Advanced Typography - Task 1
30/08/2023 - Ending Date (Week 1 - Week 5)
Tai Tong En / 0363164
Advanced Typography / Bachelor of Design (Hons) in Creative Media
Task 1 - Exercise 1 and Exercise 2
LECTURES
Week 1
Typographic Systems
Elam (2007) asserts that every design is built on a structural system with eight primary variants and an endless number of permutations. The following are the eight primary variations:
- Axial
- Radial
- Dilatational
- Random
- Grid
- Modular
- Transitional
- Bilateral
The typographic structure is complicated since its constituent parts must communicate in order to work. additional standards like hierarchy and reading order. Also, important factors are contrast and readability.
The typographic systems resemble form grammars, a word used by architects. The similarities across typographic systems include the fact that each system has a distinct set of rules and a clear goal that concentrates and guides decision-making.
While some could argue that this imposition undermines intuition from a teaching perspective, it offers a strong foundation that enables students to be led in their investigation as their intuition grows and develops.
Axial System:
All elements are organized to the left or right of a single axis
The examples here are courtesy and have been sourced from type 365
Radial System:
All elements are extended from a point of focus.
The examples here are courtesy and have been sourced from type 365.
Dilatational System:
All elements expand from a central point in a circular fashion
The examples here are courtesy and have been sourced from type 385
Random System:
Elements appear to have no specific pattern or relationship.
Transitional Systern:
An informal system of layered banding.
The examples here are courtesy and have been sourced from type 365
Modular System:
A series of non-objective elements that are constructed in as a standardized units
Bilateral System:
All text is arranged symmetrically on a single-axis
Typographic Composition
The major concepts that guide design composition, such as focus, isolation, repetition, symmetry and asymmetry, alignment, and perspective, come to mind when we think of composition.
However, these abstract principles appear confusing when it comes to putting them into typographic layouts or composition. Compared to complicated informational units that contain several components, they tend to be more relevant to images.
The concepts presented above and how they are implemented in actual material (pictures, text, and color) on a page or screen might occasionally seem incompatible. Nevertheless, some of these ideas are a bit simpler to apply than others.
The Rule of Thirds
The Rule of Thirds is a photographic guide to composition, it basically suggests that a frame (space) can be divided into 3 columns and 3 rows. The intersecting lines are used as a guide to place the points of interest, within the given space.
Other models / Systems
Environmental Grid
This system is based on the examination of an already-existing structure or a combination of many existing structures. Straight and curved lines that are essential are extracted. The designer then arranges his data around this super-structure, which also has subjective components, to provide a distinctive and fascinating fusion of tactile and visual cues.
It offers context for the shapes created in the design environment and is a fascinating method of inquiry. why? Due to the fact that the system/structures were created around essential elements of a setting connected to the message communicators.
Form and Movement
The examination of an existing grid system served as the foundation for this system. developed this system to encourage students to investigate the wide range of options the grid offers, dispel the seriousness surrounding the application of the grid system, and see page-turning as a slowed-down animation in the form that constitutes the placement of image, text, and color.
No matter what kind of shape is used, placing it on a page over several pages produces movement. It makes no difference if the page is on paper or a screen.
Week 3
Context and Creativity
Handwriting
Why is handwriting significant when researching type and typography?
Because the earliest machine-created letterforms were intended to closely resemble handwriting, we study handwriting. Mechanical type would aim to imitate handwriting's shape, space, and traditions as the foundation or standard.
The methods and materials used to create hand-drawn letterforms have an impact on their shape and line. Sharpened bones, charcoal sticks, plant stems, brushes, feathers, and steel pens are just a few of the materials that helped create the letterform's distinctive features.
The kind of paper, clay, papyrus, palm leaf, animal skins (vellum and parchment), and palm leaves were other important considerations.
Handwriting from various period
Ancient Egypt & Hieroglyphics 
Early Greek
English Half Uncials
Emperor Charlemagne
Carolingian Minuscule
The Italian Renaissance
Movable Type
Evolution of Middle Eastern Alphabets: It is also important to note that while the Phoenician letter marks a turning point in written language use of sound represented in letters the script itself has been possibly influenced by the Egyptian Hieroglyphics and Hieratic Scripts
The Evolution of the Chinese script: From the Oracle bone to Scal Script to Clerical Script, Traditional and Simplified scripts
Indian scripts were the earliest writing systems used in Southeast Asia. There were a few, but Pallava (or Pallawa in Malay), a South Indian script initially used for writing Sanskrit and Tamil, would be the most significant.
Pallava had a significant impact on Southeast Asian writing systems, serving as their foundation.
But there were other Indian scripts being used in the Malay Archipelago besides Pallava. Pra-Nagari, an early iteration of the Nagari script that was used in India to write Sanskrit, was another.
Fast Forward.
Indonesia has a great number of historical writing systems. We will look into the scripts of the communities that assimilated into Peninsula Malay communities.
Jawi. the Arabic-based alphabet. We all know Jawi was introduced along with Islam. But how this happened is more interesting than 'we converted and adopted the Arabic alphabet"
Programmers and Type Design
More vernacular scripts are being produced by software giants (Google): in their employment a great many Asian programmers and designers. More and more vernacular and "multi-script" typefaces - a term coined by Muthu Nedumaran- are being produced to cater to situations where the written matter is communicated in the vernacular script or vernacular and Latin scripts.
Week 4
Designing Type
General Process of Type Design
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
General Process of Type Design :
Research
In type design, it's crucial to have a comprehensive understanding of type history, type anatomy, and type conventions. Familiarity with terminologies, side-bearing, metrics, and hinting is also essential. Additionally, it's important to identify the intended purpose of the typeface and its various applications, such as whether it's for school buses or airport signage. Furthermore, designers should analyze existing fonts for inspiration, ideas, references, and to understand their context and usage patterns
Sketching
Designers use different methods for creating typefaces. Some prefer the traditional approach with pens and paper, later scanning for digitization, offering better hand control. Others opt for digital tools like Wacom tablets for quicker and consistent results but might lose some natural hand movement. The choice between these methods depends on personal preference and project needs.
Digitization
Professional software like FontLab and Glyphs App are commonly used for digitizing typefaces. Some designers, however, choose Adobe Illustrator for crafting letterforms and then transfer them to specialized font apps, a practice frowned upon by purists. At this stage, attention to both the overall form and counter form is crucial, as the readability of the typeface relies heavily on these elements.
Testing
Testing plays a vital role in the design thinking process for typefaces. The outcomes of testing are integral to refining and rectifying various aspects of the typeface. Prototyping is a significant aspect of this testing phase, yielding valuable feedback. The importance of readability and legibility varies based on the typeface category, with display types prioritizing form expression over strict readability, unlike text types where readability is paramount.
Deploy
Deploying a finished typeface doesn't mark the end of the design process, as unforeseen issues often arise post-deployment. Continuous revision is necessary to address these challenges. Rigorous testing is crucial to minimize such problems and ensure they remain minor in nature, maintaining the typeface's quality and functionality.
Type Construction :
Using grids (with circular forms) can facilitate the construction of letterforms and is a possible method to build/create/design your letterform.
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.
Week 5
Perception and Organization
"The way in which something is regarded, understood, or interpreted" is what is meant by perception. So, is perception what you actually see and comprehend, or is perception what you are tricked into seeing and comprehending?
In typography, perception refers to the reader's visual orientation and interpretation through contrast, shape, and content structure. Textual, visual, graphical, or colored content are all acceptable forms of content. Today, though, we're concentrating on typography.
Contrast
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 one. The most common use of size is in making a title or heading noticeably bigger than the body text.
Weight
Weight describes how bold type can stand out in the middle of the lighter type of the same style. Other than using bold, using rules, spots, and squares is also provide a "heavy area" for a powerful point of visual attraction or emphasis, therefore not only types of varying weight.
Form
The 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.
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.
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.
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.
Color
The use of color suggests 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.
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.
Originating from the Greek word "typos"(forms) and "graphics"(wrting),typography means to write in accordance with form.
Typography can be seen as having two functions:
- to represent a concept
- to do so in a visual form
Organization
Gestalt
Gestalt
Gestalt theory emphasizes that the whole of anything is greater than its parts this is based on the idea that we experience things as a unified whole: Instead of breaking down thoughts and behavior to their smallest elements, the Gestalt psychologists believed that you must look at the whole of experience.
Organisation / Gestalt
Perceptual Organisation / Groupings
The Law of Similarity is the gestalt grouping law that states that elements that are similar to each other tend to be perceived as a unified group. Similarity can refer to any number of features, including color, orientation, size, or motion.
The Law of Proximity is the gestalt grouping law that states elements that are close together tend to be perceived as a unified group. This straightforward law states that items close to each other tend to be grouped together, whereas items further apart are less likely to be grouped together.
The Law of Closure refers to the mind's tendency to see complete figures or forms even if a picture is incomplete, partially hidden by other objects, or if part of the information needed to make a complete picture in our minds is missing.
The Law of (Good) Continuation holds that humans tend to perceive each of two or more objects as a different, singular, and uninterrupted object even when they intersect. The alignment of the objects or forms plays a major role in this principle to take effect.
INSTRUCTION
Task 1: Exercises 1 - Typographic Systems
For this exercise, we are to explore 8 systems:
Axial, Radial, Dilatational, Random, Grid, Modular, Transitional, and Bilateral. We were also instructed to watch the InDesign demonstration videos in the lecture playlist.
- Size 200 x 200 mm
- Graphical elements (line, dot, etc.) can be used but limitedly
We are required to use the following content:
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
I chose 'Russian Constructivism and Graphic Design' among the three options.
Week 1 :
InDesign Progress
First draft of Axial System (Week 2: 06/09/2023)
First draft of Radial System (Week 2: 06/09/2023)
First draft of Dilational System (Week 2: 06/09/2023)
First draft of Grid System (Week 2: 06/09/2023)
First draft of Transitional System (Week 2: 06/09/2023)
First draft of Modular System (Week 2: 06/09/2023)
First draft of Bilateral System (Week 2: 06/09/2023)
After creating drafts for each system, I refine the designs based on feedback from Mr. Vinod in class and determine the best composition. Mr Vinod also remind me that I have missed some words: "Lecture Theatre 12", and I will add it to my final task.
Final Task 1- Exercise 1: Typographic Systems
Final Axial System-JPEG (Week 2: 06/09/2023)
Final Radial System-JPEG (Week 2: 06/09/2023)
Final Dilational System-JPEG (Week 2: 06/09/2023)
Final Random System-JPEG (Week 2: 06/09/2023)
Final Grid System-JPEG (Week 2: 06/09/2023)
Final Transitional System-JPEG (Week 2: 06/09/2023)
Final Modular System-JPEG (Week 2: 06/09/2023)
Final Bilateral System-JPEG (Week 2: 06/09/2023)
FINAL COMPILATION
Final Typographic System PDF-with guideline (Week 2：08/09/2023)
Task 1: Exercises 2 - Type and Play
Progress of work
1. Picture selection:
The picture that I have chosen is pebbles.
Chosen Image from Pinterest (Week 3: 13/09/2023)
Traced Letters - H, M, V, Y, Z (Week 3: 13/09/2023)
We were required to have a reference to help us refine our typeface. I chose Gill Sans Ultra Bold Condensed from the 10 typefaces because it has a similar appearance.
References font (Week 3: 13/09/2023)
4. Digitization
After I decided on the alphabet that I thought would be more fun to work with for typos (H, M, V, Y, Z), I used Adobe Illustrator to create extraction letterforms.
After I decided on the alphabet that I thought would be more fun to work with for typos (H, M, V, Y, Z), I used Adobe Illustrator to create extraction letterforms.
First attempt of digitalization (Week 3: 13/09/2023)
| Second attempt of digitalization (Week 3: 13/09/2023) |
5. Final
Compiled Process (Week 3: 13/09/2023)
Extracted Letters
Final Letters
Original Extracted letters compared to final type design (Week 3: 13/09/2023)
Letter H (Week 3: 13/09/2023)
Letter M (Week 3: 13/09/2023)
Letter Y (Week 3: 13/09/2023)
Letter Z (Week 3: 13/09/2023)
Letter V (Week 3: 13/09/2023)
Final Finding Type-PDF (Week 3：14/09/2023)
Original photo sourced from Pinterest (Week 4: 20/09/2023)
Final Type and Image - JPEG (Week 4: 20/09/2023)
Final Type movie poster showcase-PDF (Week 3：14/09/2023)
FEEDBACK
Week 2
General Feedback :
Color is not just black and white; you can add any color to make my work more interesting.
Week 3
General Feedback: The font is not very nice, need to adjust it a little bit to make it suitable.
Week 4
General Feedback: The words' shapes are not same, and also unbalanced. Make sure the shape is same and balanced.
Week 5
General Feedback: I must explain my reasoning for selecting this font's form and design. Is there a deeper significance to it? Rather than merely expressing "I like it" or "It looks good."
REFLECTIONS
Experience
I learned a new understanding of typography during Exercise 1. I discovered eight different forms of typography in Exercise 1. Being creative with the layout was the major challenge I ran into at this time since I thought some rules and procedures were set in stone. I am concerned that my work won't change and won't be as original as it might be. I prefer the random layout the most out of all the other layouts since it lets me play more effectively and leaves me with more opportunities for imagination and creativity. This practice keeps me wanting to add more imaginative components to switch up my layout since it's enjoyable and not monotonous.
Observations
I learned about typographic fundamentals like space and alignment in Exercise 1. Even though the designs are asymmetrical, I still need to make sure they are balanced. Mr. Vinod commented on my exercise 2 and said that my font design and font spacing are not balanced. I eventually progressed under Mr. Vinod's direction and discovered that my design had become much more aesthetically beautiful.
Findings
I didn't think typographic systems were much of a challenge before I began Exercise 1. When I tried to finish it, I discovered that it was more difficult than I had anticipated and that getting good results took a lot of work and understanding. Exercises 1 and 2 taught me about different layouts and the need for balance in design.
FURTHER READING
I chose the book that Mr. Vinod suggested: "The Vignelli Canon Design" for my further reading.
The Vignelli Canon Design (page 22)
I read the title named "Design is one" and I can see a variety of designs and also a lot of artwork. I discovered several patterns in this reading, which might be bold, free, or heavenly. This will be a valuable resource and guide for my next workouts.
The Tangibles: A company letterhead (pg45)
The Tangibles: A company letterhead (pg53)
The Tangibles: Typefaces -The Basic Ones (pg62-63)
The Tangibles: Typesize Relationship (pg69)
The content of this section includes Paper Sizes, Grids, Margins, Columns, Modules, A Company Letterhead, Grids for Books, Typefaces, The Basic Ones, Flush left, centered, justified, and others. Through reading the section above, I have learned how to make my text formatting layout look cleaner and more comfortable.
The Tangibles: Layout (pg82-83)
The Tangibles: Layout (pg86)
This section plays an important role in typography. A publication is a cinematic medium, whether it be a tabloid, a book, a magazine, or anything else where flipping the pages is a necessary component of the reading process. A publication is both a static experience in the form of a spread and a cinematic experience in the form of a series of pages. Therefore, we consider this aspect of the design process to be quite important.
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