Advanced Typography - Task 1: Exercise 1 & 2

5.4.2023 - 11.5.2023 (Week 1 - Week 6)
Tan Yi-Tyng (0353327)
Bachelor of Design (Hons) in Creative Media
Advanced Typography
Task 1: Typographic Systems & Type & Play

LECTURE

Advanced Typography 1 – Typographic Systems

Axial System

All elements are organized to the left or right of a single axis.
For example, trees have axial design. They’re made of different branches coming off a central stem.
Axial designs can be either symmetrical or asymmetrical around their axis.
To create an axial design, draw a light line on the page—it can be straight, curved, or zigzag. Next, put your content along either side of this line.

Fig. 1.1 - Axial System Example with guideline

Fig. 1.2 - Axial System Example

Radial System

All elements are extended from a point of focus.
To create a radial design, pick a central focal point, and place all the content so that it radiates out from that point.
Text might get harder to read when set in a radial layout, but it’s very useful for posters or interactive websites.

Fig. 1.3 - Radial System Example with guideline

Fig. 1.4 - Radial System (Source: KSDV)

Dilatational System

All elements expand from a central point in a circular fashion.
Basically, rather than radiating out from a point, as in radial designs, the text forms curves around a point.
Text can get tricky to read, if the words create a full circle, the text at the bottom will be upside down.
Dilatational designs suited for small blocks of text and posters.
Create a circle (or several), and begin typing along the edges of the circle. Can do this in Adobe programs using “type on a path.”

Fig. 1.5 - Dilatational System Example with guideline

Fig. 1.6 - Dilatational System Example

Random System

Elements appear to have no specific pattern or relationship.

Fig. 1.7 - Random System with guideline

Fig. 1.8 - Random System Example

Grid System

A system of vertical and horizontal divisions.
Learning to create a good grid layout takes some math, some preparation, and heavy dose of discipline. With a grid, all the text and graphics fit neatly into columns and rows.
This system works well on posters, books, essays, websites, cards, resumes—pretty much anything.

Fig. 1.9 - Grid System with guideline

Fig. 1.10 - Grid system example

Transitional System

An informal system of layered banding.
Can apply for posters and book covers, but not recommend used for resume or flyer as it's too disorganized.

Fig. 1.11 - Transitional System Example with guideline

Fig. 1.12 - Transitional System Example

Modular System

Usually people associate modular layouts with the grid; while they go together very well, no one is forcing you to use a grid here.
Modular layouts use repeating structures to break up the content.
These structures can be basically anything: shapes are the most common.

Fig. 1.13 - Modular System Example

Bilateral System

All text is arranged symmetrically on a single axis.

Fig. 1.14 - Bilateral System Example.

Advanced Typography 2 – Typographic Composition

There are many ways to approach composition. 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 these abstract notions seem ambiguous when it comes to translating it into typographic layouts or composition. They seem more relevant to imagery than complex units of information that consist different elements.

The ideas mentioned above and the application of these ideas into real-life content (images, textual information and color) on a page or screen can sometimes feel disparate. That said, Some of these principles are a little more easily translatable than the others.

Fig. 1.15 - Typographic Composition

Rule of Thirds

It is a photographic guide to composition. It suggests that a frame (space) is able to be divided into 3 different columns & rows. The intersecting lines are used to guide to place points of interest in a given space. However, realistically, there are more favourable options than this rule.

Fig. 1.16 - Example of Rule of Thirds.

Typographic Systems

These 8 systems we have covered in-depth in theory and practical. Of the 8 systems, the most pragmatic and the most used system is the Grid System (or Raster Systeme), which is derived from the grided compositional structure of Letter Press printing.

It was further enhanced by what is now come to be termed the Swiss (Modernist) style of Typography, with its foremost proponents being Josef Muller Brockmann, Jan Tschichold, Max Bill, and such.

Fig. 1.17 - Example of Grid System.

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.

Its proponents include David Carson, Paula Scher, and Jonathan Barnbrook, to name a few.

There was a method to their madness. Order was replaced with apparent chaos but this chaos was exciting and 'new' for a generation that was being exposed to Punk anti-establishment thought and music. As such the asymmetry, random, repetition, dilatational, and radial systems began to take root in the lexicon of designers.

Other Models/Systems

1. Environmental Grid

This system is based on the exploration of existing structures (or numerous structures combined). Structure can mean architecture, paintings, interiors, and more. An extraction of crucial lines both curved & straight are formed. The designer then organises his information around this super-structure, which includes non-objective elements to create a unique & exciting mixture of textures & 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.

Fig. 1.18 - Examples of Environmental Grid.

2. Form & 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 forms (irrespective of what it actually is) on a page, over many pages is able to create movement. Whether the page is on paper or screen.

Fig. 1.19 - Example of Form & Movement.

Advanced Typography 2 - Context and Creativity

Handwriting

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 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, feathers, 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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Fig. 1.20 - Evolution of the Latin Alphabet

Cuneiform (c. 3000 BCE)

Cuneiform, the earliest system of actual writing was used in a number of languages between 34C BCE through the 1st century CE.
Its distinctive wedge form was the result of pressing the blunt end of a reed stylus into wet clay tablets.

Fig. 1.21 - Cuneiform

Hieroglyphics (2613-2160 BCE)

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:

As ideograms, to represent the things they actually depict
As determinatives to show that the signs preceding are meant as phonograms and to indicate the general idea of the word
As phonograms to represent sounds that "spell out' individual words,

Fig. 1.22 - Ancient Egypt Hieroglyphics Charts

Early Greek (5th C. BCE)

Built on the Egyptian logo-consonantal system, the Pheonicians developed a phoenetic alphabet consisting of 22 leters.
The Phoenicians system then was adopted by the Greeks who added the necessary vowels.
Greek was often read in a format known as boustrophedon or "as the ox plows". One row would read left to right and then switch from right to left.
These early Greek letters were drawn freehand, and they had no serifs.
In time the strokes of theseletter grew thicker, the aperture lessened, and serifs appeared.
The new forms, used of inscriptios throughout the Greek empire, served as models for formal lettering in Rome.
Roman inscriptional letters were written with flat brush, held at an ng;e like a broad nib pen, then carved into the stone with mallet and chisel.

Fig. 1.23 - Early Greek

Roman Uncials (4th C.)

By the 4th century Roman letters were becoming more rounded, the curved form allowed for less strokes and could be written faster.

Fig. 1.24 - Roman Uncials

English Half Uncials (8th C.)

In England, the uncial evolved into a more slanted and condensed form.
While English and irish uncials evolved, writing on the Europian continent devolved considerably. Luckily it came in the Carolingian Handwriting Reform.

Fig. 1.25 - English Half Uncials

Emperor Charlemagne (8 C. CE)

After the fall of the Roman Empire, the end pf a central advanced culture resulted in general illiteracy and breakdown of handwriting into diverse regional styles.
For 300 years the knowledge of writing was kept alive mainly in the remote outposts of relligious cloisters and retreats.


Fig. 1.26 - Emperor Charlemagne Era

Carolingian Minuscule

A court school was established under the direction of Alcuin of York. During Charlemagne's patronage book production increased and language was standardized--pronunciation and spelling as well as writing conventions capitals at the start of a sentence, spaces between words and punctuation. A new script emerged, the Carolingian minuscule.

The Carolingian minuscule, was used for all legal and literary works to unify communication between the various regions of the expanding European empire.

The Carolingian minuscule was as important a development as the standard Roman capital--for 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)

Gothic was the culminating artistic expression of the middle ages, occuring roghly from 1200–1500.
Blackletter is characterized by tight soacing and condensed lettering. Evenly spaced verticals dominated the letterform.

Fig. 1.27 - Blackletter (Gothic)

The Italian Renaissance

The renaissance embrace of ancient Greek and Roman culture spurred a creative wave trhough Italian art, architecture and letter form design.
Humanist named the newly rediscovered letterforms in Antica. The renaissance analysis of form that was being applied to art and architecture was directed toward letterform — resulting in a more perfect or rationalised letter.

Fig. 1.28 - Renaissance Letterfoms

Movable Type (11 C-14C)

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. China had attempted use movable type for printing but was unsuccessful due in part to the number of characters and clay)

In late 14 C. 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.

With the creation of their new script Han gul, the Koreans would succeed where the Chinese failed.

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.

Fig. 1.29 - Moveable Type in Korea and China

Why do we talk about Greek influence on Rome, but not Egyptian or Near Eastern influence on Greece?

Because in the 19th century and the rise of the modern British Empire, it became out of style to credit Africa or Africans with anything of value, and therefore Greece and Rome were elevated over much older, much more influential civilizations, specifically Ancient Egypt, but also less extensive or old civilizations like Mesopotamia, the Indus Valley, China, etc.

An example of this insidiousness is how the European academic process worked to create the discipline of "Indology". Max Mueller who was central to this, never actually visited India. By viewing historical evidence through colonial lenses they ignorantly postulated ideas that were self serving, i.e. Aryan theory.

And the same is true for: Classicism, Egyptology, Africanism, Indology and Orientalism

Fig. 1.30 - Middle Eastern Alphabets

Fig. 1.31 - Evolution of Chinese Script

Fig. 1.32 - Oldest Writing found in Indian subcontinent

Fig.1.33 - Brahmi Script

Fig.1.34 - Southeast Asia Scripts

Advanced Typography 4: Designing Type

Why Design Another Typeface?

Xavier Dupré (2007) in the introduction of his typeface Malaga suggested two reasons for designing a typeface:

type design carries a social responsibility so one must continue to improve its legibility.
type design is a form of artistic expression.

Adrian Frutiger

Frutiger is a sans-serif typeface which was designed by Adrian Frutiger in 1968.

Purpose: The goal was to create a clean & distinctive typeface that is easy to read near & far.

Considerations: Letterforms needed to be recognised in poor light or when reader was moving quickly past the sign. He tested the unfocused letters to see which letterforms could still be identified.

Fig. 1.35 - Univers & Frutiger by Adrian Frutiger

Matthew Carter

Many of Carter's fonts were designed to address technical challenges.

Purpose: Typeface was tuned to be extremely legible even at small sizes

Considerations: The Verdana font exhibit characteristics derived from pixels rather than pens, brushes or the chisel. Some of the characters were commonly confused, such as, lowercase i j l.

Fig.1.36 - Georgia & Verdana by Matthew Carter

Edward Johnson

Edward Johnson was asked to create a typeface with bold simplicity that was modern but had tradition.

Purpose: London's Underground railway ordered a new typeface for posters and signages from Johnson.

Limitation: Johnson applied the proportions of Roman capital letters to his typeface so it was rooted in history and traditional calligraphy, but it has an elegance and a simplicity that is absolutely fitted the modern age.

Fig.1.37 - Johnston Sans for London Undergournd Railway by Edward Johnston

Eric Gill

His former student was perhaps driven by the guilt of seeing the success of his own typeface, Gill Sans, which he admitted had been heavily based on Johnston's work. "I hope you realise that I take every opportunity of proclaiming the fact that what the Monotype people call Gill Sans owes all its goodness to your Underground letter," Eric Gill

Fig1.38 - Eric Gill's comment on his typeface success.

General Process of Type Design:

1. Research

When creating type, we should understand type history, type anatomy and type conventions. We should also know terminologies, side bearing, metrics, hinting It is then important to determine the type's purpose or what it would be used for, what different applications it will be used in such as whether the typeface is for school busses or airport signages, etc. We should also examine existing fonts that are presently being used for inspiration/ideas/reference/context/usage pattern/etc.

2. Sketching

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.

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. Both methods have their positives and negatives.

3. Digitization

There are professional software that are used in the digitization of typefaces, amongst the leading software are: FontLab and Glyphs App There are designers that also use Adobe Illustrator to design or craft the letterforms and then introduce it into the specialized font apps. This however is frowned upon by the purist. Attention should not only be given to the whole form at this stage but also to the counter form. The readability of the typeface is heavily dependent on it.

4. Testing

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. Depending on the typeface category (display type/text typ) the readability and legibility of the 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 issue remains minor.

Typeface Construction

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 a letterforms and is a possible method to build/create/design your letterform.

Fig.1.39 - Construction grid for the Roman Capital using 8x8 cells

Fig1.40 - Construction and considerations

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 (overshoot). This also applies to vertical alignment between curved and straight forms.

Fitting the type: A visual correction is also needed for the distance between letters. The letters must be altered to a uniform visual white space - the white space between the letters should appear the same.

Advanced Typography 5: Perception and Organisation

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 colour. However our focus today is in typography.

Contrast

Carl Dair on the other hand adds a two more principles into the mix; texture and direction “to make design work and meaning pop out — clearly and unambiguously, and with flair.” via the use of contrast in typography.

Dair posits 7 kinds of contrast (most of which has already been covered by Rudi Reugg albeit using different terms): 1. Size, 2. weight, 3. contrast of form, 4. contrast of structure, 5. contrast of texture, 6. contrast of colour and 7. contrast of direction.

1) Contrast of 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.

Fig. 1.41 - Contrast of Size

2) Contrast of 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.

Fig.1.42 - Contrast of Weight

3) Contrast of 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.

Fig.1.43 - Contrast of Form

4) Contrast of 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.

Fig. 1.44 - Contrast of Structure

5) Contrast of 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.

Fig1.45 - Contrast of Texture

6) Contrast of 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.

Fig. 1.46 - Contrast of Direction

7) Contrast of Colour

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.

Fig.1.47 - Contrast of Colour

Form

For refers to the overall look and feel of the elements that make up the typographic composition. It is the part that plays a role in visual impact and first impressions. A good form in typography tends to be visually intriguing to the eye; it leads the eye from point to point, it entertains the mind and is most often memorable.

Displaying type as a form provides a sense of letterforms’ unique characteristics and abstract presentation.

The interplay of meaning and form brings a balanced harmony both in terms of function and expression.

When a 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.

Fig. 1.48 - Form

Gestalt

Gestalt Psychology is an attempt to understand the laws behind the ability to acquire and maintain meaningful perceptions. Laws developed by Gestalt psychologists (especially Max Wetheimer) 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 & behaviour, the gestalt psychologists believed that one is supposed to look @ the experience as a whole.

Fig. 1.49 - Gestalt

INSTRUCTIONS

EXERCISE 1 - TYPE EXPRESSION

For our first task, we are assigned to design a layout for each of the eight typographic systems we learned in our class which are axial system, radial system, random system, grid system, dilatational system, modular system, bilateral system, and transitional system.

Requirements:

Size 200 x 200 mm
In addition to black we are allowed to use one other colour
Graphical elements like ( line, dot, etc. ) can be used but limitedly

Week 1 : Class Practical

During our first class, we were asked to attempt the axial system first and posted on Facebook to get feedback from Mr. Vinod. However, I was not satisfied with the outcome of my first attempt as I felt it was too much information to process all at once which make me confuse when working on it. Thus, I decided to rewatch the provided lecture video, read some articles online, and browsed through the book (Typographic Systems by Kimberly Elam) to get more understanding of all 8 types of typographic systems.

Fig. 6.1 - 1st attempt (Axial)

InDesign Progress

Before starting, I decided to type out all the ten types of fonts provided by Mr. Vinod. This will be easier for me to compare which fonts are suitable to use for my work. For example, the three types of font at the bottom are sans serif fonts.

Fig. 6.2 - Ten types of fonts

As for the colour choices, I was inspired by the primary colours of Bauhaus, which are red, blue, and yellow. And I decided to use black, white and Bauhaus’s red colour code as those three colours are the main identity used for Taylor’s logo.

Fig. 6.3 - Bauhaus Colour Palette (Source)

Fig. 6.4 - Chosen colour Palette

1. Axial

After coming up with the 1st attempt on axial system during the class tutorial and listening to Mr. Vinod's feedback, I felt like my work designs were too common and somehow similar to my classmates. Hence, I did some further research about the Bauhaus topic and studied the style and layout that represent Bauhaus. The left layout is my first attempt at applying the design principle of Bauhaus, I intentionally created the letter H by extending the vertical line, then placed the text on each side. Besides that, I attempt to create another layout with something different using another title.

Fig. 6.5 - Study on Bauhaus style and layout (Source)

The font used (Fig. 2.8):
Left: Univers LT Std (Black, Bold Condensed, Bold, Roman)

Right: Gill Sans Std (Bold, Light)

Fig. 6.6 - layouts of Axial system

Fig. 6.7 - Explore with different colour

I decided to choose the right side layout for the axial system. After getting Mr. Vinod's feedback, I made some adjustments by changing the two rows into one row.

Fig. 6.8 - Revised Axial System layout

2. Radial

The second system that I’m working on is radial, I was confused about the difference between Radial and Dilatational at first. But after reading through some online articles, I understood that radial is the content radiating from a central focal point. For the left side layout, I used a quarter circle as a guide, and text radiated out from the center point. For my second attempt, I struggled to place the texts within the circle shape, and it was really time-consuming to adjust the texts one by one. Hence, I looked for tutorial on Youtube and luckily I made it, I’m very satisfied with the outcome. Ultimately, I decided to choose the right side layout, as the layout looks consistent and balanced, and the title also stands out in the overall design.

The font used:

Left: Univers LT Std (Bold, Roman)

Right: Gill Sans Std (Bold), Univers LT Std (Bold, Roman)

Fig. 6.9 - Layout of Radial system

3. Dilatational

For this dilatational system took me the longest time to figure out how I could explore different interesting layouts. The design on the left was my 1st attempt, I felt like the title placed separately was hard to read, and the overall design looked unbalanced. For my 2nd attempt, I tried something different with repetition of the circle of text to create a sense of illusion. I like the overall design, but the information is difficult to read. As for the 3rd attempt, I was inspired by the shape of the letter S, which looks like two circles connected, and the overall design is balanced.

The font used:

Left: Futura Std (Heavy, Medium)

Middle: Bodoni Std (Bold), Univers LT Std (Roman)

Right: Univers LT Std (Bold, Roman)

Fig. 6.10 - Layout of dilatational system

4. Random

Designing the layout for the random system also took me a lot of time, as it’s not just something repetition and a bunch of messy text only. It needs to be careful to arrange the content and which text needs to be emphasised and make the overall design look nice. I ended up liking the layout on the right, I make it look like a book cover by stressing the title with larger text and using colour to contrast it with the content.

The font used:

Left: Gill Sans Std (Extra Bold, Bold Condensed), ITC Garamond Std (Bold)

Middle: Univers LT Std (Roman)

Right: Univers LT Std (Roman)

Fig. 6.11 - Layout of random system

5. Grid

The left layout was my first attempt of the grid system, is for me to experiment with placing the content randomly in the grid and the result turned out quite interesting. For the layout on the left, I took inspiration from the Bauhaus style and created something like a book cover. Mr. Vinod commented that the ideas are very good but need some minor adjustments of the texts on the left to move them according to the grid line.

The font used:

Left: Gill Sans Std (Bold), ITC New Baskerville Std (Bold)

Right: Futura Std (Bold), ITC Garamond Std (Bold)

Fig. 6.12 - Layout of grid system

Fig. 6.12.1 - Layout of grid system grids and guidelines

Fig. 6.13 - Revised grid system layout

6. Modular

This system is also one of them that took me a lot of time to understand the principles as I was confused about the difference between modular and grid systems. But after listening to Mr Vinod explain this system during class, I started arranging the contents within the square box and aligning them to the grid line. The design on the left is how I wanted to explore slicing and splitting up text at the edges of the page. On the right design is my second attempt ended up being my final one. I tried to fit the text within the box and emphasize the word BAUHAUS in larger size. Since the letter A and U for Bauhaus is repeated, so I placed the letter A and U at the middle of the letters H and S.

The font used:

Left: Univers LT Std (Black), ITC Garamond Std (Bold)

Right: Bembo Std (Bold, Regular)

Fig. 6.14 - Layout of modular system

Fig. 6.14.1 - Layout of modular system with grids and guidelines

7. Transitional

For this system, I initially struggled due to running out of inspiration when creating it. I explore with two different forms: one in banding curve and another in straight line. I personally prefer the design on the right for the final. I try out with a horizontal orientation for all the text, then shifting their positions to a slope-like form. I also added graphical elements to try and add interest to it.

The font used:

Left: Univers LT Std ( Bold, Oblique)

Right: Bodoni Std (Bold, Roman)

Fig. 6.15 - Layout of transitional system

8. Bilateral

This system is more formal than others, the design will look simplear and more common as the content needs to align in the centre, and I tried to play with the font size and colour to have a visual hierarchy. I ended up liking the left composition the best due to its cleanness and visual hierarchy. After getting feedback from my classmates, I readjust the contents to align with the centre to look more consistent.

The font used:

Left: Gill Sans Std (Bold), ITC New Baskerville Std (Bold)

Right: Futura Std (Bold), ITC Garamond Std (Bold)

Fig. 6.16 - Layout of Bilateral system

Fig. 6.17 - Revised Bilateral System layout

Final Task 1 - Exercise 1: Typographic Systems

Fig. 7.1 - Final Axial System - JPEG

Fig. 7.2 - Final Dilatational System - JPEG

Fig. 7.3 - Final Radial System - JPEG

Fig. 7.4 - Final Grid System - JPEG

Fig. 7.5 - Final Modular System - JPEG

Fig. 7.6 - Final Random System (Layout #2) - JPEG

Fig. 7.7 - Final Transitional System - JPEG

Fig. 7.8 - Final Bilateral System - JPEG

Fig. 7.9 - Final outcome, Exercise 1- Typographic System, PDF

Fig. 7.10 - Final outcome, Exercise 1- Typographic System,

with baseline guide PDF

EXERCISE 2 - TYPE AND PLAY

Part 1: Finding Type

For this particular exercise, we are instructed to find a type by an image between man-made objects ( chair, glass, etc) or structures (buildings), and nature (Human, landscape, leaf, plant, bush, clouds, hill, river or etc). Potential letterforms within the dissected image should be analysed, dissected and identified. The forms would be explored and ultimately digitised.

1. Idea Exploration

As we are instructed to explore an image as reference to develop the possible type, I begin with searching for interesting images on Unsplash website. I have collected few images about my initial ideas on the patterns that I could extract from the image.

Fig. 8.1 - Referenced images

2. Letterform extraction (1st attempt)

After observing and comparison on their patterns, I decided to choose the cabbage as the image on extracting types because I think it has the pattern that has the potential for interesting exploration. So, I imported it to Procreate and began to roughly sketch the letters that can be extracted. I just try to find the letter within the negative space to explore the unique shape.

Fig. 8.2 - Chosen subject (Cabbage) & Traced letters (S, A, B, W,Q)

Fig. 8.3 - Fig. Working progress on Illustrator

However, during the feedback session, Mr Vinod pointed out that there still needs to be a lot of study on the form of the cabbage pattern such as the fold and layered texture. And I personally think that I was lack of idea and struggled to create the form of the pattern based on this subject matter. So, I decided to change to another subject.

3. Letterform extraction (2nd attempt)

For my second attempt, I found that the shape and pattern of clouds are good to study and interesting to explore. Rather than trace or extract the letter from the image, this time I decided just to study and observe the pattern of the clouds and create the letterform myself.

Fig. 8.5 - Chosen subject (cloud)

After analyzing and stating the characteristics of the cloud pattern that I observed, I started to explore creating the letters in Illustrator. I came up with three different ideas and ended up choosing the 3rd version for the final. The initial idea is actually inspired by my creation letters process, when I’m struggling to maintain consistency for all the curve lines of the letters, then I tried using circle to form the letters and that’s how the 3rd version turns out.

Fig. 8.6 - Attempt to create the letterforms with 3 versions

We were instructed to have a reference to help with the construction of our typeface, but the 10 typefaces provided are not similar to my idea design. Thus, I went online and found these two fonts on Fontspace that are quite similar to my typefaces, and I could study how they use lines to create a puffy feel to look.

Fig. 8.7 - Typeface reference - Hyper Blob & Fat Font

To explain how I created these letters; I tried to combine with multiple circles to form the letterform, using guide lines to ensure they align. To maintain consistency, the size for the smaller circles are maintain the same and they are mainly used for the stems. For the counters of the letters such as B and P, I designed with unique shape using pathfinder, so it would somehow give the letters look puffy like cloud.

Fig. 8.7 - Process of constructing the letterform by combining multiple circles

Fig. 8.8 - Creating the shape of the counter for letters B and P

Fig. 8.9 - Overview of the letterform design process

Fig. 8.10 - 1st attempt

4. Further refinement

In week 4, Mr Vinod gave feedback on my work, he commented that overall it look consistent, and he suggested that I can make some improvement with trying to increase the thickness of the gap for the thin line and mimic the line of the counters design. Also, the upper part of the letter B, the connection point in sharp edge, is disturbing, can try to make it the same as the bottom part.

Follow with what Mr Vinod said, I first revised the design of the letter B and made some changes to all the designs of the counters to make sure they look consistent.

Fig. 8.11 - Refinement of the letters

Also, I try experiment with increasing the thickness of the thin line and making them look similar to the counters line design. However, after comparing the 1st attempt and new changes result, I felt like it somehow looked awkward, so I still prefer to just increase the thickness of the line only.

Fig. 8.12 - Refinement of the line to mimic the counters line design

Fig. 8.13 - Refinement of the line to just increase the thickness of the lines

Final Part 1: Finding Type

Fig. 8.14 Compiled process (JPEG)

Fig. 8.15 - Final type design (JPEG)

Fig. 8.16 - Letter B (JPEG)

Fig. 8.17 - Letter L (JPEG)

Fig. 8.18 - Letter P (JPEG)

Fig. 8.19 - Letter C (JPEG)

Fig. 8.20 - Letter M (JPEG)

Fig. 8.21 - Final Finding Type - PDF

Part 2: Type and Image

For task 2 exercise 2, we are instructed to combine the final letterforms that we created with a chosen visual. The objective is to enhance the interplay between the letterforms and the selected visual. The text must be woven into a symbiotic relationship with the image. For the size of the visual are @1024px.

First attempt

First, I started by searching for visual images relevant to the cloud that could be well integrated with my letterforms.

Fig. 9.1 - visual images related to cloud

Fig.9.2 - Chosen image

I moved my letterform artwork to Photoshop for designing the poster. I came up with the idea of making my letterform look like an actual cloud as for the texture and shape. By doing that, I can played with colour, opacity and the puffy texture apply to my letterforms.

After moving the letterforms into Photoshop, I start by changing to a light color, following apply Gaussian blur effect for the letterform, and then click cloud render, the outcome turned out to be well integrated with the visual background. Another thing to do is that I apply the drop shadow effect to create an illusion of 3d effect, which can pop out in the whole composition. Below are the step by step progress.

Fig. 9.3 - Import the letterform into Photoshop

Fig. 9.4 - Change the letterform to light colour

Fig. 9.5 - Apply Gaussian Blur

Fig. 9.6 - Apply render > clouds

Fig. 9.7 - Add shadow

Fig. 9.8 - Repeat the same steps for all letterforms and explore the layout

Fig. 9.9 - #1st attempt - Type and Image (JPEG)

Fig. 9.10 - #1st attempt - Type and Image (PDF)

Second attempt

During week 5 classes, Mr. Vinod provided us with some good work by our classmates that showcased how they incorporated and presented their type in a way similar to a movie poster. He suggested that we redesign the work to make it look more like a professional movie poster.

So, the first step I took was to go online and search for some nice images that have a cinematic look and are suitable for my letterform’s concept, which is clouds. Below are some of the images that I think are suitable for me to use in the movie poster.

Fig. 9.11 - Images

Next, I began designing the poster in Adobe Photoshop, using the same approach as the previous work. However, I made some changes, such as adjusting the colors to match the background and adding logos and subheadlines.

Fig. 9.12 - Progress of designing the poster in Photoshop

Fig. 9.13 - 1st and 2nd attempt

I experimented with two different layouts, and personally, I find the second one more appealing and interesting in terms of its overall design. The second layout has a captivating and attractive aesthetic that caught my attention.

Final Part 2: Type and Image

Fig. 9.15 - Final Type and Image (JPEG)

Fig. 9.16 - Final Type and Image (PDF)

FEEDBACK

Week 1: Exercise 1 (Type Expression)

General Feedback:

Finished YouTube lecture playlist and updated in your blog by week 5
For the fonts about time need to be careful, as sometimes it will look slightly bigger compared to the name beside it, this will show uneven texture of that particular information. So, you need to be careful on that and adjust it.
Maintain consistency for the leading between the paragraphs.
Final submission also needs to add the pdf with grid and guide.

Week 2 Exercise 1 (Type Expression)

General Feedback:

Don’t add unnecessary graphic element that will take attention more than the content, the content is matter, so graphic element not too overwhelming.

Peer’s feedback:

Dilatational system: the arrangement of the title is hard to read as it was placed separately and different size and stroke.
Transitional system: there’s are no link movement between the three content, seem like there all all divided into three different categories.
Radial system: can try to add some colour, if not will look very empty and no visual hierarchy. Maybe can play with bold or font size.
Random system: it still look too organized, especially the middle part there.

Specific Feedback:

Mr Vinod commented on the design of the grid system is great, and is well sufficient using the grid, however, the bottom right text is out of the grid and needs to make some adjustments on it. Besides, Mr Vinod also pointed out that the axial system design with two vertical rows there is wrong, he suggested that I could change that into one row.

Week 3 - Exercise 2 (Finding Type)

General feedback:

Good starting point is important, you need to study more on the shape and if you understand clearly, you can introduce to others letter.
During the design process, you need to always reflect the subject matter and reflect the type you created.
The reference for your type not limited to using the 10 typefaces I provided, you can online look for something more similar to you letterform and study it.

Specific Feedback:

The lettuce is actually a good choice to study, but it needs little bits more vast because I think the fold, the crinkles, and the way it goes from thick to thin, that really interesting.
For example, you can explore with drawing a line, and you continue that line inside, and then you draw another line outside so that it gives the impression of a fold.
You need to study the shape very well, it doesn’t mean that if you can’t find a letterform, you can’t create that particular letterform. You can create other letters if you understand the shape.
I can see the character in your letter form. However, the letter form is not consistent.
Poor choice of typeface for reference because it doesn’t look anything like your letter form. You probably need to find another better option, something a little bit more closure to your letterform.

Week 4 - Exercise 2 (Finding Type & Type and Image)

General feedback:

For you poster, you can look for actual cover and movie poster to study.
Your letterform must be integrated with the background images, and can see how they link and relationship.

Specific feedback:

It's a weird looking letterform, but it's consistent.
I would only make one comment is to probably increase the thickness of the gap for the thin line to mimic this thickness, and once you do that, you should be fine
The upper part of letter B is a little disturbing, I would suggest increasing it just like what you see to the bottom part there, then it'll look okay
The original image in black and white is good, but the poster you can work something better than this, you can figure it out.

REFLECTION

Experience

This experience was a very interesting one. Initially, I felt a bit stressed and pressured to do well for these two. However, I noticed that, like the name of the exercise, I needed to relax and just play with the type. That moment is when I truly enjoyed the overall experience and creating my outcomes.

Observation

I observed that a good design that was pleasing to eye could be in any form, after seeing the different layouts from different peoples throughout the weeks. Even though the rules for the systems are there, but it's not stiff, there're still many possibilities that we can play with while executing. Other than that, Exercise 2 requires the most observation, other than myself, I could also get to see and learn how my classmates extract letters from an ordinary image and turn it into a decent and interesting letter.

Findings

Exercise 1 was quite fun, coming out with 8 different layouts with the same content, performing different feelings and visual effect. Random system could be counted as one of hardest system for me. When I first try, the result was quite good, but when I continue working on it after feedback, I feeling was there, but can't really point out the mistake but it's just kind of not enough I would say? even I worked and amended few times throughout the weeks. For Exercise 2, I think there still room for improvement on Illustrator skill, probably more exploration or trial error time was needed if I was executing all my ideas out well. Was kind of fun when looking for the ways or solutions to execute ideas, especially when it works.

FUTHER READING

Fig. 10.1 - Cover of Typographic Systems by Kimberly Elam.

Reference:

Elam, K. (2007). Typographic Systems. Princeton Architectural Press, New York

In order to learn more about the Typographic systems, I looked into a PDF file that was shared in the Advanced Typography Facebook page, 'Typographic Systems' by Kimberly Elam

Besides the systems that were also taught by Mr Vinod, something I found very interesting is Elam's teachings of how to use certain typographic constraints and options to bring about a more interesting outcome into the Typographic Systems.

Fig. 10.2 - Constraints and Options, Page 10.

In the above page, Elam provides examples of how line breaks, leading as well as word & letter space provides different feelings to each example. For each of them, I noticed they play with open spaces differently, which can change how people perceive the words.

For line breaks, I thought the most left reminded of me of something you'd see in an essay paper, using as much space before proceeding to the next line. The middle one made me think of it as more balanced. This is probably because of the text being flushed left, and the space on the right isn't as drastic as the surrounding examples.

For leading, the left one is packed tightly, with some components of letters overlapping. It feels closed, in comparison to the third one, which wide spaces in between each line, letting the words look like they're floating.

Word & letter spacing reminded me of Typography, when we learnt about the different text formats. Elam states how letter spacing creates different textures, which made me think of how it can create different grey areas.

Fig. 10.3 - The Circle and Composition, Page 12.

Next, I read the above page & page 13 to get a better idea of using circles as an element. It is said that it provides the ability to guide the audience's eye by creating a pivot point, tension, emphasis and/or contribute to visual organisation or balance. Then, Elam shows the different ways the circle can be used within the same layout. I think it was very interesting to observe as the circle can be so simple, but provide such various, yet intriguing outcomes.

In page 13, Elam states that when a designer is done with a series, they are encouraged to do another with the strongest composition, but to move just the circle in order to create even more compositions, changing the readability & the overall look and feel.

Fig. 10.4 - Nonobjective Elements, Page 15.

In this page, Elam describes using nonobjective elements to create compositions which are more complex, visually attractive as well as control the hierarchy & compositional texture. In each of the examples Elam provided, they give tremendously different feelings, and makes the reader have different reactions, despite containing the exact same text.

Besides the pages above, I skimmed through some of the systems in Elam's book. It was interesting to see the different ways a system could be done, as it's not just a single must-follow way, but encourages designers to explore and try out new things, which I am excited for.