Typography / Task 1: Exercises

29/08/2022 - 26/09/2022 / Week 1 - Week 5

Kim Min Ah / 0356145

Typography / Creative Media / Taylor's Design School

EXERCISES

Task 1: Exercise 1 (Type Expression)
Task 1: Exercise 2 (Type Animation)
Task 1: Exercise 3 (Type Formatting)

PHYSICAL CLASS

Week 1 (29/08/2022)
For the week 1 class, we had a brief introduction to typography class. We also learned how to set up an e-portfolio platform which is "blogger".

Week 2 (05/09/2022)
The class of week 2 started off with receiving feedback on our design sketches for the first exercise from Mr.Vinod. After that, we were taught how to create outlines, ungroup and distort each letter on adobe illustrator which is the required skill for the upcoming task.

To create outlines on letters: type - create outlines

To distort the form of image or letters: white arrow to ungroup the image or letters: command + shift + G / To group the image or letters: command + G

Week 3 (12/09/2022)

In week 3, we received some feedback on the digital version of letter design works.

Also, We were taught how to create a short animation (GIF form) using illustrator and photoshop.

Week 4 (19/09/2022)

We started off having feedback on our animation projects. During the class, we also taught how to set up a primary work environment and very essential skills to complete task 2 in InDesign.

Week 5 (26/09/2022)
In physical class on week 5, we had feedback on our Type formatting exercise and were informed about the upcoming task.

LECTURES

Pre-recorded Lecture ( Development)

In the first pre-recorded lecture video, Mr. Vinod explained the history

and progress of the development of typefaces.

Early letterform development: Phoenician to Roman

Figure 1.1.1 Evolution of Phoenician Letter (image from Mr.Vinod's lecture)

Typefaces have always been growing with humans and civilization for over 500 years.

Also, typefaces can reflect the social atmosphere and values of an era.

Figure 1.1.2 4th century B.C.E. - Phoenicians votive stele Carthage, Tunisia (image from Mr.Vinod's lecture)

The initial writing was started by scratching into wet clay with sticks or inscribing on stones.

The letters are in a composition of straight lines and some circles due to the manner of early writing.

Figure 1.1.3 Greek fragment, date unknown (image from Mr.Vinod's lecture)

Letters were not only about how to be formed. The Greeks developed a style of writing ‘boustrophedon’, meaning that the text lines change from left to right and right to left. In addition, they also changed the orientation of the letterforms which was supposed to increase readability.

Figure 1.1.4 Late 1st century B.C.E., Augustan inscription in the Roman Forum, Rome

(image from Mr.Vinod's lecture)

Before carving on marble, Etruscans painted letterforms first. Details like the different sizes of strokes were completed by controlling the weight from vertical to horizontal.

Figure 1.1.5 Hand Script from 3rd - 10th-century C.E. (image from Mr.Vinod's lecture)

Through the period of development over Phoenician and Greek, the letterform ’Roman’ which is commonly used till modern days was completed.

Figure 1.1.6 4th - 5th century Square Capitals (image from Mr.Vinod's lecture)

The Written square Capital letterforms can be found in Roman monuments. Serifs were applied to the main strokes of the letters.

Figure 1.1.7 Late 3rd - mid 4th century: Rustic Capitals (image from Mr.Vinod's lecture)

The compressed version of Square Capital Letters, also known as rustic capitals allows for having more letters on a piece of sheet compared to the previous Square Capital Letters. However, it’s slightly difficult to read due to its compressed form.

Figure 1.1.8 4th century - Roman Cursive (image from Mr.Vinod's lecture)

Both Square Capitals and Rustic Capitals were used for documents. For the convenience of informal use such as daily transactions, cursive handwriting was regularly used.

Figure 1.1.9 4th - 5th century Uncial (image from Mr.Vinod's lecture)

The typeface Uncials adopted some features of Roman cursive handwriting. As "Uncial" means ‘twelfth’ in Latin, some scholars postulate that Uncials refer to letters that are one inch (one-twelfth of food) high.

Figure 1.2.1 C. 500 Half-Uncial (image from Mr.Vinod's lecture)

The cursive handwriting was developed into a formalized typeface, the "Half-Uncials".

This letterform became the origin of the Phoenician alphabet.

Figure 1.2.2 C. 925 Caroline minuscule (image from Mr.Vinod's lecture)

Charlemagne, the first unifier of Europe nominated Caroline minuscule as a standard letterform for all ecclesiastical use. The rewritten version of Caroline including capitalization, punctuation, etc became a standard of calligraphy for a century.

Figure 1.2.3 C. 1300 Blackletter, Textura (image from Mr.Vinod's lecture)

Figure 1.2.4 C 42 line bible, Johann Gutenberg, Mainz (image from Mr.Vinod's lecture)

In northern Europe, a letterform has strong virtual condenses such as 'Blackletter' or 'Textura' was popular.

On the other hand, a rounder type of letterform called 'Rotunda' gained more popularity in southern Europe.

1450 Blackletter

As the earliest printing typeface, it was created based on northern hand-copying styles that were often used for books. e.g.) Cloister Black, Goudy Text

Figure 1.2.5 Page from a 14th-century psalter (Vulgate Ps 93:16–21),

with blackletter "sine pedibus" text. Luttrell Psalter, British Library, Wikipedia

1475 Old style

The lowercase form of this typeface is based on Italian humanist scholars' book copying handwriting. The uppercase form was found inscribed on Roman monuments.

e.g.) Bembo, Casion, Garamond...

Figure 1.2.5 Bembo typeface, font.com

https://www.fonts.com/content/learning/fontology/level-1/type-families/oldstyle

1500 Italic

The early italic forms were condensed and close-set, making it possible to have more words per page. Since the sixteenth century, all typefaces have been designed in italic forms.

Figure 1.2.6 Aldus Manutius' italic, in a 1501 edition of Virgil

https://en.wikipedia.org/wiki/Italic_type#/media/File:Virgil_1501_Aldus_Manutius_(Italika).jpg

1550 Script

Script letterform is not proper for a large amount of text. On the other hand, it has been used widely for shorter writing settings. e.g.) Mistral, Snell Roundhand, Kuenstler

Figure 1.2.7 Kuenstler, Identifont

http://www.identifont.com/show?2GN

1750 Transitional

The transitional form is a refined version of Oldstyle forms. It advanced the casting and printing system. e.g.) Baskerville, Time Roman, Bulmer

Figure 1.2.8 Baskerville, The Fonts Magazine

https://thefontsmagazine.com/font/baskerville-font/

1775 Modern

This style represents the rationalization of Oldstyle letterforms. It has serifs without brackets and also has extreme contrast of thickness on strokes. e.g.)Bell, Caledonia, Didot

Figure 1.2.9 Specimen of the typeface Didot, Wikipedia

https://en.wikipedia.org/wiki/Didot_%28typeface%29#/media/File:DidotSP.svg

1825 Square Serif / Slab Serif

This letterform has heavily bracketed serif and barely has contrast on the thickness of strokes.

Mostly used for advertisement or commercial printing. It's evolved to an unbracketed letterform.

e.g.) Clarendon, Serifa, Rockwell

Figure 1.3.1 file name: Frank Hinman Pierpont Rockwell 1934 Oster by Roger Alvarado 2017

http://luc.devroye.org/fonts-36675.html

1900 Sans Serif

As the name, Sans serif is a letterform that doesn't have serifs. Even though it was opened to the public by Willian Caslon IV in 1816, it wasn't used widely until the twentieth century.

e.g.) Grotesk, Gill Sans Optima...

Figure 1.3.2 Specimen of the Optima typeface, Wikipedia

https://en.wikipedia.org/wiki/Optima#/media/File:Optima_font_sample.svg

1990 Serif / Sans Serif

This letterform was developed recently. By including both Serif and Sans serif letters, this typeface has enlarged the concept of a typeface family. e.g.) Rotis, Scala, Stone

Figure 1.3.3 Rotis Sans Serif, DesignWorkPlan

https://www.designworkplan.com/read/rotis-sans

Pre-recorded Lecture (Basic)

In the week 2 lecture video (Basic), Mr'Vinod explained the basic structure of letterforms which is also called 'Typography Anatomy'.

Figure 1.3.4 Structure of letterform, (image from Mr.Vinod's lecture)

Figure 1.3.5 Type Anatomy Research, Pinterest

https://www.pinterest.com/pin/314900198916506473/?nic_v3=1a1mnf6qN

Baseline - The imaginary baseline of letterforms.

Median - The imaginary line that defines the height of the letterform 'x'.

X-height - The height of the lower case letterform 'x'.

Stroke - The lines define the basic letterform.

Apex / Vertex - The crossing points created by two stems cross diagonally.

Arm - The short strokes(either horizontal such as E, F, L or inclined upward such as K, Y) from the stems of the letterform.

Ascender - The part of the stems of lower case form which is located right above the median.

Barb - The half-serifs on some curved strokes. e.g.) C, G, S

Beak - The half-serifs on some horizontal arms. e.g.) E, T, L

Bowl - The rounded which is usually described as a counter.

Bracket - The transitioning part between the serif and the stem.

Cross Bar - The horizontal strokes that connect two stems together. e.g.) AN H

Cross Stroke - The horizontal strokes that connect two stems together. e.g.) f, t

Crotch - The interior space where two strokes meet. e.g.) K, V

Descender - The part of the stems of lowercase letterform that is located below the baseline. e.g.) p, q, y

Ear - The strokes extending out from the main stem or body of the letterform. e.g.) g, r

Em/en - Em/en indicates the horizontal width of upper case 'M'. It's equal to the distance of two letters in the same typeface as the letter 'M'. En is the half size of an Em. Most often used to describe Em/en spaces and Em/en dashes.

Finial - The rounded non-serif terminals on strokes.

Leg - The short strokes from the stem of the letterforms. Either at the bottom of the stroke e.g. ) L or slanted downward. e.g.) K, R

Ligature - The parts between letters formed by the combination of two or more letterforms. e.g.) fl, fi

Link - The stroke that connects the bowl and the loop of lowercase 'g'.

Serif - The right-angled or oblique foot at the end of the stroke. e.g.) A T, M

Shoulder - The curved strokes that are not part of bowls.

Spine - The curved stem of the S.

Spur - The extended articulates of the curved and rectilinear stroke.

Stress - The direction of the letterforms.

Swash - The flourish part extended from the stroke of the letterform.

Terminal - The self-contained stroke without a serif.

Small Capitals

Uppercase letterforms that are in the size of the x-height of the typeface.

They are usually available in serif fonts as an expert set. Most Small capitals are generated based on uppercase letterforms.

Pre-recorded Lecture (Typo_3_Text_P1 )

Shortcuts in InDesign

increase the size of the font - command + shift + p

turn off the margin and column - command + semicolon key

kern(reduce) - option + left arrow / kern(increase) - option + right arrow

Kerning/ increment - 5 is proper

Kerning

Figure 1.3.6 screenshot from Mr.Vinod's lecture

Refers to automatic adjustment of space between letters.

It is often misunderstood as “letter-spacing”. Letter spacing is adding spaces between letters.

Figure 1.3.7 screenshot from Mr.Vinod's lecture

When you use uppercase letters for title or etc, It is better to kern a bit for better presentability.

(Do not letterspace uppercases, but kern them)

Figure 1.3.8 screenshot from Mr.Vinod's lecture

In paragraph loose tracking or tight tracking doesn’t really work. It decreases readability.

Flush left

Make sure to smooth the rags on the right side

Centre alignment

It should be used for a small number of letters. eg) invitation card

It doesn’t give a good reading experience to viewers

Flush right

Suitable for the caption of images

Justified

It would not be the best choice for every case.

Depends on the context and also depends on kerning.

Rivers - gaps between letters

Must avoid having rivers as much as possible

If u notice the typeface before the letter,

Have to change the typeface

The type size should be large enough to provide good readability.

DO NOT USE SCRIPT TYPEFACES IN CAPITAL LETTERS

Pre-recorded Lecture (Typo_4 Text_Part 2)

Pilcrow can be used to indicates paragraph spacing without breaking the line spacing.

Line space is supposed to 1pt - 3pt bigger than font size. (Depends on the x-height of a font)

For line spacing, the font is 10pt, the line space is 12pt and the paragraph space has to be 12 pt as well to maintain cross alignments. Leading should be not more than three times or less than three times.

Widows and Orphans

Figure 1.3.9 screenshot from Mr.Vinod's lecture

A widow is a short line of type left alone at the end of a column of text.

An orphan is a short line of type left alone at the start of new column.

Avoid to have widows or orphans.

Highlighting text

Using Italics, increasing the boldness of the font, changing the typeface and the boldness, and changing the font’s colours. But only into black, cyan and magenta. Also can create a grey box to highlight.

Resizing font size

Figure 1.4.1 screenshot from Mr.Vinod's lecture

Because the ascender of the serif typefaces is slightly taller, when a typeface is changed from sans-serif to serif, it is better to reduce its size by about 0.5 pt.

Figure 1.4.2 screenshot from Mr.Vinod's lecture

Same for numbers, reduce the font size of numbers by about 0.5 pt when it’s used right next to letter characters.

Primes and Quotations

Figure 1.4.3 screenshot from Mr.Vinod's lecture

Primes are not quotation

Primes are abbreviations for inches and feet.

A,B,C headline example

Figure 1.4.4 screenshot from Mr.Vinod's lecture

Pre-recorded Lecture (Typo_5_Understanding)

Figure 1.4.5 screenshot from Mr.Vinod's lecture

The uppercase letterforms not may appear symmetrical, but in fact, it’s not asymmetrical.

Figure 1.4.6 screenshot from Mr.Vinod's lecture

One of the most rewarding ways to understand a letterform is to examine them in close detail.

The basic principles of Graphic Design apply directly to typography.

Pre-recorded Lecture (Typo_Ex Type Expression Animation — Basic)

Through the lecture, Mr.Vinod explained how to create a short GIF form animation on illustrator and photoshop.

Figure 1.4.7 screenshot of Mr.Vinod's lecture

In illustrator, we have to have multiple artboards to create frames to be used later for animation.

Figure 1.4.8 screenshot of progress in adobe photoshop

After creating individual frames, click on the file panel, go to 'scripts' and click on 'Load Files into Stack'.

Figure 1.4.9 screenshot of progress in adobe photoshop

Make sure you are on the 'create frame animation' setting.

Figure 1.5.1 screenshot of Mr.Vinod's lecture

After adding frames in the right order in photoshop, export the file for "web" as a GIF file.

Pre-recorded Lecture (Typo_Ex Text Formatting 1:4 )

Kerning

Kerning is adjusting spaces between individual letterforms.

Kern - select the area and option + left arrow to reduce the space

If the gap reduces too big, go to preference, and change units and increments to 5.

Tracking

Tracking is adjusting spaces uniformly over the range of the characters.

Tracking - select all characters - option + right arrow to increase (left arrow to decrease)

For column gutter, 5 is enough.

Pre-recorded Lecture (Typo_Ex Text Formatting 2:4 )

Good page layout heavily depends on the margin.

4 columns are too much for A4

55 - 65 characters in one line

For hand-holding documents, font sizes 8 to 12 are suitable.

12.2 points or more leading on A4 size, but depends on the typeface.

Paragraph formatting control(paragraph space)

Below line indent 12 pt must have pt

Pre-recorded Lecture (Typo_Ex Text Formatting 3:4 )

Kerning / tracking should be 5
Reduce the rags by tracking and kerning
Do not make it too obvious (1~3)
Turn off hyphens
W - preview
When use full justified column gutter has to be increased bit more to keep enough space between paragraph and the lines of the column.

Pre-recorded Lecture (Typo_Ex Text Formatting 4:4 )

Apply double leading on heading.

To use baseline grid,

View - guides- show baseline grid

To see baseline grid from far away view,

preferences - grids - view threshold : 50%

To adjust the paragraphs on baseline,

Text frame options - baseline option - offset : leading

General - line to top

Pre-recorded Lecture (Typo_Ex Text Formatting 4:4A)

When u increase the leading of heading, it has to be double amount of the paragraph leading setting.

Quick way to adjust paragraph to baseline

Select all - paragraph control - align to baseline

INSTRUCTIONS

Figure 1.5.2 Typography Class Instruction

Task 1: Exercise 1 - Type Expression

Express the meaning of chosen four words by utilizing the given 10 typefaces.

Progress (rough sketches)

Figure 1.5.3 Freeze Design Sketches (29/08/2022)

One of the most common concepts of the word 'Freeze' that people automatically think of is an image of something related to being frozen, such as ice, icicles, etc. Therefore, those 5 different designs were created based on that idea.

Sketch 1

The word 'Freeze' is in a shape of a frozen branch from the ground.

The keen edges of the letters imply the sharp surface of iced water.

Sketch 1-2

The letters 'Freeze' is hanging like icicles.

Sketch 2

The letters are arranged in a shape of an ice cube.

Sketch 2-2

The letters are arranged in a shape of an ice cube. Also pressed to express the adhesion of ice.

Sketch 3

The first letter ' F' is smooth, but other letters slowly change their shapes to hard shapes.

Figure 1.5.4 Slam Design Sketches (29/08/2022)

The word 'Slam' has a strong nuance.

It's commonly used to express behaviours that shuts something forcefully and loudly.

Sketch 1

The first letter 'S' and the last letter 'M' are slamming the letters 'L' and 'A' in the middle.

Sketch 2

The whole letters are slanted: which implies a force of the slam applied to the letters.

Sketch 3

The letter 'L' has the role of a door. It separates the letters 'S', 'A' and 'M' from each other. 'S' is bumped out from the door and 'A' and 'M' are slanted by the slam.

Sketch 4

A slam always makes a huge sound. This sketch was designed to express a slam's loud and startling sound.

Figure 1.5.5 Tired Design Sketches (29/08/2022)

Meaning of being tired means having a lack of energy. When we are tired, we mostly want to take some rest or sleep to recharge our batteries.

Sketch 1

The compressed letters indicate exhaustion.

Sketch 2

The letters except 'T' are too tired to stand straight. They are leaning on the letter 'T'.

Sketch 3

The letter 'T' takes the place of a bed, and the rest of the letters are taking some rest on the bed.

Sketch 4

The letter 'D' represents an eye. The other letters are the red vessels in the eye.

Sketch 5

The letters are lying down on the floor feeling fatigue.

Figure 1.5.6 Sticky Design Sketches (29/08/2022)

Sketch 1

The letter 'S' is placed in the middle. Other letters are sticked on the letter 'S' to express the literal definition of being sticky.

Sketch 1-2

The letter 'S' is placed in the middle. Other letters are sticked on the letter 'S' to express the literal definition of being sticky.

Sketch 2

The letters except 'S' are sticked on the top of the letter 'S' as the meaning of the word 'sticky'.

The letters are placed on the top for better readability.

Sketch 3

The letters are all sticked together as the definition of the word. Thin white lines were added for readability.

Sketch 4

The letters are all sticked together as their definition.

Updated (rough sketches)

Figure 1.5.7 Slam Sketch (based on feedback) (05/09/2022)

Sketch 1

The letter 'S' in sketch 1 expresses a powerful movement of a slam.

The rest of the letters are swirling in the power.

Sketch 2

The letter 'S' in sketch 1 expresses a powerful movement of a slam.

The rest of the letters are swirling in the power.

Sketch 3

The letter 'S' in sketch 3 shows the power of the letter 'S' which is slamming the letter 'A' down.

The letter 'L' and 'M' are being bumped out.

Sketch 4

A slam always makes a huge sound.

This sketch was designed to express a slam's loud and startling sound.

Sketch 5

A slam always makes a huge sound.

This sketch was designed to express a slam's loud and startling sound.

Task 1: Exercise 1 - Type Expression (Digitalization)

Improve the sketches by applying feedback and digitalizing them on adobe illustrator.

Progress

Freeze

Figure 1.5.8 'Freeze' digital version (05/09/2022)

The typeface, Gill Sans Bold was used for all letters. The letters were distorted by using the direct selection tool after creating outlines. The terminals and strokes were recreated into a sharp shape in terms of giving a keen impression of icicles. Little triangle-shaped illustrations were added on at the end of the terminal to imply being frozen.

Tired

Figure 1.5.9 'Tired' digital version (05/09/2022)

Serifa Light was used for the letter 'D'. The serif of the letterform was eliminated and the terminals were rounded by using the direct selection tool. The letter D was rotated to give an impression of an eye.

Gill Sans Light was used for the letters 'T, I, R, E'. The thickness of the letterform's stem was adjusted using the direct selection tool.

Slam

Figure 1.6.1 'Slam' digital version (05/09/2022)

Gill Sans bold italic was used on the letter 'S', and Gill Sans bold was used for the rest of the letters.

The letters were distorted and rotated with a direct selection tool after applying creating outlines on the letters.

Sticky

Figure 1.6.2 'Sticky' digital version (05/09/2022)

The typeface, Gill Sans bold was used for the letter 'S'. Gill Sans regular was used for the rest of the letters. The letters were distorted and rotated with the direct selection tool after applying creating outlines on the letters. Also, the letterforms' terminals were rounded using the direct selection tool.

Figure 1.6.3 Digitalized Designs (05/09/2022)

Updated

Figure 1.6.4 updated digital version of 'Sticky' (05/09/2022)

Gill Sans Bold was used on all letters. Based on feedback, the distorted letters from the previous work were replaced with the letters in the original typeface.

Figure 1.6.5 updated digital version of 'Freeze' (05/09/2022)

This design was created in Futura, regular. The sides of the arms of the letterforms were distorted into keen shapes to give an acute impression of icicles. Only minimal distortions are applied to the letterforms to maintain the features of the typeface.

Figure 1.6.6 updated digital version of 'Tired' (05/09/2022)

Futura, regular was utilized for the letter '. D'. The letter D was rotated to give an impression of an eye. Gill Sans Light was used for the letters 'T, I, R, E'. The thickness of the letterform's stem was adjusted using the direct selection tool. A half-circle was added as an iris.

Final submission of Task 1: Exercise 1 - Type Expression

Figure 1.6.7 text expression, exercise 1 final (05/09/2022)

Task 1: Exercise 2 - Animation

Create an animation that fully describes the definition of the chosen digitalized design.

Although only one animation is required to submit as the final outcome, I decided to explore a little bit to see how it goes.

Progress

Tired

Figure 1.6.8 tired_animation files (12/09/2022)

Figure 1.6.9 tired_animation outcome (08/09/2022)

The vessels are coming up from down to the iris.

Sticky

Figure 1.7.1 sticky_animation files (07/09/2022)

Figure 1.7.2 sticky, animation outcome (07/09/2022)

All letters are flying off to stick on the letter "S''.

Final submission of Task 1: Exercise 2 - Type Animation

Figure 1.7.3 sticky, final work for animation

Based on the feedback I had, a longer hold was adopted on the last frame.

Task 1: Exercise 3 - Type Formatting

Design a layout with given scripts on an A4 document in InDesign.

Use guidelines, columns, tracking and leading properly. Find a related image and place it in the design.

Progress

Figure 1.7.4 Inked, photo by Adam Pritchett / Pinterest

https://www.pinterest.com/pin/651262796117109804/?nic_v3=1a1mnf6qN

I have chosen this photo as an image to insert into my layout design. As it's been mentioned in the scripts, Helvetica is one of the most well-known san-serif typefaces which is also commonly used world-widely.

The ink spreading in the water connotes the spread of Helvetica to the world.

Figure 1.7.5 layout 1 with grids and baselines, (23/09/2022)

Figure 1.7.6 layout 1 without grids and baselines, (23/09/2022)

Body

Font/s: Gill Sans Regular
Type Size/s:9 pt
Leading:12pt
Paragraph spacing:12pt
Characters per-line:65
Alignment: left justified

Margins: 0.5in
Columns: 2
Gutter: 0.375in

Heading

Font/s: Adobe Caslon Bold
Type Size/s:24 pt
Leading:24pt
Alignment: left align

Figure 1.7.7 layout 2 with grids and baselines, (23/09/2022)

Figure 1.7.8 layout 2 without grids and baselines, (23/09/2022)

Body

Font/s: Gill Sans Regular
Type Size/s:9 pt
Leading:12pt
Paragraph spacing:12pt
Characters per-line:65
Alignment: left justified

Margins: 0.5in
Columns: 2
Gutter: 0.375in

Heading

Font/s: Adobe Caslon Bold
Type Size/s:24 pt
Leading:24pt
Alignment: left align

Final submission of Task 1: Exercise 3 - Type Formatting

Figure 1.7.9 final submission with baseline grids (JPG) (26/09/2022)

Figure 1.8.1 final submission without baseline grids (JPG) (26/09/2022)

Figure 1.8.2 final submission with baseline grids (PDF) (26/09/2022)

Figure 1.8.3 final submission without baseline grids (PDF) (26/09/2022)

FEEDBACK

Week 2 (05/09/2022)

Figure 1.8.4 Freeze Design Sketches (Sketch 1-2)

I had some positive feedback on the design sketch (1-2). Mr.Vinod mentioned that the letters have an impression of stalagmites delicates which is enough to deliver the nuance of 'freeze'. However, I have also been told that the size of the letters has to be modified to be bigger.

Figure 1.8.5 Freeze Design Sketches (Sketch 2-2)

Sketch 2-2 had positive feedback that the letterform composed in a block gives the right impression of freeze.

Figure 1.8.6 Slam Design Sketches (29/08/2022)

I had negative feedback on these design sketches. None of them are quite enough to imply the meaning of the word. Sketch 4 has potential but still has to be improved.

Figure 1.8.7 Tired Design Sketches (Sketch 1)

For design sketch 1, the major point would be to figure out the suitable typeface that applies to the design sketch.

Figure 1.8.8 Tired Design Sketches (Sketch 4)

This design sketch had positive feedback for depicting the word 'tired' sufficiently,

also for using letters, but with minimal illustrative elements to create the design.

Figure 1.8.9 Sticky Design Sketches (29/08/2022)

These design sketches had pretty positive feedback overall.

Week 3 (12/09/2022)

The feedback I received for all design works except the digital version of Slam was that I have to avoid using excessive distortion on the letterforms.

Figure 1.9.1 distorted part of the digital version of 'Tired'

Figure 1.9.2 distorted part of the digital version of 'Freeze'

Figure 1.9.3 distorted part of the digital version of 'Sticky'

The feedback I received for all design works except the Slam was that I have to avoid using excessive distortion on the letterforms.

Figure 1.9.4 Digitalized Designs (05/09/2022)

Freeze - need to avoid using excessive distortion on the letterforms.

Tired - need to avoid using excessive distortion on the letterforms.

Slam - The digitalized version of Slam is acceptable.

Sticky - need to avoid using excessive distortion on the letterforms.

The distinct of each typeface has to be recognizable.

Distortion is not the right solution for every work!

Week 4 (19/09/2022)

I had positive feedback overall on this outcome.

However, the last frame should have a longer pause for better performance with a clear delivery.

Week 5 (26/09/2022)
I had feedback on having too much leading which causes low legibility, leading should not be more than 3pt. Also, the overall layout doesn't have enough space.