Advanced Typography - Task 1 / Exercises 1 & 2

Advanced Typography - Task 1 / Exercises 1 & 2

23/09/2024--15/10/2024 

Zhang WanRu / 0368214

Advanced Typography / Bachelor of Design (Honours) in Creative Media

Task 1: Exercises 1 & 2

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TABLE OF CONTENTS

1.Lecture 

2.Instructions 

3.Task

4.Feedback

5.Reflection

6.Further Reading

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1.Lecture

 Link： AdTypo_1_Typographic Systems

1.1   Typographic Systems 

Typographical organization is complex because the elements are dependent on communication in order to function. Additional criteria such as hierarchy, order of reading, legibility, and contrast also come into play. -----all design is based on a structural system

These eight major variations are as follows:

 ·Axial system:All elements are organised to the left or right of a single axis.

Fig.1.1.1 Axial system

 ·Radial system:All elements are extended from a point of focus.

 

Fig.1.1.2 Radial system

 ·Dilatational System: Elements expand from a central point in a circular fashion.

 

Fig.1.1.3 Dilatational system

 ·Random System: Elements appear without a specific pattern or relationship.

Fig.1.1.4 Random system

 ·Grid System:  Layout framework using lines to organize content for consistent design structure.

Fig.1.1.5 Grid System

 ·Transitional System:An informal system of layered banding.

Fig.1.1.6 Transitional System

 ·Modular System: Elements organized into standardized units or modules for flexible assembly and modification.

Fig.1.1.7.Modular System 

 ·Bilateral System: Text can be design in variety ways in this system: vertical space, horizontal space, multiple groups, tilt, and non-objective elements.

Fig.1.1.8 Bilateral System 

Link：AdTypo_2_Typographic Composition

1.2  Typographic Composition

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.--they seem more relevant to imagery than complex units of information that consist different elements.

Fig.1.2.1 Principles of Design Composition

The Role of Thirds

It is a photographic guide to composition, it basically suggest that a frame(space)can be divided into 3 columns and 3 rows.The interesting lines are used as guide to place the points of interest, within the given space.  
 

Fig.1.2.2 The Role of Thirds

Typographic Systems

From the eight  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 as the Swiss (Modernist) style of Typography.

Fig.1.2.3 Typographic System 

Environmental Grid

This system is based on the exploration of an existing structure or numerous structures combined.Due to the fact that the system/structures were developed around key features of an environment associated to communicators of the message.

Fig.1.2.4 Environmental Grid

Form and Movement

This system is based on the exploration of an existing Grid Systems.---The turning of pages in a book as a slowed-down animation in the form that constitutes the placement of image, text and color. The placement of a form on a page, over many pages creates movement.

Fig.1.2.5 From and Movement

Link:AdTypo_3_Context & Creativity

1.3 Context and Creativity 

Handwriting 

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.

The tools: Sharpened bones, charcoal sticks, plant stems, brushes, feather and steel pens 

The material:clay, papyrus, palm leaf, animal skins(vellum and parchment) and paper.

Fig 1.3.1 Evolution of the Latin Alphabet

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. 

three different ways:

1. As ideograms, to represent the things they actually depict. 

2. As determinatives to show that the signs preceding are meant as phonograms and to indicate the general idea of the word. 
3. As phonograms to represent sounds that "spell out" individual words.

Fig 1.3.2  Hieroglyphics

Fig 1.3.3 example

Fig 1.3.4 The Evolution of Middle Eastern Alphabets

The Evolution of Middle Eastern Alphabets：use of sound represented in letters

Fig 1.3.4 The Evolution of Middle Eastern Alphabets

The Evolution of the Chinese script：

Fig 1.3.5 The Evolution of the Chinese script

The Indus Valley Civilization script：

Fig.1.3.6 The Indus Valley Civilization script

The Brahmi script:

Figure 1.3.7 The Brahmi script

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.

Fig.1.3.8 Baloo

Local Movements and Individuals

Huruf a local group of graphic designers interested in the localized lettering of latin and vernacular letters painted or inscribed on walls and signages are amongst the more prominent organizations digitizing and revitalizing typefaces in Malaysia. Ek Type and Indian Type Foundry are organizations that have done ground breaking work with the development of vernacular typefaces in India.

Link:AdTypo_4_Design Type

1.4 Designing Type

These well-known typefaces such as,

·Univers and Frutiger by Adrian Frutiger

·Georgia and Verdana by Carter's,

·Bell Centennial by Matthew Carter,

·Johnston Sans (previously known as Underground) by Edward Johnston, lastly

·Gill Sans by Eric Gill. 

·Considerations/Limitations :letterforms needed to be recongnized even in poor light conditions or when reader was moving quickly past the sign.

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. 

Fig 1.4.1 In traps

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. 

                                  

                                                              Fig 1.4.2 Sketch of Johnston Sans

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. 

Fig1.4.3 Glyphs and FontLab app

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.

Fig1.4.4 Prototype Stencil (Stenz)

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 in so that the teething issue remain minor.

Fig 1.4.5 Prototype Number plate typeface(Car license registration)

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.

Using grids (with circular forms) can facilitate the construction of a letterforms and is a possible method to build/create/design your letterform.

Fig 1.4.6 Construction grid for roman capitals using 8 x 8 cells

Construction and Considerations

Fig 1.4.7  Classification according to form and construction

Many 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. This also applies to vertical alignment between curved and straight forms.

A visual correction is also needed for the distance between letters. The letters must be altered to a uniform 'visual' white space. This means that the white space between the letters should appear the same. This is called 'fitting' the type.

Fig 1.4.8  visual correction 

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2.Instructions 

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3.Task

Task 1 Exercise 1 

I understand and learn the expression of eight typographic systems by watching the teacher's videos, and I watch more expressions about these eight forms on Pinterest. Then I looked at the requirements and content of the MIB and made the contact.

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

Typographic Systems

 progress :

1. Axial

Fonts Used:

ITC New Baskerville std (Bold)

Fig 3.1.1 Axial 

2. Radial

Fonts Used:

Futura

Fig 3.1.2 Radial

3.Dilatational

Fonts Used：

ITC Garamond Std 

Fig 3.1.3 Dilatational

4.Random

Fonts  Used：

Janson Text LT Std 

Fig 3.1.4 Random

5.Grid

Fonts Used:

Gill Sans Std 

Fig 3.1.5 Grid

6.Transitional

Fonts Used:

Adobe Caslon Pro 

Fig 3.1.6 Transitional 

7.Modular

Fonts Used:

ITC Garamond Std 

 

Fig 3.1.7 Modular

8.Bilateral

Fonts Used:

Bodoni Std 

Fig 3.1.8 Bilateral

  

                                                           Fig 3.1.9 typography systems PDF (1/10/2024)

                                           Fig 3.1.10 typography systems PDF Grid (1/10/2024)

Task 1: Exercise 2 - Type and Play

For this exercise, we need to choose a main object or a structured image, or something from nature.We need to dissect the structure of these images to look for potential letter forms. These forms are explored and eventually digitized.

Fig 3.2.1 Image

Fig 3.2.2 Traced letters - V,E,C,Y,O

Typeface References：Adobe Caslon Pro std （Blod）

Fig 3.2.3 Typeface References - Adobe Caslon Pro std

Extracted letterforms - V，E，C，Y，O.

Fig 3.2.4 Extracted letterforms - V，E，C，Y，O

Based on Mr Vinod's feedback, I needed to look more closely at the image. My font is too thick without the sharp feel of the branches. So, I redo it.

New Attempt：

Fig 3.2.5 Traced letters - V,E,C,Y,X(9/10/2024)

Typeface References：ICT Grammand Std

Fig 3.2.6 Typeface References (9/10/2024)

I think this ICT Grammand Std font is better suited to that twig feel, it's kind of spiky, and it's kind of straight up and hard.

Extracted letterforms-V E C Y X 

Fig 3.2.4 Extracted letterforms - VECYX(9/10/2024)

Fig 3.2.5 Digitalization Process (9/10/2024)

 

Fig 3.2.6 Process week3 (9/10/2024)

Final Outcome of Part 1

                         

                                                          Fig 3.2.7 Image and Extraction week4 (14/10/2024)

Fig 3.2.8 Overall Process week4 (14/10/2024)

Fig 3.2.9 Typeface References (14/10/2024)

Fig 3.2.10 Final letterforms baseline  week 4(14/10/2024)

Fig 3.2.11 Final letterforms (JPEG)week 4(14/10/2024)

Fig3.2.12 Part 1, Final Finding Type - PDF Compilation, Week4 (14/10/2024)

Task 1: Exercise 2 - Type and Play

Part 2

I looked at a lot of photos from Pinterest and finally chose this little sapling, which I felt had a tenacious vitality that attracted me to it.

Fig 3.2.13

Final Outcome of Part 2

Fig 3.2.14  Part 2, poster - JPEG, Week4 (14/10/2024)

                                     Fig 3.2.15 Part 2, Poster - PDF, Week4 (14/10/2024)

                                 Fig 3.2.16 Part 2, Poster - PDF, Week4 (14/10/2024)

Corrected new poster

Fig 3.2.17 Part 2 Poster make process

FINAL POSTER OUTCOME:

Fig 3.2.18 Part 2, Final Poster  JPEG  Week4 (16/10/2024)

                                         Fig 3.2.19  Part 2, Final Poster  JPEG  Week4 (16/10/2024)

Description：What I want to express in my poster is the strong vitality of a tree, and it can express to people that life is hard, as long as there is a strong vitality, a strong belief, you can thrive.They start from seed and are able to take root and germinate in a variety of environments, even in poor soil and extreme climates, and will struggle to grow. Trees' roots reach deep into the ground in search of water and nutrients, and this tenacious vitality allows them to bounce back in the face of drought, storms and even fires.This strong vitality of trees is regarded as a symbol of indomitability and perseverance.

Final Task 1:Exercise 2 Compilation 

                      

                                                          Fig 3.2.20 Image and Extraction week4 (14/10/2024)

Fig 3.2.21 Overall Process week4 (14/10/2024)

Fig 3.2.22 Typeface References (14/10/2024)

Fig 3.2. 23 Final letterforms baseline  week 4(14/10/2024)

Fig 3.2.24  Final letterforms (JPEG)week 4(14/10/2024)

                  Fig3.2.25 Part 1, Final Finding Type - PDF Compilation, Week4 (14/10/2024)

Fig 3.2.26 Part 2, Final Poster  JPEG  Week4 (16/10/2024)

                                         Fig 3.2.27 Part 2, Final Poster  JPEG  Week4 (16/10/2024)

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4.Feedback

Week1: 

General feedback:We need to explore 8 major typographic systems changes using the 10 fonts provided by the teacher. We need to update our e-portfolio through lectures and task process work, and then show the end result.

Week 2:

General feedback:Don't introduce so many patterns that it's hard for the reader to focus on what's important. Focus on a pattern and expand it.

Specific feedback: The graphic display is not obvious enough, the name of the definition is vague, should do a specific analysis.

Week 3:

General feedback:The design is relatively simple, the design style is relatively simple, and there is no specific expression of the feeling of the branches.

Specific feedback: The feeling of the branches is relatively sharp, and my design is relatively circular, and does not clearly express the feeling of the plant tips of the branches. I need to clearly express that my design should have the feeling of the tip of the tree branch.

Week 4:

General feedback:The big surroundings are nice, the details are accurate, but it's a little unreal, unlike a movie poster.

Specific feedback: This poster is a little unreal, it's not like a movie poster, it doesn't have that all-in-one feeling. A slight modification is required.

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5.Reflection 

Experience：

Through Exercise 1, I learned more about the layout system. Before starting this exercise, I scanned a lot of information about typography systems and watched examples of what these typography looks like, which led me to understand the eight typographic variations we explored. In addition, Mr. Vinod taught us how to create rows, columns, and margins. Through Exercise 2, I looked at a lot of photos, but I had a hard time looking at the letters and trying to get my way through them, and ended up making a bad job of it. After Teacher Vinod's feedback, I finally knew how to do it, so I did it again.

Observations：

In exercise 1, I found that it was difficult to distinguish between Random and Transitional, confusing the concepts. However, upon careful observation, there were still some differences. In Exercise 2, because I did not understand the requirements at the beginning, I was very sad that I did not accurately understand the requirements of the teacher, so the first attempt failed, I need to do it again. After listening to Teacher Vinod's feedback, I understood what to do and my impression on the subject deepened. I found that the feedback in class was not only for myself, but also for other students. I could learn from others' mistakes, listen to prevent myself from making mistakes, and improve the quality of my own work. Again and again, the quality of my work has been significantly improved.

Findings：

I learned from the failure and modified it through the teacher's disapproval to make my work better. I listen more, I do more, I ask more. Look for similarities between good works. The appearance rate of design in daily life is very high, and there are often various typesetting and font display in daily life. We can carefully observe in daily life and seek for our own design style and way.

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6.Further Reading

Fig.6.1 Typographic Systems

The introduction explains the core role of typesetting system in visual design. The role of typography is emphasized. Typography is not only for beauty, but also for effective communication. The typesetting system provides a clear structure and framework for better design, helps designers organize content to better direct the reader's attention, and quickly read to important knowledge. With the use of different typesetting systems, designers can have different levels and readability of their works.

The author also suggests that learning typography systems is not just about mastering a set of rules, but about using these systems more flexibly, breaking traditional rules, innovating designs, and joining some contemporary trends. Therefore, the typesetting system is both the norm and a tool for designers to freely use their creativity.

The first chapter clearly introduces the basic elements of typesetting, which lays a solid foundation for the subsequent study of typesetting system. The author first introduces the classification of typefaces, such as Serif and Sans Serif, and explains the role of different typefaces in visual communication. It then explores key concepts such as size, kerning, leading, and weight, explaining how these elements affect the readability of text and the balance of the overall design.

Fig 6.2 

An important concept is the difference between "readability" and "legibility". Readability refers to the visual clarity of the text, while legibility is related to the difficulty of understanding the content. In the book, the authors remind designers to consider both visual beauty when choosing fonts and typography, and to ensure that the message is clearly conveyed.

Through the study of this chapter, I realized that the basis of typography is not only a part of visual design, but also the key to information organization and communication. Applying these basic elements can significantly improve the clarity and professionalism of the design, while also providing a solid foundation for my practice with more complex typesetting systems.

The basis of grid system

The importance of grids: Grid systems are fundamental tools for typography and layout, helping designers organize information and create clear, organized visual structures.

Benefits of using a grid: improved legibility and visual appeal of information, making the design more consistent and coherent.

eight typesetting systems

Fig 6.3 

·Axial System: Organized around a central axis or offset axis, mainly suitable for symmetrical designs.

Fig 6.4  Axial System

·Radial System: Information radiates outward from a central point, often used in advertising and poster design.

Fig 6.5 Radial System

·Dilatational System: Arranged in concentric circles to create a sense of hierarchy and depth.

·Random System: does not follow any specific rules, has freedom, and is suitable for design that emphasizes creativity and individuation.

·Grid System: Typical square grid layout, is one of the most classic systems, widely used in a variety of graphic design.

·Modular System: The use of modular units of the same size to lay out information to facilitate uniform and symmetrical arrangement of information.

·Bilateral System: Information is evenly distributed above and below the center line, often used in designs that emphasize symmetry and balance.

·Transitional systems: Organize content in a hierarchical way, focusing on coherence and transition between information.

Application examples and design analysis～The book shows the application of different systems in practical design through specific cases. Each system has its own example showing how to typeset, how to switch between different systems, and which system is more appropriate for different scenarios.

Key principles～Hierarchy and readability: The use of every system should ensure that the content hierarchy is clear and the information is easy to read during the design process.

Aesthetic and functional balance: In the design process, it is necessary to consider not only the aesthetics, but also the practicality of the content and the effect of information transmission.

Creative freedom for designers：Elam stressed that designers should be flexible when using the system according to the needs of the application, not adhere to the rules, when the time to break the rules can create more attractive work.