Typography - Task 2: Typographic Exploration and Communication

31/10/2025 - 14/11/2025 (Week 6 - Week 8)

Aurellia Franseska Djauhari - 0365053

Typography

Task 2: Typographic Exploration and Communication

Table of Content:

1. Lecture

2. Instructions

3. Process Work

4. Feedback

5. Reflection

6. Further Reading

1. Lecture

Lecture 5: Typo_2_Basic

We learned about the basics of letterforms and the important technical terms used to describe their parts. Typography has evolved for over 500 years, and understanding its structure helps us recognize and design different typefaces. We discussed elements like baseline, median line, x-height, ascender, and descender, which define the height and proportion of letters. The lecturer also explained parts such as stems, strokes, apex, vertex, arms, crossbars, and ligatures, which are all key in building a typeface.

We also learned about type families, a collections of typefaces like bold, italic, or light, and how they provide flexibility in design. The lecture emphasized that small capitals and lowercase numerals help maintain visual balance in text, especially in body paragraphs with acronyms or years. Another interesting point was the difference between Roman, Italic, and Oblique letterforms and how they evolved from handwriting and printing traditions.

Finally, we were introduced to nine classic typefaces that we’ll be using throughout the course. These typefaces have stood the test of time because of their readability and design quality. The lecturer reminded us that being a good typographer means not only understanding letterforms but also being a good reader, because typography is all about communicating messages clearly and thoughtfully.

Fig 1.1 Describing Letterforms

Lecture 6: Typo_5_Understanding 
We learned about the details and structure of letterforms. Even though some letters may look symmetrical, they actually aren’t, type designers make small optical adjustments to make them look balanced to the human eye. We looked at examples like Baskerville and Univers, which show how designers use different stroke weights and arcs to create harmony and expression. It was interesting to learn how even tiny differences in thickness or curve can change the whole feel of a letter.

Another important topic was x-height, baseline, and median line. Curved letters like “o” and “s” often extend slightly above or below these lines to look visually balanced. We also learned about counterforms, the empty spaces inside and around letters, which play a big role in readability and overall design.

Finally, we discussed contrast in typography. Using variations like bold and light, or condensed and extended typefaces, helps create visual hierarchy and interest in design. The lecture ended with a reminder that once you start paying attention to type, you’ll see it everywhere and even start analyzing it in your daily life! Overall, this session helped me appreciate the small but powerful details that make up good typography.

We also compared typefaces like Helvetica and Univers, focusing on the letter “a.” At first, they seem similar, but when we looked closer, we saw differences in how the strokes connect and taper. These small details give each font its unique personality. The lecturer reminded us not to over-decorate our own letter designs but to keep them simple and consistent.

Fig 1.2 Maintaining X-height

2. Instructions

3. Process Work

I started my brainstorming process by exploring ideas on Pinterest. I searched for the keywords “Bauhaus” and “Punk” to get some visual inspiration and a better sense of each style’s aesthetic. As I looked through the results, I found myself more drawn to the Bauhaus style because its clean lines, geometric shapes, and bold use of color really caught my attention. I liked how it combines simplicity with structure, giving off a modern yet timeless feel.

The Bauhaus approach also felt more fitting for my design direction since it focuses on balance, functionality, and clear visual communication. It made me realize how effective minimal design can be when done thoughtfully. After that, I gathered a few inspirational images that captured the essence of the Bauhaus movement, including posters, typography examples, and color palettes, to guide me in developing my own concept.

Fig 1.3 Bauhaus idea from pinterest

Next, I began sketching three different design concepts inspired by the word "Bauhaus". I experimented with geometric shapes, clean lines, and bold compositions to reflect the essence of the Bauhaus style. Each sketch explored a slightly different layout and balance, helping me decide which direction best represented the movement’s modern and functional design approach. Here is what I come up with.

Fig 1.4 Sketches number 1&2

Fig 1.5 Sketches number 3

Next, I started digitizing all three of my sketches in Adobe Illustrator. I carefully recreated each design using clean vector shapes to keep the geometric and structured feel of the Bauhaus style. This process helped me refine the lines, adjust proportions, and experiment with color placement to make each design look more polished and balanced. Here are my 3 digitize design from Adobe Illustrator.

Fig 1.6 First Digitize Design

Fig 1.7 Second Digitize Design

Fig 1.8 Third Digitize Design

For Figure 1.7 (Second Digitized Design), I decided not to follow my original sketches. Instead, I experimented with a completely new design concept. I wanted to explore a different composition and layout while still keeping the Bauhaus-inspired elements like bold shapes, strong structure, and balanced colors.

After finishing the digitization in Adobe Illustrator, I moved all three designs into Adobe InDesign to work on the text formatting. This step allowed me to experiment with layout, alignment, and spacing to make sure the typography complemented the overall Bauhaus-inspired design. These are all the design in Adobe InDesign.

Fig 1.9 All Three Text Formatting Design

After several consultations with Mr. Max, he decided that the second design would be the best choice for my final piece. He felt that this design had a unique and stronger composition and represented the Bauhaus style more effectively than the others.

HEAD

- Font/s: Gill Sans  Std

- Type Size/s: 200pt

- Leading: 26

- Paragraph spacing: 0

 

BODY

- Font/s: Minion Pro

- Type Size/s: 20pt

- Leading: 22pt

- Paragraph spacing: 22pt

- Characters per-line: 55–65/50–60 characters

- Alignment: Left

 

Page Margins

- top + left + right + bottom

- Columns: 0.625 in

- Gutter: 12px

Fig 1.10 Final Design JPEG Version

Fig 1.11 Final Design with Grid JPEG Version

4. Feedback

Week 6: Mr. Max explained the requirements for Task 2 and showed us some examples from previous seniors to help us understand what was expected. After that, he asked us to choose one article from the three provided options and start sketching ideas for the headline design. Since I didn’t bring my tablet or sketchbook that day, I decided to work on my sketches at home instead.

Week 7: After completing my sketches, I sent them to Mr. Max for feedback. He said they looked good and told me I could move on to the digitization process. Once I started working on it, I showed my progress to him in class, and he suggested a few small adjustments to improve the design. After making the changes, he advised me to continue with the text formatting.

When I finished everything, I showed all three finalized designs to Mr. Max for review. He mentioned that I needed to adjust the leading to make the text more balanced and readable. After fixing it, I presented the updated versions, and Mr. Max chose the second design as the final one.

5. Reflection

Overall, this whole process taught me a lot about design development and improvement through feedback. From the initial brainstorming and sketching to digitizing and formatting the final layout, I learned how each stage plays an important role in creating a strong and balanced design. Working with Mr. Max’s feedback also helped me see how small adjustments, like fixing alignment, adjusting leading, or refining shapes, can make a big difference in the final outcome.

I also realized the importance of planning, experimentation, and consistency throughout the project. Starting from rough sketches to the final digital version, I had the chance to explore different ideas, make mistakes, and learn from them. This experience not only improved my technical skills in Adobe Illustrator and InDesign, but also strengthened my understanding of layout, typography, and composition. Overall, it was a challenging but very rewarding process that helped me grow as a designer.

6. Further Reading

Fig 1.12 A Type Primer 2nd Ed by John Kane 1

Fig 1.13 Page 59 from book of A Type Primer 2nd Ed

From the book A Type Primer (2nd Edition) by John Kane, I really like the words in the section “Text Typeface Classification” because they help me understand how typography has evolved over time. I find it interesting how each typeface, like Blackletter, Oldstyle, and Italic, reflects the culture, technology, and needs of its era. For example, Blackletter feels historical and traditional, while Oldstyle gives a sense of warmth and readability, and Italic adds elegance and movement.

I like how the text explains that typefaces are not just about design but also about history and communication. It made me realize that every letter we use today comes from a long process of development and adaptation. This section helped me appreciate typography more deeply, seeing it as both an art and a reflection of human progress.