Typography - Project 1: Typographic Exploration & Communication
Week 5 - Week 8 (11/5/2026-14/6/2026)
Emily Wong Jing Lin | 0394765
GCD 62704 | Typography | Bachelor of Design (Honours) in Creative Media |
Taylors University
Project 1: Typographic Exploration & Communication
TABLE OF CONTENT
*Figures are numbered by section type (Lecture = 1, Instruction = 2,
Process Work = 3, etc.) and progression within that section. For example,
Figure 1.6.1 means Lecture section, week/phase 6, first figure.
1. LECTURES
Pre-Recorded Lectures
Lecture 6: Typo_6_Understanding
18/5/2026 (Week 5)
1.Understanding Letterform
- The Illusion of Symmetry:
- Baskerville Uppercase Letters: Although they appear symmetrical, they are actually asymmetrical. The two diagonal strokes have different weights. Every bracket connecting the serif to the stem has a unique arc.
Figure1.5.1 Baskerville Uppercase Letter 'A'
- Univers Uppercase Letter: Designed by Adrian Frutiger. The left diagonal stroke is noticeably thinner than the right stroke.
Figure1.5.2 Univers Uppercase Letter 'A'
- Purpose: These subtle differences are based on optical sensitivity to avoid a rigid structure and heighten dynamism.
- Comparison: Helvetica VS Univers
- Final Curves: In Helvetica, the curve at the top of the 'a' tapers towards the end. In Univers, it tapers in the middle and flares at the end.
- Bowl and Stem: Helvetica features a curved bowl connection and retains a tail at the bottom. Univers uses a more utilitarian curve and completely removes the tail.
Figure1.5.3 Comparison between Helvetica and Univers
(lowercase 'a')
- Definition: The x-height generally describes the size of lowercase letterform.
- Optical Adjustment for Curved Strokes (eg. 's' and 'o'): Curved lines have less area touching the guidelines. Therefore, they must rise slightly above the median line and sink below the baseline.
Figure1.5.4 Lowercase Maintaining X-Height
3. Form / Counterform
- Definition: The counterform is the negative space described or contained by the strokes of a letter (such as the white spaces inside or between letters).
- Importance for Readability: How well you manage counters and spaces between letters directly determines word cohesion and readability. Too much space reduces readability.
Figure1.5.5 Form/Counterform
4. Contrast
- The Power of Contrast: Contrast is one of the most powerful dynamics in graphic design and typography.
- Variations of Contrast: According to Rudi Rüegg's diagram, contrast can be created using variations such as:
- Small VS Large
- Organic VS Machined
- Light VS Bold
- Condensed VS Extended
Figure1.5.6 Variations of Contrast
Class Summary
Lecture 6-8: Feedback
Lecture 6-8: Feedback
27/5/2026-14/6/2026 (Week 6-8)
2. INSTRUCTIONS
https://drive.google.com/file/d/1hgEV45cK1JwLiLRRCuF1utBlXpFhiGwH/view
3. PROCESS WORK-Project 1: Typographic Exploration & Communication
Project Overview
To begin this project, we watched the tutorial videos provided by Mr. Vinod to understand the basic steps of creating this assignment. Following that,
we had to carefully read three provided articles to understand their
meanings,
and then choose one article to design our typography and page layout.
Phase 1: Research & Article Selection
After reading the three texts, I chose the first article:
"Bauhaus: The Movement That Changed Design".
I found the Bauhaus art style very interesting. Apart from reading the
article, I also did some image research online to see what Bauhaus looks
like. I discovered that it completely removes complex and fancy
decorations, choosing instead to use the most basic elements: simple
lines, geometric shapes, and the three primary colours (red, blue, and
yellow). I realised that in the Bauhaus style, even using the simplest
elements can create a very attractive and eye-catching design.
Phase 2: Design Elements & Thumbnail Sketching
Since this assignment has a strict
grayscale
rule, I replaced the traditional Bauhaus primary colours (red, blue, and
yellow) with black, white, and different shades of grey. Therefore, the
main elements I used for this assignment were the article text, lines,
rectangles, and these three grey tones.
Before starting the digital work in the software, I drew a few quick
thumbnail sketches based on the ideas in my head.
Figure3.2.1 Initial Layout Ideas
Phase 3: Layout Refinement & Concept Development
Next, I picked a few promising sketches to make them more
detailed.
Figure3.3.1 Initial Layout Draft
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Design Variation 1 (The Slanted Layout): In this design, I made the overall text and layout tilted (slanted). I feel that whether in drawing or page layout, a slanted composition looks more dynamic and has more energy than a straight, standard layout. I also added some black lines and grey rectangles to decorate the space, which matches the Bauhaus design philosophy very well. This is my personal favourite design.
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Design Variation 2 (Experimental Layout): This was just a spontaneous layout idea I had on impulse. Because it did not really fit the Bauhaus concept after I looked at it again, I decided not to show it to Ms. Vitiyaa during the feedback session.
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Design Variation 3 (The Symmetrical Layout): This design focused heavily on my main title, "BAUHAUS". I noticed that there are two "AU" combinations in the word "BAUHAUS", so I divided the word into three parts. I placed the "AU" parts at the top and bottom to create a symmetrical effect. I also filled the empty spaces inside letters like "B" and "A" with black or grey as small decorations. For the body text, I used the same concept of symmetry, dividing it into three sections that look like steps.
Phase 4: Final Feedback & Outcome
In the end, after our feedback session, the
first design (the slanted layout)
was chosen as the final outcome. Based on the useful advice and
changes suggested by Ms. Vitiyaa, the final version was completed.
HEAD
- Font/s: Futura Heavy
- Type Size/s: 137.43pt , 24pt
- Leading: - , 27pt
- Paragraph spacing: 0pt
BODY
- Font/s: Adobe Caslon Pro Regular
- Type Size/s: 10pt
- Leading: 13pt
- Paragraph spacing: 0mm
- Characters per-line: 34 words (Average)
- Alignment: Align left
Page Margins
- top + left + right + bottom: top:10mm+ left:10mm+ right:10mm+ bottom:10mm
- Columns: 3
- Gutter: 5mm
Below are the final outcomes presented as two PDFs (one with the
grid visible) and two JPEGs (one with the grid visible):
Figure3.4.1 Final Text-formatting Layout (JPEG)
Figure3.4.2 Final Text-formatting Layout (PDF)
Figure3.4.3 Final Text-formatting Layout with Grids (JPEG)
Figure3.4.4 Final Text-formatting Layout with Grids
(PDF)
4. FEEDBACK
Week 6
General Feedback: Due to the public holiday, we were required to work
independently at home to complete the assignments set during the previous
week. These deliverables are to be presented for approval in the following
session.
Specific Feedback: No specific feedback was given due to the public
holiday.
Week 7
General Feedback: This week, we were required to present the design
work developed during the public holiday to Ms. Vitiyaa for review.
Additionally, we have been instructed to bring graph paper and three thick
marker pens to next week's class.
Specific Feedback: I presented two design variations of Project 2 to
Ms. Vitiyaa, focusing on Article 1 - "Bauhaus: The Movement That Changed
Design".
For the first variation, Ms. Vitiyaa noted that the main heading "BAUHAUS"
should not be fragmented or split up. She suggested that if a vertical
layout were to be pursued, graphical lines could be utilised to link the
letters together, creating a sense of unity. Consequently, this first
version was rejected.
Conversely, the second variation was approved as its composition was
significantly more harmonious. I only need to realign certain elements to
give the overall layout a cleaner, more structured appearance.
5. REFLECTION
Experience
Independent Homework Management: Because of the public holiday in Week
6, I experienced working completely on my own at home to complete the
layout design assignments. It taught me how to manage my time properly
without classroom supervision.
Simplifying Complex Styles: During the research phase, I practiced
taking a famous art movement like Bauhaus and breaking it down into
simple design elements like basic lines, grey shapes, and text to create
a clean layout.
Observation
The Importance of Title Unity: During the feedback session in Week 7, I
observed that important titles like "BAUHAUS" should not be split up or
broken apart. Ms. Vitiyaa pointed out that if I want to do a vertical
layout, I should use lines to connect the letters so they look like one
whole piece.
Dynamic Layouts over Straight Lines: I observed that using a slanted
(tilted) layout for text and pictures creates a lot more energy and
looks much more interesting than a standard, straight layout.
Findings
Less is More in Design: My biggest finding from studying the Bauhaus
style is that you do not need fancy or complicated decorations to make a
design look good. Even the simplest shapes and lines can create a very
attractive and eye-catching picture.
Self-Correction in the Creative Process: I found that it is okay to have
spontaneous ideas on impulse, like my second design layout. However, as
a designer, I need to look at my work honestly and see if it actually
fits the topic. If it does not match the project concept, it is better
to leave it out.
6. FURTHER READING
Figure 6.1 Bauhaus, 1919-1928, by Walter Gropius, Ise Gropius and Herbert Bayer
Author Description: The book was put together by three important people from the
Bauhaus school: Walter Gropius (the architect who started the school),
Ise Gropius (his wife who helped a lot with the school's community
and writing), and Herbert Bayer (a master from the typography workshop who actually
designed the layout and the cover of this book). Together, they
share their real, first-hand experiences of the school in this
historical document.
Book Description: This book is the official exhibition catalogue published by the Museum of Modern Art (MoMA) in 1938. It is like a visual time capsule that shows what the legendary design school, Bauhaus, was like during its best years from 1919 to 1928. Inside, there are over 550 pictures showing how students and teachers made everything from modern chairs to bold new posters. For typography students, it is a fantastic book for inspiration because it shows the exact moment when modern layouts and the famous "all-lowercase" experiment started.
Why I find this book interesting:
1. The radical "all-lowercase" experiment
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At the bottom of page 12 in the Bauhaus, 1919-1928 catalogue, there is a fascinating note stating that the following sections are printed without capital letters.
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In 1925, Bauhaus designers made a bold decision to stop using capital letters in their letters, books, and posters.
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Their logic was simple and highly practical for the industrial age: it saved money and energy. Printing shops didn't need to make two sets of type, and typists could save time by not hitting the shift key. They believed typography should be efficient and minimalist, just like a modern machine.
2. Typography connects everything in life
- While the book shows many types of Bauhaus designs—such as furniture, layout, and architecture—what I find amazing as a typography student is how their graphic style tied everything together.
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The heavy black lines, circles, and clean sans-serif fonts used in their posters weren't just for 2D paper; they reflected the exact same functional and geometric thinking used to build chairs and buildings. It proves that typography is not just about choosing fonts, but a way of designing our everyday environment.
3. Bauhaus Band
- In the extra-curricular section of the Bauhaus, 1919-1928 catalogue, I discovered a very fun detail: the Bauhaus band. It wasn't made of musicians, but Bauhaus painters and sculptors who jammed together using accordions, smashing chairs, and even shooting revolvers for rhythm!
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This showed me a different side of Bauhaus. It wasn’t just a serious school about strict grids and machine design; they carried the same radical, experimental, and playful spirit into their music and campus parties. It proves that the Bauhaus style was a whole lifestyle, not just a set of design rules.
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