Advanced Typography - Task 1 : Exercise 1 & 2
30.08.2023 -13.09.2023 ( Week 1- Week 3 )
Low Li Vern/ 0362678
Advanced Typography/ Bachelor of Design (Honours) in Creative Media
Task 1: Exercise 1&2
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LECTURES
WEEK 1
Introduction to Typographic Systems
-There exist eight primary variations, each capable of generating an
infinite number of permutations. These eight major variations can be
summarized as follows:
The axial system has a simple premise — all elements are arranged on either side of an axis or line. You can centre the axis itself in the composition or, for a more energetic asymmetrical composition, place the axis off centre to either the right or left.
2.Radial
Every element emanates or derives
from a central point of focus.
3. Dilational
All elements expansion
from a central point on a circle.
4. Random
Elements seem to
lack any discernible pattern
or apparent relationship.
5. Grid
A system of
vertical and horizontal divisions.
6. Modular
A series of
non-objective elements that
are constructed as a standardized unit.
An informal system of
layered banding.
All text is arranged symmetrically on a
single axis.
Advanced Typography: Typographic Composition
-Principles of Design Composition
Emphasis, isolation, repetition, balance (symmetry/asymmetry), alignment,
perspective, rhythm, contrast.
-The Rule of Thirds
The photography composition principle known as the Rule of Thirds
involves dividing the frame into a grid of nine equal sections, achieved
through three columns and three rows. This grid provides intersecting
lines that serve as guides for positioning key elements of interest
within the frame.
Other Models / Systems
1. 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.
The fact that the system/structures were developed around key
features of an environment associated to the communicators of the
message.
2. Form and Movement
By delving into established grid systems, the arrangement of a shape
within
a layout, spanning multiple pages, generates a sense of flow.
These shapes may symbolize images, text, or colors.
The project entailed placing unmoving shapes on layouts utilizing concealed grids. The primary focus was on establishing visual links and unexpected elements on every page, using these shapes to symbolize images, text, or colors. In the animated rendition, the book spreads mimic the step-by-step progression found in a dynamic screen.
WEEK 3
Handwriting
-We study handwriting 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.
Cuneiform, is the earliest system of actual writing. It was used n a number of languages between 34C. B.C.E.
The Egyptian writing system is fused with the art of relief
carving.
The system was a mixture of both rebus and phonetic characters the first
link to a future alphabetic system. Hieroglyphic images have the
potential to be used in three different ways:
1. As ideograms, to represent the things they actually depict.
2. As determinatives to show that the signs preceding are meant as
phonograms and to indicate the general idea of the word
3. As phonograms to represent sounds that spell out individual words
-Early greek (5th C. B.C.E.):
Drawn freehand, not constructed with compasses and rules, and
they had no serifs. In
time the strokes of these letters grew thicker, the aperture lessened,
and serifs appeared.
-Roman Uncials:
By the 4th century Roman letters were
becoming more rounded,
the curved form allowed for fewer strokes and could be written faster.
-English Half Uncials (8th C.):
In England, the uncial evolved into a more slanted and condensed
form.
-Carolingian Minuscule:
Capitals at the start of a sentence, spaces between words and punctuation. It was this style that became
the pattern for the Humanistic writing of the fifteenth century; this
latter, in turn, was the basis of our lower-case roman type.
-Black Letter (12-15 C. CE):
What is Gothic? Gothic was the culminating artistic expression of the
middle ages. occurring roughly from 1200 - 1500. The term Gothic
originated with the Italians who used it to refer to rude or barbaric
cultures north of the Italian Alps.
It 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:
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 11 C.—14 C.
Printing began in China, Korea, and Japan as early as AD 750 with the
Diamond Sutra being the first printed book in 868. China attempted
movable type but faced challenges due to the number of characters. In
the late 14th century, Koreans successfully cast movable type in bronze,
leading to the eventual development of Han'gul script, surpassing
Chinese efforts. This innovation emerged between 1000-1100 CE, predating
European printing by several decades, such as Gutenberg's Bible in 1439.
-Evolution of Middle Eastern Alphabets:
It is also important to note that while the Phoenician letter marks a
turning point in written language
use of sound represented in letters the script
itself has been possibly influenced by the Egyptian Hieroglyphics and
Hieratic Scripts.
From the Oracle bone to Seal Script to Clerical Script, Traditional and
Simplified scripts.
The oldest writing found in the ‘Indian’ subcontinent the Indus Valley
Civilization (IVC) script (3500-2000 BCE), is as yet undeciphered and
seems to have been somewhat logo-syllabic in nature.
-The Brahmi script (450–350 BCE):
The earliest writing system developed in India after the Indus script. It
is one of the most influential writing systems; all modern Indian scripts
and several hundred scripts found in Southeast and East Asia are derived
from Brahmi.
Why is handwriting important in the study of type/typography?
We study handwriting because the first mechanically produced letterforms
were designed to directly imitate handwriting. Handwriting would become
the basis or standard that for form, spacing and conventions mechanical
type would try and mimic.
WEEK 4
Designing Type
Type Design Process
1. Research
2.Sketching
3.Digitisation
4.Testing
5.Deploy
1. Research
-To understand type history, type anatomy, type conventions and
terminologies.
-Determine the type’s purpose or what it would be used for and what
different applications it will be used in.
-Study existing fonts that are presently being used for inspiration,
ideas, reference, context, usage pattern, etc.
2. Sketching:
Traditional: Some designers sketch their typeface using the
traditional tool set (brushes, pens, ink and paper) then scan them for the purpose of digitization. They are more confident
with their hands and have better control using it.
Digital: Some designers sketch their typeface using digital tool sets,
such as Wacom directly into a font design software (much quicker,
persistent, and consistent) but this can sometimes impede the natural
movement of hand strokes.
3. Digitisation
Professional softwares: FontLab and Glyphs App. Some designers also use
Adobe Illustrator then only the specialised font apps. This however is
frowned upon by the purist.
4. Testing
The results of testing are 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. Depending on the typeface category (display type/text type) the
readability and legibility of the typeface becomes an important
consideration. However, it is not as crucial if the typeface is a display
type, where expression of the form takes a little more precedence.
5. Deploy
Even after deploying a completed typeface there are always teething
problems that did not come to the fore during the prototyping and testing
phases. Thus, the task of revision doesn’t end upon deployment. The rigour
of the testing is important so that the teething issues remain
minor.
WEEK 5
Perception and Organisation
-Perception is "the way in which something is regarded, understood, or
interpreted". So, is perception what you see and therefore understand--or
what you are manipulated into seeing and understanding?
-Perception in typography deals with the visual navigation and
interpretation of the reader via contrast, form and organisation of the
content. Content can be textual, visual, graphical or in the form of
color. However our focus today is in typography.
Contrast
1. Size
2. Weight
3. Form
4. Structure
5. Texture
6. Direction
7. Colour
1.Size:
A contrast of size provides a point to which the reader's attention is
drawn. For example if you have a big letter and a small letter you will
obviously see the big letter first before the small. The most common use of
size is in making a title or heading noticeably bigger than the body text.
2.Weight:
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, therefore not only types of varying weight.
3.Form:
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 are also included under the contrast of form.
4. Structure:
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.
5.Texture:
By putting together the contrasts of size, weight, form, and structure,
and applying them to a block of text on a page, you come to the contrast
of texture.
Texture refers to the way the lines of type look as a whole up close
and from a distance. This depends partly on the letterforms themselves and partly on how
they're arranged.
6. Direction:
Contrast of direction is the
opposition between vertical and horizontal, and the angles in between. Turning one word on its side can have a dramatic effect on a layout. Text
blocks also have their vertical or horizontal aspects of direction. Mixing
wide blocks of long lines with tall columns of short line can also create
a contrast.
7. Color:
The use of color is suggested that a second color is often less emphatic
in values than plain black on 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 that are used.
Contrast and Conflict
Form
-The overall look and feel of the elements that make up the typographic composition. To represent a concept by doing so in a visual form. The interplay of meaning and form brings a balanced harmony both in terms of function and expression.
-Originating from the Greek words "typos" (form) and "graphis" (writing), typography means to write in accordance with form.
Typography can be seen as having two functions:
1. to represent a concept
2. to do so in a visual form.
-Displaying type as a form provides a sense of letterforms' unique characteristics and abstract presentation.
-The overall look and feel of the elements that make up the typographic composition. To represent a concept by doing so in a visual form. The interplay of meaning and form brings a balanced harmony both in terms of function and expression.
-Originating from the Greek words "typos" (form) and "graphis" (writing), typography means to write in accordance with form.
Typography can be seen as having two functions:
1. to represent a concept
2. to do so in a visual form.
-Displaying type as a form provides a sense of letterforms' unique characteristics and abstract presentation.
Organisation / Gestalt: Perceptual Organisation / Groupings
-The 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.
-The Law of Proximity is the gestalt grouping law that states
elements that are close together tend to be perceived as a unified
group. This straightforward law states that items close to each other
tend to be grouped together, whereas items further apart are less likely
to be grouped together.
-The 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.
INSTRUCTIONS
Task 1
WEEK
Exercise 1: Typographic Systems
For this exercise, we are assigned to explore 8 typographic systems which
are Axial, Radial, Dilatational, Random, Grid, Modular, Transitional and
Bilateral system using InDesign.
Instructions given are :
1. Watch
Lecture 1 and
then the video tutorials:
InDesgin Formatting
& Additional explanation on the
Modular System.
2. Read / Research (optional) the topic further by reading the book:
Typographic Systems by Kimberly Elam (see TEAMS: General > Files >
Books)
3. Refer to sample student eportfolios should you wish to analyse
and evaluate exemplary work (see TEAMS: Class Notes > Exemplary
eportfolios & Tasks)
4. Update your eportfolio with the necessary Lectures and process
work (research + process) followed by final outcomes of your processes.
Ensure to segregate the final outcomes. Update your reflection and further
reading. Refer to best practices in exemplary works.
5. Export final outcomes as JPEG @300ppi grayscale; PDF (turn off
spreads) with and without guides (turn on guides when saving PDF)
InDesign Progress 1
Task Requirements:1. Use InDesign
2. Size: 200 x 200 mm
3. Can use one other colour.
4. Less graphic elements.
Sketches
After research, I sketch out some of my idea in my notebook. I am not
really satisfied with the sketch but I decide to digitalize to learn
how will it look like. As things may be not perfect at first.
Fig 1.1 Sketches (1.9.2023-Week 1)
Digitalize
Fig 1.2 Axial Progression (1.9.2023-Week 1)
Fig 1.3 Dilational Progression (1.9.2023-Week 1)
Fig 1.4 Radial Progression (1.9.2023-Week 1)
First Attempt
I have design 8 different design for each typographic system as my first
exploration, I think I need feedback from Mr Vinod first before adding new
creative ideas.
Fig 2.1 Axial First Attempt (2.9.2023-Week 1)
Fig 2.2 Modular First Attempt (2.9.2023-Week 1)
Fig 2.3 Dilational First Attempt (2.9.2023-Week 1)
Fig 2.4 Bilateral First Attempt (2.9.2023-Week 1)
Fig 2.5 Radial First Attempt (2.9.2023-Week 1)
Fig 2.6 Transitional First Attempt (2.9.2023-Week 1)
Fig 2.7 Grid First Attempt (2.9.2023-Week 1)
Fig 2.8 Random First Attempt (2.9.2023-Week 1)
Fig 2.9 First Attempt of Typographic System (3.9.2023-Week 1)
Some of the design is hard to have other creative design as they have their own rules, but Mr Vinod says that we must think out of the box and sometimes we can ignore some of the rules.
After the feedback from Mr Vinod I decide to explore more in random system,
radial system and dilational system.
WEEK 2
InDesign Progress 2
First I decide to try out some new design in dilational system. I use 4
circles in this design, the information is separated into different parts.
In the first design, I use a black circle shape with white font, but found
it challenging to read and aesthetically unappealing. Consequently, for the
second design, I switched to a white background with black font, resulting
in an improved visual presentation compared to the first version.
Fig 3.1 Dilational Second Attempt (7.9.2023-Week 2)
Fig 3.2 Dilational Third Attempt (7.9.2023-Week 2)
Fig 3.3 Radial Second Attempt Progress (7.9.2023-Week 2)
Fig 3.4 Radial Second Attempt (7.9.2023-Week 2)
Fig 3.5 Random Second Attempt (7.9.2023-Week 2)
TASK 1 / Exercise 1: Typographic Systems Final Attempt
TASK 1 / Exercise 1: Typographic Systems Final Attempt PDF
TASK 1 / Exercise 1: Typographic Systems Final Attempt PDF with Guides
WEEK 3
Task 1
Exercise 2 : Finding Type (Type & Play)
1. View previous student eportfolio examples (Class Notebook) to see how
documentation was
carried out for Finding Type (Type & Play)
2. Document Finding Type process work in eportfolio
3. Final Submission should consist of:
- Image
- Extracted Letterforms on baseline (illustrator)
- Reference font
- Final letterforms on baseline
- Original extraction and final letterforms next to each other
carried out for Finding Type (Type & Play)
2. Document Finding Type process work in eportfolio
3. Final Submission should consist of:
- Image
- Extracted Letterforms on baseline (illustrator)
- Reference font
- Final letterforms on baseline
- Original extraction and final letterforms next to each other
1. Chosen Photo
Fig 4.1 First choice of photo (11.9.2023-Week 3)
Fig 4.2 Second choice of photo (11.9.2023-Week 3)
Letterform Extraction :
Fig 4.3 Traced Letters (11.9.2023-Week 3)
Fig 4.4 Traced Letters (11.9.2023-Week 3)
Fig 4.5 Extracted Letterforms (12.9.2023-Week 3)
Fig 4.6 Traced Letters, A, L, O, N, E (13.9.2023-Week 3)
Fig 4.7 Extracted letterforms (13.9.2023-Week 3)
Fig 4.8 Reference (13.9.2023-Week 3)
Fig 4.9 Progression in Illustrator (13.9.2023-Week 3)
I desired a rounded appearance for the words, so I utilized the
Curvature Tool to achieve this effect. Following that, I fine-tuned
the width of the words to enhance their aesthetic appeal.
Fig 5.1 Trying different styles ( L ) (13.9.2023-Week 3)
Fig 5.2 Trying different styles ( A ) (13.9.2023-Week 3)
Fig 5.3 Exploration of design (13.9.2023-Week 3)
Finally, I opted for the second attempt as I appreciate how it showcases coral and find it more comfortable in comparison to the first try.
Task 1 / Exercise 2 : Final Finding Type (Type & Play)
Image :
I discovered this photo on Pinterest and thought it would be intriguing to sketch the coral's stems. Initially, I utilized the coral's space to outline the alphabets. However, Mr. Vinod suggested utilizing more coral stems as alphabets, as it would be a more captivating way to depict the coral's structure.
Extracted Letterforms on baseline (illustrator) :
Reference Font :
Final letterforms on baseline :
Original extraction and final letterforms next to each other :
Final Type Design :
Fig 6.1 Final Type Design (14.9.2023-Week 3)
Fig 6.2 Final Type Design A (14.9.2023-Week 3)
Fig 6.3 Final Type Design L (14.9.2023-Week 3)
Fig 6.4 Final Type Design O (14.9.2023-Week 3)
Fig 6.5 Final Type Design N (14.9.2023-Week 3)
Fig 6.6 Final Type Design E (14.9.2023-Week 3)
Our task entails choosing an image and merging it with the refined final letters from Part 1. The text must be seamlessly integrated into a symbiotic relationship with the image.
Image :
Fig 7.1 Image of type showcase (14.9.2023-Week 3)
I selected this image because it complements my theme of ALONE, with a deep ocean background that enhances the presentation of my font design. The tone of the picture, with its mysterious ambiance, greatly appeals to me.
Fig 7.2 Poster of type showcase (14.9.2023-Week 3)
After Feedback I notice that I need to emphasize the words, not the
picture so I make the font size bogger.
Fig 7.3 Poster of type showcase Blue (15.9.2023-Week 3)
Fig 7.4 Poster of type showcase White (15.9.2023-Week 3)
Personally, I like the font in white color as it stands out more than the image. Consequently, I've made the choice to go with the white font. I lean towards photos featuring oceanic elements as they complement the coral theme in my font, effectively conveying the intended coral ambiance.
FEEDBACK
Week 2 General Feedback:
-Must be sure what system you are working on
- If the shape don’t help the design just leave it
-Black background is not suitable to read
-Bilateral system is align
Week 2 Specific Feedback:
-Axial system work is good
-Grid system work is good
-Random system is not random enough
-Radial system looks a bit crooked
-Can be more interesting
Week 3 Specific Feedback:
-The shape to use must be able to express the thing, not just find
any alphabet from it
-Can add some details on the word rather than just sketching the
shape
Week 3 General Feedback:
-Use realistic image not imaginary image
-make sure the stroke are consistent to the reference font
REFLECTIONS
Experience
After this three week of class, I understand that typographic hierarchy and
its impact on the viewer's experience has been enlightening. Form Task 1
exercise 1, I have learn that layout is not that easy than it look like, I
try to make the layout motion but is is difficult for me I wish that I can
improve more after this task and I will try to research more on
it.
The arrangement of text to guide the eye, create emphasis, and establish a
logical flow within a design can drastically enhance readability and
communication. Whether it's the choice of font size, weight, or color, each
decision plays a crucial role in how the message is perceived.
After reading some pages of this book, I have learn more about Typographic systems and I discover it is really interesting to explore. Typographic systems serve as architectural plans guiding the creation of unique textual layouts. Consider them tools within a designer's toolbox, empowering the crafting of visually appealing text designs.
Observations
The key takeaway from this task is the realization that utilizing fonts
is beyond mere design; it's a means to convey a specific message or
feeling. It's essential to comprehend the rationale behind selecting a
particular font and why we aim to manifest it in our design.
Designing without a thoughtful foundation or idea results in a hollow
outcome—an ordinary font lacking the ability to articulate the intended
message or concept. To create a font that truly encapsulates our thoughts
and intentions, a deeper understanding of its purpose and significance is
imperative.
Findings
Mr. Vinod consistently emphasizes the value of learning in class and
through exercises, rather than just chasing grades. Throughout the
Advanced Typography class, I spend more time compared to the Typography
class. It became evident that this additional time spent was a more
effective way to assess my designs. I noticed that by revisiting my
designs after a few days, I could identify elements that seemed off or
peculiar. This practice allowed me to make improvements and refine the
design for a better outcome.
FURTHER READING
After reading some pages of this book, I have learn more about Typographic systems and I discover it is really interesting to explore. Typographic systems serve as architectural plans guiding the creation of unique textual layouts. Consider them tools within a designer's toolbox, empowering the crafting of visually appealing text designs.
These systems consist of eight distinct classifications, each with its
particular principles and defined objectives. These guiding principles act
as a wellspring of creativity, directing designers toward the development
of captivating visual designs. Remarkably, it's the structure provided by
these principles that sparks designers' creativity, encouraging
exploration and innovation within these clear boundaries.
THE END
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