ADVANCED TYPOGRAPHY ✿ TASK 1: EXERCISES ✿
ADVANCED TYPOGRAPHY ✿ TASK 1: EXERCISES ✿
28.08.23 - 29.03.23
week 1 - week 4
✿ TAN JIA JIA 0350577 ✿
Bachelor of Design (Honours) in Creative Media
✿ LECTURE ✿
Lecture 1 / AdTypo_1_TypographicSystems
Lecture 2 / AdTypo_2_TypographicComposition
Lecture 3 / AdTypo_3_Context&Creativity
Lecture 4 / AdTypo_4_DesigningType
Lecture 1 / AdTypo_1_TypographicSystems
In lecture 1, Mr. Vinod had introduced us to Typographic Systems.
Mr. Vinod had mentioned that all the design is based on a structural system
and according to Elam 2007, there are 8 major variations with and infinite
number of permutations.
These 8 major variations are as follows:
1. Axial System
All elements are organised to the left or right of a single axis.
Figure 1.1 Example of Axial System
2. Radial System
All elements are extended from a point of focus.
Figure 1.2 Example of Radial System
3. Dilatational System
All elements expand from a central point in a circular fashion.
Figure 1.3 Example of Dilitational System
4. Random System
Elements appear to have no specific pattern or relationship.
Figure 1.4 Example of Random System
5. Grid System
A system of verticle and horizontal divisions.
Figure 1.5 Example of Grid System
6. Transitional System
An informal system of layered banding.
Figure 1.6 Example of Transitional System
7. Modular System
A series of non-objective elements that are constructed in as a standardised
units.
Figure 1.7 Example of Modular System
8.Bilateral System
All text is arranged symmetrically on a single axis.
Figure 1.8 Example of Bilateral System
In conclusion, student designers may initially struggle with the system's
unfamiliarity, but as they gain experience, they uncover its creative
potential through different combinations. While many focus on grids, other
valuable approaches often go unnoticed. This system offers unique
possibilities compared to grids in certain contexts. Understanding its
organization allows designers to break free from traditional grids (Elam,
2007) and use more flexible methods for typography.
Lecture 2 / AdTypo_2_TypographicComposition
Principle of Design Composition
Figure 1.9 Design Composition
Regarding composition, we consider key design principles like emphasis,
isolation, repetition, symmetry, asymmetry, alignment, and perspective. Yet,
translating these abstract concepts into typographic layouts can be unclear.
They often suit images better than intricate informational units. Applying
these ideas to actual content (images, text, and color) on a page or screen
can feel disconnected. Nonetheless, some principles are more easily adaptable
than others.
The Rule of Thirds
Figure 1.10 Example of The Rule of Thirds
The Rule of Thirds is a foundational principle in visual composition used in
photography and design. It involves dividing an image into a grid of nine
sections with intersecting lines. Placing key elements along these lines or at
their intersections creates dynamic and engaging compositions, guiding the
viewer's gaze and adding balance. While valuable, it's not a strict rule and
can be broken for specific effects.
Tpypographic Systems
Figure 1.11 Example of Grid System
The 8 systems we've extensively discussed include both theory and practical
applications. Among these systems, the Grid System (or Raster Systeme) stands
out as the most practical and widely utilized. This system finds its roots in
the gridded compositional structure of Letter Press printing. It was later
refined by the Swiss (Modernist) style of Typography, championed by
influential figures like Josef Muller Brockmann, Jan Tschichold, Max Bill, and
others.
Environmental Grid
Figure 1.12 Example of Environmental Grid
"Environmental Grid" refers to applying grid-based structures to physical
spaces for enhanced organization and functionality. It extends grid principles
from graphic design to real-world environments, ensuring efficient use of
space and improving user experience.
Form and Movement
Figure 1.13 Example of Form and Movement
This system is built upon exploring pre-existing Grid Systems, aiming to
encourage students to uncover the diverse possibilities they offer. It intends
to remove the rigid perception surrounding grid application and view page
turning as a deliberate animation. Through image, text, and color arrangement,
the placement of forms across pages generates a sense of movement, regardless
of whether the medium is paper or screen.
Lecture 3 / AdTypo_3_Context&Creativity
Why is handwriting important in the study if type/typography?
The study of handwriting holds significance because the earliest mechanically
created letterforms were crafted to mimic handwriting directly. Handwriting
set the benchmark for form, spacing, and conventions that mechanical type
aimed to replicate. The shape and style of hand-drawn letterforms were shaped
by the tools and materials utilized. Various implements like bones, charcoal
sticks, brushes, feathers, and pens led to distinct letterform attributes.
Additionally, the material on which these forms were inscribed, such as clay,
papyrus, palm leaves, animal skins (vellum and parchment), and paper, also
played a role in influencing their characteristics.
Figure 1.14 Evolution of the Latin Alphabet
Figure 1.15 Ancient Egypt Hieoglyphics Chart
The Egyptian writing system is fused with the art of relief carving. The
system was a mixture of both rebus and phonetic characters.
a. As ideograms, to represent the things they actually depict.
b. As determinatives to show that the signs preceding are meant as
phonograms and to indicate the general idea of the word.
c. As phonnograms to represent sounds that "spell out" individual words.
Figure 1.16
Early Greek 5th C.B.C.E, Roman Uncials, English Half Uncials 8th C,
Carolinglan Minuscule, Black Letter 12-15 C.CE, Antica (left to
right)
Early Greek 5th C.B.C.E
- Time: 5th century BCE in ancient Greece (500–401 BCE).
- Golden Age of Athens: Progress in democracy, architecture, and culture.
- Philosophy: Rise of notable philosophers like Socrates and Plato.
- Art and Drama: Flourishing of naturalistic art and tragic plays.
- Roman Uncial is a rounded, uppercase script style that emerged in ancient Rome, primarily used for inscriptions, official documents, and manuscripts, and acted as a transitional form between older and medieval scripts.
English Half Uncials 8th C
- English Half Uncials emerged in 8th-century England as a transitional script, blending Roman and medieval styles, primarily used for copying texts in monastic settings and reflecting cultural growth of the time.
Carolinglan Minuscule
- Carolingian Minuscule, from Charlemagne's era, standardized writing, influencing modern lowercase and education, and impacting later scripts and printing.
Black Letter 12-15 C.CE
- Used from 12th to 15th centuries, featured dense angular letterforms for manuscripts, reflecting medieval culture and transitioning from earlier scripts to later print typefaces.
Antica
- The Italian Renaissance, spanning the 14th to 17th centuries, was a cultural and intellectual movement characterized by a revival of ancient Greek and Roman art, humanism, and scientific progress, leaving a lasting impact on art, architecture, science, and modern thought.
Figure 1.17 Example of Movable Type
Movable Type
- Pioneered by Johannes Gutenberg in the 15th century, transformed printing by using individual type pieces for characters, enabling mass production of books and accelerating the spread of knowledge, leading to a shift from handwritten manuscripts to mechanical printing.
Figure 1.18 Evolution of Middle Eastern Alphabets
Evolution of Middle Eastern Alphabets
The Phoenician letter is significant for introducing sound representation in
writing, marking a pivotal moment. It's worth mentioning that the script
might have been influenced by Egyptian Hieroglyphics and Hieratic Scripts.
Figure 1.19 The Evolution of the Chinese script
The Evolution of the Chinese script
From the Oracle bone to Seat to Clerical Script, Traditional and Simplified
script.
Figure 1.20 Indus Valley Civilization script
Figure 1.21 Examples of Indus script seals
Indus Valley Civilization (IVC) script
The script of the Indus Valley Civilization, used around 2600–1900 BCE,
features undeciphered symbols on seals and artifacts. Despite its
significance, the script's language and meaning remain unknown, leaving a
mysterious legacy.
Lecture 4 / AdTypo_4_DesigningType
Why design another typeface?
- Type design carries a social responsibility so one must continue to improve its legibility.
- Type design is a form of artistic expression.
Frutiger
Frutiger is a renowned sans-serif typeface created by Swiss designer Adrian
Frutiger in the 1960s. Known for its modern, highly legible design, it's
widely used in signage, corporate branding, and printed materials. Its
legacy includes influencing contemporary typefaces and setting a benchmark
for typographic clarity and versatility.
Figure 1.22 Frutiger
Verdana
Verdana is a highly readable sans-serif typeface designed by Matthew Carter
in the 1990s. It's primarily used for on-screen content, such as web text
and user interfaces, due to its clean, geometric design and legibility.
Despite its digital focus, it's also used in print and signage when clarity
and modern aesthetics are essential.
Figure 1.23 Verdana
Bell Centennial
Bell Centennial is a specialized typeface designed by Matthew Carter in 1978
for telephone directories, prioritizing legibility in small type sizes and
challenging printing conditions. Its condensed sans-serif design with open
letterforms makes it suitable for high-density printed materials where
readability is essential.
General Process of Type Design:
1. Research
- Understand type history, type anatomy and type conventions.
- Know terminologies, side-bearing, ethics, hinting.
- determine the type's purpose or what it would be used for, what different applications it will be used in.
2. Sketching
- Sketch using traditional tool set then scan them for the purpose of digitization.
- Sketch using digital tool sets, such as Wacom directly into a font design software.
3. Digitization
- Software: FontLab and Glyphs App
- 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
- The result of testing is part of the process of refining and correction 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 phase.
✿ INSTRUCTION ✿
Figure 2.1 MIB of Advanced Typography
✿ EXERCISES ✿
1.0 Typographic Systems
In Exercise 1, we need to design two outcomes for each typographic system,
which includes the Axial System, Radial System, Dilatational System, Random
System, Grid System, Transitional System, Modular System, and Bilateral
System.
Task requirements:
- 200*200mm
- In addition to black, allow to use other color.
- Graphic elements (line, dot, etc.) allow to use but limitedly.
- Text given:
The Design School,
Taylor's University
All Ripped Up: Punk Influences on Design
or
The ABCs of Bauhaus Design Theory
or
Russian Constructivism and Graphic Design
Open Public Lectures:
June 24, 2021
Lew Pik Svonn, 9AM-10AM
Ezrena Mohd., 10AM-11AM
Suzy Sulaiman, 11AM-12PM
June 25, 2021
Lim Whay Yin, 9AM-10AM
Fahmi Reza, 10AM-11AM
Manish Acharia, 11AM-12PM
Lecture Theatre 12
Figure 3.1 Axial System Attempt #1
Figure 3.2 Axial System Attempt #2
In Attempt #1 of the Axial System, I used both straight and diagonal lines
as guidelines, while in Attempt #2, I only used straight lines. In this
system, I also incorporated some shapes as embellishments to prevent the
design from looking too empty.
Figure 3.3 Radial System Attempt #1
Figure 3.4 Radial System Attempt #2
In Attempt #1 of the Radial System, I designed it in a manner resembling a
planet, while in Attempt #2, I used the concept of a record player, which
makes it appear even more minimalistic compared to Attempt #1.
Figure 3.5 Dilatational System Attempt #1
Figure 3.6 Dilatational System Attempt #2
In Attempt #1 of the Dilatational System, I incorporated elements of a
clock into the design, with the clock hands pointing to the "12" in
"lecture 12." This adds a creative touch to the design.
Figure 3.7 Random System Attempt #2
Figure 3.8 Random System Attempt #2
In the Random System, I used the concept of collage for my design
because collage aligns better with the design aesthetics of the
Random System.
Figure 3.9 Grid System Attempt #1
Figure 3.10 Grid System Attempt #2
In the Grid System, it was quite confusing for me because it
closely resembles the Modular System. So, I spent a
considerable amount of time designing in this area.
Figure 3.11 Transitional System Attempt #1
Figure 3.12 Transitional System Attempt #2
In the Transitional System, I chose a straightforward
approach over a wavy one for simplicity and clarity. This
aligns with the system's aim to balance traditional and
modern design elements effectively.
Figure 3.13 Modular System Attempt #1
Figure 3.14 Modular System Attempt #2
In the Modular System, I adopted a 3x3 grid layout and
incorporated several shapes for embellishment.
Figure 3.15 Bilateral System Attempt #1
Figure 3.16 Bilateral System Attempt #2
In both Attempt #1 and #2 of the Bilateral System, I
placed the text in the center, giving it a poster-like
feel.
Figure 3.17 Axial System Attempt #1
Figure 3.18 Radial System Attempt #1
Figure 3.19 Dilatational System Attempt #1
Figure 3.20 Random System Attempt #2
Figure 3.21 Grid System Attempt #2
Figure 3.22 Transitional System Attempt
#1
Figure 3.23 Modular System Attempt #1
Figure 3.24 Bilateral System Attempt
#2
Figure 3.25 Final Outcome without grid in
pdf
Figure 3.26 Final Outcome with grid
in pdf
2.0 Type & Play
In Task 2A, we are required to find an image to use as a reference. Within
this image, we should find out five distinct letterforms. Once we've
isolated these letterforms, the next step is to seamlessly integrate them
with a visual element we've selected. The objective is to create a
harmonious and symbiotic relationship between the text and the image.
1. Finding an Image
After reviewing the teacher's article, I've chosen a leaf's surface image
for Task 2 due to its potential for locating letterforms. This image offers
a unique canvas with intricate textures and patterns, aligning with the goal
of creating a visually compelling composition. It brings together the beauty
of nature and the artistry of typography.
Figure 4.1 Image I found
2.Identifying Letterform
In this stage, I'm using Adobe Illustrator to sketch the discovered
letterforms, which presents a challenge as I need to switch between different
perspectives to ensure accuracy. My approach involves focusing on finding
letterforms within the white spaces, which should contribute to the creation
of an aesthetically pleasing typeface.
Figure 4.2 Letterforms
3. Extracting Letterform
Following my initial sketches in Adobe Illustrator, I transferred all the
letterforms to a new artboard for ease of refinement. This step simplifies the
process of fine-tuning the letterforms and ensures a more polished result.
Figure 4.3 Extracted Letterform
4. Identifying a Reference Typeface
I discovered a typeface called Chewy in Google Fonts, and I've chosen to use
it as my reference while refining my letterforms. This typeface will serve as
a valuable guide in achieving the desired typography for my project.
Figure 4.4 Reference Typeface
5. Refine Letterform
In the first refinement stage, I've adjusted all the slanted fonts, making it
easier for me to refine them further.
Figure 4.5 1st refinement
During the second refinement phase, I've meticulously arranged them along the
baseline, ensuring that all the letterforms are consistently aligned in the
same line. This step is crucial for achieving uniformity and visual harmony in
the design.
Figure 4.6 2nd refinement
In the third refinement, I made comprehensive adjustments to the letter "E" to
ensure it doesn't appear out of place or peculiar within the overall design.
Figure 4.7 3rd refinement
In the final attempt, I conducted the last round of refinement for all five
letterforms, aiming to achieve a cohesive look where they appear as if they
belong to the same typeface.
Figure 4.8 Last refinement
Final Outcome
Figure 4.9 Final Outcome in JPG
Figure 4.10 Final Outcome in PDF
✿ FEEDBACK ✿
Week 1
General Feedback: In Week 1, Mr. Vinod briefed us about this
module and the assignments we are going to have this semester. He also
required us to start the first exercise, which is about 8 typographic
systems.
Week 2
General Feedback: One must be careful when using graphic
elements to ensure they do not overwhelm the content. The content should
not exceed the gutter. Additionally, having a gap between the baseline
and words can significantly increase readability.
Specific Feedback: The random system lacks the desired level of
randomness and should incorporate more creative elements. Meanwhile, the
radial system feels too empty, and in the transitional system, the wavy
content needs to follow a more consistent direction while addressing the
excessive empty space at the top.
Week 3
General Feedback: Mr. Vinod emphasized the need to maintain
the original style and make it resemble a single letterform. Please
carefully examine the characteristics present in the chosen image.
Specific Feedback: Mr. Vinod really likes the font in the
original image. He asked me to directly find the letters from the
original image and make a few modifications.
Week 4
---MC---
✿ REFLECTION ✿
Experience
In this task, there are two different exercises: one related to the
Typographic System and the other is Type and Play. The first exercise posed
a significant challenge as it required us to design two different designs
using each Typographic System. Due to concerns about making mistakes, I
conducted extensive research to ensure design accuracy. After receiving
feedback from Mr. Vinod, I plan to revise my designs. In the second
exercise, it was a journey deep into the fields of typography and graphic
design. It began with selecting an image depicting intricate leaf textures,
offering rich potential for discovering letterforms. I used Adobe
Illustrator for this but faced challenges in the initial stages,
particularly in identifying letterforms from different perspectives. I chose
to focus on the white spaces within the image to leverage negative space
effectively in typography, aiming to create a harmonious typeface.
Observation
In the first exercise, delving into the Typographic System, the challenge
of creating two distinct designs for each system highlighted the
versatility of typography. It emphasized the importance of understanding
and applying different typographic elements effectively to convey diverse
messages. Research played a crucial role in ensuring precision, and
feedback from Mr. Vinod underscored the iterative nature of design.
The second exercise, Type and Play, offered a more hands-on experience.
Selecting an image as the foundation for letterform discovery was a
creative and visually stimulating approach. It demanded a keen eye for
detail and the ability to envision letterforms within the complexities of
natural textures. Adobe Illustrator served as a valuable tool in this
exploration, and focusing on white spaces showcased the significance of
negative space in typography.
Both exercises underscored the interplay of creativity, research, and
technical skills in the world of typography and design. They also
reinforced the iterative nature of design, where refinement and feedback
are integral to achieving impactful and harmonious visual compositions.
Finding
The findings from these exercises underscore the multifaceted nature of
typography and design. They highlight the importance of versatility in
utilizing various typographic systems to convey different messages
effectively. Additionally, the creative aspect of typography shines in the
Type and Play exercise, emphasizing the significance of detail and the role
of negative space in creating harmonious visual compositions. Overall, these
exercises offer a holistic understanding of the intricate world of
typography and design, where creativity, research, and technical skills
intertwine to produce impactful results.
✿ FURTHER READING ✿
Certainly, here are more details about "Thinking with Type: A Critical
Guide for Designers, Writers, Editors, and Students" by Ellen Lupton:
1. Typography as a Language: The book emphasizes typography as a
visual language, exploring how type communicates meaning and emotion. It
discusses the importance of choosing appropriate typefaces to convey
specific messages.
2. Typographic Hierarchy: "Thinking with Type" delves into the
concept of typographic hierarchy, teaching readers how to use variations
in type size, weight, and style to guide readers' attention and
understanding.
3. Type on the Web: Recognizing the digital age, the book provides
insights into typography for the web. It covers issues like web fonts,
responsive design, and the challenges of typing on digital screens.
4. Historical Context: Ellen Lupton places typography in its
historical context, tracing the evolution of typefaces from their origins
to modern digital fonts. This historical perspective helps readers
understand the cultural and aesthetic influences on typography.
5. Practical Tips: The book offers practical tips for improving
typography in design projects. It includes guidance on letter spacing,
line length, and alignment, all with the aim of enhancing readability and
aesthetics.
6. Examples and Case Studies: Throughout the book, Lupton includes
real-world examples and case studies from both historical and contemporary
design, illustrating how typography is used effectively in various
contexts.
7. Ethical Considerations: "Thinking with Type" delves into ethical
considerations in typography, addressing issues like cultural sensitivity,
accessibility, and the responsibility of designers in shaping how
information is presented.
8. Updated Editions: The book has been revised and updated over the
years to remain relevant to evolving design practices and technology. This
ensures that readers have access to the latest insights in the field of
typography.
9. Influence: "Thinking with Type" has had a significant influence
on design education and practice. It's often recommended by design
educators as a foundational text for typography courses.
In summary, "Thinking with Type" is a comprehensive and accessible guide
to typography that explores both the art and science of using type
effectively in design. It equips designers, writers, editors, and students
with the knowledge and tools to make informed typographic decisions and
create visually compelling and communicative designs.
Comments
Post a Comment