking), and adjusting
the space within letters pairs (kerning).
-Font～refers to the individual font or weight within the
typeface
-Example～Georgia Regular,Georgia Italic and Georgia Bold
Fig.1.1 Font example
-Typeface～The entire family of fonts/weight that share similar
characteristics/styles
-Example ～Georgia,Arial,Times New Roman , Didot and Futura
Fig.1.2.typeface example
( Development / Timeline )
YouTube Link : Typo_1_Development
Typo_1_Development
1.Early letterform development : Phoenician to Roman
-At their core, uppercase forms are simple combination of straight lines
and pieces of circles, as the materials and tools of early writing
required.
Right 4"century B.C.E.-Phoenicians votive stele Carthage,Tunisia. The
stele bears a four-line inscription to Tanit and Baal
Hammon.
Lelt: Evolution from Phoenician letter
Writing Directions :
-Phoenicians : Right to Left .
-The Greeks : From Right to Left and Left to Right .
Fig.1.4 Greek fragment,stone engraving
-Late 1st century B.C.E., Augustan inscription in the Roman Forum, Rome.
-Early letterform development～Phoenician to Roman
2. Hand script from 3rd-10th century C.E.
-Square capitals 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.
4th or 5th century:Square Capitals
-Rustic capitals allowed for twice as many words on a sheet of
parchment hand took far less time to write. The pen or brush was
held at an angle of approximately 30° off the perpendicular.
Later 3rd-mid 4th century:Rustic capitals
-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.
4th century:Ronan cursive
-"Uncia" is Latin for a twelfth of anything.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.
4th-5th century :Uncials
-Half-uncials mark the formal beginning of
lowercase letterforms.
C.500:Half-uncials
-Charlemagne entrusted standardize all ecclesiastical texts 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.
C.925: Caloline miniscule
3. Blackletter to Gutenberg's type
-Blackletter or textura
C.1300:Blackletter(Textura)
-Blackletter to Gutenberg's type
c.1455:42 line bible, Johann Gutenberg,Mainz.
Timeline
Humanist script to roman type
-c.1460: Lucius Lactantius, Venice.
-1472: Cardinal Jonannes Bessarion, Conrad Sweynheym and Arnold Pannartz,
Subiaco press, Rome.
-1471: Quintillian, Nicholas Jenson, Venice.
-Venetian type from 1500
-1499: Colona,type by Farncesco Griffo
-1515: Lucretius,type by Francesco Grifo
-The Golden Age of French printing
-1531: Illustrissimae Galliaru reginae Helianorae, printed by Robert
Estianne, Paris. Type-cast by Claude Garamond
Dutch printing,c.1600
-1572: Polygot Bible (Preface). Printed by Christophe Plantin, Antwerp
-English type from the eighteen century
-1734: William Caslon. Type specimen sheet, London.
-Baskerville's innovations
-1761: William Congreve, typeset and printed by John Baskerville,
Birmingham.
-1818 Giambatista Bodoni, Manuale Tipografico,Parma.
-19th century types→ The first square serifs→Early twentieth-century sans
serif (1923 Bauhaus, Moholy-Nagy, 1959 Muller-Brockman) ..
4. Text Type Development
1450 Blacklette-1475 Oldstyle- 1500 Italic- 1550 Script-1750 Transitional- 1775 Modern-1825 Square Serif/Slab Serif-1900 Sans Serif-1900 Serif/Sans Serif
Week2Text / Tracking : Kerning and Letterspacing
YouTube link : Typo_3_Text_P1
Typo_3_Text_P1
1.Tracking:
Kerning & Letterspacing
Fig.2.1 Kerning and letterspacing
-Kerning：The automatic adjustment of space between letters.
- Letterspacing：To add space between the letters.
-Tracking:The addition and removal of space in a word or
sentence.
Fl g. 2.2 Normal tracking, tight tracking and loose tracking
-Uppercase letterforms are drawn to be able to stand to on their own,
whereas lowercase letterforms require the counterform created between
letters maintain the line of reading.
Fl g. 2.3
Counterform
-Flush left～ is most closely mirrors the
asymmetrical experience of handwriting .Each line starts at the same
point but ends wherever the last word on the line ends. Spaces between
words are consistent throughout the text ,allowing the type to create an
even gray value.
Fl g.2.4.Flush left
- Centered ～imposes symmetry , assigning equal value and
weight to both ends of any line.It transforms fields of text into
shapes, thereby adding pictorial quality to material that is
non-pictorial by nature. It type creates such a strong shape on the page, it's important to amend line breaks so that
the text does not appear too jagged.
Fl g.2.5.Centered
- Flush right～ 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.
Fl g.2.6.Flush right
- Justified ～imposes a symmetrical shape on the text.It is
achieved by expanding or reducing spaces between words and letters.The
resulting openness of lines can occasionally produce 'rivers' of white
space running vertically through the text. Careful attention to line
breaks and hyphenation is required to amend this problem whenever
possible.
Fl g.2.7.Justified
Fi g.2.8.Anatomy of a typeface
Fi g.2.9.Different typefaces
Fi.g.2.10.Sans-serif typefaces in comparison
4.Leading and Line Length
-type size ～Text type should be large enough to be read
easily at arms length--imagine yourself holding a book in your
lap.
-Leading～ Text that is set too tightly
encourages vertical eye movement; a reader can easily loose his or her
place. Type that is set too loosely creates striped patterns that
distract the reader from the material at hand.
-Line Length～Appropriate leading for text is as much a function
of the line length as it is a question of type size and leading.Shorter
lines require less leading; longer lines more. A good rule of thumb is
to keep line length between 55-65 characters.Extremely long or short
lines lengths impairs reading.
5.Type Specimen Book
(A type specimen book is to provide an accurate reference for
type ,type size, type leading, type line length etc.)
Fi g.2.11.Sample Type Specimen Sheet
Week3
Typo_4_Text_P2
1.Indicating Paragraphs
-pilcrow～a holdover from medieval manuscripts
seldom use today.
Fig.3.1.Pilcrow
-Line space (leading)～between each line of text. If the line space is 12pt, then the paragraph space is 12pt.This ensures cross-alignment across columns of text.
Fig. 3. 2 .Line space (leading）
-There is a difference between leading and line spacing. A leading space is the space between two sentences. A line spacing takes into consideration the the descender from one sentence to
the descender of another sentence.
Fig.3.3.Line space vs leading
Fi g. 3. 4 Standard indentation
-Extended paragraphs ～creates unusually wide columns of
text. Despite these problems, there can be strong compositional or
functional reasons for choosing it.
Fi g. 3. 5 Extended paragraph
2. Widows and Orphans
-The unpardonable gaffes in formatting text are windows and
orphans.
-A window is a short line of type left alone at the end of a column of
text. It can be avoided by creating a force line break before or
adjusting the tracking of the line before to let the last word in the
second last line moves down to the last line.
-An orphan is a short line of type left alone at the start of new
column. It could be avoided by adjusting the length of the
column.
Fi g. 3.6 Windows and orphans
3. Highlighting text
-In order to match the X-height of the serif font, the sans serif font
(Universe) has been reduced by a factor of 0.5, to ensure visual
cohesion of the text.
Fi g. 3.7.Blod sans serrif
Fi g.3.8 Draw a colorful area.
-Position textual elements (like bullet points)
Fi g. 3. 9. Bullet points
-Quotation marks make a noticeable gap, interrupting the
left-to-right flow of reading.
Fi g. 3.10.Quotation
-When you highlight text by adding a colored background behind it,
making sure the text maintains its left-to-right reading flow is crucial
for readability. Sometimes, to keep a strong reading flow, certain
typographic elements need to be placed outside the left margin of a
column instead of being indented. Quotation marks, just like bullets,
can create a clear indentation that breaks the left-to-right reading
flow. Compare the indented quote at the top with the extended quote at
the bottom.
Fi g. 3.11.Prime and quote
4. Headline within text
-A head
indicates a clear break between the topic within the section,
indicating new body of text with different head line.
Fi g.3.12.Example of A heads
-B head is subordinate to A head, indicating new supporting argument /example
for the topic and does not interrupt the text strongly as A heads
do.
Fi g. 3. 13 Examples of B heads
-C head highlights specific facets of materials within B head text, 2 spacebar (em space) is used for visual separation.
Fi g. 3. 14 Examples of C heads
-A sequence of subheads (hierarchy)
Fi g. 3. 15 Hierarchy in a sequence of subheads
Week 4
YouTube Link: Typo_2_Basic
Typo_2_ Basic
1. Describing letterforms
-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'.
Fi g.4.1.point size
-Stroke~ Any line that defines the basic letterform.
Fi g.4.2.Stroke
-Apex / Vertex~ the point created by joining two diagonal
stems. (apex above & vertex below)
Fi g.4.3.Apex/Vertex
-Arm Short ~ strokes off the stem of the letterform, either
horizontal(E,F,L)or inclined upward（K，Y）. 
Fi g. 4.4.Arm
-Ascender ~the portion of the stem of a lowercase letterform that
projects above the median.
Fi g.4.5. Ascender
-Barb~the half-serif finish on some curved stroke.
Fi g.4.6.Barb
- Beak～the half-serif finish on some horizontal arms.
Fi g. 4.7.Besk
-Bowl~ the rounded form that describes a counter.The bowl may be
either open or closed.
Fi g. 4.8.Bowl
-Bracket~the transition between the serif and the stem.
Fi g. 4.9.Bracket
- Cross Bar ~the horizontal stroke in a letterform that joins two stems together.
Fi g. 4.10.Cross Bar
-Cross Stroke~the horizontal stroke in a letterform that joins two stems
together.
Fi g. 4.11.Cross stroke
- Crotch～the interior space where two strokes meet. 
Fi g. 4.12.Crotch
- Descender～the portion of the stem of a lowercase letterform that projects below
the baseline.
Fi g. 4.13.Descender
- Ear～ the store extending out from the main stem or body of the letterform.
Fi g. 4.14.Ear
-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 en is half
the size of an em.
Fi g. 4.15.Em/en
Fi g. 4.16.Finial
-Leg~short stroke off the stem of the letterform (at the bottom: L; inclined downward: K, R).
Fi g. 4.17.Leg
Fi g. 4.18.Ligature
Fi g. 4.19.Link
-Loop~the bowl created in the descender of the lowercase G (in
some typefaces).
Fi g. 4.20.Loop
-Serif~ the right-angled or oblique foot at the end of the
stroke.
Fi g. 4.21.Serif
-Shoulder~ the curved stroke that is not part of a bowl.
Fi g. 4.22.Shoulder
-Spine~ the curved stem of the S.
Fi g. 4.23.Spine
-Spur~the extension that articulated the junction of the curved and rectilinear stroke.
Fi g. 4.24.Spur
-Stem~ the significant vertical or oblique stroke. 
Fi g. 4.25.Stem
-Stress~the orientation of the letterform, indicated by the
thin stroke in round forms.
Fi g. 4.26.Stress
-Swash~ the flourish that extends the stroke of the
letterform.
Fi g. 4.27.Swash
-Tail~ the curved diagonal stroke at the finish of certain
letterforms. 
Fi g. 4.28.Tail
-Terminal~ the self-contained finish of a store without a serif,
it may be flat, flared, acute, grave, concave, convex or rounded as a
ball or a teardrop (see finial). 
Fi g. 4.29.Terminal
2.Font
-Uppercase～Capital letters, including certain accented vowels, the ccedilla and
n tilde, and the a/e and o/e ligatures.
Fi g. 4.30.Uppercase
-Lowercase～ Lowercase letters include the same characters as
uppercase.
Fi g. 4.31.Lowercase
-Small Capitals～ Uppercase
letterforms are drawn to the x-height of the typeface. Small caps are
primarily found in serif fonts as part of what is often called the
expert set.
Fi g. 4.32.Small Capitals
-Uppercase Numerals～ These numerals are the
same height as uppercase letters and are all set to the same kerning
width.
Fi g. 4.33.Uppercase Numerals
-Lowercase Numerals～These numerals are set to x-height with ascenders and descenders. They
are best used whenever you would use upper and lowercase
letterforms.
Fi g. 4.34.Lowercase Numerals
-Italic～The forms in italics refer back to fifteenth-century Italian cursive
handwriting. Obliques are typically based on the roman form of the
typeface.
Fi g. 4.35.Italic
-Punctuation, miscellaneous characters～ Although all fonts contain standard punctuation marks, miscellaneous
characters can vary from typeface to typeface.
Fi g. 4.36.Punctuation, miscellaneous characters
-Ornaments～ Used as flourishes in
invitations or certificates. They are usually provided as a font in a
larger typeface family.
Fi g. 4.37.Ornaments
3. Describing typefaces
-Roman～ Uppercase forms are derived from inscriptions of Roman monuments. A slightly lighter stroke in roman is known as ‘Book’.
-Italic～ Named for 15th century Italian handwriting on which the forms are based. Oblique conversely is based on the roman form of typeface.
-Boldface～ Characterized by a thicker stroke than a roman form. It can also be called ‘semibold’, ‘medium’, ‘black’, ‘extra bold’, or super.
-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.
Understanding how to appropriately use typefaces will assist you in
comprehending other fonts when encountering them.
Fi g. 4.38.Describing typefaces
4. Comparing typefaces
-The letter "A" embodies varying line weights, stroke widths, and
distinctive emotions, while the letter "R" evokes diverse styles,
suggesting humor, machinery, and more.
Fi g. 4.39.Comparing typefaces
Week5
YouTube Link: Typo_5_Understanding
1.Letters / Understanding letterforms
-Uppercase letter forms might seem symmetrical at first glance, but
they actually aren't. It's easy to notice the distinct stroke
weights in the Baskerville stroke form. What's more, each bracket
connecting the serif to the stem has its own unique arc.
Fig.5.1.Baskerville stroke
--Letters
-Although capital letters may seem symmetrical initially, closer
inspection reveals that the left diagonal line is slightly narrower
than the right stroke. Baskerville and Univers, as mentioned earlier,
exemplify the meticulous attention to detail typographers employ,
aiming to create typefaces that are both internally cohesive and
uniquely expressive.
Fig.5.2.Univers typeface
Fig.5.3.Differentiation of the two 'a' letterforms.
2.Maintaining 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.
Fig.5.4 Curved lines going beyond lines.
3. Form / Counterform
-Sensitivity - Space is usually described and contained by the strokes of
a font. When letters are joined together to form words, the contrastive
includes Spaces between them.
-The alphabetic form of the counter.
Fig. 5.5.Counterform
4.Contrast
-The basic principles of Graphic Design apply directly to
typography. The following are some examples of contrast--the most
poweful dynamic in design-as applied to type, based on a format
devised by Rudi Ruegg.
-The simple contrasts produces numerous
variations~small+organic/large+machined; small+dark/ large
light
Fig.5.6 .contrast
Fig5.7 Example of Contrast
INSTRUCTIONS
Task
Task 1: Exercise 1 - Type Expression
Fig.1.1.draft sketch
Fi g.1.2. Sketches PDF
-Updated version:
Figure 1.4 type expression sketches PDF
I like this kind of heavy technology design, with a cold and hard
air, there is a special feeling.
When I make my own fonts, I want to look at a lot of different examples to get
inspired and better understand typography. Although my fonts look very
different from the ones I see, I have learned some new ways to design fonts
since reading this book. What impresses me most is how important it is to
maintain a balance between what you see and the ambient space around you. This
book taught me how to use that balance to make designs that really catch your
eye.
-Final Type Expression
Fig.1.5.Final Type Expression - JPEG. Week 3
Fig.1.6 Final Type Expression - PDF, Week 3
My design philosophy is that I think 'P' is people, just like the meaning of the word, by having people express the effect of this jump
Digitalisation：
Fig 1. 7Final Animated Type
Expression"JUMP"-GIF,Week4(16/5/2024）
Fig1.8.reference
My design philosophy is that I think 'P' is people, just like the meaning of the word, by having people express the effect of this jump
-Updated Digitalisation：
Figure 1.9 Final Animated Type
Expression"JUMP"-GIF,Week4(17/5/2024)
Fig. 1.10.reference
I think the simple jump is easier, easier, I wanted to make the expression
of my font more vivid, and then I saw on social media about the figure
skating duo performance inspired, you can make a circle in the air, and
then the person in the rotation of the shadow of the person on the ground
is changed. So this is my updated design concept.
Task 1: Exercises 2 - Formatting Text
Fi g.2.1.Name without kerning and tracking (24/5/24)
Fig.2.2.Name with kerning and tracking (24/5/24)
Fig.2.3.Name with kerning and tracking~PDF(24/5/24)
INSTRUCTION
HEAD LINE
Font/s: Bembo Std
Type Size/s: 72 pt
Leading: 36 pt
Paragraph spacing: 0
BODY
Font/s: Bembo Std
Type Size/s: 9 pt
Leading: 11 pt
Paragraph spacing: 11 pt
Characters per-line: 57
Alignment: left justified
Margins: 123 mm top, 26 mm left + right + bottom
Columns: 2
Gutter: 10 mm
Fig 2.4 other Text Formatting(24/5/2024)
Fig.2.5. other Text Formatting PDF
Fig.2.6 .all Version of with grid
Fig .2.7.PDF Version
of with grid
-Final layout
Fig.2.8.Final layout
Fig.2.9 Text Formatting Final layout PDF
Fi.g 2.10 .Final Layout with Grid
Fig . 2.11.Final Layout with Grid
FEEDBACK
week2
-General Feedback:
Mr. Max chose from my sketches the best design for the next step.
-Specific Feedback:The homework relies too much on drawings, and the style of the design does not reflect the meaning of the words themselves, but it has been modified.
Sleep:The top right is used.
Jump：The lower left corner is adopted.
Smile :The upper left corner is adopted.
Break：The upper right and lower left corners are adopted.
week3
-General Feedback:Final type expression are"smile","jump","break","sleep".The teacher asked me to change the "break" design of the paper into a broken feeling.Because paper is difficult to express, can only use the brush to paint.
-Specific Feedback:Use Adobe illustrator app to design fonts, select four designs from the draft of the second week to express them through Adobe illustrator, and then select one of the ten fonts to use
separately.The path of breakage can be designed with pen.
week4
-General Feedback:mr. max said that the effect of digital animation is relatively
simple, hoping to make my animation complex, and then make my
motionless letters do not shake, giving me the feeling of
earthquake, so that the digital effect is lively.
-Specific Feedback:Simply jumping up is too simple, you can add the rotating effect of the word, or make a jumping response effect, the whole font will be lively, the image of the specific expression of the meaning of the word, at a glance can see the meaning of the word.
week5
-General Feedback:The app I used this time is in design, a new app. I learned the typesetting form and font typesetting, how to make typesetting faster, save time and labor more, sorted out and organised the text format requirements according to the teacher's requirements, and made appropriate adjustments to achieve beautiful results, so that readers can enjoy the text more intuitively.
-Specific Feedback：Using GIFs can add visual interest to our content, but making sure
they are used effectively is crucial. After sharing six examples of text formatting with Mr. Max, he suggested some adjustments to the alignment of photos and copy to improve animation quality. His advice highlights the importance of optimising layout and making subtle adjustments to optimise the presentation of text.
REFLECTIONS
-Experience:
By engaging in these comprehensive exercises, I have been able to gradually acquire a comprehensive understanding of Adobe Illustrator.Each exercise is accompanied by a meticulously crafted lecture video, which serves as an excellent learning resource. The video tutorials guide me through each exercise with great clarity, providing me with a deep understanding of the purpose and functionality of the vast majority of tools available in Adobe
Illustrator.Occasionally, I take the initiative to modify the practice questions to further refine my skills and push myself to achieve a higher level of perfection. This approach has not only helped me gain confidence in my abilities but has also allowed me to consistently improve.Furthermore, I have become quite adept at using InDesign for text formatting. Mastering text formatting has
been particularly fascinating for me, as it allows me to using a wide range of fonts to impart diverse styles and tones to my work. This level of control over the visual aspects of my work has been both empowering and rewarding, and I am grateful for the opportunity to learn these valuable skills.
-Observations：
I found the animation design to be the most challenging part. An
animation is made up of a series of frames, each of which is
independent but combined to form a vivid image. Animation conveys
emotions, ideas and stories in a vivid and concrete way. However, my
mind is rather rigid and I often have trouble understanding this
concept. In order to create animations successfully, I need to
observe more and find the movement of objects and subtle details.
I'm learning a variety of techniques, including observing the
movement of objects in nature, analysing animated films, and
practicing digital painting. I am also working on improving my
visual skills, as effectively communicating information and emotions
is essential for animation design.
-Findings:
Through these exercises, I not only have a comprehensive
understanding of typography, but also have a deep understanding of
the importance of typography. Typography, as an essential element of
design, has the power to turn our creations into visually stunning,
easy-to-read, and efficient works. The carefully designed layout
acts as a gateway for clear communication, enabling the reader to
effortlessly decipher the intended message while enjoying the
overall aesthetic appeal. In addition, typography plays a key role
in organising and categorising content on different topics, making
it easier for readers to navigate the material and understand the
underlying concepts.
FURTHER READING
《Typography Design Form and Communication》
《Typography Design Form and Communication》is a professional book
about layout design. It covers all aspects of typography design,
including font selection, typography rules, layout design, visual
communication, etc. This book details how to use different fonts,
typography, and design elements to convey information and emotion.
In addition, the book may include practical case studies and design
tips to help readers understand and apply the principles and
techniques of typographic design.
I love this quote in the introduction to the book Typography
Design Form and Communication: "The whole duty of typography, like
calligraphy, is to communicate with the imagination, and by the
way, the idea or image that the author wishes to convey is not
lost." The quote was written by Thomas James Cobden-Sanderson and
typeset to express our imagination for the desired effect.
-From this book I learned the Introduction: Introduces the
basic concepts and importance of typographic design.Font selection: Discuss how to select suitable fonts for
different design requirements, including font classification,
features, and application scenarios.Layout rules: Explain in detail the basic rules of layout
design, such as line spacing, kerning, alignment, etc.Layout design: Discuss how to design the page layout, including
page structure, layout design, graphic collocation, etc., to
maximize the visual effect and reading experience.Visual communication: How to use typographic design to
convey information and emotions, including the use of visual elements
such as color, shape, and image.Practical case analysis: Through specific case
analysis, the application and effect of typesetting design in
different scenarios are demonstrated, and the challenges and
solutions in practical application are understood.Design Tips: Provide some practical design tips and
suggestions to better understand the principles and techniques of
typographic design and create high-quality works.
From these histories we have learned the evolution of printing,
displaning, and the evolution of printing technology and the
evolution of structure. The way of typesetting, the choice of fonts
is a study and study, in the process of excellence, learning the
excellent place of the original culture. The continuous improvement
of printing technology and the evolution of fonts have made printing
colorful and diverse.
Typesetting font size, font thickness
Comparison of fonts
Fonts can be made to use the motion form of graphics, through
layering, shading and dynamics together to give a sense of time and
space.
After watching so many design cases in this book, I was inspired to
restore its own movement track through some pictures to make it more
vivid and specific images, increase personal design concepts, and
let people express specific meanings at a glance.
TYPOGRAPHIC DESIGN PROCESS:
one
two
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