Typography / Task 1: Exercises
GCD 60104 / TYPOGRAPHY
Task 1 / Exercises: Type Expression and Text Formatting
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WEEK 1
For the first week of the typography class, Mr. Vinod briefly introduced the module and platforms we will use for the rest of the semester. The Facebook group includes resources, a zoom meeting for the typography class, and our seniors' previous works. During the same period, Mr. Vinod teaches us how to use the platform Blogger for our ePortfolio. At the end of the class, he created a poll. Inside are words that we will use for a task due next week.
Mr. Vinod advised us to watch typography videos in a playlist posted on YouTube.
Typo0_Intro
In this pre-recorded lecture, Mr. Vinod briefly summarized the definition and usage of typography. Typography is a creation of a typeface. It is commonly used in animations, product labeling, signage systems, software applications, websites, etc. Hence, we can conclude typography plays a vital role in delivering information. For example, the efficacy of the signage system is directly proportional to the skill levels in typography. A wrong typeface will lead to misconceptions and ramifications.
Typography has evolved for 500 years from calligraphy to lettering to typography.
Typo_1_Development
It started with a disclaimer about the Western prejudice that some of the information presented might enclose as it is viewed from the western world's perspective, which tends to ignore inventions and innovations in Asia. Then, Mr. Vinod advised us to research the topics at hand further to obtain a more holistic understanding and to be wary of similar biases we may encounter in our search.
1. Early letterform development: Phoenician to Roman
This pre-recorded lecture talks about the development of typography throughout 500 years of the human era. Letterform was developed early by Phoenicians back in the 4th Century B.C.E. Tools, and mediums play an essential role in how the letterform looks.
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Fig 1.1 Evolution of the Phoenician Alphabet
Then, the Greeks decided to change the direction of writing. This style of writing is called 'Boustrophedon,' which means that lines of text are read alternately from left to right and then right to the left. The orientation of the letterforms also changes, followed by the change of direction. Like the Phoenicians, the Greeks did not use letter space or punctuation. |
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| Fig 1.2 Direction of writing for the Greeks, ‘Boustrophedon’ |
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Fig 1.3 Phoenician to Roman
2. Hand script from 3rd - 10th-century C.E. Square capitals: (now more simply known as just "serif" fonts) Written letterforms found in Roman monuments. These letterforms have serifs added to the finish of the main strokes.
Rustic capitals: Compressed versions of square capitals.
It allows twice as many words on a sheet of parchment and takes far
less time to write. Although it is faster and easier to do, rustic
capitals were slightly harder to read due to their nature. Roman cursive: Written for everyday transactions, and forms were simplified for speed. Roman cursive is the beginning of lowercase letterforms. Uncials: Uncials incorporated some aspects of the Roman cursive hand: uncials – small letters. The broad forms of uncials are more readable at small sizes than rustic capitals. Half-uncials: It mark the formal beginning of lowercase letterforms, replete with ascenders and descenders, 2000 years after the origin of the Phoenician alphabet. Charlemagne: The first unifier of Europe since the Romans, proclaimed in 789 to standardize all ecclesiastical texts. He entrusted this task to Alcuin of York, Abbot of St Martin of Tours. The monks rewrote the texts using both majuscules (uppercase), minuscule, capitalization, and punctuation which set the standard for calligraphy for a century. Blackletter (Textura): With the dissolution of Charlemagne's empire came regional variations upon Alcuin's script. A condensed, strongly vertical letterform known as Blackletter (Textura) gained popularity in northern Europe. In the south, a rounder, more open hand gained popularity, called the 'rotunda.' The humanistic script in Italy is based on Alcuin's minuscule. |
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Fig 1.4 Square capitals, 4th/5th century |
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| Fig 1.5 Rustic capitals, late 3rd - mid 4th century |
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Fig 1.6 Roman Cursive, 4th century
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| Fig 1.7 Uncials, 4th - 5th century |
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Fig 1.8 Half-Uncials, C. 500
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| Fig 1.9 Caroline Miniscule, C. 925 |
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| Fig 1.10 Blackletter (Textura), C. 1300 |
3. Timeline of typography development
1450 Blackletter > 1475 Old style > 1500 Italic > 1550 Script > 1750 Transitional > 1775 Modern > 1825 Square Serif / Slab Serif > 1900 Sans Serif > 1990 Serif / Sans Serif.
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| Fig 1.11 Timeline of typography development |
WEEK 2
The second week started with a review of all typography sketches done by the students. We screen-shared our work for Mr. Vinod to evaluate. Mr. Vinod delivers feedback and advice about where we can improve the drawings. I noted the input he gave us beneath this post's 'Feedback' section.
The following is a summation of the lecture video Mr. Vinod has provided.
Typo_2_Basic
In this lecture video, Mr. Vinod explains a letterform's component parts.
Typography: Text
1. Describing letterforms
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| Fig 2.1 Basic Letterform |
Baseline - The imaginary line showing the visual base of the letterforms
Median - The imaginary line defining the x-height of the letterforms
X-height - The height of any typeface of the lowercase X
2. The font
Uppercase is capital letters, including certain accented vowels, the c cedilla and n tilde, and the a/e and o/e ligatures.
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| Fig 2.2 Uppercase |
Lowercase include the same characters as uppercase.
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| Fig 2.3 Lowercase |
Small Capitals are uppercase letterforms drawn to the x-height of the typeface. Primarily found in serif fonts as part of what is often called expert set.
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| Fig 2.4 Small Capitals |
Uppercase Numerals are also called lining figures, these numerals are the same height as uppercase letters and are all set to the same kerning width. They are most successfully used with tabular material or in any situation that calls for uppercase letters.
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| Fig 2.5 Uppercase Numerals |
Lowercase Numerals are also known as old style figures or text figures, these numerals are set to x-height with ascenders and descenders. They are best used whenever you would use upper and lowercase letterforms. Lowercase numerals are far less common in sans serif type-faces than in serif.
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| Fig 2.6 Lowercase Numerals |
Italic. Most fonts today are produced with a matching italic. Small caps, however, are almost always only roman. This font refer back to fifteenth century Italian cursive handwriting.
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| Fig 2.7 Italic |
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| Fig 2.8 Italic vs Roman |
Punctuation, miscellaneous characters. Although all fonts contain standard punctuation marks, miscellaneous characters can change from typeface to typeface.
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| Fig 2.9 Punctuation, miscellaneous characters |
Ornaments are used as flourishes in invitations or certificates. Only a few traditional or classical typefaces contain ornamental fonts as part of the entire typeface family (Adobe Caslon Pro).
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| Fig 2.10 Ornaments |
3. Describing typefaces
Roman: The letterform is so called because the uppercase forms are derived from inscriptions of Roman monuments.
Italic: Named for fifteenth century Italian handwriting on which the forms are based. Oblique conversely are based on roman form of typeface
Boldface: Characterized by a thicker stroke than a roman form.
Light: A lighter stroke than the roman form. Even lighter strokes are called ‘thin’.
Condense: A version of the roman form, and extremely condense styles are often called ‘compressed’.
Extended: An extended variation of a roman font.
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| Fig 2.11 Different Categories Within the Type Family |
4. Comparing typefaces
10 typefaces mentioned in the following represents 500 years of type design.
Beyond the gross differences in x-height, the forms display a wealth of variety, in line weight, relative stroke widths and in feeling. The Rs display a range of attitudes, some whimsical, some stately, some mechanical, others calligraphic, some harmonious, and some awkward.
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| Fig 2.12 Different Typefaces |
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| Fig 2.13 Comparison of the 9 different typefaces |
WEEK 3
The third week of the typography class began with a review of the students' digitalized typography sketches. We screen-shared our work one by one for Mr. Vinod to evaluate. Mr. Vinod gives feedback and suggestions regarding how we can improve the digitalized piece.
Afterward, for the practical class period, we attempted animating our designs using adobe illustrator and adobe photoshop as instructed. I chose the word 'Pain' for the animated typography. At the end of the period, some of us showcased our finished animations. Mr. Vinod said I did a neat job and advised the animation to pause by a few frames when the letter P hits the letter a, followed by the blood flowing after.
The following is a summation of the lecture video Mr. Vinod has provided.
Typo_3_Text_P1
1. Tracking: Kerning and Letterspacing
Kerning: The automatic adjustment of space between letters. It is often mistakenly referred to as ‘letterspacing'.
Letterspacing: The addition of space between the letters.
Tracking: The addition and removal of space in a word or sentence.
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| Fig 3.1 Kerning and Letterspacing |
InDesign Shortcuts:
Increase font size: 'Ctrl + Shift + >'
Decrease font size: 'Ctrl + Shift + <'
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| Fig 3.2 Normal tracking, Loose tracking, Tight tracking |
2. Formatting Text
Flush Left: Each line starts at the same point but ends wherever the last word on the line ends. Spaces between words are consistent throughout the text, allowing the type to create an even gray value.
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| Fig 3.3 Flush left |
Centered: It imposes symmetry upon the text, assigning equal value and weight to both ends of any line. Because centered type creates such a strong shape on the page, its important to amend line breaks so that the text does not appear too jagged.
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| Fig 3.4 Centered |
Flush Right: Places emphasis on the end of a line as opposed to its start. It can be useful in situations (like captions) where the relationship between text and image might be ambiguous without a strong orientation to the right.
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| Fig 3.5 Flush Right |
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| Fig 3.6 Justified |
3. Texture
Different typefaces suit different messages, and it's up to the typographer to understand which fits the message at hand. Sensitivity to these subtle differences is is crucial to creating layouts for clients.
4. Leading and Line Length
Type size: Text type should be large enough to be read easily at arms length—imagine yourself holding a book in your lap.
Leading: Text that is set too tightly encourages vertical eye movement; a reader can easily loose his or her place. Type that is set too loosely creates striped patterns that distract the reader from the material at hand.
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Fig 3.8 Example of Bad Leading |
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| Fig 3.9 Different Typefaces with Different Leading |
Line Length: Appropriate leading for text is as much a function of the line length as it is a question of type size and leading. Shorter lines require less leading; longer lines more. A good rule of thumb is to keep line length between 55-65 characters. Extremely long or short lines lengths impairs reading.
5. Type Specimen Book
A type specimen book shows samples of typefaces in various different sizes. It is to provide an accurate reference for type, type size, type leading, type line length etc. You only determine choice on screen when its final version is to read on screen.
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| Fig 3.10 A Type Specimen Sheet |
WEEK 4
In the fourth week of the typography class, Mr. Vinod instructed us to publish our animated type expression under a Facebook post for him to review. After delivering feedback and directions on our work, he advised us on amendments we should input onto our blog. With that, our type expression task comes to an end.
Halfway through the class, he informed us of our next exercise, text formatting, and guided us on how to use Software: Adobe InDesign. Mr. Vinod gave us one week to complete the exercise.
Typo_4_Text_Part 2
6. Indicating paragraphs
Pilcrow (¶): A holdover from medieval manuscripts seldom use today.
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| Fig 4.1 Pilcrow |
Line space (Leading*): Between the paragraphs. If the text point size is 10pt, the leading should be 12pt, followed by the paragraph space being 12pt. This ensures cross-alignment across columns of text. The points difference can be different depending on the typeface used.
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| Fig 4.2 Line space vs Leading |
Standard indentation: Indent is the same size of the line spacing or the same as the point size of the text.
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| Fig 4.3 Standard Indentation |
Extended paragraphs: Create unusually wide columns of text. Despite these problems, there can be strong compositional or functional reasons for choosing it.
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| Fig 4.4 Extended Indentation |
7. Widows and Orphans
Widow: a short line of type left alone at the end of a column of text.
Orphan: a short line of type left alone at the start of new column.
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| Fig 4.5 Usage of Widow and Orphan in a Text |
The only solution to widows is to rebreak your line endings throughout your paragraph so that the last line of any paragraph is not noticeably short. Orphans, you might expect, require more care. Careful typographers ensure that no text column starts with the last line of the preceding paragraph.
8. Highlighting Text
Ways to highlight text are using Italics, Bold, using Bold and changing the type family, changing the color of the text (when changing the body text, you could only use cyan, magenta, or black), increasing the size of the reader a little, placing a field of color at the back of the text while also maintaining the reading axis, utilizing typographic elements, and quotation marks.
9. Headline within Text
A head indicates a clear break between the topics within a section.
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| Fig 4.6 Examples of A Head |
B heads indicate a new supporting argument or example for the topic at hand. As such they should not interrupt the text as strongly as A heads do. Here the B heads are shown in small caps, italic, bold serif, and bold san serif.
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| Fig 4.7 Examples of B Heads |
C heads highlight specific facets of material within B head text. They not materially interrupt the flow of reading. C heads in this configuration are followed by at least an M space (two spacebars) between the beginning of the text for visual separation.
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| Fig 4.8 Examples of C Heads |
10. Cross Alignment
Cross aligning: Headlines and captions with text type reinforces the architectural sense of the page, the structure, while articulating the complimentary vertical rhythms.
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| Fig 4.9 An Example of Cross Alignment |
WEEK 5
Typo_5_Understanding
Typography: Letters
1. Understanding Letterforms
The uppercase letter forms below suggest symmetry, but in fact it is not symmetrical. It is easy to see the two different stroke weights of the Baskerville stroke form (below); more noteworthy is the fact that each bracket connecting the serif to the stem has a unique arc.
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| Fig 5.1 Baskerville 'A' |
The uppercase letter forms may appear symmetrical, but a close examination shows that the width of the left slope is thinner than the right stroke. Both Baskerville (previous) and Univers (below) demonstrate the meticulous care a type designer takes to create letterforms that are both internally harmonious and individually expressive.
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| Fig 5.2 Univers 'A' |
The complexity of each individual letterform is neatly demonstrated by examining the lowercase ‘a’ of two seemingly similar sans-serif typefaces—Helvetica and Univers. A comparison of how the stems of the letterforms finish and how the bowls meet the stems quickly reveals the palpable difference in character between the two.
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| Fig 5.3 Helvetica 'a' and Univers 'a' comparison |
2. Maintaining x-height
The x-height generally describe the size of the lowercase letterforms. However, you should keep in mind that curved strokes, such as in ‘s’, must rise above the median (or sink below the baseline) in order to appear to be the same size as the vertical and horizontal strokes they adjoin.
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| Fig 5.4 Medium and Baseline |
3. Form / Counterform
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| Fig 5.5 Form and Counterform |
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| Fig 5.6 Different Types of Contrast |
Typo_6_Screen&Print
Typography in Different Medium
1. Print Type vs Screen Type
Primarily, type was designed intended for reading from print long before we read from screen. It’s the designer’s job to ensure that the text is smooth, flowing, and pleasant to read. They are versatile, easy-to-digest classic typeface, which has a neutrality and versatility that makes typesetting with it a breeze.
A good typeface for print-Caslon, Garamond, Baskerville are the most common typefaces that is used for print. Because of their characteristic which are elegant and intellectual but also highly readable when set at small font size.
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| Fig 6.1 Print Type |
Typefaces intended for use on the web are optimized and often modified to enhance readability and performance onscreen in a variety of digital environments. This can include a taller x-height (or reduced ascenders and descenders), wider letterforms, more open counters, heavier thin strokes and serifs, reduced stroke contrast, as well as modified curves and angles for some designs.
Another important adjustment – especially for typefaces intended for smaller sizes – is more open spacing. All of these factors serve to improve character recognition and overall readability in the non-print environment, which can include the web, e-books, e-readers, and mobile devices.
Hyperactive Link/ hyperlink: A word, phrase, or image that you can click on to jump to a new document or a new section within the current document. Found in nearly all Web pages. Text hyperlinks are normally blue and underlined by default.
Font Size for screen: 16-pixel text on a screen is about the same size as text printed in a book or magazine; this is accounting for reading distance. Because we read books pretty close — often only a few inches away — they are typically set at about 10 points. If you were to read them at arm’s length, you’d want at least 12 points, which is about the same size as 16 pixels on most screens.
System Fonts for Screen/Web Safe Fonts: Open Sans, Lato, Arial, Helvetica, Times New Roman, Times, Courier New, Courier, Verdana, Georgia, Palatino, Garamond.
Pixel Differential Between Devices: The screens used by our PCs, tablets, phones and TVs are not only different sizes, but the text you see on-screen differs in proportion too because they have different sized pixels.
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| Fig 6.2 Pixel Differential Between Devices |
2. Static vs Motion
Static typography has minimal characteristic in expressing words. Traditional characteristics such as bold and italic offer only a fraction of the expressive potential of dynamic properties.
INSTRUCTIONS
Task 1 (20%): Exercises
1) Type Expression
Type Expression: You will be given 4 words to compose and express. Begin by sketching out ideas. Once the ideas are selected, you will be given a set of 10 typefaces to work within the digitization phase. Through iteration, use the appropriate typeface and compose the letters in a manner that allows the meaning of the word to become visible — still and in motion. (2 weeks). Software: Adobe Illustrator and Adobe Photoshop.
2) Text Formatting
Formatting Text: Before commencing watch lectures: Text: P1 and Text: P2. You will be given incremental amounts of text that address different areas within text formatting i.e. type choice, type size, leading, line-length, paragraph spacing, forced-line-break, alignment, kerning, widows and orphans, and cross-alignment. These minor exercises (Formatting Text 1:4to 4:4A) will increase your familiarity and capability with appropriate software and develop your knowledge of information hierarchy and spatial arrangement. The task ends with the submission of one layout in A4 size, demonstrating what you have learned from the incremental exercises. (2 weeks). Software: Adobe InDesign.
Learning Goals:
1. To be able to compose and express using textual
information.
2. To be able to format text for effective communication.
1. Sketches
The words I have chosen for this Type Expression exercise are: Pain, Screech, Sticky, and Tired. I used a drawing software I am most familiar with to create these sketches, Clip Studio Paint.
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| Fig 7.1 Type Expression Sketches, Week 2 (1/9/2022) |
2. Digitalization
After Mr. Vinod has reviewed my
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| Fig 7.2 Digitalized Type Expressions, Week 2 (11/9/2022) |
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| Fig 7.3 Digitalized Type Expressions, Week 2 (11/9/2022) |
Final Type Expressions
The following are the digitalized typography after Mr. Vinod's feedback. He advises that I should adjust the artwork's size for more impact. Using the canvas's space is crucial as a text's size carries an expression. Additionally, Mr. Vinod advises a thinner font for S in the word 'Sticky' for better balance in my digitalized work. He suggests the font Univers LT Std Light for the design.
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| Fig 7.4 Final Digitalized Type Expressions - JPEG, Week 3 (12/9/2022) |
3. Animation
The following is my attempt at animating the type expression 'Pain'. This animation is done using the software Adobe Illustrator and Adobe Photoshop.
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| Fig 7.8 Animated Type Expression of 'Pain', - GIF, Week 3 (12/9/2022) |
Final Animated Type Expression
Mr. Vinod said I did a neat job and suggested that the animation pause by a few frames when the letter P strikes the letter a, followed by the liquid flowing afterwards. Furthermore, I added motion blur and zoom-in effect in the animation for a more significant impact when note a is hit.
After he finished reviewing my animation, I made improvements by following his feedback.
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| Fig 7.9 Final Animated Type Expression of 'Pain' - GIF, Week 3 (18/9/2022) |
EXERCISE 2
The following is the image used for my text formatting exercise.
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Fig 8.1 Text Formatting Image https://www.pexels.com/photo/person-walking-on-stairs-in-greyscale-photograph-3048527/ |
Layout Compositions
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Fig 8.2 Layout Compositions, Week 4 (24/9/2022) |
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| Fig 8.3 Layout #1 |
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| Fig 8.4 Layout #2 |
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| Fig 8.5 Layout #3 |
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| Fig 8.6 Layout #4 |
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| Fig 8.7 Layout #5 |
Fonts: Bembo Std
Heading: Extra Bold
Captions: Italic
Body: Regular
Point size
Heading: 30pt (Layouts #1, #3, #4, #5) & 36pt (Layout #2)
Captions: 10pt
Body text: 10pt
Leading: 12pt
Paragraph spacing: 12pt
Line length: 55-65 characters
Alignment: Flush left
Ultimately, I selected Layout #1 in Fig 0 as my final submission for the Text formatting exercise.
Mr. Vinod remarks that my text formatting has good typesetting, line length, point size, leading, and paragraph spacing; therefore, there are no issues with cross-alignment and ragging. He comments that I have a safe layout thanks to the equal space at the top and bottom. Furthermore, he suggests I drag the text and picture to either top or bottom to create a more prominent design.
Following his advice, in the end, I lowered the text and picture while rearranging the heading and image format to match the margins. I changed the font since Bembo Std lacks intensity. Lastly, I settled with the Adobe Caslon Pro typeface, which appears denser in value.
Final Text Formatting
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| Fig 8.8 Final Text Formatting - JPEG, Week 5 (26/9/2022) |
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| Fig 8.9 Final Text Formatting (Grids) - JPEG, Week 5 (26/9/2022) |
Fonts: Adobe Calson Pro
Heading: Bold
Captions: Italic
Body text: Regular
Point size
Heading: 36pt
Captions: 10pt
Body
text: 10pt
Leading: 12pt
Paragraph spacing: 12pt
Line
length: 55-65 characters
Alignment: Flush left
Margins
Top: 80mm
Bottom: 17.7mm
Columns: 2
Gutter: 10mm
FEEDBACK
Week 1
General Feedback: The blog is set up, and the
link is uploaded into google spreadsheets as instructed. I have divided
the posts into labels according to the courses.
Week 2
General Feedback: Sufficient word exploration
with the use of mind map except for the word 'Screech'. Sketches are
uploaded to the blog. Some advice and feedbacks Mr. Vinod has given to the
class are:
- Do not merge more than one idea.
- Use minimal distortion.
- Utilize objects with the proper letter.
- Don't think about the animation during the sketch process, as it may lead to potential distraction/slump.
- The more you use elements, the less it's typographical it becomes.
- Think that you are pitching an idea for a job that would make millions.
- Don't use too many emphasis lines as it can distract from the initial message.
Specific Feedback: The word 'screech' may need some improvements as my idea did not deliver smoothly. Mr. Vinod gave me some suggestions I can improve on for the 3rd 'Sticky' design.
Specific Feedback: Mr. Vinod advises that I should adjust the artwork's size for more impact. Using the canvas's space is crucial as a text's size carries an expression. Additionally, Mr. Vinod advises a thinner font for S in the word 'Sticky' for better balance in my digitalized work. He suggests the font Univers LT Std Light for the design. Afterwards, we tried animating our designs using adobe as instructed. I chose the word 'Pain' for the animated typography. Mr. Vinod said I did a neat job and advised the animation to pause by a few frames when the letter P hits the letter a, followed by the blood flowing after.
Week 5
General Feedback: Good typesetting, good line length, good point size, good leading, good paragraph spacing, there are no issues with cross-alignment and ragging.
Specific Feedback: Mr. Vinod comments that I have a safe layout thanks to the equal space at the top and bottom. Furthermore, he suggests I drag the text and picture to either top or bottom to create a more prominent design.
Week 6
General Feedback: Mr. Vinod explains that it is necessary for us to provide a digital draft instead of an unfinished sketch. In the end of the class, he gave some advices on how we could improve on ourselves. Taking note from what Mr. Vinod has said, we need to work on our poor working habit, integrity, and discipline to become the best.
Specific Feedback: Text Formatting, kerning and letter spacing still requires work. The text should have some ragging if the text's layout alignment is left aligned.
REFLECTIONS
Experience:
Unlike other courses, Mr. Vinod's class has a focused atmosphere. Moreover, the consistency of the lectures makes me feel less anxious as I know what to expect next. It's amusing how he acknowledges that fact. I like Mr. Vinod's bluntness when it comes to giving feedback. I'm glad to have attended this course as he could guide or assist me by identifying what I lack.
Observation:
I observed that I lack in doing compositions. I noticed that I started to adopt a habit of taking notes during class to focus. I am not a morning person, so this habit helps. Apart from that, I am aware that I am still not used to it when the lecture is immediately followed by its use in practice. Thankfully this is effective for me, as I can use and retain the information that Mr. Vinod shared more effectively.
Findings:
I discovered that my composition skills need improving as my designs may look stiff and awkward due to the arrangement. I would struggle for a long time to find a pleasing composition. Knowing this, I will need to learn more about what I lack. I also found that sitting at the long front desk helps me focus on lectures better.
FURTHER READING
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| Fig 9.1 Typography Essentials: 100 Design Principles for Working with Type, by Ina Saltz (2019) |
Based on the list of recommended readings in typography's module information booklet, I did some further reading with the book "Typography Essentials Revised and Updated: 100 Design Principles for Working with Type. Edition: Revised and updated" written by Ina Saltz.
In page 18 of this book, it talked about how and letterforms may appear in a medium. The medium may dictate what constitutes a more legible type choice. Consider whether the text appears on a reflective surface (i.e. paper, billboard, environmental signage) or a light-emitting surface (i.e. a computer screen, a video screen, a tablet, or mobile device). In any case, the medium must be considered when choosing all of the typographic aspects to best convey content.
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| Fig 9.2 Typography Essentials, page 18 |
I understand now that we need to consider if the medium is a reflective surface, consider the target audience, etc. I acquired more knowledge and awareness when it comes to considering the medium as this subject wasn't touched on in depth in our lectures.