29.08.2022- 30.09.2022 (Week 1- Week 5)
Leong Jia En (0348366) Bachelor of Creative Media Design (Minor)
Typography
Task 1 Exercises
Lectures
Week 1
[Introduction]
1. Typography has evolved for 500 years from Calligraphy to Lettering to Typography.
- Calligraphy is defined as decorative handwriting or handwritten lettering.
- Lettering is the process of drawing an outline of letters.
- Typography is an art of creating a typeface and is widely used in animations, software applications, websites, product labeling, books, posters, signage system, etc.
2. The differences between Font and Typeface.
- Font: The individual font or weight within the typeface.
 |
| Font |
- Typeface: The various families that do not share characteristics.
 |
| Typeface |
[Development]
1. Early letterform development from Phoenician to Roman.
- Letterform was early developed by Phoenicians back in the 4th Century B.C.E.
- As the materials and tools of early writing required (wet clay with sharpened stick/ stone with a chisel), uppercase forms are simple combinations of straight lines and pieces of circles.
 |
| Early letterform development |
- The Greeks then changed the writing direction which was called Boustrophedon style. Lines of text are read alternately from left to right and then right to left. The orientation of the letterforms also changes influenced by the change of direction.
 |
| Boustrophedon |
- The Romans and Etruscans painted their letterforms before inscribing them to prevent any marble waste. This resulted in the formation of Roman letterforms due to the qualities of their strokes and the tools they used.
 |
| The formation of Roman letterforms |
2. Hand script from 3rd to 10th-century C.E.
Square Capitals: Written letterforms found in Roman monuments. These letterforms have serifs added to the end of the main stroke.
 |
| 4th or 5th century |
Rustic Capitals: A compressed version of square capitals that allows twice as many words to be written on a single piece of parchment and takes far less time. It is faster and easier but slightly harder to read due to its compressed nature.
 |
| Late 3rd – mid 4th century |
Roman Cursive: Written for everyday transactions, the letterforms have been simplified for speed. It is the beginning of a lowercase letter.
 |
| 4th century |
Uncials: Incorporate some aspects of Roman cursive. The broad Uncials are more readable at small sizes than rustic capitals.
 |
| 4th to 5th century |
Half-uncials: The formal beginning of lowercase letterforms, replete with ascenders and descenders, 2000 years after the origin of the Phoenician alphabet.
 |
| C. 500 |
Caloline minuscule: Charlemagne (the first unifier of Europe since the Romans) issued a decree in 789 to standardize all ecclesiastical texts. He entrusted this task to Alquin of York, abbot of Saint Martin of Tours. The monks rewrote the text using uppercase, lowercase, capital letters, and punctuation, setting the standard for a century of calligraphy.
 |
| C. 925 |
Blackletter (Textura): With the disintegration of Charlemagne's empire, there were regional changes in Alcuin's script. In northern Europe, a condensed strong vertical typeface called Blackletter or Textura became popular. In the South, a more round and open hand, known as the "rotunda", is gaining popularity. The Italian humanistic script is based on Alcuin's trivial.
 |
| C. 1300 |
3. Text type classification
1450 Blackletter👉 1475 Old style👉 1500 Italic👉 1550 Script👉 1750 Transitional👉 1775 Modern👉 1825 Square Serif/ Slab Serif👉 1990 Serif/ Sans Serif
 |
| Text type classification |
Week 2
[Basic of Letterform]
- Baseline -The imaginary line of visual base
- Median - The imaginary line defining the x-height of letterforms
- X-height -The height of the lowercase "x" in a typeface
- Stroke - The line that defines a basic letterform
- Apex/Vertex - The point created from the intersection of two diagonal stem (Apex ↑, Vertex ↓).
- Stem - Any vertical line in a letter.
- Arm - Short Strokes off the Stem of the letterform, either horizontal (eg. E, F, L) or diagonal (eg. K, Y).
- Ascender - Stem of a lowercase letterform above the Median.
- Barb - Half-serif end of a curved Stroke.
- Bowl - Rounded form that describes a counter (open or closed)
 |
| Bowl |
- Bracket - Transition between the serif and the stem
- Cross Bar- horizontal stroke in a letterform that joins two stems together
- Crotch - interior space where two strokes meet
- Descender - portion of the stem of a lowercase that projects below the baseline
 |
| Anatomy of A Typeface |
- Em - distance equal to the size of the M (—)
- En - Half the size of an em (–)
- Finial- curved of tapered end of a stroke.
- Leg -Short stroke off the stem of letterforms
- Ligature- special character that joined 2 characters to improve the efficiency of reading. For example, fi.
 |
| Ligature |
- Link - Stoke connects the bowl and the loop of lowercase G
- Loop - Bowl is created in the descender of the "g"
- Shoulder - Curved stroke that is not part of a bowl
- Spur - The extension the articulates the junction of the curved and rectilinear stroke
- Spine- S is the best example for spine.
- Swash- The flourish that extends the stroke of the letterform.
 |
| Swash |
- Stress- There are vertical and diagonal stress. Diagonal stress is based on handwriting
 |
| Stress |
- Terminal - Self-contained finish of a stroke without serif
 |
| Diagram of Letterform Part |
To work with type successfully, we have to learn the full font and know how to use it.
- Uppercase - Capital letters + certain accented vowels, c cedilla & n tilde, and a/e & o/e ligatures.
- Lowercase - Lowercase letters that include the same character set as Uppercase.
- Small Capitals - Uppercase letterforms drawn to the x-height, the same size as lowercase but in the form of uppercase
 |
| Small Capitals |
- Uppercase Numerals (Lining figures) - Same height as uppercase letters, with same kerning width.
- Lowercase Numerals (Old style figures) -Height is with ascender and descender, most commonly found in Serif typefaces.
 |
| Differences between Uppercase Numerals and Lowercase Numerals |
It is important to be acquainted with all the characters available in a typeface before choosing the appropriate type for a particular job.
- Punctuation, Miscellaneous characters- All fonts contain standard punctuation marks, misc. characters can change from typeface to typeface.
- Ornaments- used as flourishes in invitation or certificates ex: Adobe Caslon Pro
 |
| Ornaments |
Different Typefaces
 |
| Different Typefaces |
Italics refers to Italian handwriting while Oblique is based on Roman form of type face.
 | |
| Difference between Italic and Oblique |
 | |
| Difference between Italic and Oblique |
Week 3
[Text part 1]
1. Tracking: Kerning and Letterspacing
- Kerning - automatic adjustment of space between letters.
- Letterspacing- Add space between the letters
- Tracking-addition and removal of space in a word or sentence
 |
Without Kerning vs. With Kerning |
 |
Normal tracking, loose tracking, and tight tracking. |
- Gray Value: The balance between the letters and the negative space.
- Light - too much letterspacing/leading
- Dark - tight tracking
- Counterspace: the black spaces between the white letters. This has a bearing on readability.
- Leading: space between each line
Indesign Shortcuts
- Shift + Ctrl + < or > will increase/decrease the point size
- For even quicker results, Shift + Alt + Ctrl + < or > will increase/decrease the point sizes
- Ctrl + : turn off margin column
- Atl +Left Arrow/ Right Arrow = Kerning
- Edit > Preferences> Unit & Increments (Change unit from 20 to 5) to move slower
- Alt+ Right arrow of the whole word = Add letterspacing.
As designers, letter spacing is typically used for uppercase headings. It is not very well received when done with lowercase letters within a text. This is because uppercase letterforms are drawn to be able to stand on their own, and which is not the case with lowercase letters.
2. Formatting text
Flush left:
- Aligned to the left of the page, ragged right.
- 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 which results in an even gray value.
 |
Flush left |
Centered:
- Aligned to the center of the page, ragged right and left.
- Imposes symmetry upon the text, assigning equal value and weight to both ends of any line.
- Transforms fields of text into shapes, thereby adding a pictorial quality.
- Centered 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.
 |
Centered |
Flush right:
- Aligned to the right of the page, ragged left.
- Places emphasis on the end of a line as opposed to its start.
- It can be useful like captions where the relationship between text and image might be ambiguous without a strong orientation to the right.
 |
Flush right |
Justified:
- Fit to the page on both left and right.
- Imposes symmetrical shape on the text, 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 through the text.
- Careful attention to line breaks and hyphenation is required to amend this problem.
 |
Justified |
3. Texture
As designers, it is important to understand how different typefaces feel as text. Different typefaces suit different messages.
 |
| Anatomy of a typeface |
Different typefaces have different gray values, some lighter, some darker. The best choice would be to choose the middle gray value.
 |
| Typefaces and gray values |
4. Leading and Line Length
The goal in setting text type is to allow easy prolonged reading.
Type size: Large enough to be read easily at arms length - imagine yourself holding a book in your lap
Leading: Set too tightly will encourage vertical eye movement, a reader can easily loose his/her place. Type that is set too loosely creates striped patterns that distract the reader from the material at hand. 2 to 2.5 is the right amount of leading space. (Eg: 9pt type size, 11pt leading space)
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 are more. A good rule of thumb is to keep line length between 55-65 characters. Extremely long/short line lengths impairs reading.
.png) |
| Different leading with the same typeface |
5. Type Specimen Book
A type specimen book shows samples of typefaces in various different sizes. It provides an accurate reference for type, type size, type leading, type line length etc. The ideal text has middle gray value. A specimen sheet shows the same typeface with different variables. It is often useful to enlarge type to 400% on the screen to get a clear sense of the relationship between descenders on one line and ascenders on the line below.
 |
| Sample type specimen sheet |
Week 4
[Text part 2]
1. Indicating Paragraph
Pilcrow (¶)
A holdover from medieval manuscripts seldom use today.
Line space and Paragraph Space
Line space should be equal to paragraph space to ensure cross-alignment across columns of text. Eg: If the line space is 12pt, then the paragraph space is 12pt.
 |
| Line Spacing VS Leading |
Indentation
Standard indentation should be the same size as line spacing or the text pt size. It is best used when the text is justified.
 |
| Standard Indentation |
Extended Paragraph
Extended paragraphs create unusually wide columns of text. Despite these problems, there can be strong compositional or functional reasons for choosing it.
 |
| Extended Paragraph |
Widow - Short line of type left alone at the end of a column of text
Orphan - Short line of type left alone at the start of new column
Both should be avoided as much as possible, especially in Justified text. Widow can be solved by rebreaking line endings throughout the paragraph. For orphan, we can make adjustments like moving columns in layouts or reducing the line length.
 |
| Widow and Orphan |
3. Highlighting Text
Can be achieved by changing the following attributes:
- Italics.
- Bold.
- Different Typeface
- Font Size
 |
| Aligning Sans Serif with Serif |
- Type Colour
- Background Colour
- Extending Reading Axis
- Quotation Marks
Quotation marks, like bullets, can create a clear indent, breaking the left reading axis. Compare the indented quote at the top with the extended quote at the bottom.
 |
| Quotation Marks |
A prime is not a quote. The prime is an abbreviation for inches and feet. Due to the limited number of keys on a typewriter, they were substituted. They were later known as ‘dumb quotes’.
 |
| Prime and Quotes |
A heads indicate a clear break between the topics within a section.
 |
| A heads |
The B heads here is subordinate to A heads. B heads indicate a new supporting argument or example for the topic at hand. As such they should not interrupt the text as strongly as A heads do. Here the B heads are shown in small caps, italic, bold serif, and bold san serif.
.png) |
| B heads |
C heads highlight specific facets of material within B head text. They don't interrupt the flow of reading. C heads in this configuration are followed by at least an em space for visual separation.
 |
| C heads |
Cross-aligning headlines and captions with text type reinforce the architectural sense of the page—the structure—while articulating the complimentary vertical rhythms.
Cross Alignment
Week 5
[Letters & Understanding letterforms]
1. Asymmetry in Letterforms
The uppercase letterforms may suggest symmetry but are asymmetrical. The obvious differences will be the stroke weights and the less obvious ones will be the arc of the letterform. Each bracket connecting serifs to the stem has a unique arc.
The figure below shows Univers which also appears symmetrical. Looking in detail, the left slope is thinner than the right stroke. Designers need to take care of the harmonious and individual expressive of the letterforms.
 | |
| Univers |
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.
.png) |
| Helvetica VS Univers |
2. Maintaining x-height
X-height generally describes the size of lowercase letterforms. Some curved strokes must rise above the median line/sink below the baseline, in order to appear to be the same size as the vertical/horizontal strokes they adjoin. For example. a,o,r and s.
 |
| Median and Baseline |
3. Form / Counterform
Counterform (or counter)—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 are the counters handled determines how well the words hang together—how easily we can read what’s been set.
 |
| Form/ Counterform |
4. Contrast
The simple contrast produce numerous variations:
Small+organic / large+machined; small+dark/ large light
 |
| Contrast |
Week 6
[Screen & Print]
Different medium
- Typography was viewed as living only when it appears on the paper
- Today, it exists not only on paper but on numerous screens
1. Print Type Vs Screen Type
Type for Print
Type was designed for reading from print long before screen. It’s the designer’s job to ensure that the text is smooth, flowing, and pleasant to read. Good typefaces for print: Caslon, Garamond, Baskerville. Because of their characteristics which are elegant and intellectual but also highly readable when set at small font size.
 |
| Type for Print |
Type for Screen
Typefaces intended for use on the web are optimized and often modified to enhance readability and performance onscreen in a variety of digital environments. This can include a taller x-height (or reduced ascenders and descenders), wider letterforms, more open counters, heavier thin strokes and serifs, reduced stroke contrast, as well as modified curves and angles for some designs.
Another important adjustment – especially for typefaces intended for smaller sizes – is more open spacing. All of these factors serve to improve character recognition and overall readability in the non-print environment, which can include the web, e-books, e-readers, and mobile devices.
 |
| Type for Screen |
Hyperactive Link/ hyperlink
A word, phrase, or image that you can click on to jump to a new document or a new section within the current document. Found in nearly all Web pages. Text hyperlinks are normally blue and underlined by default.
Font Size for screen
16-pixel text on a screen is about the same size as text printed in a book or magazine; this is accounting for reading distance. Because we read books pretty close — often only a few inches away — they are typically set at about 10 points. If you were to read them at arm’s length, you’d want at least 12 points, which is about the same size as 16 pixels on most screens.
System Fonts for Screen/Web Safe Fonts
Open Sans, Lato, Arial, Helvetica, Times New Roman, Times, Courier New, Courier, Verdana, Georgia, Palatino, Garamond.
Pixel Differences Between Devices
The screens used by our PCs, tablets, phones and TVs are not only different sizes, but the text you see on-screen differs in proportion too because they have different sized pixels.
 |
| Pixel Differences Between Devices |
2. Static Vs Motion
Static typography
Static typography has minimal characteristics in expressing words. Traditional characteristics such as bold and italic offer only a fraction of the expressive potential of dynamic properties.
 |
| Static Typography in Billboard |
Motion typography
Film title credits present typographic information over time, often bringing it to life through animation/motion graphics. Type is often overlaid onto music videos and advertisements, often set in motion following the rhythm of the music. It establishes the tone of associated content or expresses a set of brand values. In title sequences, typography must prepare the audience for the film by evoking a certain mood.
Se7en - Opening Titles
Instructions
Exercise: Type Expression
Part A
Idea Exploration
We were asked to come out with a few words in order to vote in a poll in the typography Facebook group. After voting, we are required to choose 4 out of 6 words to express their meaning using the appropriate typeface provided. The list of words are ring, tall, freak, fire, whisper and shatter. I ended up choosing the ring, tall, fire and shatter.
 | |
| Fig 1- Sketches (6/9/2022) |
After receiving Mr. Vinod's feedback on our work, we began applying the skills taught in the pre-recorded video to digitalize selected ideas on Adobe Illustrator. I have constantly tried out the different 10 typefaces provided to evaluate whether are suitable and expressive.
 |
| Fig 2.0- Digitalized Trial (11/9/2022) |
Final Outcome
I have refined the spacing and size of "ring" to be narrowed and slightly enlarged. The previous "tall" has been stretched, and I changed to Futura std light condensed and adjusted the line of measurement. For "fire", I straightened the word "F" ," I" and "E" and distorted "R" and placed the "I" to look more like a torch.
 |
| Fig 2.1- Type Expression (16/9/2022) |
PDF- Type Expression (16/9/2022)
Part B
Animation
During the animation process, we are required to choose one desired type expression to make it into animation by using photoshop. I choose the word "shatter" to animate.
.png) |
| Fig 3- Animation Progress in Adobe Photoshop (17/9/2022) |
In the beginning, I tried to make the fragments of the word break apart but kept the word still. I was not satisfied with the result and improved several layers to animate in the second time.
 |
| Fig 4.0- Animated Shatter Trial 1 (17/9/2022) |
 |
| Fig 4.1- Animated Shatter Trial 2 (17/9/2022) |
Final Outcome
|
| Fig 5- Final Outcome (23/9/2022) |
Exercise: Text Formatting
We were introduced to the new software Indesign. We have to follow the pre-recorded tutorial videos prepared by Mr. Vinod to complete the given exercises. In the first video, we started playing with kerning and tracking.
 |
Fig 6.0- Name without kerning & tracking (24/9/2022) |
 |
| Fig 6.1- Name with kerning & tracking (24/9/2022) |
Then, we learned to edit a suitable and appealing layout by adjusting margin, point size, leading, paragraph spacing, line length, and cross assignment. To reduce the ragging of the words and make it more comfortable reading, we can turn off hyphenates and make harmonious line length through kerning and tracking.
 | |
| Fig 7.0 Layouts (26/9/2022) Since the text is left aligned, the image box should be adjusted slightly smaller in order to reduce heaviness. I also realigned the headline horizontally for layout #3 after receiving feedback. |
 |
| Fig 8.0 Refined Layouts (30/9/2022) |
.png) |
| Fig 8.1 Refined Layout and Alignment |
Final Submission
 |
| Fig 9.0 Final Text Formatting Layout #3 (30/9/2022) |
 |
| Fig 9.1 Final Text Formatting Layout #3 with Grids (30/9/2022) |
PDF Text Formatting
PDF Text Formatting with Grids
HEAD
Font/s: ITC Garamond Std Ultra
Type Size/s: 44pt
Leading: 24pt
Paragraph spacing: 24pt
BODY
Font/s: Univers LT Std 55 Roman
Type Size/s: 10pt
Leading: 12pt
Paragraph spacing: 12pt
Characters per-line: 55
Alignment: Align Left
Margins: Top 12.7mm Bottom 30mm Left 11 mm Right 11mm
Columns: 4
Gutter: 4.233 mm
Feedback
Week 1
General Feedback: Mr. Vinod informed us to download the 10 typefaces provided to be used throughout this semester and reminded us not to think about animation when figuring out the type expression during the sketching process.
Week 2
General Feedback: Enough word exploration with 3 to 5 ideas. Better designs and the right expressions can be chosen to digitize with the appropriate typeface.
Specific Feedback: The first "ring" is good to have two circles that symbolize ring, circles are allowed in type expressions. For the word "tall," Mr. Vinod likes the design with the measurement and informed that the measurement lines should be 0.5 and 1.0 stroke weights to differentiate them. The type expression for "fire" is interesting, especially the idea of R being played as a flame. It's simple and effective, but the colour must only be black and white. Finally, the first word "shatter" doesn't have to fall off. Mr. Vinod prefers the bottom right one.
Week 3
General Feedback: Be careful not to stretch fonts.
Specific Feedback: The word spacing of the "ring" can be narrowed and slightly enlarged. It should be noted that the word "tall" has been stretched, and suggested to use Futura std light condensed. Also, the measurement line can be slightly smaller and it does not need to be on the same line as T. For "fire", straighten the word "F" ," I" and "E" and remains placed "R" on the "I" but can try changing the direction/form to look more like a torch. Lastly, "shatter" is fine, no problem.
Week 4
General Feedback: Mr. Vinod approved my work.Specific Feedback: The animation "shatter" is breaking away in the right way, good job.
Week 5
General Feedback: Refine layout and alignment. Specific Feedback: Decent point size and good ragging. Although lettering is slightly dark but still in an acceptable way. The headline is not clear aligned horizontally and image box is over-scale. Suggesting to adjust it slightly smaller as the text is left aligned.
Reflections
Experience
Through the exercises of type expressions and text formatting, I became more familiar with the basics of typography, as well as the use of Adobe Illustrator and Indesign. For type expression, we were only able to use 10 fonts without graphic elements or abstract fonts to express our chosen words, which was interesting yet also challenging. The text formatting exercise was also challenging because we should pay attention to many details such as point size, leading, paragraph spacing, baseline grids, etc. It took me a long time to adjust the rivers of the line and be aware of widows and orphans, which led me to adjust the point size and margin to make the layout appropriate and comfortable to read. Nevertheless, I gained a nice learning experience in exploring how to express words with limitations and arranging and formatting text.
Observation
These exercises challenged me to think analytically about many small details and how they apply to the typography we are designing, including the style and emotions that the font evokes in the reader. Each typeface that we choose can change the way that it is received and the message that it ultimately conveys to the audience as different fonts trigger different emotional responses and associations in our minds. I have observed that as a designer, not only is it important to keep practicing design, but also important to understand the theory, which ensures that we are not just aesthetically designed but effectively designed.
Findings
Through these exercises, I found that typography has many rules and theories to follow. We should spend a lot of time practicing and reading because many design elements are closely related to typography, and there is a complex design process behind them. I've found that when doing typography, we need to pay attention to every little detail because a minor mistake can also have a huge impact. This led me to critique my work strictly so I can improve in future exercises.
Further Reading
Thinking with Type, 2nd revised and expanded edition: A Critical Guide for Designers, Writers, Editors, & Students by Ellen Lupton
Thinking with Type is divided into three sections: Letter, Text, and Grid. Each section begins with an easy-to-understand essay reviewing historical, technical, and theoretical concepts, followed by a set of practical exercises that bring the covered material to life. It is the definitive guide to using typography in visual communication, from the printed page to the computer screen. The book includes 48 pages of new content, including the latest information on style sheets for print and the web, the use of ornaments and captions, lining and non-lining numerals, the use of small caps and enlarged capitals, as well as information on captions, font licensing, mixing typefaces, and hand lettering. Throughout the book, visual examples demonstrate the rules for how to be creative in typography along with some classic no-no’s to avoid.
In the beginning, I learned how the name "uppercase and lowercase" came about. It basically originated in a traditional print shop where they sold design materials, and they had grid-sized boxes with fonts and spacing materials inside. The capital letters were stored in a drawer above the minuscule letters. Therefore, the name was derived from a physical separation of the print shop.
 |
| The origins of uppercase and lowercase |
In the Letter’s section, I also discovered how and why letterforms have evolved over time. Words originated as gestures of the body. The calligraphic styles served as the direct inspiration for the first typefaces. However, typefaces are manufactured images created for endless repetition; they are not physical gestures. The history of typography reflects a continual tension between the hand and the machine, the organic and the geometric, the human body and the abstract system. These tensions which marked the birth of printed letters over five hundred years ago continue to energize typography today.
With the rise of industrialization and mass consumption in the 19th century came the explosion of advertising, a new form of communication demanding new kinds of typography. Big, bold faces were designed by distorting the anatomical elements of classical letters. Amazingly large fonts that could be expanded, contracted, shadowed, inlined, fattened, faceted, and floriated appeared. Serifs abandoned their role as finishing details to become independent architectural structures, and the vertical stress of traditional letters migrated in new directions.
Typography Essentials Revised and Updated 100 Design Principles for Working with Type by Ina Saltz
This book is divided into four sections—The Letter, The Word, The Paragraph, and The Page—the text is concise, compact, and easy to reference. Each of the 100 principles, which covers all practical aspects of designing with type, has an explanation and inspiring visual examples drawn from international books, magazines, posters, and more.
In the first section, it covers that each letter is a shape unto itself, a shape that may serve as an illustration, an icon, a vessel, or a graphic focal point, apart from its meaning as an alphabetic unit. Especially when used at very large sizes, the extreme proportions of letterforms can have an exceptional impact. Letters can be expressive when used alone, as a simple silhouette, as an outline, or as a container for image, texture, or pattern. The beauty and power of the individual form may also be used partially: or a shape that is sliced and diced, cropped, or reversed horizontally or vertically. Because it is a letterform, it has a built-in relationship with any typeface that accompanies it. Its inherent integration unifies the design of the whole piece.
This custom-lettered logo forms a discrete shape, but within its boundaries, each letter is delicate and leaf-like. The delicacy is further underscored by the pastel color gradation. The logo also appears with some of its counter spaces filled with a similar hue.
 |
| Leaf-like customized logo forms |
The letters comprising the logo can accommodate images, textures, and colors to reflect different aspects of the organization’s identity and a variety of events. It is a vessel made of the letters Bklyn, the common abbreviation for Brooklyn.
 |
| Bklyn logo |
These letterforms are beautiful color-filled ribbons of abstraction. Given how spare the forms are, it is amazing that we can actually read this sentence. The letterforms suggest the vinyl ridges of an album or LP.
 |
| Color-filled ribbons of abstraction |
Comments
Post a Comment