30.08.2023 - 29.09.2023 (Week 1 - Week 4)
TAN JIE YING / 0353959 / BACHELOR IN DESIGN OF CREATIVE MEDIA
ADVANCED TYPOGRAPHY
TASK 1 / EXERCISES
Task 1
LECTURES
Week 1 // AdTypo_1_Typographic Systems
"All design is based on a structural system."
The typographical organization serves as a powerful tool for effectively conveying a message to the audience. Within this framework, crucial elements such as hierarchy, reading flow, legibility, and contrast take center stage, contributing significantly to the overall impact of the design. Interestingly, the concept of shape grammar, borrowed from the realm of architecture, shares commonalities with typographic systems. Each system within shape grammar adheres to its distinct set of rules.
8 major variations in typographic systems
Axial system: Arranges the elements to the left or right along an invisible axis.
Radial system: All elements are extended from a point of focus.
Dilatational system: All elements expand from a central point in a circular fashion. The information can be placed on either side of the circle ring.
Figure 1.3 Dilatational system
Random system: All elements are placed without any specific patterns or relationships.
Grid system: A system of vertical and horizontal divisions.
Figure 1.5 Grid system
Modular system: A series of non-objective elements that are constructed as a standardized unit. Elements can be shifted to other places if they fit within a single-unit structure.
Figure 1.6 Modular system
Transition system: An informal system of layered banding.
Figure 1.7 Transitional system
Bilateral system: The text is perfectly centered along the axis and symmetrically arranged on both its left and right sides.
Figure 1.8 Bilateral systemWeek 2 // AdTypo_2_Typographic Composition
Principles of Design Composition: Emphasis, isolation, repetition, balance (symmetry/ asymmetry), alignment, perspective, rhythm, and contrast.
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| Figure 2.1 Principle of Design Composition |
The Rule of Thirds: A photographic guide to composition, it suggests that a frame can be divided into 3 columns and rows. Intersecting lines are utilized as guides to position points of interest within a specified space.
Figure 2.2 The rule of thirds
Environmental Grid: Based on the exploration of an existing structure or numerous structures combined.
Figure 2.3 Environment gridForm and Movement: Based on the exploration of existing Grid Systems. It generates motion by placing a form on pages, whether they are paper or screen.
Figure 2.4 Form and Movement |
Week 3 // AdTypo_3_Context&Creativity
Handwriting holds significance in typography as it served as the initial model for mechanically created letterforms, which aimed to closely replicate its form, spacing, and conventions in the development of the mechanical type.
1. Cuneiform is the earliest system of actual writing.
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| Figure 3.1 Cuneiform |
2. Egyptian Hieroglyphs
They were employed as ideograms to visually represent the objects they depicted. These symbols included determinatives, which were used to clarify the intended meaning of the preceding signs. It also served as phonograms, representing sounds to spell out individual words.
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| Figure 3.2 Hieroglyphics |
3. Letterforms through the Ages
Figure 3.3 Letterforms through the Ages
Early Greek (5th C. B.C.E.): The direction of word reading wasn't fixed yet, so Greek often read left to right in one row and then switched to right to left in the next. These early Greek letters were handwritten, lacked serifs, and weren't meticulously drawn with compasses and rulers.
Roman Uncials: In the 4th century, Roman letters evolved into more rounded forms. These curved shapes reduce the strokes and increase writing speed.
English Half Uncials (8th C.): In England, the uncial evolved into a more slanted and condensed form.
Carolingian Minuscule: The specified style, characterized by capital letters at the start of sentences, spaces between words, and punctuation, served as the foundation for fifteenth-century Humanistic writing, which, in turn, influenced the development of our lower-case Roman type.
Black Letter (12-15 C. CE): Characterized by tight spacing and condensed lettering. Evenly spaced verticals dominated the letterform. Condensing line spacing and letter spacing reduced the amount of costly materials in book production.
The Italian Renaissance: Newly rediscovered letterforms Antica. The Renaissance analysis of form that was being applied to art and architecture was directed toward letterforms — resulting in a more perfect or rationalized letter.
Movable type (1000-1100 CE): This innovation was pioneered in China but achieved in Korea (Diamond Sutra).
Figure 3.4 Movable type
Indus Valley Civilization (IVC): The oldest known form of writing in the Indian subcontinent is associated with the Indus Valley Civilization (IVC) and dates back to 3500-2000 BCE. However, this script remains undeciphered to this day. It seems to have had a partly logo-syllabic nature, meaning it likely used both symbols and syllabic elements in its writing system.
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Figure 3.5 Indus Valley Civilization (IVC) Script
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Brahmi Script: The Brahmi script, which emerged in India after the Indus script, is considered one of the earliest writing systems in the region. It holds immense significance as it served as the precursor to numerous modern Indian scripts and influenced the development of hundreds of scripts in Southeast and East Asia
Figure 3.6 Brahmi script (450-350 BCE)
Week 4 // AdTypo_4_Designing Type
Why designing a typeface (by Xavier Dupré):
- Type design carries a social responsibility so one must continue to improve its legibility.
- Type design is a form of artistic expression.
General process of type design:
1. Research
- Understand type history, type anatomy, and type conventions.
- Acquire knowledge of typographic terms such as side bearing, metrics, and hinting.
- Identify the intended purpose of the font and its intended application.
- Study existing fonts currently in use for inspiration, ideas, reference, context, and usage patterns.
2. Sketching
- Some designers used the traditional toolset (brushes, pens, ink, and paper) to sketch typefaces. Sketches are scanned for the purpose of digitization.
- Some designers use digital tools (such as Wacom directly into a font design software) this process will be much quicker, more persistent, and consistent.
3. Digitization
- Leading software: FontLab and Glyphs App
- Some designers utilize Adobe Illustrator to craft and design the letterforms, which they later import into specialized font applications for further refinement and font creation.
- During this stage, it's crucial to pay attention not only to the overall form but also to the counter form, as the readability of the typeface relies significantly on it.
4. Testing
- Testing plays a pivotal role in the refinement of the typeface by pinpointing areas that require improvement.
- Prototyping is an integral aspect of the testing process, offering valuable feedback for improvement.
5. Deploy
- After launching a finalized typeface, unforeseen issues can still emerge, which may not have been apparent during prototyping and testing. Hence, the task of revision doesn't conclude with deployment.
- The rigor of the testing is important so that the teething issue remains minor.
Week 5 // AdTypo_5_PerceptionAndOrganisation
Perception involves the visual navigation and interpretation of content by the reader through the use of contrast, form, and content organization. Content can be textual, visual, graphical, or in the form of color.
Contrast
There are several methods in typography to create contrast.
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| Figure 5.1 Contrast |
Contrast/Size: Provides a focus point to catch the reader's eye. Common use of size is from big (title) to small (text).
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| Figure 5.2 Contrast/size |
Contrast/weight: Bold type can effectively stand out amidst lighter type of the same style. Additionally, besides employing bold text, the strategic placement of rules, spots, or squares can create a visually compelling focal point, emphasizing a powerful message or drawing attention to a specific element.
Figure 5.3 Contrast/weight
Contrast/form: Form in typography encompasses not only the differentiation between a capital letter and its lowercase counterpart but also extends to distinctions between a Roman letter and its italic variant, as well as variations in typeface width, such as condensed and expanded versions.
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Figure 5.4 Contrast/form
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Contrast/structure: The various letterforms are found in different types of typefaces.
Figure 5.5 Contrast/structure
Contrast/texture: By blending contrasts in size, weight, form, and structure and applying them to a block of text on a page. It refers to how the lines of type appear as a cohesive whole when viewed from a distance. This overall appearance is dependent on both the characteristics of the letterforms and their arrangement.
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| Figure 5.6 Contrast/texture |
Contrast/direction: The opposition between vertical and horizontal, and the angles in between. Rotating a single word on its side can dramatically impact the layout. Blocks also possess both vertical and horizontal orientations. Mixing wide blocks with long lines alongside tall columns of short lines can create a striking contrast.
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| Figure 5.7 Contrast/direction |
Contrast/color: The use of a secondary color is typically less impactful than plain white or black. It's crucial to prioritize elements that require emphasis and consider the tonal values of the chosen color.
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| Figure 5.8 Contrast/color |
INSTRUCTIONS
Task 1 / Exercise 1: Typographic Systems
Our task was to utilize the given content to design and demonstrate an understanding of eight systems (Axial, Radial, Dilatational, Random, Grid, Modular, Transitional, and Bilateral).
Specifications:
- Size: 200 x 200 mm.
- Colors: Black and one additional color.
- Limited use of graphical elements (lines, dots, etc.).
1. Axial System
Figure 6.1 Axial 01 (04.09.2023)
Figure 6.2 Axial 02 (04.09.23)
Figure 6.3 Axial 03 (04.09.23)
Figure 6.4 Axial 04 (04.09.23)
2. Radial System
Figure 6.5 Radial 01 (04.09.23)
3. Dilatational system
Figure 6.6 Dilatational 01 (04.09.23)
4. Random system
Figure 6.7 Random 01 (04.09.23)
5. Grid system
Figure 6.8 Grid 01 (04.09.23)
6. Modular System
Figure 6.9 Modular 01 (04.09.23)
Figure 6.10 Modular 02 (04.09.23)
7. Transitional System
Figure 6.11 Transitional 01 (04.09.23)
8. Bilateral System
Figure 6.12 First attempt (04.09.23)
Shortlisted (For week 2 feedback)
Figure 7.1 Final chosen design layout
Final Typographic System
Figure 8.1 Final Axial system (09.09.2023)
Figure 8.2 Final Radial system. (09.09.23)
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Figure 8.3 Final Dilatational system (11.09.23)
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Figure 8.4 Final Random system (09.09.23)
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Figure 8.5 Final Grid system (09.09.20)
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Figure 8.6 Final Modular system (09.09.23)
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Figure 8.7 Final Transitional system (20.09.23)
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Figure 8.8 Final Bilateral system (09.09.23)
Figure 2.9 Final Typographic Systems PDF
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Figure 8.10 Final typographic systems with grid PDF
Task 1 / Exercise 2: Type & Play
In this creative exercise, our objective was to select an image and discern possible letterforms hidden within it. Subsequently, our challenge was to enhance these initial shapes, refining them from their initial roughness into more refined representations that retained a subtle connection to their original source. Finally, we were tasked with seamlessly incorporating these letterforms into a visual element of our choosing.
Chosen Image
Figure 9.1 Chosen image
Letterform Extraction
Figure 9.2 Trace letterforms (09.09.23)
Figure 9.3 Extracted letterforms(09.09.23)
Reference
Figure 9.4 Reference
Digitalization
Figure 10.1 Adjusted to fit it with the reference font (10.09.23)
Figure 10.2 Adjusted the middle stroke of A and made it thicker (10.09.23)
Figure 10.3 Adjusted all letters even closer to the edges and made them thicker (11.09.23)
After receiving the feedback from Mr.Vinod I did a few more versions and added some brunches to some parts of the letters.
Figure 10.4 Thicker (13.09.23)
Figure 10.5 Added brunches and more thicker (13.09.23)
Figure 10.6 Thicker (13.09.23)
Final Finding Type Outcome
Figure 11.1 Compiled process (15.09.23)
Figure 11.2 Original extracted letterforms compared to the final type design. (15.09.23)
| Figure 11.3 Final Design (15.09.23) |
Figure 11.4 Letter 'A' (15.09.23)
Figure 11.5 Letter 'U' (15.09.23)
Figure 11.6 Letter 'L' (15.09.23)
Figure 11.7 Letter 'V' (15.09.23)
Figure 11.8 Letter 'Y' (15.09.23)
Figure 11.9 Final finding type PDF
Movie Poster
Following the completion of the type selection process, our next challenge was to employ the letterforms we had crafted in order to create a captivating movie poster measuring 1024px by 1024px.
Figure 12.1 First attempt (16.09.23)
After taking the feedback from Mr.Vinod, I dimmed down the color of the background to make it not so sharp.
Figure 12.2 Second attempt (22.09.23)
Final Movie Poster
Figure 13.1 Final movie poster (25.09.2023)
Figure 13.2 Final movie poster PDF
Honor Competition
Instructions
Final Honor
Figure 14.1 Final "Capture and Refine" wallpaper ()
Figure 14.2 Final "Capture and Refine" overall visual design 6000x3000px ()
Figure 14.3 Final "Capture and Refine" animation design ()
Figure 14.4 "Capture and Refine"
FEEDBACKS
Week 1
First day of class no feedback. (Examples for Ex 1 are shown in the class)
Week 2
General Feedback: Rewatch the video again to understand the Modular System
Specific Feedback: (Axial) The blocks are extra. (Dilatational) The arrangement is important. (Random) It is not random.
Week 3
General feedback: Good process
Specific feedback: Do a few trails (thicker) to achieve a similarity to the reference font. Can add little branches to some parts of the font
Week 4
General feedback: The words do not stand up due to the background (too sharp)
Specific feedback: Adjust the opacity (make it more grey).
REFLECTIONS
Experience
I've developed a deeper appreciation for typographic systems, an area I'm eager to explore further. Throughout the trial-and-error process, I gradually began to grasp their intricacies. Beyond just systems, the Type and Play assignment presented a unique challenge. I found it intriguing to dissect photographs and transform them into letterforms that closely resembled a reference font.
Observation
Engaging in the Type and Play assignment demanded meticulous attention to detail. Even a minor alteration could significantly impact the overall outcome. Each letter's unique characteristics were directly inspired by the chosen photo. Incorporating intricate elements such as the cracks in a rock or the branches of a tree into the letters added a remarkable cohesion between the typography and the image, enhancing the overall connection.
Findings
During my exploration of typographic systems, I've unearthed a wealth of design possibilities. Nevertheless, I've encountered hurdles when it comes to brainstorming ideas and dealing with the time-consuming aspects of assignments. Conversely, I derive significant enjoyment and motivation from the Type and Play assignment, which fosters patience and enhances my focus, ultimately propelling me toward excellence in these areas.
FURTHER READING
Figure 15.1 Computer typography basic - I.D.E.A.S (2003)
Chapter 13 discussed two types of styles, paragraph and character styles. Paragraph style affects the entire paragraph; character style only affects the text that is selected.
Chapter 14 is about the type specification in Adobe Programs. The similarity of the interface is one of the benefits of using Adobe. Adobe palettes look similar in all belonging apps, but they are different.
Figure 15.2 Chapter 14: Type specification in Adobe Programs (pg36)
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