Typography Task 1/ Exercises

7.4.2023 - 5.5.2023 (Week 1 - Week 5)
Chong Hui Yi / 0363195
Typography / Bechelor of Design (Honours) in Creative Media
Task 1 / Exercises

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LECTURES

Week 1: E-portfolio & Introduction

Mr. Vinod asked us to watch the video 'Typo_0_E-portfolio Briefing' to set up our own e-portfolios. During class, he provided important instructions regarding labeling, theming, the importance of writing feedback, etc.

Mr. Vinod highlighted the importance of explaining our work to reflect on our process and outcomes. He emphasized that while creativity is one wing of the bird, effective communication is the other wing that must be equally developed for success as a designer. I aspire to improve my skills in explaining ideas and communicating with others, while also cultivating my own unique creative style in producing my work.

Typo_0_Introduction

• Evolution: Typography has evolved over 500 years from calligraphy and lettering.
• Impact of democratization:
  
• The widespread availability of typography software has led to a decline in typographic quality globally.
• Calligraphy vs. lettering: 
• Calligraphy emphasizes writing & lettering focuses on drawing the outlines of letters
• Typography terminology:
• Font: The individual font or weight within the typeface.
• Typeface: The entire family of fonts/weights that share similar characteristics/styles.

Fig. 1.1.0 Font

Fig. 1.1.1 Typeface

Typo_1_Development

1. Early letterform development: Phoenician to Roman:

The tool that you hold in your hand has a very important influence on the type of writing that is created. Early letterforms developed from scratching into wet clay or carving into stone with tools like sharpened sticks or chisels. 

Fig. 1.2.0 Evolution from Phoenician letter

The Greek developed a style of writing called ‘boustrophedon’ (how the ox ploughs)

Writing direction:

- Phoenicians: right to left

- Greeks: right to left & left to right (they also changed the orientation of the letterforms) 

Fig. 1.2.1 Boustrophedon style

2. Hand script (3rd - 10th century C.E.)

Square capitals

• Serifs added to finish of main strokes

• Stroke width achieved with reed pen held at angle of approximately 60° off perpendicular

Fig. 1.2.2 Square capitals

Rustic capitals

• Compressed version of square capitals

• Faster and easier to write

• Slightly harder to read (due to compressed nature)

• Pen or brush held at an angle of approximately 30° off perpendicular

Fig. 1.2.3 Rustic capitals

Roman cursive

• Commonly used for everyday transactions

• Faster writing speed

Fig. 1.2.4 Roman cursive

Uncials

• Incorporate some aspects of Roman cursive hand, especially in the shape of A, D, E, H, M, U, and Q

• Alternatively seen as small letters
• Broad forms of uncials are more readable at small sizes compared to rustic capitals

Fig. 1.2.5 Uncials

Half-uncials

• Formalization of cursive hand

• Mark the beginning of lowercase letterforms

• Include ascenders and descenders

Fig. 1.2.6 Half-uncials

Caloline miniscule

• Set the standard for calligraphy for a century

Fig. 1.2.7 Caroline miniscule

3. Blackletter to Gutenberg’s type

Blackletter or Textura (Northern Europe): Condensed and strongly vertical letterform

Rotunda (The South): Rounder and more open hand

Fig. 1.2.8 Blackletter (Textura)

4. Text type classification:

Fig. 1.2.9 Text type classifications

Week 2: 

Mr. Vinod introduced himself, showed some of his own and students' work, and then began to provide feedback and suggestions on our "text expression" drafts (please see specific feedback for Week 2 for details).

"You gain from mistakes" and "mistakes should not be repeated" - Mr. Vinod's words have been very beneficial to me. Everyone makes mistakes, but correcting them and gaining experience from them may be the most important thing. 

Typo_2_Basic

Describing Letterforms

Fig. 1.3.0 Describing letterforms - PDF

Fig 1.3.1 Anatomy of type

The Font

• Uppercase
• Capital letters + certain accented vowels, c cedilla & n tilde, a/e & o/e ligatures

• Lowercase letters

• Small Capitals (small caps)
• uppercase drawn to the x-height of the typeface
• primarily found in serif fonts as part of an expert set

• Uppercase Numerals (lining figures)
• same height & same kerning width as uppercase letters 
  

• Lowercase Numerals (old style figures / text figures)
• set to x-height with ascenders and descenders
• less common in sans serif type-faces than in serif

• Italic 
• not common in small caps (only roman)
• refer back to fifteenth century Italian cursive handwriting

• Punctuation, miscellaneous characters

Fig. 1.3.2 Punctuation, miscellaneous character

• Ornaments

Fig. 1.3.3 Ornaments 

Describing Typefaces

• Roman (the standard version of a font)
• Book (lighter stroke)

• Boldface (thicker stroke than a roman form)
• Semi bold
• Medium
• Black
• Extra bold
• Super
• Poster (notably Bodoni)

• Light (lighter stroke than a roman form)
• Thin (lighter stroke)

• Condense (a narrower version of the roman font)
• Compressed

• Extended (An extended variation of a roman font)
  

Fig. 1.3.4 Describing Typefaces

Comparing Typefaces

The differences between typefaces are what make each one unique, rather than the similarities. From variations in x-height to differences in line weight and stroke widths, each typeface has its own distinct personality that conveys specific use and expression.

Fig 1.3.5 Comparing typefaces

Week 3: 

Today we didn't have class due to a public holiday, but the teacher gave us feedback on our type expression.

Typo_3_Text_Part 1

Tracking: Kerning and Letterspacing

Kerning: refers to automatic adjustment of space between letters

Letterspacing: to add space between letters

tracking: Addition and removal of space in a word or sentence

Fig. 1.4.0 Comparison of text with and without kerning

Fig. 1.4.1 Comparison of Kerning and Tracking

Uppercase letters can stand alone, but lowercase letters need the counterform between them to maintain readability. Counterform refers to the space enclosed by the letterform, which is the shape of the black space between the white letter forms. 

We do not recommend adding letter spacing between lowercase letters because it can disrupt the counterform shape and reduce the readability of words or sentences.

Formatting Text #note: Gray value refers to the gray scale created by text on a white page - too dark: not enough spacing

- too light: too much spacing

Flush left: The flush left format mirrors the experience of handwriting and creates an even gray value by keeping spaces between words consistent throughout the text.

Flush right: Flush right is an alignment format that emphasizes the end of a line and is useful in situations like captions where a strong orientation to the right is needed to clarify the relationship between text and image.

Justified: This format imposes a symmetrical shape on the text by expanding or reducing spaces between words and letters. However, it can create 'rivers' of white space running through the text. Careful attention to line breaks and hyphenation is required to minimize this problem.

The typographer's first job is to present the author message clearly and appropriately. If the type draws attention away from the words, it should be changed.

Text / Texture

Fig. 1.4.2 Different typefaces, different gray values

• The x-height and stroke width of a typeface affect the layout effect.
• Typefaces with a relatively larger x-height or heavier stroke width create a darker mass on the page.
  
• Sensitivity to these color differences is essential for creating successful layouts.

Leading and Line Length

Type size:

- Text type should be large enough to be read easily at arms length.

Leading:

- Text set too tightly: encourages vertical eye movement.

- Text set too loosely: creates striped patterns that distract the reader.

 

Line Length:

- Shorter lines require less leading; longer lines require more.

- Keep line length between 55-65 characters.

- Extremely long or short lines impair reading.

Type Specimen Book

- Type specimen book for reference in choosing typeface, size, leading, and line length etc.

- Printed pages necessary for selecting typeface.

- On-screen choice only for on-screen reading.

Week 4: 

Typo_4_Text_Part 2

Indicating Paragraphs

Pilcrow (¶): a typographical symbol that is used to indicate the start of a new paragraph

Paragraph Spacing

Fig 1.5.0 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. If indentation is used, justified alignment should be used instead of left alignment.

Extended paragraphs: It create wide columns of text and pose problems for readability, but there can be valid reasons for using them based on composition or function.

Widows and Orphans

Fig. 1.5.1 Widow & Orphan

TWO UNPARDONABLE GAFFES:

• Widow: a short line of type left alone at the end of a column of text. 
• Flush right and ragged left text is somewhat forgiving towards widows, but only slightly.
• Solution: rebreaking line endings throughout the paragraph.
• Orphan: a short line of type left alone at the start of new column.

# note: When adjusting kerning and letter spacing, it is recommended to limit the spacing to a maximum of plus or minus three.

Highlighting Text

- Change to italic font

- Change to bold font

- Change font

- Change colour (limited to black, cyan, and magenta)

Fig. 1.5.2 Size comparison of Serif & Sans-Serif Fonts

To change highlighted text from a serif font to a sans-serif font, you need to reduce the font size, as sans-serif fonts tend to look larger. This is shown in Fig. 1.5.2. Aligned figures and capital acronyms reduced by 0.5. 

Headline within Text

A Head:
- Indicates a clear break between topics within a section
- Set larger than the text in small caps and bold

B Head:
- Subordinate to A heads
- Indicates new supporting arguments or examples for the topic at hand
- Shown in small caps, italic, bold serif, and bold sans serif

C Head:
- Although not common, highlights specific facets of material within B head text
- Shown in small caps, italics, serif bold, and sans serif bold, and followed by at least an em space for visual separation

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.

Week 5:
Typo_5_Understanding

Understanding letterforms

 

Fig. 1.6.0 Letterforms are not symmetrical

The uppercase letters may appear symmetrical, but in fact, they are not. Each bracket connecting the serif to the stem of a letterform has a unique arc, and there are often differences in stroke weights.

Maintaining x-height

Fig. 1.6.1 Median & baseline 

X-height: The size of the lowercase letterforms.
Curved strokes like 's' must rise above or sink below the median and baseline to appear the same size as the vertical and horizontal strokes they connect to.

Form / Counterform

Fig. 1.6.2 Form / Counterform

Counterform, or the space between strokes of a letterform, is just as important as recognizing specific letterforms. It becomes particularly important when working with letterforms like 'r' that have no counters. How well you handle the counters when setting type determines how well words hang together and how easily they can be read.

Contrast

Fig. 1.6.3 Example of contrast

The basic principles of graphic design, particularly contrast, apply directly to typography

Typo_6_Screen&Print

Print Type Vs Screen Type

Type for Print

• Type was originally designed for print.
•  A designer's job is to ensure that text is smooth, flowing, and pleasant to read in print.
• Caslon, Garamond, and Baskerville are common typefaces used for print due to their elegance, readability, and versatility.
• These classic typefaces are easy to digest and neutral, making typesetting with them simple

Type for Screen

• Web typefaces are optimized for onscreen readability and performance.
• Adjustments can include taller x-height, wider letterforms, more open counters, heavier thin strokes and serifs, reduced stroke contrast, and modified curves and angles.
• Open spacing is an important adjustment for typefaces intended for smaller sizes on the web.
• Screen fonts (like Verdana, Georgia and etc.) should not be used for printed materials.
  
  

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. 

Font Size for screen 

• 16 pixels font size is about the same as 10-point font in print media.
• When reading from a distance, larger font sizes are needed, at least 2 points.
• It is recommended to use font sizes of 20-24 points for reading on a screen.
• Font sizes on screens are measured in pixels, but points are a better unit of measurement.

System Fonts for Screen/ Web Safe Fonts

• Windows, MacOS, and Google Android use different font groups.
• "Web safe" fonts appear across all operating systems and are a small collection of fonts that overlap from Windows to Mac to Google.
• Cross-platform fonts: Open Sans, Arial, Helvetica, Times New Roman, Georgia, Palatino, Garamond and etc.

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. 

Static Vs Motion

Static Typography 

• Has limited expressive potential compared to dynamic properties.
• Used in various designs, including billboards, posters, magazines, and fliers.

Motion Typography

• Temporal media offer typographers opportunities to “dramatize” type, for letterforms to become “fluid” and “kinetic”
• On-screen typography has become expressive and helps establish the tone of associated content or express a set of brand values.

~ THE END ~

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INSTRUCTIONS

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Task 1: Exercise - Type Expression

Our task is to draw a sketch of a text expression, and we need to choose four words out of six, including destroy, split, surprise, love, silence, party, and pause. These six words were selected through a vote and I chose split, silence, party, and pause.

1. Sketches

Fig. 2.1 sketches, week 1 (13/4/2023)

These are the sketches I drew on the "Sketches" app. My personal favorite word is the third "Silence", because I placed the dot on the letter "i" at the end as a period, indicating a pause for silence. However, I am hesitant to use this design because I am not sure if people will understand it. In addition to that, I also like the word "PARTY" in the fourth sketch. I designed it that way because parties are definitely lively, and I wanted to convey the feeling of each letter bouncing around.

2. Digitalization 

Fig. 2.1 first version of 'split', week 2 (17/4/2023) 

Fig. 2.2 second version of 'split', week 2 (20/4/2023)

I digitized two versions of the 'split' as shown in Fig. 1.1 and Fig. 1.2. Although the distortion in the first version was within an acceptable range, upon closer inspection, there were still many shortcomings. Therefore, I ultimately chose the second version of the 'split'.

Fig. 2.3 "silence" draft, week 2 (18/4/2023)

I proceeded with digitizing "silence". Since I was not familiar with these 10 fonts, I compared some fonts. I think the font size of "silence" should not be too big or too bold, so I chose the Univers LD Std (65 Bold) font. Since my idea is to express the quietness of the font with dashed lines, I chose a stroke thickness of 0.5, as it is not easy to see if it is too thin, and too thick would look strange.

Fig. 2.4 'PARTY' draft, week 2 (18/4/2023) 

Fig. 2.5 'PARTY' digitalization progress, week 2 (20/4/2023)

The biggest problem I encountered in digitizing the "PARTY" was drawing the spray of colorful ribbons. As can be seen from Fig. 1.4, I made many modifications to its style while trying to reduce the use of graphics. Initially, I tried various fonts for comparison, but none of them could effectively convey the feeling of "PARTY". Therefore, I switched to a more rounded and bold font and adjusted the rotation direction of each letter to make the overall design look less rigid.

Fig. 2.6 "PAUSE" digitalization, week 2 (20/4/2023)

'PAUSE': I used a video progress bar and a pause button to make the whole screen look like the movie is paused. I felt that the pause button should be more prominent, so I created a second version of "PAUSE." However, I was undecided about whether to choose a black or white background. After watching some YouTube videos, I noticed that most of them turn the screen gray when paused, so I chose the second version of "PAUSE" because it looks more like a typical movie pause, and the black background provides stronger contrast.

Final Type Expressions

Fig. 2.7 Final Type Expressions - JEPG, week 3 (27/4/2023)
        

Fig. 2.7 Final Type Expressions - PDF, week 3 (27/4/2023)

3. Type Expression Animation

Fig 2.8 Final animation timeline (15 frames), week 3 (27/4/2023)

I want the image to be split into black and white while the word "split" is split by the letter "l". I created an effect where the direction of the split "l" is opposite to the direction of the black and white background. Overall, my ideas were successfully implemented, but the biggest challenge was not handling some small details, not understanding the duration of each frame, accidentally shifting, or having a black dot, etc. After multiple adjustments, I finally completed it.

Final Outcome:

Fig. 2.9 Final gif, week 3 (27/4/2023)

Task 1: Exercise - Formatting Text

We'll receive incremental exercises aimed at improving our familiarity and skills with different formatting aspects. Completing these exercises will help us understand information hierarchy and spatial arrangement. After two weeks, we're required to submit one A4 layout that showcases our learned skills. Adobe InDesign is the software to be used for this task.

Kerning & Tracking Exercise:
We familiarized ourselves with tracking and kerning through the following exercise, but I realized that it can be challenging for beginners without experience to determine when to use tracking and kerning. 

Fig. 3A Without kerning and tracking, week 4 (1/5/2023)

Fig. 3B With kerning and tracking, week 4 (1/5/2023)

Fig. 3.1 Comparison of "Yi" with and without kerning, week 4 (1/5/2023)

Since my adjustments were subtle, it may be hard to see the difference between the text with and without kerning. I provide an example in Fig. 3.1 to show how I separated the letters "Yi" that were almost touching each other.

Fig. 3.2 Research on design layouts, week 4 (2/5/2023)

Fig. 3.3 Draft layout, week 4 (4/5/2023)

I experimented with various layout designs without considering kerning and tracking. My favorite design among them is the fifth one shown in Fig. 3.2, where I left a lot of space at the top to add visual interest. This is similar to the fourth one, but I found that leaving space at the bottom looked odd.

Fig. 3.4 Text formatting with left justified, week 4 (4/5/2023)

Fig. 3.5 text with tracking and without tracking, week 4 (4/5/2023)

I tried left-justified alignment as shown in Fig. 3.4. Although the layout looked more organized, the issue with the "river" still remained. Therefore, I opted for left alignment and started to adjust the kerning and tracking of the text. As a result, the right side of each paragraph became much smoother.

Fig. 3.6 Layout, week 4 (4/5/2023)

After adjusting the tracking of the text, I placed them into different layouts and eventually narrowed down my selection to four designs, two of which had different images. However, my personal preference was for the one with the typewriter image. Despite trying out numerous designs, I still liked the fourth one the most. In this version, I extended the image beyond the margin box, which can create a sense of openness and a more dynamic layout.

Fig. 3.7 Reducing uppercase font size, week 5 (9/5/2023)

As the font I chose is Univers LT Std, which does not have small capital letters, I reduced the font size of uppercase letters by 0.5pt so that they won't stand out too much.

Fig. 3.8 Adding leading, week 5 (9/5/2023)

Previously, the text had too little leading and the gray value was too dark. Additionally, I moved both the image and the title upwards. For the title, I increased the font size of "I am" to match that of "Helvetica" because Mr. Vinod mentioned that we do not need to emphasize any particular word.

FINAL Text Formatting Layout

HEAD

Font/s: Univers LT Std

Type Size/s: 30 pt

Leading: 23 pt

Paragraph spacing: 0

BODY

Font/s: Univers LT Std

Type Size/s: 9.5 pt

Leading: 11.5 pt

Paragraph spacing: 11.5 pt

Characters per-line: 59

Alignment: left align

Margins: 60 mm top, 15 mm left + right, 10 mm bottom

Columns: 2

Gutter: 5 mm

Fig. 3.9  Final Text Formatting Layout, week 5 (9/5/2023)

Fig. 4.0 Final Text Formatting Layout (PDF), week 5 (9/5/2023)

Fig. 4.1 Final Text Formatting Layout - Grids, week 5 (9/5/2023)

Fig. 4.2 Final Text Formatting Layout - Grids (PDF), week 5 (9/5/2023)

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FEEDBACK

Week 2:

General Feedback:

When it comes to designing a project, it can be helpful to throw all of our ideas into the draft and also the sketches shouldn't be large. The text expression must be designed by using the 10 fronts given by Mr. Vinod, and the idea can be similar. Besides that, we are only allowed to use minor graphical and some distortion in certain situations. We can use different fonts to design the text, but can’t use colour due to colour is dangerous for us.

To help us make progress, we can answer the following four questions objectively:

1. Are the explorations sufficient?
2. Does the expression match the meaning of the word? 
3. On a scale of 1-5, how strong is the idea?
4. How can the work be improved?

Specific Feedback:

The first "P" in "PAUSE" in my draft looks like an "R", while the second "PAUSE" gives the impression of "stop", so I need to think of another design. For the second "SPLIT", although the letters are distorted, if I use a slender font and slightly distort the letters, it should be acceptable. The idea of using "l" as a dividing line for the second "split" is also feasible. For the fourth "silence", it would be better if the letter "s" can also be replaced with a dotted line. The first "PARTY" is good, although it has some graphic elements, as long as I ensure that these lines are 0.5 stroke, it should be fine.

Week 3:

Specific Feedback:

Mr. Vinod said that 'silence' was done well, and although 'split' had some distortion, it was within an acceptable range. The font choice for 'PARTY' was not quite suitable and a more rounded font should be used instead.

Week 4:

General Feedback: We need to act out what our text expression is, not just adding an animation. Using more frames can also help create a smoother animation.

Specific Feedback: The animation of “split” worked well. 

Week 5:

General Feedback: To format the text for "I am Helvetica," all words can be the same font size and typeface, without emphasizing any particular word. Be mindful that uppercase capital letters or letter numbers can stand out from the text, disrupting the reading rhythm. To avoid this, use small capitals if the font has them. However, sans-serif fonts generally do not have small caps. If the font lacks small caps, you can decrease the text size, but only for a limited amount of text. When adding leading, it should be between 2.5-3pt. Use Ctrl+alt+I to show hidden characters, but do not use a forced line break. 

The proper order for text formatting is to first choose the typeface, then the point size, line length, leading, and paragraph spacing. Keep the line length for the body text the same, between 55-65 characters. Italics and bold fonts should not be used for body text, and at most one paragraph can feature them. Serif typefaces have more contrast than sans-serif typefaces. For a black background, bold or medium fonts in a serif typeface are suitable for body text. To create a dynamic layout, one side of the margin space must have more space than the other. Finally, the image used should be relevant to the topic.

TEXT FORMATTING

1. Is kerning and tracking appropriately done?

2. Does the font size correspond to the line-length, leading & paragraph spacing

3. Is the alignment choice conducive to reading?

4. Has the ragging been controlled well?

5. Has cross-alignment been established using base-line grids?

6. Are widows and orphans present?

Specific Feedback: The “I am" and “Helvetica" in the title should have the same point size, leading, and letter spacing, which needs to be adjusted. The image can be moved up slightly, and there is no problem with paragraph ragging.

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REFLECTIONS

Experience

Before taking the typography class, I thought it would be easy, but after learning more about it, I realized it was not. Sometimes, when watching lecture videos, I found them boring, but I learned a lot. In exercise 1 text expression, even though we were limited to certain fonts and couldn't distort text, there were still many designs that could convey the meaning of the text, which I found interesting. Previously, I thought that a book only needed content and pictures, and then just arranging them in order. However, in exercise 2 text formatting, I realized how difficult it is to publish a good book, as each page has to go through layout design, and it took me two weeks just to design one page. Regardless of which exercise it was, I knew it was easy to come up with similar designs to my classmates, so I tried to come up with more unique designs.

Observations

I think the most difficult part of our design process was the document, as I am not good at it and have never done anything similar before. I noticed that I tend to like to think about design ideas in my head, but I rarely sketch them out. I prefer to directly operate and see the results, which is a big disadvantage for me. I found that when reading a book, I began to pay attention to its layout design, paragraph ragging, fonts, and so on, which was a big change for me. In terms of time management, I still need to work harder. I found that inspiration can appear anywhere at any time, and if I don't seize it, it may disappear.

Findings

I learned a lot about the basics of typography and how to use InDesign to design a layout. I realized that I am actually quite interested in typography, and I enjoy the design process, which can be applied to designing the typography for posters. For my weaknesses, I should become more familiar with sketching and create a timetable to manage my time.

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FURTHER READING

Why Handlettering is Not Type

Fig. 5.0 Image taken from article, week 4 (1/5/2023)

This article discusses how the term "handlettered type" is a contradictory phrase and a sign of ignorance or laziness. It also explains the difference between type and lettering, with type being prefabricated letters that can be set, rearranged, disassembled, and reused, while lettering refers to hand-drawn letters that involve combining letters to form a composition that is greater than the sum of its parts. 

Causes of confusion between lettering and type

• Lack of training in penmanship and calligraphy, as many schools have discontinued these classes.
• The convenience of digital technology, which can make people overlook the differences between handwritten letters and prefabricated letters.
• Changes in design school curricula, which may focus more on digital technology and computer graphics rather than handwriting and calligraphy.

Typography design 101: a guide to rules and terms

Fig. 5.1 Image taken from article, week 5 (7/5/2023)

This is a brief history and overview of typography design, which is the art of arranging text in a visually appealing and readable way. There are three main styles of typography: serif, sans serif, and cursive, each with their own variations. A typeface or font family is the design of the letterforms, which can come in multiple styles and formats. The anatomy of letters is complex and has many different elements and terms. Typography can also create optical illusions, which can be used to make letters appear more symmetrical or visually equal.

Fig. 5.2 Optical illusions, week 5 (7/5/2023)

Illusions:

- The upper part of the letter S is smaller than the lower part.

- Circular letters are actually slightly larger than other letters.

- The letter O needs to be thickened on the sides to make it look symmetrical and consistent.

- The letter A is not symmetrical when horizontally flipped.

- Even simple geometric letters, such as the letter T, require calligraphic rules, with the top line being thin, the bottom line being thick, and the horizontal line being thin again.

- The horizontal lines of letters E and A are not located in the center of the letters.

- Letters B, P, and R are sister shapes, but their proportions are different.

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