Advanced Typography | Task 1 :Exercises 1 & 2
29.08.2022 - 26.09.2022 | Week 1 - Week 5
Yap Sze Ying | 0349172
Bachelor of Mass Communication (Hons) Digital Media Production
Advanced Typography | Task 1 :Exercises 1 & 2
LECTURES
Week 1 | AdTypo_1_Typographic Systems
"All design is based on a structural system." (Elam, 2007)
“Typographical organization is complex because the elements are dependent on communication in order to function. Additional criteria such as hierarchy, reading order, legibility, and contrast also come into play.
The typographic systems are akin to what architects term shape grammars. The typographic systems are similar that the systems has a set of rules that is unique and provides a sense of purpose that focuses and directs the decision making.” (Elam, 2007) Shape grammar is a set of shape rules that apply in a step-by-step way to generate a set, or language, of designs.
Systems:
Axial System: All elements are organised to the left to right of a single axis
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| Figure 1.1.1 & 1.1.2 Axial System (31st Aug 2022) |
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| Figure 1.1.3 & 1.1.4 Radial System (31st Aug 2022) |
Dilatational System: All elements expand from a central point in a circular fashion
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| Figure 1.1.5 & 1.1.6 Dilatational System (31st Aug 2022) |
Random System: Elements appear to have no specific pattern or relationship
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| Figure 1.1.7 & 1.1.8 Random System (31st Aug 2022) |
Grid System: A system of vertical and horizontal divisions
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| Figure 1.1.9 & 1.1.10 Grid System (31st Aug 2022) |
Transitional System: An informal system of layered banding. Keyword: Flowing
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| Figure 1.1.11 & 1.1.12 Transitional System (31st Aug 2022) |
Modular System: A series of non-objective elements that are constructed in as a standardised units. It allows one to move to different portions of page bc the limits are standardised.
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| Figure 1.1.13 & 1.1.14 Modular System (31st Aug 2022) |
Bilateral System: All text is arranged symmetrically on a single axis
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| Figure 1.1.15 & 1.1.16 Bilateral System (31st Aug 2022) |
Week 2 | AdTypo_2_Typographic Composition
Composition can be approached in a variety of ways. In Typography, it refers to the arrangement of typographic layouts.
Principles of Design Composition
When we think about composition, we think about the dominant principles underpinning design composition, which are emphasis, isolation, repetition, symmetry and asymmetry, alignment, perspective to name a few. However, they seem ambiguous when translating into typography layouts as it seems more relevant to imagery than complex units of information which consists of different elements.
The ideas mentioned above and the application of these ideas into real-life content (images, textual information and colour) on a page or screen can sometimes feel disparate. That said, some of these principles are a little more easily translatable than the others.
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| Figure 2.1.1 Typographical Emphasis (7th Sep 2022) |
The Rule of Thirds
It is a photographic guide to composition. It basically suggest that a frame (space) can be divided into 3 columns and 3 rows. The intersecting lines are are used as guide to place the points of interest, within the given space.
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| Figure 2.1.2 The Rule of Thirds (7th Sep 2022) |
Typographic Systems
The Grid System (or Raster Systems), which is derived from the grided compositional structure of Letter Press printing, is the most pragmatic and widely utilised of the 8 systems. It was further enhanced by what is now come to be termed as the Swiss (Modernist) style of Typography.
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| Figure 2.1.3 The Grid System (7th Sep 2022) |
While the Grid System may seem to be old or rigid, the versatility of the system and its (to some degree) modular nature tends to allow an infinite number of adaptations.
In reaction to this very ordered approach to Typography of the modernist era, a group of younger designers began to question and challenge this notion of order. Thus was born the post-modernist era in Typographical systems where chaos, randomness and asymmetry were explored. Legibility and readability were relegated to the back seat however the bests examples seem to combine the two seamlessly.
There was a method to their madness. Order was replaced with apparent chaos but for a generation that had grown up with Punk's anti-establishment music and thought, this chaos was exciting and 'new'. As such the asymmetry, random, repetition, dilatational and radial systems began to become part of the designer lexicon.
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| Figure 2.1.4 Random & Chaotic Compositions (7th Sep 2022) |
Other Models /Systems
Environmental Grid
This system is based on the exploration of an existing structure or numerous structures combined. An extraction of crucial lines both curved and straight are formed. The designer then organizes his information around this super-structure, which includes non-objective elements to create a unique and exciting mixture of texture and visual stimuli.
Due to the fact that the system/structures were developed around key features of an environment associated to the communicators of the message.
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| Figure 2.1.5 Environmental Grid (7th Sep 2022) |
Form and Movement
It is based on the exploration of existing Grid Systems. Mr Vinod created this himself, to get students to explore the multitude of options the grids offer, to dispel the seriousness surrounding the application of the grid system & to see the turning of pages in a book as slowed-down animation in the form that constitutes the placements of image, text and colour.
The placement of a form (irrespective of what it is) on a page, over many pages creates movement. It doesn't matter if the page is on paper or a screen.
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| Figure 2.1.6 Form and Movement (7th Sep 2022) |
Week 3 | AdTypo_3_Context & Creativity
Handwriting
Handwriting is important to study because the first mechanically produced letterforms were designed to directly imitate handwriting. Handwriting would become the basis or standard for form, spacing and conventions mechanical type would try and mimic.
The shape and line of hand drawn letterforms are influenced by the tools and materials used to make them. Sharpened bones, charcoal sticks, plant stems, brushes, feather and steel pens all contributed to the unique characteristics of the letterform. Additional factors included the material upon which the forms were written: clay, papyrus, palm leaf, animal skins (vellum and parchment) and paper.
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| Figure 3.1.1 Evolution of Latin alphabet (14th Sep 2022) |
Cuneiform
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| Figure 3.1.2 Cuneiform (14th Sep 2022) |
Cuneiform is the earliest system of actual writing. It was used in a number of languages between the 34C. B.C.E. through the 1st century C.E.. Its distinctive wedge form was the result of pressing the blunt end of a reed stylus into wed clay tablets. The characters evolved from pictograms and they are written from let to right.
Hieroglyphics
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| Figure 3.1.3 Hieroglyphics (14th Sep 2022) |
The Egyptian writing system is fused with the art of relief carving. The system was a mixture of both rebus and phonetic characters was the first link to a future alphabetic system. Hieroglyphic images have the potential to be used in three different ways:
- Ideograms - to represent the things they actually depict
- Determinatives - shows that the signs preceding are meant as phonograms & to indicate the general idea of the word
- Phonograms - to represent sounds that 'spell' individual words
Early Greek
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| Figure 3.1.4 Early Greek (14th Sep 2022) |
Built on the Egyptian logo-consonantal system, the Phoenicians developed a phonetic alphabet consisting of 22 letters. It was then adopted by the Greeks who added the necessary vowels. Early Greek were only capital letters, written between two guidelines to organise them into horizontal rows.
The words were in rows, but the direction of reading were not fixed at the time. Greek was often read in a format called boustrophedon or "as the ox plows". A row would be read from left to right and then switched in the next line.
These early Greek letters were drawn freehand, without the aid of compasses, rules and serifs. However, in time, the strokes of the letters grew stickers, the aperture lessened & serifs appeared. In Imperial Rome, these new forms served as models for formal lettering. Roman inscriptional letters were written with a flat brush, held at an angle like a broad nib pen, then carved into the stone with mallet and chisel.
Roman Uncials
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| Figure 3.1.5 Roman Uncials (14th Sep 2022) |
By the 4th century Roman letters were becoming more rounded, the curved form allowed for less strokes and enabled for quicker writing.
English Half Uncials
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| Figure 3.1.6 English Half Uncials (14th Sep 2022) |
In England the uncial evolved into a more slanted and condensed form. While English and Irish uncials evolved, writing on the European continent devolved considerably and needed a reformer. Luckily it came in the Carolingian Handwriting Reform.
After the fall of the Roman Empire, the end of a central advanced culture resulted in general illiteracy and a breakdown of handwriting into diverse regional styles. For 300 years the knowledge of writing was kept alive mainly in the remote outposts of religious cloisters and retreats.
Carolingian Minuscule
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| Figure 3.1.7 Carolingian Minuscule (14th Sep 2022) |
A court school was established under the direction of Alcuin of York. Charlemagne's patronage book production increased & language was standardised. Pronunciation, spelling, writing conventions, capitals beginning of a sentence, spaces between words & punctuation. A new script emerged called the Carolingian miniscule.
It was used for all legal & literary works to unify communication between various regions of the expanding European Empire. It was an important development as the standard Roman capital for it was the style that became the pattern for Humanistic writing of the fifteenth century.
Black Letter
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| Figure 3.1.8 Black Letter (14th Sep 2022) |
Gothic was the culminating artistic expression of the middle ages. The term originated with Italians who used it to refer to rude or barbaric cultures north of the Italian Alps.
The Gothic spirit took hold in France, Germany & England, where it was manifested through unhindered upward striving:
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| Figure 3.1.9 Gothic Writing Form (14th Sep 2022) |
the vertical supplanted horizontals as the dominant line in architecture; the pointed arch replaced the round arch of the Romans; the almond shape, or mandorla, was preferred. Gothic writing forms reflected this aesthetic. Blackletter is characterized by tight spacing and condensed lettering. Evenly spaced verticals dominated the letterform.
Condensing line spacing and letter spacing reduced the amount of costly materials in book production.
The Italian Renaissance
As the Gothic spirit reached its apex in the other areas of western Europe, Humanist scholars in Italy were slowly reviving the culture of antiquity. The renaissance embrace of ancient Greek and Roman culture spurred a creative wave through Italian art, architecture, literature and letter form design.
The Humanist admired the Carolingian script , which had clear open handwriting.
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| Figure 3.1.10 Italian Renaissance (14th Sep 2022) |
Humanist named the newly rediscovered letterforms Antica. The renaissance analysis of form that was being applied to art and architecture was directed toward letterform — resulting in a more perfect or rationalized letter.
Movable Type
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| Figure 3.1.11 Movable Type (14th Sep 2022) |
Printing (wood block) had already been practiced in China, Korea and Japan (Dharani Sutra, AD 750). Earliest known printed book (AD 868) is the Diamond Sutra: 16’ scroll with the world’s first printed illustration.
To conclude, the introduction of moveable type was introduced in the 1000-1100 CE. This innovation was pioneered in China but achieved in Korea (Diamond Sutra). In the late 1300-1399 CE, several decades before the earliest printing in Europe (Guttenberg’s bible 1439), the Koreans establish a foundry to cast movable type in bronze.
Handwriting
It is important to note is that later day typographers, through research, curiosity and a respect for history would pay homage to these developments. This would result in books being written and published, recreation of the hand written styles into mechanical forms for printing.
With the digital revolution, the west would begin to digitize many of its historical creations and type foundries would create, market and sell or license them. The recognition of the importance of these historical letterforms is something to be admired and learned from.
With the colonization of the east by the west, much of the heritage and cultural practices in literature, arts and crafts, languages and scripts would be halted or stunted. With that, below is a look into eastern developments in handwriting:
Creativity and inspiration should begin by observing our surroundings and exploration of our collective histories.
Week 4 | AdTypo_3_Context & Creativity
In the introduction of his typeface Malaga, Xavier Dupré (2007) suggested two reasons for typeface design:
- Type design carries a social responsibility so one must continue to improve its legibility.
- Type design is a form of artistic expression.
Adrian Frutiger
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| Figure 4.1.1 Frutiger (21st Sep 2022) |
Frutiger is a sans serif typeface designed by the Swiss type designer Adrian Frutiger in 1968 specifically for the newly built Charles de Gaulle International Airport in France.
Purpose: The goal of this new typeface was create a clean, distinctive and legible typeface that is easy to see both close up and from a distance.
Considerations/Limitations: Letterforms needed to be recognized even in poor light conditions or when the reader was moving quickly past the sign. He tested with unfocused letters to see which letterforms could still be identified.
Matthew Carter
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| Figure 4.1.2 Georgia & Verdana (21st Sep 2022) |
Carter's fonts were created to address specific technical challenges, for example those posed by early computers.
Purpose: the font was tuned to be extremely legible even at very small sizes on the screen
Considerations/limitations: The Verdana fonts exhibit characteristics derived from the pixel rather than the pen, the brush or the chisel. Commonly confused characters, such as the lowercase i j l.
Edward Johnson
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| Figure 4.1.3 Johnston Sans (21st Sep 2022) |
Edward Johnson was asked to create a typeface with “bold simplicity” that was truly modern yet rooted in tradition.
Purpose: London's Underground railway ordered a new typeface for its posters and signage from the calligrapher Edward Johnston.
Consideration/limitation: Johnston applied the proportions of Roman capital letters to his typeface, so it was rooted in history, rooted in traditional calligraphy. But it has an elegance and a simplicity that absolutely fitted the modern age.
General Process of Type Design
1. Research
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| Figure 4.1.4 Ink Traps (21st Sep 2022) |
To create type, we should understand type history, type anatomy and type conventions. We should also know terminologies, side-bearing, metrics, hinting.
It is crucial to determine the type’s purpose or what it would be used for, as well as what different applications it will be used for. We should also examine existing fonts that are presently being used for inspiration/ideas/reference/context/usage pattern/etc.
2. Sketching
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| Figure 4.1.5 Sketching (21st Sep 2022) |
Some designers use traditional tools to create their typeface sketches, which are then scanned them for the purpose of digitisation. They are more confident with their hands and have better controls using them.
Whereas some designers sketch their typeface using digital tool sets, which is much quicker, persistent, and consistent. However, this can sometimes impede the natural movement of hand strokes.
3. Digitisation
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| Figure 4.1.6 Glyphs Lab & FontLab (21st Sep 2022) |
There are professional softwares that are used for digitising typefaces. Amongst the leading are FontLab and Glyphs Lab. Designers who use Adobe Illustrator to design or craft the letterforms and then introduce to specialised font apps are often frowned upon by purists.
Attention should be given to both the whole form and counter form at this stage as the readability of type is heavily dependant on it.
4. Testing
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| Figure 4.1.7 Testing (21st Sep 2022) |
Testing is an important component in the design thinking process. The results of the testing is part of the process of refining and correcting aspects of the typeface. Prototyping is also part of the testing process and leads to important feedback.
5. Deploy
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| Figure 4.1.8 Deploy (21st Sep 2022) |
Even after deploying a completed typeface there are always teething problems which did not appear during prototyping and testing phases. Thus, the task of revision doesn’t end upon deployment.
Typeface Construction
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| Figure 4.1.9 Construction grid -Roman Capitals (21st Sep 2022) |
Roman Capital: The grid consists of a square, and inside it a circle that just touches the lines of the square in four places. Within the square, there is also a rectangle. This rectangle is three quarters the size of the square and is positioned in the centre of the square. Thus, using grids with circular forms can facilitate the construction of letterforms and is a possible method to build/create/design letterforms.
Construction & Considerations
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| Figure 4.1.10 Classification according to form and construction (21st Sep 2022) |
Many different forms and constructions must be taken into account when designing a new type. An important visual correction is the extrusion of curved and protruding forms past the baseline and cap line. This also applies to vertical alignment between curved and straight forms.
A visual correction is also needed for the distance between letters. It is not possible to simply place letters next to each other with equal spacing between them. The letters must be altered to a uniform ‘visual’ white space. This means that the white space between the letters should appear the same. This is called ‘fitting’ the type.
Week 5 | AdTypo_3_Context & Creativity
Perception: The way in which something is regarded, understood or interpreted.
In Typography, it deals with visual navigation & interpretation of the reader with contrast, form & organisation of content. The content can be textual, visual, graphical or colour.
Contrast
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| Figure 5.1.1 Contrast -Rudi Ruegg (24th Sep 2022) |
Carl Dair adds a two more principles into the mix; texture and direction. It is said to make design work and meaning pop out clearly & unambiguously, with flair.
Dair proposes 7 kinds of contrast (most of which has already been covered by Rudi Reugg albeit using different terms): size, weight, contrast of form, contrast of structure, contrast of texture, contrast of colour and contrast of direction.
Contrast /Size
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| Figure 5.1.2 Contrast in Size (24th Sep 2022) |
Contrast of size provides a point to which the reader’s attention is drawn. Most commony used when making a title or heading noticeably bigger than the body text.
Contrast /Weight
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| Figure 5.1.3 Contrast in Weight (24th Sep 2022) |
Weight describes how bold type can stand out in the middle of lighter type of the same style. Other than then using bold, using rules, spot, squares is also provide a “heavy area” for a powerful point of visual attraction or emphasis.
Constrast /Form
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| Figure 5.1.4 Constrast in Form (24th Sep 2022) |
Contrast of form is the distinction between a capital letter and its lowercase equivalent, or a roman letter and its italic variant, condensed and expanded versions of typeface.
Constrast /Structure
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| Figure 5.1.5 Constrast in Structure (24th Sep 2022) |
Structure means the different letterforms of different kinds of typefaces. For example, a monoline sans serif and a traditional serif, or an italic and a blackletter.
Contrast /Texture
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| Figure 5.1.6 Contrast in Texture (24th Sep 2022) |
By putting together the contrasts of size, weight, form, and structure, and applying them to a block of text on a page, it creates a contrast of texture. This depends partly on the letterforms themselves and partly on how they’re arranged.
Contrast /Direction
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| Figure 5.1.7 Contrast in Direction (24th Sep 2022) |
Contrast of direction is the opposition between vertical and horizontal, and the angles in between. Mixing wide blocks of long lines with tall columns of short line can also create a contrast.
Contrast /Colour
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| Figure 5.1.8 Contrast in Colour (24th Sep 2022) |
Usage of color is suggest that a second color is often less emphatic in values than plain black & white. Therefore it is important to give thought to which element needs to be emphasized and to pay attention to the tonal values of the colors.
Form
Refers to the overall look and feel of the elements that make up the typographic composition. It plays an important role in visual impact and first impressions. A good form usually is visually intriguing, which leads the eye from point to point while entertaining the mind.
Typography means to write according to form and derives from the Greek words “typos” (form) and “graphis” (writing). Typography can be seen as having two functions:
- to represent a concept
- to do so in a visual form
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| Figure 5.1.9 -5.1.12 Forms (24th Sep 2022) |
The interplay of meaning and form brings a balanced harmony both in terms of function and expression. When typeface is perceived as a form, it no longer reads as a letter because it has been manipulated by distortion, texture, enlargement, and has been extruded into a space.
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| Figure 5.1.13 Letters as forms (24th Sep 2022) |
Organisation /Gestalt
Gestalt Psychology is an attempt to understand the laws behind the ability to acquire and maintain meaningful perceptions. Gestalt psychologists (especially Max Wetheimer) created law that predit how perceptual grouping occurs under a variety of circumstances.
Gestalt theory emphasizes that the whole of anything is greater than its parts. Instead of breaking down thoughts and behaviour to their smallest elements, the gestalt psychologists believed that one is supposed to look at the experience as a whole.
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| Figure 5.1.14 Gestalt Principles (24th Sep 2022) |
Organisation / Gestalt: Perceptual Organisation / Groupings
- Law of Similarity is the gestalt grouping law that states that elements that are similar to each other tend to be perceived as a unified group. Similarity can refer to any number of features, including color, orientation, size, or indeed motion.
- Law of Proximity is the gestalt grouping law that states elements that are close together tend to be perceived as a unified group. Items close to each other tend to be grouped together and vice versa.
- Law of Closure refers to the mind’s tendency to see complete figures or forms even if a picture is incomplete, partially hidden by other objects, or if part of the information needed to make a complete picture in our minds is missing.
- Law of (Good) Continuation holds that humans tend to perceive each of two or more objects as different, singular, and uninterrupted object even when they intersect. The alignment of the objects or forms plays a major role for this principle to take effect.
- Law of Symmetry /Praganz is to ensure awareness and inform your work process. Organisation of information in the form of laying out complex content in a hierarchical manner requires practice and the knowledge gained herein but also elsewhere.
-THE END-
INSTRUCTIONS
Task 01: Exercise 01 - Typographic Systems
In this task, we were instructed to explore the 8 Typographic Systems Axial, Radial, Dilatational, Random, Grid, Modular, Transitional and Bilateral using one of the 3 contents given to us in Adobe Indesign.
- Size 200 x 200mm
- Chose 10 typefaces provided
- Black colour and one additional colour
- Limited graphical elements (line, dot, etc.)
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| Figure 2.1.1 8 Typographic Systems | Source: Mrs. Seckler (31st Aug 2022) |
1. Axial System
I decided to start with the axial system as I thought it would let me reacclimate to Indesign's controls. Although the apparent simplicity of the typographic system, it took me a long time to determine a suitable layout because it was simple to imbalance the body text and title. Below is the first one I did.
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| Figure 2.2.1 Axial Attempt #1 (7th Sep 2022) |
ITC New Baskerville Std Bold, ITC New Baskerville Std Roman
Mr. Vinod commented that the systems works, but I still experimented with a different layout to improve the readability and legibility of the element alignment. Thus, the below layout was created. In order to make the axial line more visible, I made the elements in the figure below centre aligned.
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| Figure 2.2.2 Axial Attempt #2 (7th Sep 2022) |
Typefaces/Fonts Used:
Adobe Calson Pro Regular, Adobe Calson Pro Semibold, Adobe Calson Pro Bold
Adobe Calson Pro Regular, Adobe Calson Pro Semibold, Adobe Calson Pro Bold
I initially struggled with the radial system because I didn't know how to make the elements looked aligned and how to get them all extend from a single point of focus. I therefore draw a semicircle with the ellipse tool and type the elements along the circle. Below is my first attempt of the system.
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| Figure 2.3.1 Radial Attempt #1 (7th Sep 2022) |
ITC New Baskerville Std Bold, ITC New Baskerville Std Roman
Mr. Vinod commented that this system needs to make the placement and curvature more dynamic and smoother. In order to take up more area, I proceeded to place the text-filled semicircle at the bottom left and increase the font size larger.
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| Figure 2.3.2 Radial Attempt #2 (7th Sep 2022) |
Adobe Calson Pro Regular, Adobe Calson Pro Italic, Adobe Calson Pro Semibold, Adobe Calson Pro Bold
3. Dilatational System
Another system that I had struggles with was the dilatational system. It was hard to create with creative ways to ensure information hierarchy while simultaneously producing an appealing layout. Below is the first attempt I did.
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| Figure 2.4.1 Dilatational Attempt #1 (7th Sep 2022) |
Typefaces/Fonts Used:
ITC New Baskerville Std Bold, ITC New Baskerville Std Roman
Mr. Vinod commented that the systems looks better and could still be improved. Therefore, I increased the font size and make the composition fill up the frame more.
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| Figure 2.4.2 Dilatational Attempt #2 (7th Sep 2022) |
Typefaces/Fonts Used:
ITC New Baskerville Std Bold, ITC New Baskerville Std Roman
I was doing the first attempt with a complete empty mind in this system. Having no idea what I was doing, I placed what I thought seemed random but there was still lot of empty space.
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| Figure 2.5.1 Random Attempt #1 (7th Sep 2022) |
Typefaces/Fonts Used:
ITC New Baskerville Std Bold, ITC New Baskerville Std Roman
Mr Vinod stated that the initial attempt of this systems has to be more chaotic. Hence, I proceeded to make a more cluttered version to emphasise the randomness of the system. For the below, I used a dark blue colour to emphasise "The ABCs of Bauhaus Design Theory" in order for it to remain eye-catching and arranged the elements randomly.
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| Figure 2.5.2 Random Attempt #2 (7th Sep 2022) |
Typefaces/Fonts Used:
Univers LT Std 65 Bold, Univers LT Std 65 Bold Oblique, Univers LT Std 55 Roman
5. Grid System
Initially, I was no idea what to do for the grid system as my concept didn't turn out the way I had wanted it to at the beginning. Thus, I began experimenting with the space and grids. Below is what I came up with.
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| Figure 2.6.1 Grid Attempt #1 (7th Sep 2022) |
Typefaces/Fonts Used:
Mr. Vinod stated that this system requires more space to be filled in as there is too much empty space. I experimented with a different layout for this system while increasing the font size, and I think it looks fine.
6. Transitional System
Typefaces/Fonts Used:
ITC New Baskerville Std Bold, ITC New Baskerville Std Roman
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| Figure 2.6.2 Grid Attempt #2 (7th Sep 2022) |
Typefaces/Fonts Used:
Janson Text LT Std 75 Bold, Janson Text LT Std 55 Roman
6. Transitional System
With the transitional system, I experimented with layering and incorporating empty space. I created the cultivate and surrounded it with phrases using the eclipse tool. For the dates and times, I just positioned horizontally in the layout's centre.
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| Figure 2.7.1 Transitional Attempt #1 (7th Sep 2022) |
Typefaces/Fonts Used:
ITC New Baskerville Std Bold, ITC New Baskerville Std Roman
Mr Vinod mentioned that this system should be unified and connected with each others (if curve then all curve). Hence, I tried centering the composition and enlarging the font to fill more space. Furthermore, I adjusted the placement of some of the curves and phrases.
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| Figure 2.7.2 Transitional Attempt #2 (7th Sep 2022) |
Typefaces/Fonts Used:
Janson Text LT Std 75 Bold, Janson Text LT Std 76 Bold Italic, Janson Text LT Std 55 Roman
7. Modular System
Initially, I was unsure if I had placed the phrases properly on this system. Thus, I just refer on what other students created using this system to get inspiration. Below are the first tryout I did.
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| Figure 2.8.1 Modular Attempt #1 (7th Sep 2022) |
Typefaces/Fonts Used:
Typefaces/Fonts Used:
Typefaces/Fonts Used:
Typefaces/Fonts Used:
ITC New Baskerville Std Bold, ITC New Baskerville Std Roman
This systems has to be modified as the initial placement of this system was incorrect. Hence, I proceeded to create another layout and repositioned the phrases within the grids. Below is my second tryout which I like a lot:
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| Figure 2.8.2 Modular Attempt #2 (7th Sep 2022) |
Typefaces/Fonts Used:
Futura Std Heavy, Futura Std Book
8. Bilateral System
The bilateral system was also one of the challenging ones because everything is centralised, it is simple to create a monotonous layout. In my initial attempt, I tryout centering the title and aligning the phrases with two lines elements.
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| Figure 2.9.1 Bilateral Attempt #1 (7th Sep 2022) |
Typefaces/Fonts Used:
ITC New Baskerville Std Bold, ITC New Baskerville Std Roman
Mr Vinod remarked that the placement is incorrect and that all the phrases should be centralised. Therefore, I had the second attempt with the layout that I think looks better, with the phrases centred in the centre.
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| Figure 2.9.2 Bilateral Attempt #2 (7th Sep 2022) |
Typefaces/Fonts Used:
Futura Std Heavy, Futura Std Book, Futura Std Light
Final Submission
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| Figure 2.10.1 Final Axial System -JPEG (7th Sep 2022) |
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| Figure 2.10.2 Final Radial System -JPEG (7th Sep 2022) |
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| Figure 2.10.3 Final Dilatational System -JPEG (7th Sep 2022) |
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| Figure 2.10.4 Final Random System -JPEG (7th Sep 2022) |
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| Figure 2.10.5 Final Grid System -JPEG (7th Sep 2022) |
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| Figure 2.10.6 Final Transitional System -JPEG (7th Sep 2022) |
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| Figure 2.10.7 Final Modular System -JPEG (7th Sep 2022) |
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| Figure 2.10.8 Final Bilateral System -JPEG (7th Sep 2022) |
-Final Typographic Systems with Guides and Grids -PDF (7th Sep 2022)-
-Final Typographic Systems -PDF (7th Sep 2022)-
Task 01: Exercise 02 - Type & Play
Part 01: Finding Type
For this exercise, we were tasked to make a selection of image between man-made objects or structures, and nature. Then, we were instructed to analyse, dissect and identify potential letterforms within the dissected image. The forms would be explored and ultimately digitized.
To begin, I searched for some images on Pinterest. I chose bare tree branches as my subject because I think that exploring the shapes of branches would be interesting. Before I decided to choose this image, I observed the at the branches to see if I could identify any potential letters. I discovered the letters A, X, L and K.
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| Figure 3.1.1 Chosen Images: Bare Tree Branches from Pinterest (12th Sep 2022) |
Letterforms Extraction
I then proceeded to outline and plane the letterforms. I traced the branches in Adobe Illustrator by using the pen tool. I made an effort to preserve the branch's finer elements, including the protruding tiny branches. I noticed from the extracted letters that the letterforms contrast between thin and thick strokes, have many sharp edges, and have curved and slanted stems.
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Reference
We were instructed to have a reference to help with the construction/refinement of our typeface. Futura Std Book is the typeface I chose out of the 10 provided as it most closely resembles the letterforms I traced.
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| Figure 3.1.3 Futura Std Book (12th Sep 2022) |
Digitisation
Here is an overview of the attempts in Adobe Illustrator. |
| Figure 3.1.4 Guides in Adobe Illustrator (12th Sep 2022) |
In my first attempt, I adjusted a few anchor points from the original extraction to simplify the shapes of the letterforms. In order to ensure they were all the same height, I placed the letters I had traced on the grids and had them adhere to specific heights.
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| Figure 3.1.5 Attempt #1 -Simplified letterforms (12th Sep 2022) |
For the second attempt, I began by utilising grids and placed the identical font (Futura Std Book) beneath the letterforms. I then proceeded to straighten individual letter parts to ensure uniformity and that each letter's stem width was the same.
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| Figure 3.1.6 Attempt #2 -Straightened letterforms (12th Sep 2022) |
I increased the contrast between the stems' and other sections of the letters' stroke widths in the third attempt. Besides that, I rounded off the sharp points' end.
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| Figure 3.1.7 Attempt #3 -Strengthen letterforms (12th Sep 2022) |
In the fourth attempt, I tried to standardise the letters more. For the letter A, I made the entire angle thinner overall than before. I tried to make the words for the X appear more straight-forward rather than as trembling letters. I made the V and L's strokes even straighter than before and the spacing between them more consistent. For the K, I adjusted the stroke width in order for it to look the same as the other letters.
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| Figure 3.1.8 Attempt #4 -Standardised letterforms (12th Sep 2022) |
After receiving feedback from Mr Vinod, I made a few minor adjustments to the fonts' axis letter A. I tried to make it align with the other letters by tilting it to the left. Once I was satisfied with the refinement, I made adjustments to the grids to show that the letter characteristics are aligned or in the same sections.
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| Figure 3.1.9 Attempt #5 -Refinement letterforms (21st Sep 2022) |
Final Submission
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| Figure 3.2.2 Original extracted letterforms compared to Final type design (21st Sep 2022) |
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| Figure 3.2.3 Final type design (21st Sep 2022) |
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| Figure 3.2.4 Letter A (21st Sep 2022) |
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| Figure 3.2.5 Letter X (21st Sep 2022) |
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| Figure 3.2.6 Letter V (21st Sep 2022) |
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| Figure 3.2.7 Letter L (21st Sep 2022) |
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| Figure 3.2.8 Letter K (21st Sep 2022) |
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| Figure 3.2.9 Type showcase (21st Sep 2022) |
-Final Finding Type -PDF (21st Sep 2022)-
Part 02: Type & Image
In this task, we were instructed to combine a visual with a letter/word/sentence of choosing. The objective is to enhance/support the interplay between the letter/word/sentence and the selected visual. The text must be woven into a symbiotic relationship with the image.
This task is related to HONOR design competition, we have select one of two themes:
(1) Cultural Prosperity · Celebration: A Totem of Renewing Festive Culture
(2) Renewal of life · Return: Contemplate human beings' relationship with all things.
We must take the design's adaptability into consideration as it will be fitted into variety of products.
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| Figure 4.1.1 Hydroponic system (26th Sep 2022) |
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| Figure 4.1.2 Attempt #1 -Renewal of life (26th Sep 2022) |
It was a hydroponic system in this image. I surrounded the hydroponic system with the word 'renewal'. In order to make the word "renewal" stand out in the image, I tried to add shadow and gaussian blur to the letter, which I modified to a colour that roughly matched the hydroponic plant. In addition, I mask the letters and use eraser tool to remove any unnecessary letter edges. I created the typeface for the letter "of life" using the "linear blur" blending modes that are fixed in this image. In order to produce a background that is more distinct, I also added background using the "soft light" blending modes.
Typefaces/Fonts Used: Telma Black Regular
Tools Used:
Mask & Eraser: To remove unnecessary letter border
Shadow & Gaussian blur: To pop out the letter of 'renewal'
Blending modes 'soft light' & 'linear burn': To make the image's background more distinct and the letter 'of life' fit in perfectly with the image
Following the lecturer's feedback, I begin a new design with the idea of 'renewal of life'.
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I decided to apply my creative touches to an image I saw on Pinterest as an illustration. Nature is the most colourful in autumn. I tried to give this illustration an autumnal vibe by incorporating several types of foliage. I masked the letters and used eraser tool to remove any unnecessary letter edges in order to add some leaves that would match in with the background. In order to better suit the letter with the concept, I also matched the background and letter's colours. In addition, I added "multiply" blending modes to the entire image to create an autumnal background and have the letter "renewal" mix in with the image.
Typefaces/Fonts Used: Telma Black Regular
Tools Used:
Pen tool: To create the background leaves more appealing for autumn
Mask & Eraser: To hide unnecessary edges of letter
Blending modes 'multiply': To create an autumnal background and have the letter 'renewal' mix in with the image
Final Submission
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-Final Type and Image -PDF (28th Sep 2022)-
Week 2
General Feedback:
Overall, the elements must occupy greater space, and some systems must be modified to fit in more.
Specific Feedback:
Axial systems Works. Dilatational system is better and could still be made better. Radial needs to make the placement more dynamic and the curve smoother. Random systems need to be more chaotic. For grid, needs to fill in more space as there is too much white space. Transitional need to be unified and connected (If curve then all curve). Modular’s elements must be contained within their grids and sets. For bilateral, placement is incorrect which need one central line and centralised.
Week 3
General Feedback:
Overall, the extraction and references are clear, just minor font modifications are needed.
Specific Feedback:Extraction is clear; it's not great but it's not bad. Fonts reference are clear, and the third attempts looks good. Besides that, a minor adjustment is still required to ensure that the fonts' axis, whether it is leaning or not, must be reconciled.
Week 4
General Feedback:
Overall, it's good.
Specific Feedback:
Letterforms are quite well developed and they're consistency. It does resembles a branch by its slightly irregular in size which is also nature.
Week 5
General Feedback:
It needs redesigned.
Specific Feedback:
The image should be horizontal in size. In addition, there are also problems with integration which the words needs to embed within the images.
REFLECTIONS
Experience
In the typographic system, I mainly stuggled with being creative with the various layout while strictly adhering to the systems. To learn more about typographic systems, I would browsed through several websites as well as scrutinise my works a lot. For the finding type, I truly enjoyed it and liked the concept of it. It was a creative and interesting way of creating type design from subjects. It was enjoyable to analyse an image for the type and image exercise and observe how the type worked with the image. However, I discovered that it was challenging at the refining stage since it requires patience to explore and modify the detailed parts of letterforms in order to produce attractive type that reflects the characteristics of the original object.
Observations
In exercise 1, I had to pay attention to balance while organising the layout in addition to observing the standard typography basics including leading, point size, alignments, etc. It's crucial to have equal weight distribution even in an asymmetrical design or layout. For the first part of the finding type exercise, I discovered that I needed to closely examine the letters to identify the issues. Luckily, the typeface I chose (Futura Std) led me to analyze its features and smoothness which enabled me to strategically shape the type and attempt to preserve the characteristics. For exercise part two, I learned to observe on the image and how I could blend in the type. Besides, I learned to observe the qualities of the image such as mood, colour and the subject I was trying to integrate my type with.
Findings
I learned through the typographic system exercise that it's important to pay attention to detail, use creativity, and arrange information according to visual hierarchy in various typographic systems. It's also important to choose typefaces carefully when combining them. Besides, colour and other visual elements are crucial in highlighting the layout. In finding type exercise, I realized that studying existing types is always helpful before we start constructing a type. Whenever we are stuck in the middle, we can refer back to the structure of reference to guide us develop further. For the type and image exercise, I discovered that the text's fluidity and movement are crucial when creating an interplay between the two, and I found it intriguing that text can be elements to highlight an image.
FURTHER READING
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| Figure 1.1.1 Typographic Systems -Kimberly Elam (25th Sep 2022) |
Typographic organisation has always been a complicated system as there are so many variables at play, including hierarchy, readability, contrast, and order of reading.
Eight major structural frameworks have been explored in typographic systems, including axial, radial, dilatational, random, grid, modular, transitional and bilateral systems.
- Axial -design to the left & right of a single axis
- Radial -design from a central point of focus
- Dilatational -design along a circular path
- Random -spontaneous design
- Grid -design with vertical & horizontal divisions
- Transitional -design with shifted bands & layers
- Modular -design with standardised units
- Bilateral -design that is symmetrical to an axis
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