Advanced Typography - Task 1: Exercises 1 & 2

Advance Typography GCD 61004

WEEK 01 - WEEK 07 (06.02.2024 - 19.03.2024)

NAME: Chai Wei Yi

I.D: 0369561

COURSE: Intercultural Design / Bachelor of Design (Honors) in Creative Media

GROUP: Class 01 Sec 01

Advance Typography -

Introduction

Lecture Note

In today’s lecture, Mr. Vinod will explore Typographic Systems, emphasizing the principle that all design rests on a structural system. He will discuss eight major variations of typographic systems:

Axial System: Elements are organized along a single axis, which can be straight or bent, establishing a clear directional flow.

Figure 1.0 (Left) & 1.1 (Right) Examples of Axial System

Radial System: Design elements radiate from a central focal point, creating a dynamic visual impact.

Figure 1.2 (Left) & 1.3 (Right) Examples of Radial System

Dilatation System: Elements expand outward from a central point in a circular pattern, with more crucial information placed inside and less important details on the outer rings.

Figure 1.4 (Left) & 1.5 (Right) Examples of Dilatation System

Random System: At first glance, elements seem to lack a pattern, but there's underlying order in the apparent chaos.

Figure 1.6 (Left) & 1.7 (Right) Example of Random System

Grid System: A network of intersecting vertical and horizontal lines guides the arrangement of content, promoting a structured and balanced layout.

Figure 1.8 Examples of Grid System

Transitional System: This system features informal, layered banding that transitions across the space, providing a fluid visual narrative.

Figure 1.9 Example of Transitional System

Modular System: Consists of standardized, non-objective units that are identical in size and can be repositioned within different spaces for flexible design options.

Figure 1.10 Example of Modular System

Bilateral System: Elements are symmetrically arranged around one or more axes, offering a mirrored, balanced aesthetic.

Figure 1.11 (Left) & 1.12 (Right) Example of Bilateral System

Mr. Vinod will stress the importance of aligning the design's form with its content to ensure clarity and effective communication. This includes considerations such as hierarchy, order of reading, legibility, and contrast. He will also introduce the concept of Shape Grammar—an architectural term that refers to a set of rules applied step-by-step to generate a language of designs. Each typographic system provides a unique set of rules that guide and focus decision-making in design.

Lecture 02: AdTypo_2_Typographic Composition

Figure 1.13 Lecture video AdTypo_2_Typographic Composition

In the lecture video titled "AdTypo_2: Typographic Composition," Mr. Vinod delves into the art of arranging textual information within a given space, utilizing various design principles to enhance visual appeal, engagement, and readability.

Typographic composition refers to the strategic arrangement of textual content in a space. The design composition principles involved include:

Emphasis: Highlighting key information with different fonts or colors.
Isolation: Setting apart elements to draw focus.
Repetition: Using consistent stylistic features to create visual harmony.
Symmetry and Asymmetry: Balancing elements to form a pleasing or engaging layout.
Alignment: Aligning text to improve the structure and readability.
Perspective: Adding depth to the composition, though more subtly than in visual arts.

Applying these principles to text and images can sometimes be challenging, especially in translating concepts like repetition and perspective into textual formats.

Figure 1.14 Emphasis in Typographic Composition

The Rule of Thirds and Typographic Systems

Figure 1.15 Rule of Thirds

The Rule of Thirds, a key guideline from photography, suggests dividing the frame into nine equal parts for placing points of interest. While not commonly used in typography, its principles can subtly influence typographic layouts.

Mr. Vinod also discusses typographic systems, particularly highlighting the Grid System. Developed further by the Swiss Modernist style, pioneers such as Josef Muller Brockmann, Jan Tschichold, and Max Bill have popularized this method due to its orderly, versatile nature. The grid system allows for numerous adaptations, favoring organized compositions over chaotic ones.

Challenging the Conventional: Modernist Era and Beyond

Figure 1.16 Grid System

During the modernist era, some young designers challenged these traditional methods, opting instead for designs that embraced chaos, randomness, and asymmetry. Mr. Vinod will showcase examples from advocates of this disruptive approach.

Additional Models and Systems

Figure 1.17 Environmental Grid

Environmental Grid: This model involves analyzing an existing structure or blending multiple structures to extract essential lines and create a super-structure around which information is organized.

Figure 1.18 Form and Movement

Form and Movement: Encouraging experimentation within an existing grid system, this approach views layouts as dynamic compositions, emphasizing movement and the interplay of elements.

Lecture 03: AdTypo_3_Context&Creativity

Figure 1.19 Lecture video AdTypo_3_Context&Creativity

This lecture explores the evolution of ancient scripts into modern languages, highlighting the significance of understanding the context of handwritten scripts to gain insights into a civilization.

Handwriting

The study of handwriting is essential because early mechanically created letterforms were designed to closely mimic handwritten forms. Handwriting laid the foundation for the form, spacing, and conventions that mechanical typewriters sought to replicate.

Figure 1.20 Movable Type

Development of Western Handwriting

The progression of Western handwriting began with Cuneiform, which evolved into Hieroglyphics. These then transitioned into Early Greek, using Phoenician letters, and further developed into Roman Uncials and English Half Uncials. Emperor Charlemagne standardized handwriting with Carolingian Minuscule, which eventually evolved into Blackletter. The Italian Renaissance played a crucial role in the transition to Movable Type.

Movable type was introduced between 1000 and 1100 CE, with early examples found in China and achieved in Korea with the Diamond Sutra. The Koreans established a foundry to cast movable type in bronze several decades before Gutenberg’s bible was printed in Europe in 1439.

Development of Eastern Handwriting

The advent of digital technology spurred the Western world to digitize and commercialize historical works through type foundries. While there is growing appreciation for historical letterforms, Western colonization of the East has adversely affected its heritage, cultural traditions, literature, arts, languages, and scripts, often leading to their suppression or stagnation.

Southern Asia

Figure 1.21 Indus Valley Civillization script

The Indus Valley Civilization (IVC) script, dating back to 3500-2000 BCE, is the oldest writing system found in the Indian subcontinent. The Brahmi script, developed around 450–350 BCE, is the earliest writing system in India after the Indus script and has significantly influenced all modern Indian scripts and several scripts in Southeast and East Asia.

Southeast Asia

Figure 1.22 Brahmi script

The oldest writing systems in Southeast Asia originated from Indian scripts, with the Pallava script, used for writing Sanskrit and Tamil, being the most important. The Pra-nagari script was used in India to record Sanskrit texts. Kawi, the significant historical script of Indonesia, derived from Nagari, was native to Java and used for communication with other kingdoms, forming the basis for other scripts in Indonesia and the Philippines.

Figure 1.23 Incung

Incung, the original script from Kerinci, comes from the Rencong scripts of South Sumatra. Indonesian scripts such as Rajang, Batak, Bugis (Lontara), and Javanese were assimilated into Peninsula Malay communities. Jawi, an alphabet based on Arabic, was introduced with Islam, taught by traders to the illiterate, and gradually adopted by the upper and middle classes in trading ports. In modern Malaysia, Jawi holds significant cultural importance as it is the script for renowned literary works, unlike Indonesia, which lacks a substantial number of pre-Jawi inscriptions.

Programmers and Type Design

Companies like Google are employing Asian programmers and designers to create more vernacular and multi-script typefaces, facilitating communication in both vernacular and Latin scripts.

Figure 1.24 Baloo

Local Movements and Individuals

Murasu.com, led by programmer and typographer Muthu Nedumaran, developed the programming language needed to encode various vernacular writing systems, now used in mobile phones and desktops. Huruf, a group of graphic designers in Malaysia, works to preserve and modernize local Latin and vernacular letterforms found on walls and signage, digitizing and revitalizing these unique letterforms. In India, Ek Type and Indian Type Foundry have significantly contributed to the development of vernacular typefaces

Lecture 04: AdTypo_4_Design Type

Figure 1.25 Lecture video AdTypo_4_Design Type

In this lecture, Mr. Vinod explained the process of designing type, detailing the approaches of notable type designers such as Adrian Frutiger, Matthew Carter, and Edward Johnston.

Type Design Process

Research
- Understand the history of typography, including the anatomy of type, conventions, and terminologies.
- Determine the purpose of the typeface and its various applications.
- Study existing fonts for inspiration, reference, and understanding of usage patterns.
Sketching
- Begin with traditional or digital sketches to conceptualize the typeface.
Digitization
- Use professional software such as FontLab and Glyphs App for digitizing the typeface.
- While some designers use Adobe Illustrator and other specialized font apps, this approach is often frowned upon by purists.
Testing
- Conduct rigorous testing to refine and correct various aspects of the typeface.
- Prototyping provides crucial feedback on readability and legibility.
- Consider the typeface category, as display types prioritize form expression.
Deployment
- Even after deploying a completed typeface, unforeseen issues may arise, necessitating ongoing revisions.
- Rigorous testing is essential to ensure that any remaining issues are minor.

Typeface Construction

Figure 1.26 Construction grid for roman capitals (8 x 8 cells) - Week 04 (13/05/2024)

Grids and Circular Forms

Utilize grids and circular forms to help construct letterforms. This method can aid in developing and designing consistent letterforms.

Construction and Considerations

Figure 1.27 Classification according to form and construction - Week 04 (13/05/2024)

When designing a new typeface, consider various forms and constructions.
Apply visual corrections such as extruding curved forms past the baseline and cap line (overshoot) and ensuring vertical alignment between curved and straight forms.
Fitting the Type: Visual correction is crucial for letter spacing. Adjust the letters to maintain consistent white space between them for optimal readability and aesthetics.

By following these steps and considerations, type designers can create well-crafted typefaces that meet both functional and aesthetic requirements.

Lecture 05: AdTypo_5_Perception and Organization

Figure 1.28 Lecture video AdTypo_5_Perception and Organisation

Perception

Perception in typography involves the visual presentation and understanding of text through the use of contrast, shape, and structure. Creating distinction and differentiation between information using contrast is crucial. According to Carl Dair, contrast can be achieved through texture and direction in type.

Figure 1.29 Contrast in Typography

There are seven ways to create contrast in typography:

Contrast of size
Contrast of weight
Contrast of form
Contrast of structure
Contrast of texture
Contrast of color
Contrast of direction

Figure 1.30 Examples of Carl Dair's method to create contrast

Form refers to the overall look and feel of the elements in a typographic composition. Good form in typography is visually appealing and enhances readability.

Figure 1.31 Form in Typography

Organization and Gestalt

Gestalt is a German term referring to the arrangement or composition of elements. Gestalt theory posits that perceiving things as a cohesive whole is more significant than perceiving them as individual parts, which is applicable to designing layouts.

Some principles of Gestalt psychology include:

Figure 1.32 Law of Proximity

Proximity: Elements close to each other are perceived as a group.

Figure 1.33 Law of Similarity

Similarity: Elements with similar characteristics are perceived as part of the same group.
Continuity: Humans perceive intersecting objects as distinct and uninterrupted.
Closure: The mind perceives whole images even when they are partially incomplete.
Area and Symmetry: Elements that form a symmetrical or continuous shape are perceived as a group.

Class Summary

Week 00:

Watch Lecture Video 01, Tutorial Video on InDesign Formatting, and an additional explanation video on the Modular system.
Read instructions for Task 01, Exercise 01 in the MIB.
Read "Typographic Systems" by Kimberly Elam for further understanding.
Set up an e-portfolio for the Advanced Typography module.
Update the e-portfolio with lectures, process work (research and process), and final outcomes for Task 01, Exercise 01. Ensure final submissions are clearly labeled.
Export final outcomes as JPEG @300ppi and PDF with and without guides. Compile all 8 systems together.

Week 01:

Watch Lecture 1 and video tutorials on InDesign Formatting and the Modular System.
Optionally, read further on the topic in "Typographic Systems" by Kimberly Elam.
Refer to sample student e-portfolios for analysis and evaluation.
Update your e-portfolio with lectures, process work (research and process), and final outcomes, ensuring segregation of final outcomes. Update reflections and further reading sections.
Export final outcomes as JPEG @300ppi (1024 px) and PDF with and without guides. Compile all 8 systems together for PDF presentation.

Week 02:

Watch the second lecture and document a summary in your e-portfolio.
View previous student e-portfolios to understand documentation for Exercise 2: Finding Type (Type & Play).
Document the process work for Exercise 2 in your e-portfolio. Final submission should include:
- Image
- Extracted letterforms on baseline (Illustrator)
- Reference font
- Final letterforms on baseline
- Original extraction and final letterforms side by side

Week 03:

Watch and document a summary of the third lecture in your e-portfolio.
Complete Exercises 1 and 2, refining as necessary before week 4's class.
Update and complete Task 1 Exercises with lectures, process work, feedback, reflections, and further reading before week 4.
Update the Google Feedback Sheet with Week 3's feedback (general/specific).

2.1 : Exercises 01 - Typographic Systems
We were tasked to create a layout for each typographic system with the given content. The EIGHT typographic systems are as follows: Axial, Radial, Dilatational, Random, Grid, Modular and Transitional.

Axial

Axial System involves aligning all elements to one side of a single axis, either left or right.

Figure2.0 Example of Axial System

Figure2.1 Example of Axial System

Figure2.2 Example of Axial System

Radial

In the Radial system, all elements radiate outward from a central point of focus, which may include multiple focal points.

Figure2.3 Example of Radial System

Figure2.4 Example of Radial System

Figure2.5 Example of Radial System

Dilatational

In the Dilatation System, all elements expand from a central point of focus in a circular fashion

Figure2.6 Example of Dilational System

Figure2.7 Example of Dilational System

Random

In the Random System, elements are arranged without any specific pattern or discernible relationship.

Figure2.8 Example of Random System

Figure2.9 Example of Random System

Grid

In the Grid System, elements are arranged within a framework of horizontal and vertical divisions.

Figure2.10 Example of Grid System

Figure2.11 Example of Grid System

Modular

The Modular System consists of non-objective elements constructed from standardized units.

Figure2.12 Example of Modular System

Figure2.13 Example of Modular System

Transitional

The Transitional System involves an informal approach to layered branding

Figure2.14 Example of Transitional System

Figure2.15 Example of Transitional System

Bilateral

In the Bilateral System, all texts are arranged symmetrically along a single axis

Figure2.16 Example of Bilateral System

Figure2.17 Example of Bilateral System

Final Outcome of 8 Typo system (without Grid)

Final Outcome of 8 Typo system (with Grid)

Final Outcome of 8 Typo system (JPEG)

Task 01: Exercises 02 - Type and Play

During Week 2, we are tasked to select an image of a man-made object (chair, glass, etc.) or structure (buildings), or something from nature (Human, landscape, leaf, plant, bush, clouds, hill, river, etc). Avoid selecting an image that contains too many different elements. Extract at least 5 letterforms from the image and form a word if it is possible.

Figure 3.0 Reference Picture - Week 02 (29/04/2024)

Figure 3.1

Traced outline - Week 02 (29/04/2024)

Figure 3.2 First Attempt: Refinement of Letterforms - Week 02 (29/04/2024)

Poster

For the second part of the assignment, we are to combine the final extracted letterforms with a relevant image to create a 1024px x 1024px poster.

Image Searching

Figure 3.3&3.4 Choosen Images for creating the poster - Week 03 (06/05/2024)

Progress

I spent a long time on Pinterest searching for the perfect wallpaper to use as my background, and I finally found the perfect one. This search was important to me because I wanted a background that not only matched my aesthetic but also inspired creativity and added a personal touch to my space. The right wallpaper can transform a room, and finding one that fit my vision was truly satisfying. It feels great to see how it complements the other elements in the room and enhances the overall atmosphere

Figure 3.5 Suitable Background

Figure 3.6 After apply letterform

Figure 3.7 Adjust all the details

Figure 3.8 Final Outcome

Final Submission of Task 01: Exercises 02 - Type and Play

Reflection

Experience

Exercise 01 was challenging for me, especially when trying to find creative layouts while strictly adhering to the systems. I was concerned that my work would look too similar to what my classmates submitted, making it difficult to highlight my unique style while still appealing to the teacher. I felt pressured to create unique layouts. However, I later decided that there's nothing wrong with imitation. By mimicking excellent work, we can learn and improve. In this process, we can also learn how they created these things and occasionally find inspiration. Therefore, before starting my assignments, I would refer back to my seniors' e-portfolios

Observation

During Exercise 1, I learned the importance of spacing and color choices in final compositions. Proper spacing between elements and pleasant color combinations were key to creating attractive layouts. In Exercise 2, I noticed the risks of relying too much on the reference typeface. I tried to find a balance and improve the design without depending too much on any single feature. This showed how crucial composition and color selection are in making posters. I observed that posters should not be too cluttered, and the overall color scheme, especially for company logos, should be clear and consistent.

Finding

In Exercise 1, I learned how to blend composition and creativity to craft engaging and expressive layouts. This exercise taught me the importance of exploring every idea, no matter how preliminary it might seem, because even basic concepts can lead to impressive results. However, in Exercise 2, I faced challenges in creatively incorporating my work with a typeface. It was only after thoroughly examining the references of the original elements that I realized how much such research could expand my artistic horizons.

Further Reading

"Typographic Systems" by Kimberly Elam will provide you with a solid foundation in understanding the structured application of typography. This will be especially useful as you delve deeper into typographic design during Week 00 to Week 01 of your studies. The book’s focus on different systems will give you practical insights that you can apply to your design projects.

"Typographic Systems" by Kimberly Elam offers an in-depth exploration of typographic design, delving into how typography can be effectively structured to communicate clearly and attractively. The book explains critical design elements such as grids, hierarchy, contrast, scale, and rhythm, providing visual examples that demonstrate these concepts in action. Elam uses real-world examples and detailed case studies to show how these typographic systems can be tailored to fit both print and digital formats, making it an essential resource for designers aiming to refine their skills and produce visually engaging designs.

Week 00

Chapter 01: Introduction This chapter explains that all design uses structures, grouped into eight main types. These structures help designers organize content effectively. Typographic design is complex because it needs clear communication and considers things like hierarchy and readability. These systems guide designers and encourage creativity. Although many designers use the grid system, the book shows other systems too with visual examples.

Week 01

Chapter 02: Project Elements and Process This chapter describes eight typographic systems and their features:

Axial: Elements organized along a single axis.
Radial: Elements extend from a center point.
Dilatation: Elements expand from a central point outward.
Random: Elements are placed without a clear pattern.
Grid: Elements are arranged in a grid of vertical and horizontal lines.
Transitional: A layered, informal system.
Modular: Elements are standardized units.
Bilateral: Text is symmetrically arranged along an axis.

Week 02

Mr. Vinod recommends reading his article "Finding Type: A Novel Typographic Exercise" for Exercise 02. The article explains how to:

Find an image with distinct characteristics.
Deconstruct the image to identify and extract letterforms.
Choose a reference and refine the letterforms, ensuring consistency and simplicity.

Week 03

Chapter 03: Constraints and Options The chapter discusses how text settings like line breaks, leading, and spacing can change a text's appearance and readability:

Line Breaks: Dividing text into lines helps group related text, improving readability.
Leading: Varying the space between lines changes the text's look from tight to airy.
Word and Letter Spacing: Adjusting these can change the text's texture and tone, making it clearer or more blended

Feedback

Task 01: Exercise 01 - Typographic Systems

Week 01

General Feedback:

Briefing for MIB and assigned task 1

Week 02

General Feedback:

Make sure that to avoid aggressive line angles for information. Limit strong graphical elements. Maintain readability even in randomness. Avoid serifs as outlines due to varying stroke thickness. Numbers don’t need to be larger than words. Outlines around text can hinder readability. Red on black is not effective.

Week 03
General Feedback:

Consider if the typeface you have chosen is appropriate for the image. Especially when designing width and weight, consistency is key. When extracting a picture, carefully select the areas of the image to use in large parts (if applicable).

Week 04
General Feedback:

Make sure the title and the image are the focal points of the poster, and that everything is readable and not overly crowded.

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Chai Wei Yi(0369561)