Typography Task 1 Week1-5 ( 26/09/2023 - 24/10/2023)

26.9.2023 - 24.10.2023

Ruthlene Chua Zhen Si 0365222 

Bachelor of Design (Honours) in Creative Media -Typography

Task 1

• Lecture
• Instruction
• Class Summary 
• Task 1 exercise
• Feedback
• Reflections
• Further reading  

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LECTURE (SUMMARIES VIDEO) 

Week 1-26/09/2023: Typo_0_Introduction & Typo_1_Development

• Intro :
• Any design studies field should include typography as a module since it develops skills that are essential to other disciplines such as attention to detail

• What is typography :
• The process of making letters, it can also take form of animation, such as the gif animation or movie titles. Website design, app design, signage design, bottle labels, publications, and everyday life all exhibit it. Designers will require the abilities, traits, skill sets, and ways of thinking that are developed through typography. It is the style and appearance of printed matter. Moreover, it is the technique of arranging type to make written language legible, readable ,and appealing when displayed.

•  Evolution of Typography: 

1. Calligraphy ( refers to the writing styles such as black letter, unsealed, round hand etc. )
2. Lettering  (draw out the circumference of the letter using hand letter)
3. Typography

Figure 1.0 : Calligraphy

Figure 1.1 : Informal Calligraphy

• Font
• Refers to the individual font or weight within a typeface

• Typeface
• Refers to the entire family of fonts/weights/that shares similar characteristics or styles

Figure 1.2 : Different kinds of fonts

• Due to the tools and materials used in early writing, uppercase shapes are basically just a combination of straight lines and little circles.

Figure 1.3 : Evolution from Phoenician letter &

 Phoenicians votive style Carthage ,Tunisia

• The Greek, Phoenicians, Semitic people change the direction of writing ,words are wrote from right to left 

Figure 1.4 : The arrangement of words in the ancient times

• Etruscan carvers working in marble painted letterforms. The strokes brings changes in the weight of the letterforms. 

Figure 1.5 : Etruscan letterforms

• Evolution of Phoenician to Roman: 

  

Figure 1.6 : Early letterform form Phoenician to Roman

• Characteristic of monuments letterform:

Figure 1.7 : Timeline of Roman letterforms

• Development of type forms:
• Response to prevailing technology, commercial needs, esthetic trends
• Endure well past cultures 

•  1450 Blackletter
• Earliest printing type, form were based upon the hand copying styles that were use in Northers Europe
• Ex: Cloister Black, Goudy Text

Figure 1.8 : 1450 Blackletter

• 1475 Oldstyle
• Lowercase forms, used by Italian humanist ; Uppercase letterform, found inscribe Roman ruins
• Ex: Bembo, Caslon, Dante, Garmond, Janson, Jenson, Palatino

Figure 1.9 : 1475 Oldstyle

• 1500 Italic
• Italian hand writing, condensed close-set (which lead the benefits of more words per page)

Figure 2.0 :1500 Italic

• 1500 Script 
• Replicate calligraphic forms, not appropriate in lengthy text settings (which has shorter application)
• Ex: Kuenstler Script, Mistral ,Snell Roundhand

Figure 2.1 :1500 Script

• 1750 Transitional
• Refinement of oldstyle forms, advance in casting and printing, thick to thin relationship exaggerated, brackets lightened
• Ex: Baskerville, Bulmer, Century, Time Roman

Figure 2.2 :1750 Transitional

• 1775 Modern
• Further rationalization of oldstyle letterforms, Serifs unbracketed, Contrast between thick and thin stroke extremes
• Examples: Bell, Bodoni, Caledonia, Didot, Walbaum

Figure 2.3 : 1775 Modern

• 1825 Sqaure Serif/ Slab Serif
• Originally heavily bracketed serif, little variation between thick and thin strokes, being needed in developing advertising , the heavy type commercial printing 
• Ex: Clarendon, Memphis, Rockwell, Serifa

Figure 2.4 : 1825 Square Serif/ Slab Serif

• 1900 Sans Serif
• Typeface which eliminated serifs altogether 
• Ex: Akzidenz Grotesk, Grotesk, Gill Sans, Franklin Gothic, Frutiger, Futura, Helvetica, Meta, News Gothic, Optima, Syntax, Trade Gothic, Univers

Figure 2.5 : 1900 Sans Serif

• 1900 Serif/Sans Serif
• Enlarge the nation family of typefaces to include serif and sans serif alphabets
• Ex: Rotis, Scala, Stone

Figure 2.6 : 1900 Serif/Sans Serif

Week 2 -3/10/2023: Typo_3_Text_P1

• Kerning: Automated resizing of space ( not letterspacing )
• Tracking: The arrangement of spaces between words or sentences 
• Letterspacing: Space between letters 

Figure 2.7 : Examples of kerning and tracking

Figure 2.8 : Kerning and tracking Styles

• Types of text formatting : Flush left (Ragged right), Centered (Ragged right and left), Justified, Flush right (Ragged left)
• Caution : Don't script typeface in capital letters  (avoid)
• Baseline: The line that comes above which is known as a base line
• Median line: The line above the baseline
• X-height: The area between height and the line above
• X-Hight is larger than normal height which contrast with the ascender space and the descender
• Ascender: The space above the X-height
• Descender: The space below the X-height

Figure 2.9 : Text / Texture Size & Appellation

• Type size: Text type should be large enough to be ready easily at arm length
• Leading: Too-loosely placed type produces striped patterns which attract the reader's attention away from the current text. 
• Line Length: Keep line length between 55-56 characters
• A type specimen book/ eBook for screen : provide and accurate reference for type, type size, type leading, type line length etc.
• Composition requirement: Text should create a field that can occupy a page or a screen 
• Type families which will be use in this semester: Bembo,Garmond,Janson,Caslon,Baskerville,Bodoni,Serifa,Futura,Gill Sans,Univers

Week 3-3/10/2023: Typo_4_Text_Part 2

• "Pilcrow"(¶): A holdover from medieval manuscripts 
• Used in set or in text to indicate paragraph spacing

• If the paragraph leading is 12; the paragraph spacing value should be 12 to maintain cross alignment
• Blue indicator: A paragraph space is added two spaces

Figure 3.0 : Examples of  line space vs Leading

• Caution: Never use left align while using indentation to prevent ragging on the right, indentation is best to use when the text is justified
  
• In traditional typesetting, there are two unpardonable gaffes--widow and orphan
• Widow: Short line of type left alone at the end of column text 
• Text with flush rights and ragged left is slightly more tolerant of the window, but only marginally
• Solution: Rebreak line ending through out paragraph 
• Orphan: Short time of type left alone at the start of new column
• Require more care
• Make sure that no text column begins with the last line of the paragraph before it

Figure 3.1 : Orphan and Widow 

• Good ways to highlight text :
• Differentiating text within a large body of text
• Increase boldness or weight of the text by making bold or medium choosing the typeface from the same family
• Change the typeface by making bold 
• Change the color of the text (by only using black cyan magenta and yellow)

• Reduce the font size when there is a need to change the highlighted text to another font family, cause some of the typeface tend to look larger 

 

Figure 3.2 : The different font Size of the different typeface family

• When highlighting text by placing a field of color at the back of the text, maintain the left reading axis of the text 

Figure 3.3 : The differences of highlighting words by maintaining left reading axis

• Place typographic elements outside left margin of a column of type to maintain strong reading axis 
  
  
  

Figure 3.4 : The differences of placing typographic elements outside left margin of a column

• Quotation marks can break the left reading axis and provide a visible indent

Figure 3.5 : The use of quotation marks

• "A "head indicates clear break between topics within a section 

 

Figure 3.6 : "A" head 

• "B" head is subordinate to "A" heads, it indicates a new supporting argument of examples for the topic 

Figure 3.7 : "B" head

• "C" heads highlights specific facets of material within B head text, they are shown in small caps, italic, serif bold or san serif bold
• In the figure bellow: "C" heads configuration are followed by at least an em space for visual separations

Figure 3.8 : "C" head

• By putting them together ("A,B,C" subheads) -- hierarchy

Figure 3.9 : Hierarchy

• While expressing the complementary vertical rhythms, cross alignment headlines and captions with text kinds strengthens the page's architectural feeling (structure)

Figure 4.0 : Cross Alignment

Week 4-17/10/2023: Typo_2_Basic

• Baseline: The letterforms' visual base is an abstract line
• Median: The imaginary line designating the letterforms' x-height
• X-height: The height in any typeface of the lowercase "X"

Figure 4.1 : Diagram of Baseline, Median and X-height

• Any lines that defines the basically a form is know as a stroke

Figure 4.2 : Examples of letter stroke

• Full font of a typeface contains more than 26 letters, to numerals, and a few punctuation marks.

Figure 4.3 & 4.4 : Explanation of different type form and  letterform characteristic

• Uppercase: Capital letters, including certain accented vowels etc.

Figure 4.5 : Uppercase letter

• Lowercase: Lowercase letters include same characters as uppercase

Figure 4.6 : Lowercase letter

• Small Capital Uppercase letterforms are drawn to the typeface's x-height
• Serif typefaces typically have small caps as a part of their so-called expert set
• Caution: Do not confuse real small caps with those artificially generated 

Figure 4.7 : Small Capital Uppercase letterform

• Small Capital: Uppercase letterforms draw to the x-height of the typeface. Small Caps can be found on serif fonts which is called expert set.

Figure 4.8 : Small Capital & Big Capital

• Uppercase Numerals (Lining Figure) : Theses numerals have the same height as uppercase letters and are set to the same kenning width.

Figure 4.9 : Uppercase Numerals

• Lowercase Numerals( Old style figures / text figures ): These numerals are set to x-height with ascenders and descenders.

Figure 5.0 : Lowercase Numerals

• Italic: Small Caps, mostly roman only. Fifteenth century Italic cursive handwriting , Oblique are based on roman form typeface 
  
  
  

 Figure 5.1 : Italic words

• Punctuation, miscellaneous characters: Miscellaneous characters can change form typeface to typeface. Make sure u have a mathematical puncture to well design. 

Figure 5.2 : Punctuation & miscellaneous characters

• Ornaments: Used as flourishes in invitations or certificates. They are provided as a font in larger typeface family. Few traditional or classical typeface contains ornamental fonts as part of the typeface family (Adobe Caslon Pro)

Figure 5.3 : Ornaments

• Roman: The uppercase forms derived from inscriptions of Roman monuments. A slightly lighter stroke in roman is "Book"

Figure 5.4 : Roman

• Italic: Named in the fifteenth century Italian handwriting. Oblique are based on roman typeface.

Figure 5.5 : Italic

• Boldface: Thicker stroke than a roman form
• Light: A little stroke than roman form
• Condense: Extremely condense styles 
• Extended: An extended variation of a roman font

Figure 5.6 : Design in the type family

• Beyond the gross differences in x-height: the forms display a wealth of variety, in line weight, relative stroke widths and in feeling. 
• Rs display a range of attitudes, whimsical, stately, mechanical, calligraphic, harmonious and  awkward.
• Choose right type family to present the right and clear message 

Figure 5.7 : Word "R" and small capital "a" different typeface 

Week 5-24/10/2023: Typo_5_Understanding

• The Baskerville stroke form (below) includes several different stroke weights which are clear to see, the bracket that joins the serif to the stem has a distinctive arc.
• Cautions: The capital letter forms looks balanced but they're not 

Figure 5.8 : Baskerville stroke "A"

• The width of the left slope is thinner than the right stroke
• Baskerville and Univers are good examples of the attention to detail type designers put into developing harmonious, uniquely expressive letterforms

Figure 5.9 : Univers letter "A"

• Helvetica & Univers: A great way to show the complexity of each individual letterform is to compare the lowercase "a" of two sans-serif fonts

Figure 6.0 : The differences between letter "a" of Helvetica & Univers

• Curved strokes, such as in "s", must rise above the median (or stay bellow the baseline) to appear the same size as the vertical & horizontal strokes they adjoin 
• Further explanation: O will usually look smaller than Z because it has lesser real estate, lesser area touching the median and basslines to compensate for that an optical adjustment 

Figure 6.1 : Example words that align to the baseline

• It is important to recognizing specific letterforms is developing a sensitivity to the counterform ( or counter) —— the space described, and often contained, by strokes of the form
• The space between letters makes up the counterform when they are united to form words
• The letter is particularly important concept when working with letterforms like lowercase "r" that have no counter per se

Figure 6.2 : Examples of counterforms

• By examine the form and counter in close detail, its more easier to understand.
• Give a clear understanding of how the balance between form and counter was accomplished, and provide a tangible feeling of the distinctive qualities of the letterform

Figure 6.3 : Analyze an existing typeface

• The simple contrasts produce numerous variations: small organic/large +machined ;small +dark/large light...
• Design Principles: Contrast is the most powerful and dynamic in design 

Figure 6.4 & 6.5 : Diagram of contrast

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INSTRUCTIONS 

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CLASS SUMMARY

Week 1:The programs for the upcoming weeks were discussed in lectures, as were the mechanisms for rating each assignment and project. In order to effectively use it, the methods for downloading design tools and usage instructions are also provided. Few assignments were assigned during lectures, including creating words using just fonts and constructing our e-portfolio for the remaining weeks. 

Week 2: Few of the students' typeface designs and e-portfolios are selected during lecturing. Additionally, comments and suggestions are made in order to enhance things. Following that, we were taught to utilize Adobe Illustrator to accomplish our given assignments.

Week 3: Few examples from each student's e-portfolio and typeface design are chosen by the lecturer to display in class. in order to develop our own job more effectively. Additionally, we're going to advance our procedure by animating the text.  

Week 4:After reviewing some of the animation design projects created by the students, Mr. Void began to teach us a new method for exporting files. This week, we were also given a new task that involved text formatting.

Week 5: Upload the work that we have done last week on the Facebook to get feedbacks and suggestions, make changes on it. New ways of aligning text and shortcuts are taught. 

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First week 1-3 (26/09/2023-10/10/2023) : TASK 1 EXERCISES 

Task 1 Exercises - Type Expression

• Research and Sketches: 

Figure 01 : Sketch of my typeface ( WEEK 1-26/09/2023 )

CHAOS: 

1.The words are not placed in orders 

2. Chaotic arranging method 

BOUNCE:

1. The words are placed up and down to make the bouncy feel

FLOAT:

1. The idea for "Float" have a rise and fall word arrangement 

DIVE: 

1. The word "dive", I uses the letter "V" to express something is drowning down 

2. The words are align to the corner 

Figure 02 : Digitization ( WEEK 2-3/10/20232 )

Edition: 

1.CHAOS: More neat and peruse the letter "S" more on details and the typeset are change to be covering the whole page, to make it more chaotic. 

2.DIVE : The letter "V" are suggested to be more lower , if it's out of the box will be better. 

3. FLOAT: The letter  "O" I move it all the way up, expended outside of the box.

Figure 03 : Digitization ( WEEK 3-10/10/20232 )

Lastly: Turn one of the word design into animation by using PS+AI ( I choose the word "Float" as my final animation digitization )

Figure 04 : Typeface Gif Scrip ( WEEK 3-10/10/20232 ) 

Next, use AI export to PS for additional animation work

Figure 05: Typeface Animation- Gif Creation (Float) ( WEEK 3-10/10/20232 )

I changed a few things to better represent his meaning because I felt that this piece was a little stiff and didn't fully convey what the word was expressing. Two animation are make to choose.

Figure 06 &07 : Optimized Typeface Animation- Gif Creation (Float) ( WEEK 3-10/10/20232 )

I prefer the second typeface animation as my final work. 

Figure 08 : Final Typeface Animation- Gif Creation (Float) ( WEEK 3-10/10/20232 )

Week 4 (17/10/2023) : 

Task 1 Exercises - Text Formatting 

• Learn how to use different font to create unique vision by using paragraph spacing , type size,  alignment, line-length, type choice, forced line break, leading, kerning windows, orphans and cross alignment. 

Figure 09 & 10: Text Formatting own names, before & after kerning( WEEK 4-17/10/2023 )

• Determine font size: Font size by using a3 or a4 generally between 8-12 points.
• Select the correct typeface family and apply to the text
• Make sure the character is between 55-65 (if not make adjustment to the font size)
• Make some kerning in the text to make it look smoother
• Leading should be increase by the way of +2 points of point size or +2.5/3 
• Make sure line length is at the range of 55-56(body text), 35 (subtext)
• Must align every words and arrange them adhere to the base line
• Make sure paragraph spacing follows the same pt as the leading
• Not to exceed kerning +3/-3
• Use only left justify or left align 

Figure 11——15 : Layout progress ( WEEK 5-24/10/2023 )

• After adjustment on kerning, leading, paragraph spacing, alignment 

Figure 16 : Final Layout (without grid *jpeg format*)

Figure 17 : Final Layout (without grid *pdf format*)

• It is more clear and neat after having every text and typeface align to the baseline grid 

Figure 18 : Final Layout (with grids *jpeg format*)

Figure 19 : Final Layout (with grids *pdf format*)

HEAD

Font/s: Janson Text LT Std

Type Size/s: 25pt

Leading: 22pt

Paragraph spacing: 8mm

BODY

Font/s: Janson Text LT Std

Type Size/s: 9.7pt

Leading: 6pt

Paragraph spacing:4.233 mm

Characters per-line: 55-60

Alignment: Align left 

Margins: 12.7mm top,12.7mm left + 12.7 mm right +67 mm bottom

Columns:4

Gutter: 5mm

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FEEDBACK

Week 1-Briefing 

Specific Feedback: Take notes and list them inside the e-portfolio clearly.

General Feedback: Check everything that I learned in class and accurately recorded in the e-portfolio.

Week 2-Exercise 1 (Type Expression)

Specific Feedback: Design for the word "dive" must improvise and use typeface design in order to make its definition more compelling. 

General Feedback: Take cautious on the typeface design details and make it exquisite. 

Week 3-Exercise 1 (Type Expression Digitization)

Specific Feedback: The typeface (CHAOS) design has to be well-aligned and focused on the details. The meaning of the word "dive" can be improved by arranging it outside of the boxes.

General Feedback: My details on typeface design needs to be improve, the design wasn't make the word appealing. My e-portfolio requires additional work to expand. Reflection and further reading labels must be covered to keep everything on track. 

Week 4-Exercise 1( Final Digitization GIF Animation)

Specific Feedback: The phrases are shaky and indistinct while the animation plays, make it more stabilize. 

General Feedback: I need to make detail changes on the animation, must be show that every piece of animation art board should be align smoothly and neat. I should continue posting new reading materials to update my further reading labels.

Week 5-Exercise 2( Text Formatting )

Specific Feedback: Need to do some adjustment on the paragraph alignment, make it more neat and align to the baseline. 

General Feedback: I need to acknowledge the usage of baseline, leading, line length, paragraph spacing, kerning etc. to be good at using it. 

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REFLECTIONS

Experience:

During the first week, we are taught how to organize words in a more visually pleasing way using text and letters. Additionally, Adobe Illustrator is provided as technical support. Typography is actually extremely fascinating; by just altering the font, size, kerning, and other elements, it makes texts simpler to interpret. Weekly assignments are provided, and there is plenty of time to do them all, making studying the material a very reasonable procedure. Professors will promptly update our work status so that we can all stay up to date. Also, instructors will take some time to provide us with comments on our task; this is a chance for us to advance more quickly. There is a lot of creative expertise in typography, and even if I might have suffered, I still find learning about it to be interesting.

Observation:

I need to read more about typography in order to get more knowledgeable about it and utilize it to its fullest potential. I also need to focus on improving my technical proficiency with Adobe Illustrator. I first find it challenging to keep up with the lecturers since design necessitates ongoing practice and research. It helped me realize that art is more than simply drawing and painting; in order to effectively communicate the qualities and definitions of words, art frequently involves study and research.  

Findings:

Typography shows that consumers may find it easier to comprehend and take in the information being provided if the text is simply rearranged. I learned that feedback is crucial for designers in this module. Feedback may enable us to better understand our present situation and implement improvements. Since everyone has a different style, I occasionally having doubts on taking in all of the comments that I have received. However, I do utilize the feedback as a resource to acquire ideas or inspiration. I find it surprising when I explore and study typography since typesetting design demands a designer to adhere to certain guidelines. In order to design various layout combinations, we must first comprehend the fundamental laws. In graphic design, typography is a means of communication that determines how a page looks as a whole so that's why it requires us to follow step by step. Although typography sometimes restrained our imagination, but it does create neat and attractive view for the audience. 

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FURTHER READING 

Figure 1.a: Cover of the Book ( A type primer. by-John Kane)

John Kane, a graphic design educator, is the author of this book. He offered more than simply an introduction to typography; he also covered use, typeface selection, and the use of color to accentuate typographic hierarchy. 

On the first chapter i learn that letterforms styles help typography employs number of technical terms and it helps to describe specific parts of letterform.

Figure 1.b : Describing letterforms pg13,14,15

I learn that font are contains more than 26 letters, 10 numerals, and a few punctuation numerals, and a few punctuation marks. Furthermore, it could be divided into uppercase and lowercases, it is a must to not confuse real small caps with those generated artificially.  

Figure 1.c : Differences of Baskerville small cap

For the uppercase numerals which also known as lining figures, professor Vinod have mention in the lectures videos, so it is more clear and easy to understand while I'm learning it. Uppercase numerals have the same height as uppercase letters and are all set to the same kerning width. They usually used in tabular material or any situation that calls for uppercase letters.

Figure 1.d : Uppercase numerals in numbers

As for the lowercase numerals, are also called old-style figure, they are set to x-heugh with ascenders and descenders. Best used when using upper and lowercase letterforms. Lowercase numeral are rare in sans serif than serif typeface .

Figure 1.e : Lowercase numerals in numbers

While doing notes for the lecture summaries, lectures have mention that we must aware the differences between italic and oblique when it comes to Italic type forms. It is currently the most matching font. Small caps, Roman. Small caps generated italic are not the same as real italic. 

Figure 1. f : Italic forms

Figure 1.g : Differences of Baskerville roman with/without oblique

Although we don't usually use punctuation, miscellaneous characters because all fonts contain standard punctuation marks, miscellaneous characters that can change form type-face to typeface but it is good to learn and know the usage of them.

Figure 1.h : Punctuation, miscellaneous characters

As for Dingbats (various symbols and ornaments that are intended for use with type), they are marketed as their own fonts and not in conjunction with any particular typeface. I found it fun to know that this symbols exist because I don't really used them much. This is a easy known symbol, it helps readers to get the information more easily and attract readers attention to read at it.

Figure 1.i : Dingbats

For the second week, I learn how they describing typefaces. There are lots of letterforms such as Roman, Italic, Boldface, Light, Condensed, Extended and more forms. I make a small point while I read through the whole text. Such as :

• Roman: The basic letterform style, the upperforms are derived from inscriptions on Roman monuments. The terms ‘roman' is always lowercase. Some typefaces, a slightly lighter stoke than roman is called 'book'
• Italic: Named for 15th century Italians hand writing on which the forms were based
• Boldface: Characterized by a thicker stroke than roman form
• Depends on the relative stroke widths within typefaces, it could be called "semibold","medium ,"black", "extra bold", or "super"
• Light: A lighter stroke than the roman form. The lighter stokes are called "thin"
• Condensed: A version of the roman form. Common called "compressed"
• Extended: Extended variation on the roman forms

While We are entering the typesetting design, I learn that there is some research that I need to do in order to get a deeper understanding. So i go through this book and found out, before starting designing the typesetting, I need to learn what is measuring type, leading, points, width, how to compare and display typefaces. For examples, measuring type is a type size  that was determined by the the height of actual piece of lead type. More than that, the space between line of type is called 'leading'. Last but not least, not to forget the point, points refers to the size of type with unit 

Figure 1.j: Point size

Why are we setting width while designing a typesetting ? 

It helps us to prevent one letter from bumping into another. They are described in unit, an entirely arbitrary measure that change from one system to another. The figure bellow represent the uppercase M is 20 units wide, lowercase is 9 unit wide; measurement might be 40-18 unit

Figure 1.k : Uppercase M

We acquire the ability to evaluate typefaces and select the best ones for text design. They serve as a medium for the design of type expressions and typesetting. We have been given an activity in lectures to master the ten fundamental typeface families. This book helps me learn about typefaces and font families since it offers a detailed written description of each one. Paragraph spacing , type size,  alignment, line-length, type choice, forced line break, leading, kerning windows, orphans, cross alignment are also written and listed clearly in this book. It is is beneficent to read this book before starting any new topic of Typography. 

Figure 1.l : 10 Basic typefaces for beginners 

Figure 1.m : Different typeforms of each text

Figure 1.n : Different typeforms applied on a whole text

Figure 1.o : Orphan and windows 

Grid system

A grid is a pattern made up of regular intersections between vertical and horizontal lines. A grid system is a typographic design technique that is used to arrange text on a page, make it more clear, and enhance its meaning. I learned from the article that a grid is about making a page that provides a framework for typographic and visual components to work together to reinforce meaning, rather than painting a page and achieving the ideal composition within the confines of the paper trim. 

Figure 1.b : The composing of grids and margins

This book is a priceless tool for anybody studying typography and graphic design. It provides several instances to support the argument made, as well as a number of helpful activities to assist me in applying fundamental ideas. As I read this book, I discovered that it helps me learn and stay on course with the lecturers since it has all the typographic details I need to have a fundamental understanding of the subject. I won't find it difficult to learn when lecturers start a new chapter on new fonts, typesetting, or even type families.