Author Archives: Kai Ting

About Kai Ting

Coffee and ink drawing enthusiast.

Review: Talking Type by Jessica Hische

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Choosing the right font can sometimes be very difficult as there are so many beautiful typefaces out there. With Jessica Hische’s article, we can explore a myriad of beautiful typefaces and understand when to use them. In the article, Hische mentions, “Remember that just because a giant headline is the first thing your reader sees, that doesn’t mean it should be the first typeface you choose.” And for our next project, I think it is apt to consider this to establish a good visual hierarchy in our pages. Also, I think I have always been putting a great emphasis on titles and headlines but Hische’s points have made me reflect and think about the most minute details in type.

I have been using Gotham for ages (damn beautiful font, I must say) but I can’t really put into words why it is so aesthetically pleasing. Is it because it is a sans-serif font? A grotesque font? Today, Hische’s article enlightened me.


Gotham in 8 different weights.


Comparison of x-height (Gotham and Mr. Eaves)

With more variations in type weight, there is more flexibility and cohesion in choosing how bold or light you want your text to be. And I think I love using Gotham as the 8 different weights allow me to be “bold” with my text, yet not too bold and overpowering like some fonts with one choice of bold. Sometimes, as I choose a different font size, I would change up the weights as well. For example, for smaller fonts, Gotham Book or Medium might be a better choice than Light or Bold for readability.

Next, a generous x-height is very important when choosing a text face. If the x-height is too low, the typeface will appear smaller overall and the caps will have too much emphasis which interrupts smooth reading. If the x-height is way too high, your eye won’t be able to distinguish quickly between caps and lowercase, which can make you lose your place while reading. A generous x-height allows you to set type at small sizes and have it still be very legible. Gotham has a great x-height, as juxtaposed in the comparison. The comparison shows evidently how we focus on the cap letters in Mr. Eaves and not in Gotham. In Gotham, it is smooth and pleasing to the eye (No doubt, easier to read for me).


Comparison of letter-spacing (Helvetica vs. Avenir)

Spacing is as important as well when choosing type. If the letter-spacing it too tight, it’ll be bad for the paragraph and the eyes too.

MORE FLEXIBILITY = GREATER TYPOGRAPHY

Other than looking at these physical attributes of what makes a type work, the context behind the choice of font is key as well. All fonts can convey certain emotions, create a mood or even portray certain characteristics – using their curves, geometrical shapes, decorative elements and so on. So, other than ensuring that there is no weird letter spacing or a bad x-height and type weight, the type has to encapsulate your context/content visually. How Hische describes it as is, “to add an extra layer of oomph to your design”. 


An example of how historical context can influence the type chosen to “add a layer of oomph to your design”. The type will not work as well if it was in Avenir or Helvetica.


Letter B shown in its Skeleton, Meat and Clothes (left to right).

After learning more in-depth typography terminologies and analogies like x-height, true italics, using super-families to pair typefaces and breaking down type to the “Skeleton, Meat and Clothes”, I am definitely more aware of my design choices. With that, I am able to consciously think about these important aspects which make great typography even greater. Looking forward to up my type game!

Reference:
http://jessicahische.is/talkingtype

Assignment 2: The Wall Have Ears (Process & Final)

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PROCESS

Artist references

 
Mitsuo Katsui

 
Giulio Confalonieri


Heinz Kröhl — Kinderverkehrsgarten (1962)


Letterpress & Wood Type Series Published by Maan Ali


Giovedi poster (via Pinterest)

For most of the posters, I found repetition a key design element which made the poster even more dynamic – giving a sense of movement and for some, creating beautiful patterns. I came across Mitsuo Katsui’s works and found it extremely unique and dynamic. I think the colours are extremely beautiful with the opacities but sadly, I wont be working with that many colours. Nonetheless, the overlapping opacities created a psychedelic effect which I really love and would try it out in my posters.

As for my quotes, I have chosen the following 3:

1. 
Are you drunk?
No, I’m not?
But I think you’re drunk, you look like you are drunk.
No, I’m just standing here.

2.
How much are you left with?
$40.
Didn’t you get your pay 2 days ago? Where did your money go?
Honestly, I don’t know, it just disappear like magic.

3.
I always come here and eat the prawn mee. The soup is damn good but sometimes it can be quite inconsistent.

SKETCHES

Here are some sketches which I drew which helped me to visualise my layout and which design element I wanted to portray – whether it as hierarchy, balance, scale, repetition, symmetry. I tried using repetition, cropping and tilting some text to create my compositions.

DRAFTS
These are the drafts which I tried to use different design elements – cropping, repetition, scale, emphasis. I also played with varying opacities for many of my posters and I feel that that repetition makes a really nice pattern. At the same time, the word which I want to bring focus to can be at the highest opacity. With this, I think it places emphasis on the word which I want it to, yet the repetition of low opacity words make a nice pattern, do not steal the main focus and also leads the viewers’ eyes to the rest of the words in the sentence.

    

Some feedback:
– Margins could be wider, more negative space
– inconsistent looks too consistent
– maybe could add 1 more colour to the b/w posters

Final posters

  1. Used repetition and varied opacities to create a pattern. This psychedelic-like pattern emphasizes the word “drunk”, almost replicating the dizziness of a drunken state.
  2. Used repetition, varied opacities and different weight of the type. From the strongest bold to the thinnest hairline san serif, the repetition of words look like it is slowly fading and disappearing.
  3. Used design elements that are totally different from the previous ones (literally inconsistent if you put all 3 together). Unlike the other 2, which have stricter use of the grid and symmetry, the last one does not follow any – it is free-flowing and organic, rotated in all sorts of angle and even used upper and lower case to give the word inconsistent a less rigid and consistent look. Scale is most prominently used in this composition as I had to consider how the letters flow from one to the other as I rotate them in all angles.

Lastly, I think in all the posters, the hierarchy and emphasis is extremely important for all as there are a couple of words in the quote. Thus, the decision to emphasize on certain word/words is crucial to keep a good hierarchy for the viewers as they look at the posters.

Review: TEDtalk | Wake up & I smell fonts by Sarah Hyndman

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“Fonts turn words into stories”

Hyndman’s impactful storytelling with 15 different fonts epitomised her words.


All the examples of how a font is able to tell a story.

Many times, type communicates with our subconscious. Although we might not look into every detail around us, we are subconsciously paying attention to type around us. They communicate to us through their forms. Hyndman did an interesting experiment, where she gave 100 people 2 jelly beans, one with round edges type and other with sharp edges. The results have shown that the rounder typeface made the audience think that what they ate was sweeter, whereas, the other one, more sour. It is all in our heads, that type conveys certain emotions and characteristics to us. I also enjoyed other examples, like how she used 15 different typefaces for “story” to tell a story, which I found was impactful and straightforward. Understanding which type of typeface to use will get your message and story across stronger, and I hope that it will be something that I will be better in with time.

Her TEDtalk has also reminded me of a book, Brandwashed, by Martin Lindstrom. In the book, it explains how we as consumers get manipulated by all the products that we see and even use, hence, being “Brandwashed” by them. And I do agree with Hyndman that even if we know the many ways in which brands brainwash us, and yet, we will still fall for their gimmicks.

In relation to the new project, I think Hyndman’s approach to typography, bringing the characteristics of the typeface out to tell a story, would be extremely helpful in expressing different characteristics of the archetypes.

References:

Typographer of the Week: Erik Spiekermann

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Erik Spiekermann is an author, information designer and typographer. Spiekermann is an influential individual in the typography industry, creating several typefaces such as, FF Meta and ITC Officina, which are considered as classics until today.

In his video, he elaborates more on his take on fonts. Many of Spiekermann’s font choices or even creations have to serve its function of being readable. For instance, fonts used on screen and displays, fonts used on newspaper (with bad quality paper) and even fonts used on glossy paper, all has its purpose in relation to where it is being viewed or printed on.

To him, brand = function. Having to design many specific typefaces for brands and companies, such as Bosch and Nokia, a typeface accentuates a brand’s character. He designed Nokia’s typeface in 2001, seen on the handphones produced back then. However, Nokia claimed that the typeface had ‘too much character’ for its brand. Spiekermann rebuts, “It’s BRAND, not BLAND.” He also redesigned many web interfaces and apps for brands. He highlighted that typography can be used to brand a brand. Eg, Volkswagen is branded by Futura and their blue colour. He applies this to his works as well, achieving brand consistency and giving a sense of identity to the website or application.


Redbull Music Academy App. 

Overall, it is interesting to see how many typographers of the week were more focused with logos, brand identity and even collaterals. From this week’s typographer of the week, Erik Spiekermann, I’ve definitely learned more about how typography and digital interfaces can work together to create a stronger and impressionable brand identity.

References:

Getting to Know Erik Spiekermann


https://spiekermann.com/en/

Typographer of the Week: Jonathan Barnbrook

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Jonathan Barnbrook is one of the most celebrated graphic designer and typographer in the industry. He has created countless works for influential people – Stanley Kubrick and David Bowie.



Somerset House: Daydreaming with Stanley Kubrick by Jonathan Barnbrook (Photo: Barnbrook.net)

An exhibition that features many works from artists inspired by the master filmmaker, Stanley Kubrick. Personally, I love how the entire identity of the exhibition is consistent, sleek yet dreamy. Barnbrook mentions, that typography provides a tone for the text. He says, “The reason why I want to continue to draw letterforms and typefaces is because I want to speak in a voice that has never been spoken before.” Barnbook has been experimental with many of his works, creating unique and interesting works with graphic design and typography.


Album cover for David Bowie’s final album by Jonathan Barnbrook (Photo: Barnbrook.net)

With that being said, his personal website has many works considered as experimental, less corporate and even satirical. Created for “Tomorrow’s Truth” an exhibition of Jonathan Barnbrook’s political work in South Korea in 2004 at Seoul Art Center. These works use a much simplified form to mix consumerist pop imagery of the west with the classic stalinist propaganda of North Korea (Barnbrook, 2004).

Like mentioned, Barnbrook emphasised on providing a tone for a text and it is interesting how he manages to create graphics of different tones as well. As designers, I think we have our own styles, which might be experimental and unique – one that might not fit a corporate branding/identity. But from Barnbrook, something which I have learnt is knowing when to use a certain tone to provide that important message to convey as a brand.

References:
https://www.itsnicethat.com/features/review-of-the-year-2016-graphic-design-jonathan-barnbrook-151216

North Korea: Series II – Tomorrow’s Truth

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In Class Activity: Modifying Type

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For this activity, I focused on adding a sense of movement to the word “play nice” by tilting the elements in the composition. The type was segmented to look like block pieces placed together, like a building brick/lego concept. Along with the triadic/tetradic colours, I wanted to suggest a sense of (nice) playfulness.

Review: The Elements of Typographic Style

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In the book, Robert Bringhurst shares many great principles about design, many of which I couldn’t agree with more. Bringhurst mentions, “typography must often draw attention to itself before it will be read. Yet in order to be read, it must relinquish the attention it has drawn.” A little too much or too little won’t work in typography. Typography has to have this harmonious balance which in my opinion, is always difficult to achieve. Legibility was emphasised as one of the important principles of durable typography. He goes on by saying that these principles apply in different ways, to the typography of business cards, instruction sheets and postage stamps, as well as books – basically anything that needs to convey a certain message or information.

Letterforms have tone, timbre, character, just as words and sentences do. “The moment a text and a typeface are chosen, two streams of thought, two rhythmical systems, two sets of habits, or if you like, two personalities, intersect. They need not live together contentedly forever, but they must not as a rule collide.” A quote which serves as an apt reminder for the current project as we consider different typefaces and how we match them within a composition.

Having to look at good examples of good typography practices, here are some which I myself will (try my best) to uphold.

  • Typography can be beautiful and decorative but it must never lose its message
  • There is no bad typography; only inappropriate ones
  • Choose a typeface that will honour the character of the text
  • Pay attention to the smallest details and be meticulous about it

 

 

 

 

References:
https://alejandrocarpintero.files.wordpress.com/2016/08/02_the_elements_of_typographic_style.pdf

Review: The Crystal Goblet, or Printing Should Be Invisible by Beatrice Warde

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In this article, Warde shares her opinion of good typography using a flowery metaphor; using wine vessels. She lays out 2 choices: a crystal-clear wine glass and a solid gold goblet. If the clear glass was chosen – everything about it is calculated to reveal rather than hide the beautiful thing which it was meant to contain. She mentions, the virtues of the perfect wine-glass have a parallel in typography – and that is type well used is invisible as type. Initially, I was confused by her statement because of how today’s design articles have framed my mindset on typography. And those articles go on by saying how type can be decorative as a form and how manipulation of the form of type has been widely used and so on.

I have always seen type as a form, not invisible. But Warde’s opinion has given me a new perspective on how good type should be legible and not overly decorated in order to convey its message. Warde explains further,  “that is not objectionable, because of a
very important fact which has to do with the psychology of the subconscious mind. That is
that the mental eye focuses through type and not upon it”. We focus heavily on the elements on a page, but never the lack of it. What Warde made me ponder about was really to read between the lines. Arbitrary warping of design is bad type. Excess of colour, which gets in the way of the mental picture is bad type. Tight spacing, too wide unleaded lines lead to bad type. All of these, to Warde, mean subconscious squinting and loss of mental focus. Which was why print should be transparent and a transparent page is never too simple or dull. Sometimes, it is more difficult to achieve simplicity, leaving the essence of what’s needed and throwing whatever’s not.

Warde’s other point is that anyone who chooses glass over clay or metal to hold his or her wine is a “modernist”. Reason being that the first thing that comes to a modernist’s mind when being asked of a particular object would never be ‘How should it look?’ but ‘What must it do?’. And to that extent, I myself agree with Warde, that all good typography is modernist. Form over function is evident in typography as well. The main function of a book is to inform and educate and by reading the content. How effective the main function of the book will then be dependent on readability and legibility. After peeling layers and layers of metaphors, it is as simple as that.

However, with Warde’s opinion, it is sure that typographers will argue that type can never be invisible. Although the metaphor does make sense, Warde’s opinion might only be applicable in printed typography, and mainly books. In today’s typography where there is a myriad of experimental and decorative form and type, it is impossible to only agree that type is invisible. Neville Brody’s fascinating and experimental work might have just thrown Warde’s opinion out the glass window. All in all, this article is still justifiable and now, we get to look at type in both ways – whether invisible or not.