Advanced Typography Task 1: Exercises
| 24.04.2024 - 15.05.2024 (WEEK 1-WEEK 4)
| Tang Chin Ting [ 0366473 ]
| Advanced Typography / Bachelor of Design in Creative Media
| Task 1: Exercises
| Tang Chin Ting [ 0366473 ]
| Advanced Typography / Bachelor of Design in Creative Media
| Task 1: Exercises
LECTURES
Week 1 - Lecture 1
Advanced Typography: Typographic System
The 8 major variations are as follow:
- Axial
- Radial
- Dilatational
- Random
- Grid
- Modular
- Transitional
- Bilateral
1. Axial System: All elements are organised to the left or right of a single axis. The axis can be bent too instead of just being straight.
Fig 1.1 Axial System
2. Radial System: All elements are extended from a point of focus.
Fig 1.2 Radial System
3. Dilatational System: All elements are expand from a central point in a circular fashion.
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Fig 1.3 Dilatational System
4. Random System: Elements appear to have no specific pattern or relationship.
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Fig 1.4 Random System
5. Grid System: A system of vertical and horizontal divisions.
Fig 1.5 Grid System
6. Transitional System: An informal system of layered banding.
Fig 1.6 Transitional System
7. Modular System: A series of non-objective elements that are constructed in as a standardised units.
Fig 1.7 Modular System
8. Bilateral System: All text is arranged symmetrically on a single axis.
Fig 1.8 Bilateral System
Conclusion:
"An understanding of the systems organization process allow the designer to break free from "the rigid horizontal and vertical grid systems of letter press" (Elam, 2007). It allows designers to use more fluid means to create typographic messages."
Week 2 - Lecture 2
Advanced Typography: Typographic Composition
- Principle of Design Composition
- Rule of Third
Fig 1.9 Rule of Third
Fig 1.10 Rule of Third Example
- Environmental Grid
- It was develop around key features of an environment associated to the communicators of the message.
Fig 1.11 Environmental Grid
- Form and Movement
- The placement of a form (irrespective of what is it) on a page, over many pages create movement.
Fig 1.12 Form and Movement
Week 3 - Lecture 3
Advanced Typography: Context & Creativity
Why is handwriting important in the study of type/typography?
- It is because the first mechanically produced letterforms were designed to directly imitate handwriting.
- Additional factors included the material upon which the forms were written: clay, papyrus, palm leaf, animal skin (vellum and parchment) and paper.
Fig 1.13 The Evolution of the Latin Alphabet
Fig 1.14 Cuneiform (3000 B.C.E)
- The earliest system of actual writing. It was use in a number of languages between the 34C.B.C.E through the 1st century C.E.
6. Contrast of colour
Form
Hieroglyphics (2613 - 2160 B.C.E)
Fig 1.15 Hieroglyphics (2613 - 2160 B.C.E)
- The Egyptian writing system is fused with the art of relief carving. It was a mixture of both rebus and phonetic characters: the first link to a future alphabetic system.
Early Greek (5th C B.C.E)
Fig 1.16 Early Greek (5th C B.C.E)
- It builds on the Egyptian logo-consonantal system, the Phoenician develop a phonetic alphabet consisting of 22 letters.
Roman Unicials (4th Century)
Fig 1.17 Roman Unicials (4th Century)
- By the 4th century Roman letters were becoming a more rounded. The curved form allowed for less strokes and could be written faster.
English Half Unicials (8th C)
Fig 1.18 English Half Unicials (8th C)
In England the unical evolved into a more stanled and condensed form. While English and Irish uncials evolved, writing on the European continent devolved considerably and needed a reformer.
Carolingian Minuscule
Fig 1.19 Carolingian Minuscule
A court school was established under the direction of Alcuin of York. Capitals at the start of a sentence, spaces between words and punctuation. A new script emerged, the Carolingian minuscule.
Black Letter (12-15 C.CE)
Fig 1.20 Black Letter (12-15 C.CE)
Blackletter is characterised by tight spacing and condensed lettering. Evenly spaced verticals dominated the letterform.
The Italian Renaissance
Fig 1.21 The Italian Renaissance
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 (11C. - 14C.)
Fig 1.22 Movable Type (11C. - 14C.)
Printing has been practiced in China, Korea and Japan. (Dharani Sutra, AD750). In late 14C. several decades before the earliest printing in Europe, the Koreans establish a foundry to cast movable type in bronze - allowed the dismantling and resetting of text.
Evolution of Middle Eastern Alphabet
Fig 1.23 Evolution of Middle Eastern Alphabet
Noted that while the Phoenician letter marks a turning point in written language - use of sound represented in letters - the scripts itself has been possibly influenced by the Egyptian Hieroglyphs and Hieratic Scripts.
The Evolution of the Chinese Script
Fig 1.24 The Evolution of the Chinese Script
From the Oracle bone to Seal Script to Clerical Script, Traditional and Simplified script.
The Oldest Writing Found in "India"
Fig 1.25 Indus Script on Seals
Subcontinent the Indus Valley Civilization (IVC) script (3500 - 2000 BCE.), is as yet undeciphered and seem to have been somewhat logo-syllabic in nature.
The Brahmi Script (450-350 BCE.)
Fig 1.26 The Brahmi Script
It is the earliest writing system developed in India after the Indus script. It is one of the most influential writing system: all modern India 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 - Lecture 4
Advanced Typography: Designing Type
Two Reasons for Designing Typeface
- type design carries a social responsibility so one must continue to improve its legibility
- type design is a form of artistic expression
1. Research
- When creating a type, we should understand type history, type anatomy, type conventions and terminologies.
- It is important to determine the type’s purpose or what it would be use for and what different applications it will be use in.
- Examine existing font that are presently being used for inspiration/ideas/references/context/usage pattern/etc.
2. Sketching
- Traditional tool set (brushes/pen, ink and paper)
- Digital tool sets, such as Wacom directly into a font design software (much quicker, persistent and consistent)
3. Digitisation
- Professional Software: Fontlab and Glyphs App
- There are designers also use Adobe Illustrator then introduce it into the specialized font app.
4. Testing
- An important component in the design thinking process. The result 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
- 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 in so that the teething issue remain minor.
Typeface Construction
Fig 1.27 Construction grid for the Roman Capital using 8 x 8 cells.
Using grids (with circular forms) can facilitate the construction of a letterforms and it is a possible method to build/create/design your letterform.
Construction and Considerations
Fig 1.28 The Construction of Typefaces
Many different forms and constructions must be taken into account when designing a new type. An important visual correction is the extrusion of curve (and protruding) forms past the baseline and cap line.
The letter 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.
Designing a typeface is a labor of love. Only the brave and foolish walk this path for the reward pales in comparison to the work.
Week 5 - Lecture 5
Advanced Typography: Perception & Organisation
What is perception?
Perception in typography deals with visual navigation and interpretation of the reader via contrast, form, and organization of the content.
Figure 1.29 Perception in Typography
7 Point of Contrast: 1. Size
A contrast of size provides a point to which the reader's attention is drawn. The most common use of size is making the title or heading noticeably bigger than the body text.
Figure 1.30 Contrast of Size
2. Weight
Weight describes how bold type can stand out in the middle of the lighter type of the same style. Not only types of varying weight, but also using bold, rules, spot, and square also provide a "heavy area" for a powerful point of visual attraction or emphasis.
Figure 1.31 Contrast of Weight
3. Contrast of form
The distinction between capital letters and their lowercase equivalent, or a Roman letter and its italic variant, condensed and expanded of the typeface is also included under the contrast of form.
Figure 1.32 Contrast of Form
4. Contrast of structure
Structure means the different letterforms and different kinds of typefaces. For instance, a monoline San Serif and a traditional serif, or an italic and a blackletter.
Figure 1.33 Contrast of Structure
5. Contrast of texture
Putting together the contrast of size, weight, form, and structure and applying them to a block of text on a page, will come with the contrast and texture.
Figure 1.34 Contrast of Texture
The use of color suggests that a second color is often more emphatic in value than plain black or white. 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.
Figure 1.35 Contrast of Colour
7. Contrast of direction
It is the opposition between vertical and horizontal, and the angles in between. Mixing wide blocks of long lines with tall columns of short lines can also create a contrast.
Figure 1.36 Contrast of Direction
Form
Originating from the Greek words "type" (form) and "graphics" (writing), typography means to write the following form. Typography can be seen as having two functions:
- to represent a concept
- to do so in a visual form
Figure 1.37 Type as a Form
Organisation / Gestalt
Gestalt is a German word meaning the way a thing has been 'placed' or 'put together'. German Psychology is an attempt to understand the laws behind the ability to acquire and maintain meaningful perceptions.
Gestalt Theory
It emphasizes that the whole of anything is greater than its part - this is based on the idea that we experience things as a unified whole.
Figure 1.38 Gestalt Theory
Figure 1.39 Gestalt Principle of Grouping
INSTRUCTIONS
SUBMISSION
Task 1: Exercise 1 - Typographic Systems
In this exercise, we are require to explore the 8 typographic, which are Axial, Radial, Dilatational, Random, Grid, Modular, Transitional and Bilateral with the content in MIB. We can only use Adobe Indesign to complete this exercise, Mr Vinod also provided the tutorial video for us when progressing this exercise by using Indesign.
Requirements of this exercise:
- Size 200 x 200 mm
- Colour with Black and one other colour
- Limited use of graphical element (line, dot, etc)
Research
Since this is the first encounter with typographic system, I have consulted many artworks that created by other designers, to complete this task easier. I also refer to seniors' blogs which contain with many brilliant examples that which are particularly helpful for me. I will also attach each system's reference link at the end of that system.
Fig 2.1 Research via Google
Sketch
Fig 2.2 Sketches PDF
Fig 2.3 Progress of Axia System
Fig 2.4 Two outcome of Axia System
When I first started working with the axial system, I found it easier to complete. This system requires only one line, with words placed on the right and left sides, creating a simple typographic style. I adjusted the tracking of each word and converted the time to small caps, following the tutorial video provided by Mr. Vinod.
Fig 2.5 Progress of Radial System
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Fig 2.6 Two Outcome of Radial System
The second system is the radial system. I've added a shape to emphasize the title, which is the circle placed in the outcome. A bright red color was chosen to catch viewers' attention directly to the title.
Fig 2.7 Progress of Dilatational System
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Fig 2.8 Two Outcome of Dilatational System
In this system, I referred to examples created by other designers. For the outcome on the left-hand side, I initially created a bold circle and used the 'Type on a Path' tool to format the text along the curve. Both outcomes employed the same technique of typing text on a curved line.
Fig 2.9 Progress of Random System
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Fig 2.10 Two Outcome of Random System
Fig 2.11 Progress of Grid System
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Fig 2.12 Two Outcome of Grid System
Fig 2.13 Progress of Transitional System
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Fig 2.14 Two Outcome of Transitional System
Fig 2.15 Progress of Modular System
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Fig 2.16 Two Outcome of Modular System
I employed geometric shapes, arranging them repetitively to represent the modular system. Additionally, the text is strategically placed with contrasting bold and light fonts from the Univers typeface family.
Fig 2.17 Progress of Bilateral System
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In each outcome of this system, I decided to center-align all text elements. Additionally, I incorporated geometric shapes into the titles, which I really love.
These are the reference source links that I use to complete this exercise:
After the feedback given by Mr Vinod, these are the final outcomes:
Fig 2.19 Final Axial System
Fig 2.20 Final Radial System
Fig 2.21 Final Dilatational System
Fig 2.22 Final Random System
Fig 2.23 Final Grid System
Fig 2.24 Final Transitional System
Fig 2.25 Final Modular System
Fig 2.26 Final Bilateral System
Fig 2.27 Typographic System Final Outcome PDF
Fig 2.28 Typographic System Final Outcome with Grid PDF
Task 1: Exercise 2 - Type and Play
In this exercise, we are required to select an image of a man-made or structures, or something from nature. We then find out 4 letters (uppercase or lowercase) that would include in that image and draw it out. We need to ensure that the image does not contain many different elements.
- Choose a reference typeface from the 10 typeface that our lecturer provided before.
The Chosen Image
Fig 2.29 Reference Image
I took this image in Shanghai in January. Although I have taken many pictures at my current residence, I couldn't find any alphabets in those images, so I decided to use this older one. This picture contains many silhouettes from which I can discern several letters; the ones I plan to utilize are O, A, Y, and V.
Finding Out Alphabet
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This was the initial version of the letters, which appeared to tilt unsteadily from side to side. Consequently, I made slight adjustments to the path of each letter.
Fig 2.30 Processing
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Fig 2.31 Illustrated the Letterforms
I adjusted the image's opacity to 50 percent and began to outline the letters. I focused on the thicker branches, as it was challenging to discern the alphabets in the upper image, where the branches are thinner.
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Fig 2.32 Processing
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Fig 2.33 Processing
These are the final outcomes of the letterforms. In Figure 2.35 the first line of the typeface which is placed below the picture is my reference type, called 'Univers LT Std (57 Condensed)'.
Final Outcome:
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Fig 2.34 Final Image
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Fig 2.35 Final Extracted Letterforms on Baseline
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Fig 2.37 Final Letterforms on Baseline
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Fig 2.38 Original Extraction and Final Letterforms
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Fig 2.38 Final Letterforms JPG
Fig 2.38 Final Outcome Part 1 PDF
Fig 2.39 Final Outcome Part 2 PDF
Upon completing the letterforms, students will combine the letterforms with an image that is the basis of the extracted letters. The objective is to enhance/support the interplay between the letterforms and the selected visual. The text must be woven into a symbiotic relationship with the image.
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Fig 2.37 Poster Outcome JPG
After receiving feedback from Mr. Vinod, I made some adjustments. Mr. Vinod suggested changing the position of the title to be straight and modifying the colour to something like brown or off-black.
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Fig 2.38 Final Poster Outcome JPG
Fig 2.39 Final Poster Outcome PDF
FEEDBACK
Week 2
Specific Feedback:
- Axial: Mr Vinod said that axial system is no problem, and there is straightforward, good job.
- Radial: He suggested that for this system, the text on the right side should be spread more aggressively and have no spacing. This will create a stronger contrast with the minor amount of space on the left side between the spreads, resulting in clearer differentiation between rows.
- Dilatational: Mr. Vinod suggests increasing the distance of the text from the circle to allow for more space between the elements. By spreading the text further from the circle, the central graphic element remains prominent while the overall layout becomes lighter and more functional, creating an effective design system.
- Random: It is not a good random, so I need to redo it.
- Grid: Mr Vinod said that it is a good system, that's work.
- Transitional: It is too rigid to be transitional system.
- Modular: The graphic elements currently lack precise functionality, and there is no necessity for the date to be larger than the text. I will need to reconsider this aspect. Additionally, I must rearrange the text as it appears too sticky.
- Bilateral: It is a kind of symmetrical but what's the gap between the words of title 'and Graphic' and also the text is look a bit sticky.
Week 3
General Feedback:
Before beginning our task, we must comprehend the object's structure.
Week 4
General Feedback:
All the background must be related with your objective theme.
Specific Feedback:
The placement of everything is good, although I would suggest adding more space between the Netflix and the coming soon. Besides, regard to this is what this looks like is like as if you have the image is flat, and you're placing objects on the image and you're trying to show that that that doesn't seem to be working well with the background. For example, if you look at the letter form they are mimicking the tree. If you have these letters straight and you have some that smoke kind of like fading into the letter form, you have a better interplay right now. The next question would be color. Color could be brown color could be black color or off black, meaning like not pure black. So it could be a few different things. But there is no problem in using red. It's just that in this instance, I think it's not the right choice.
REFLECTION
Findings
In the Advanced Typography module, I have began with exploring the eight typographic systems: axial, radial, dilatational, random, grid, transitional, modular, and bilateral. This initial task was enlightening as it allowed me to understand the versatility and structure inherent in different typographic layouts. Through hands-on experience, I discovered the unique characteristics and applications of each system. For instance, the grid system provided a clear framework that facilitated order and readability, while the random system challenged traditional conventions and offered creative freedom. These exercises enhanced my ability to adapt and innovate within various design constraints.
Experience
The second task, Type and Play, further expanded my typographic skills by merging photography and type design. Taking a picture and extracting four letterforms from the image to create a film poster was a challenging yet rewarding experience. This task honed my observational skills and pushed me to see potential letterforms in everyday surroundings. It was fascinating to transform organic shapes and forms into a typographic elements. Designing the film poster allowed me to integrate these unique letterforms into a cohesive visual narrative, reinforcing the importance of context and visual harmony in typography.
Observation
Throughout the module, I observed significant growth in my design thinking and technical execution. The process of critique and iteration was crucial, as feedback from peers and instructors helped refine my work and broaden my perspective. Engaging with different typographic systems and the Type and Play task revealed the profound impact of typography on visual communication. I learned that successful typographic design is not only about aesthetic appeal but also about effectively conveying a message. This module has deepened my appreciation for the art of typography and equipped me with diverse strategies to tackle future design challenges.
FURTHER READING
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Figure 3.1 Typographic System by Kimberly Elam (2007)
In this book, it describe a details of each typographic system. It makes me more understanding about the typographic system and also the line breaks, leading and letter space.
Figure 3.2 Constraints and Options
Figure 3.3 The Circle and Composition
Figure 3.4 The Circle and Composition
The circle is a versatile design element that can be used throughout a composition. It helps guide the viewer's eye, create focal points and tension, and enhance visual organization and balance, especially in designs with uniform size and weight.
Figure 3.5 Non-objective Elements
Using non-objective elements sharpens and clarifies compositions, enhancing typography's functionality by adding emphasis, organization, and balance. These elements guide the viewer's eye, strengthen the message, and create a clear hierarchical order. Designers, familiar with composition nuances from thumbnails and critiques, often find incorporating non-objective elements engaging and the outcomes satisfying.
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