ADVANCED TYPOGRAPHY TASK 1 : EXERCISE 1 & 2
1.4.2022 - 29.4.2022 | Week 1 - Week 5
Ng Wai Fern | 0354966
Advanced Typography | Bachelor of Design in Creative Media
Task 1
LECTURES NOTES :
Week 1
Advanced Typography : Typographic Systems
Typography systems are collections of styles used across an application that focus and directs the decision makings.
There are 8 types of Typographic Systems according to Elam, 2007 which are :
- Axial
- Radial
- Dilatational
- Random
- Grid
- Modular
- Transitional
- Bilateral
Axial system
Fig. 1.1 Axial system
All elements are organised to the left or right of a single axis
Radial system
Fig. 1.2 Radial system
All elements are extended from a point of focus.
Dilatational System
Fig. 1.3 Dilatational system
All elements expand from a central point in a circular fashion.
Random System
Elements appear to have no specific pattern or relationship.
Grid System
Fig. 1.5 Grid system
A system of vertical and horizontal divisions.
Modular System
A series of non-objective elements that are constructed as a standardised unit.
Transitional System
Fig. 1.7 Transitional system
Bilateral System
Fig. 1.8 Bilateral system
All text is arranged symmetrically on a single axis
Week 2
Advanced Typography : Typographic Composition
Principles of Design Composition
Emphasis, isolation, repetition, balance (symmetry/asymmetry), alignment, perspective, rhythm, contrast.
The Rule of Thirds
A photographic guide to composition. The intersecting lines are used as a guide to place the points of interest, within the given space.
Environmental Grid
Based on the exploration of an existing structure or numerous structures combined.
Form and Movement
Based on the exploration of an existing Grid Systems. The placement of a form on a page, over many pages creates movement. The forms could represent images, text or colour.
Week 3
Advanced Typography: Context and Creativity
This lecture explained how handwriting back then influenced typography today. The historical evolution of the Latin Alphabet which starts from cuneiform, hieroglyphics, and so on. For decades, Asia/East has neglected its written heritage. It is tough to create the old text in printed form by adapting western printing technologies such as letterpress, linotype, Unicode). However, with a mild renaissance in the East, with the advent of computer programmers in large numbers, now we could see the indigenous scripts on electronic devices.
Handwriting
- First mechanically produced letterforms, becoming the basis of standard for form, spacing and conventions
- Shape and line of hand drawn letterforms are influenced by tools (plant stem, sticks, sharpened bones and material ( clay , papyrus, animal skin etc.)
Cuneiform
Fig. 1.9 Cuneiform c. 3000 B.C.E.
Earliest system of actual writing (involved from pictograms, written from left to right)
Hieroglyphics
Fig. 2.0 Hieroglyphics,2613–2160 B.C.E.
The Egyptian writing system is fused with the art of relief carving. This system was a mixture of both rebus and phonetic characters.
Ideograms, represent the things they actually depict.
- As determinatives to show that the signs preceding are meant as phonograms and to indicate the general idea of the word.
- As phonograms to represent sounds that "spell out" individual words.
Early greek (5th C. B.C.E.)
Drawn freehand, not constructed with compasses and rules, and they had no serifs. In time the strokes of these letters grew thicker, the aperture lessened, and serifs appeared.
Roman Uncials
Fig. 2.1 Roman Uncials, 4th C.
By the 4th century Roman letters were becoming more rounded, the curved form allowed for fewer strokes and could be written faster.
English Half Uncials (8th C.)
Fig. 2.2 English Half Uncials, 8th C.
In England, the uncial evolved into a more slanted and condensed form.
Carolingian Minuscule
Capitals at the start of a sentence, spaces between words and punctuation. It was this style that became the pattern for the Humanistic writing of the fifteenth century; this latter, in turn, was the basis of our lower-case roman type.
Black Letter (12-15 C. CE)
Fig. 2.3 Black letter, 12 - 15 C. CE
Characterised 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 letterform, resulting in a more perfect or rationalised letter.
Movable Type
Fig. 2.4 Movable Type, 11 - 14 C.
This innovation was pioneered in China but achieved in Korea (Diamond Sutra).
In the late 1300-1399 CE, several decades before the earliest printing in Europe (Guttenberg’s bible 1439), the Koreans establish a foundry to cast movable type in bronze.
Week 4
Advanced Typography: Designing Type
Type Design Process
1. Research
- Understand type history, type anatomy, type conventions and terminologies.
- Determine the type’s purpose or what it would be used for and what different applications it will be used in.
- Study existing fonts that are presently being used for inspiration/ideas/reference/context/usage pattern/etc.
2. Sketching
Some designers sketch their typeface using traditional/digital tools
3. Digitisation
Professional softwares: FontLab and Glyphs App. Some designers also use Adobe Illustrator then only the specialised font apps. This however is frowned upon by the purist.
4. Testing
The results of testing are 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 type) the readability and legibility of 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.
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 so that the teething issues remain minor.
Typeface Construction
Using grids (with circular forms) can facilitate the construction of letterforms and is a possible method to build/create/design your letterform.
Construction & Consideration
Visual correction is needed on the extrusion of curved (and protruding) forms past the baseline and cap line, vertical alignment between curved and straight forms and distance between letters. The letters must be altered to a uniform ‘visual’ white space, which is known as ‘fitting’ the type.
Week 5
Advanced Typography: Perception and Organisation
Perception in Typography
Visual navigation and interpretation via contrast, form, and organization of the content (textual, visual, graphical, or color)
Size
Fig. 2.5 Size by Carl Dair
Draw the attention of the reader, we often see the big letter first before the small, usually a bigger size is used in the headline and title.
Weight
Fig. 2.6 Weight
We can make the type stand out by bolding it, and utilizing the rules spots and squares.
Form
Fig. 2.7 Form
The distinction between capital letters, lowercase equivalent, and expanded versions of the typeface
Structure
Fig. 2.8 Structure
The combination of different letterforms and kinds of typeface (exp: sans serif and serif, italic and blackletter
Texture
Fig. 2.9 Texture
Applying size, weight, form, and structure to a block of text. Texture refers to the way lines of type look as a whole up close and from distance.
Direction
Fig. 3.0 Direction by Carl Dair
opposition of vertical and horizontal and different degrees of angles.
Colour
the second color is less emphatic values than plain black and white.
Form
The overall look and feel of the elements that make up the typographic composition. To represent a concept by doing so in a visual form. The interplay of meaning and form brings a balanced harmony both in terms of function and expression.
Organisation/ Gestalt:
Fig. 3.1 Gestalt theory for organisation
Emphasize the whole is greater than the part. The components/ elements that make up the design are only as good as its overall visual form. While each component may be functional at an elemental level, the sum of its parts is not greater than the whole or the overall form.
Law of Similarity:
Gestalt grouping law 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 indeed motion.
Law of Proximity:
Gestalt grouping law "elements that are close together tend to be perceived as a unified group". Items close to each other tend to be grouped together and vice versa
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.
Law of (Good):
The alignment of the objects or forms plays a major role in this principle as humans tend to perceive each of two or more objects as different, singular, and uninterrupted objects even when they intersect.
Law of Symmetry/ Pregranz:
Organization of the information in the form of laying out complex content in a hierarchical manner requires practice and the knowledge gained herein but also elsewhere.
Task 1 : Exercise 1 - Typographic Systems
For this task, we are required to explore the 8 typographic systems which are Axial, Radial, Dilatational, Random, Grid, Modular, Transitional and Bilateral using Adobe Indesign with the content provided in the MIB.
Requirements
- Size : 200mm x 200mm
- Colours : black, white and a colour of our choice
- Graphical elements can be used but limitedly
- PDF with guides and grids
- PDF without guides and grids
- 8 jpgs (300 dpi)
Week 1 attempts
Fig. 3.2 Axial system - attempt 1 (2.4.2022)
Above are the attempts that I did for axial typographic system. 2 options were created to compare the different layouts that can be produce using the axial system.
Font used :
- Cocosharp Trial ( Regular, Extrabold, Bold )
- Helvetica ( Bold, Oblique )
Fig. 3.3 Radial system - attempt 1 (4.4.2022)
Above are the attempts that I did for radial typographic system. 2 options were created to compare the different layouts that can be produce using the radial system.
Font used :
- Cocosharp Trial ( Regular, Extrabold, Bold )
- Helvetica ( Bold, Oblique )
Fig. 3.4 Dilatational system - attempt 1 (4.4.2022)
Above are the attempts that I did for dilatational typographic system. 2 options were created to compare the different layouts that can be produce using the dilatational system.
Font used :
- Cocosharp Trial ( Regular, Extrabold, Bold )
- Helvetica ( Bold, Oblique )
Fig. 3.5 Random system - attempt 1 (4.4.2022)
The random system was one of the challenging ones for me. I was actually frustrated because I wasn't liking what I was doing. I spend a lot of time on the arrangement of the design. The random system may be random but the contents still has its own groups. People might think random system has no meaning but actually there is but it is place in groups at random places.
Font used :
- Cocosharp Trial ( Regular, Extrabold, Bold )
- Helvetica ( Bold, Oblique )
Fig. 3.6 Grid system - attempt 1 (4.4.2022)
Above are the attempts that I did for grid typographic system. 2 options were created to compare the different layouts that can be produce using the grid system.
Font used :
- Cocosharp Trial ( Regular, Extrabold, Bold )
- Helvetica ( Bold, Oblique )
Fig. 3.7 Modular system - attempt 1 (5.4.2022)
Above are the attempts that I did for modular typographic system. 2 options were created to compare the different layouts that can be produce using the modular system.
Font used :
- Cocosharp Trial ( Regular, Extrabold, Bold )
- Helvetica ( Bold, Oblique )
- Cocogoose ( Regular )
Fig. 3.8 Transitional system - attempt 1 (5.4.2022)
Above are the attempts that I did for transitional typographic system. 2 options were created to compare the different layouts that can be produce using the transitional system. The transitional system was one of the challenging ones for me. Different weight were use to make the design less boring and not so plain looking.
Font used :
- Cocosharp Trial ( Regular, Extrabold, Bold )
- Helvetica ( Bold, Oblique )
Fig. 3.9 Bilateral system - attempt 1 (5.4.2022)
Above are the attempts that I did for bilateral typographic system. 2 options were created to compare the different layouts that can be produce using the bilateral system.
Font used :
- Cocosharp Trial ( Regular, Extrabold, Bold )
- Helvetica ( Bold, Oblique )
Week 2 attempts
Fig. 4.0 Axial system - revised (12.4.2022)
In week 2 , Mr Vinod advised to make the axis less angle for a better balance. I also decided to remove the two rectangle on the left to make the design balance.
Font used :
- Cocosharp Trial ( Regular, Extrabold, Bold )
- Helvetica ( Bold, Oblique )
Fig. 4.1 Random system - attempt 2 (12.4.2022)
Mr Vinod mentioned that Week 1 attempt for Random system were not random enough. Based on his feedback, I attempt again by increasing the font size and try out different placements. This attempt took a bit longer time to do because it is hard to ensure the placement is good and balance.
Font used :
- Cocosharp Trial ( Regular, Extrabold, Bold )
- Helvetica ( Bold, Oblique )
Final Outcome Task 1 : Exercise 1 - Typographic Systems
Fig. 4.2 Final Axial System - JPEG
Fig. 4.3 Final Radial System - JPEG
Fig. 4.4 Final Dilatational System - JPEG
Fig. 4.5 Final Random System - JPEG
Fig. 4.6 Final Grid System - JPEG
Fig. 4.8 Final Transitional System - JPEG
Fig. 4.9 Final Multilateral System - JPEG
Fig. 5.0 Final Task 1 : Exercise 1 ( Typographic systems ) - PDF
Fig. 5.1 Final Task 1 : Exercise 1 ( Typographic systems ) grids and guides - PDF
Task 1 : Exercise 2 - Type and play
For this task, we are required to identify and extract potential letter forms within any man made objects/natural images
Requirements
- Uppercase or lowercase only
- Choose a reference typeface
- Extract minimum 4 letter form
After searching for a few options, I attempt to extract letter forms from ice cubes and noodles.
Fig. 5.2 Traced letters from noodles and ice
After extract letters from the image, I decided to go noodles to continue the refining process.
Fig. 5.3 original source image ( noodles )
Fig. 5.4 extracting letter form from noodles
Fig. 5.5 extraction of noodles type
From the extracted letters, I notice the letters are rounded and the edges are curved and wide.
References
Fig. 5.6 typeface reference - SergioTrendy-Regular
Mr Vinod advised us to have a reference typeface to help with the refinement process. I choose SergioTrendy-Regular as my reference because it is roughly similar to L from the letter extracted.
Refinement process
Fig. 5.7 Attempt 1 - refining letterform
In my first attempt, I introduce some space to make the letterform look like noodles.
Fig. 5.8 Attempt 2 - refining letterform
Fig. 5.9 Attempt 3 - refining letterform
During feedback session, Mr Vinod advised to work on letter V, D, O before working on the other two letters. He mentioned that the letter D need to be angle less and the letter O's height can be a bit longer.
Futher refinement
Fig. 6.2 Attempt 5 - refining letterform
After the feedback session, I decided to make the the letter V's angle smaller. For letter D, I make it less angle/sharp. For letter O, I make it taller. For the letter S, I introduce space to replicate the fold of the noodles. Lastly, for the letter L, I introduced space similar to the other letters to create consistency between the letters.
Fig. 6.3 Attempt 6 - refining letterform
Design process
Fig. 6.4 Refinement progress
Fig. 6.5 before and after 'V'
Fig. 6.6 before and after 'D'
Fig. 6.7 before and after 'O'
Fig. 6.8 before and after 'S'
Fig. 6.9 before and after 'L'
Fig. 7.0 Type showcase ( week 4 )
Final Outcome Task 1 : Exercise 2 - Type and play
Fig. 7.1 Final noodle typeface - PDF
Task 1 : Exercise 2 - Type and image
For this task, we are required to chose a image and incorporate a word/sentence/phrase that fits the chosen image. The objective is to enhance/support the interplay between the word/sentence and the selected visual. The text must be woven into a symbiotic relationship with the image.
Week 4 attempts
Fig. 7.2 Original photo sourced from Pinterest
Fig. 7.3 Attempt 1 - BEAUTY (Week 4)
For my 1st attempt, I laid the word 'BEAUTY' on the girl face to make it look like the light is reflecting on her face. I blur the edges of the letter to make it look like light reflecting. I make the letter follow the shape of her face so I curve some of the letters.
Font used
- Montserrat ( black )
Fig. 7.4 Original photo sourced from Pinterest
Fig. 7.5 Attempt 2 - HOPE (Week 5)
For my 2th attempt, I arrange the letters into the light. I was trying to make the letter look like it is fading into the air and the model is trying to grab on to 'hope'. For the letters, I smudge and blur the edges to give it a fading effect.
Font used
- Montserrat ( black )
Fig. 7.6 Original photo sourced from Pinterest
Fig. 7.7 Attempt 3 - I am gonna kill you (Week 5)
For my 3rd attempt, I was trying to place the word around the shadow. My placement didn't work for this image as it seems too complicated.
Font used
- Montserrat ( black )
Fig. 7.8 Original photo sourced from Pinterest
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Fig. 7.9 Attempt 4 - DROWN (Week 5)
Font used
- Cocogoose (regular)
Final Outcome Task 1 : Exercise 2 - Type and image
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Fig. 8.1 Final Task 1 : Exercise 2 Type and image - PDF
Hours spent
- Exercise 1 - 22 hours ( 1 week )
- Exercise 2 (part 1 ) - 35 hours ( 2 week )
- Exercise 2 (part 2 ) - 18 hours ( 1 week )
FEEDBACK
Week 2 (Typographic Systems)
General feedback
For the others attempt, it was good.
Specific feedback
For the first attempt on the axial system, Mr. Vinod advice that I should angle the axial less sharp and try to avoid a 45-degree angle in the straight middle division because it may look stiff. There are also too much design element. For the random system is not random enough. For bilateral system, Mr. Vinod advice that My attempt was more towards multilateral instead of bilateral.
Week 3
Typographic Systems
Specific feedback
For axial system, Mr. Vinod advice that para spacing needed and for random system is fine.
Type & Play : part 1
General feedback
A reference typeface needed when refine a typeface. Both of the letter extraction are good.
Week 4
Type & Play : part 1
General feedback
Reference of choice was good.
Specific feedback
The letter 'D' can angle less and can go little lower then the baseline. Letter 'O' can pass the baseline a bit. Letter 'V' can angle less in the middle. The 'S' and 'L' need to be rework as it is not same compare to other letter.
Type & Image : part 2
General feedback
The letter placement not so suitable
Week 5
Type & Image : part 2
General feedback
Texture can be added around/on the word/letters.
Specific feedback
The 2 and 3 attempt for type and image is too easy and not interesting.
REFLECTION
Experience
The task was interesting and I was able to push myself out of my comfort zone. In the beginning of the task, I was a little lost on where to start. For exercise 1, I struggled with being creative with the layouts while sticking strictly to the systems as I am worry that my work will look plain or boring. For exercise 2A, It was fun to extract letters from objects that are around us. It was challenging during the refining stage as we need to explore and add details parts to get the letterforms reflect its characteristic of the original object. For exercise 2B, it is interesting but difficult at the same time when it comes to finding the suitable image and to blend type into the image.
Observations
For this semester, I was able to learn from others during the feedback session. By learning from other classmates' work, it help me to learn from others and prevent myself from making the same mistakes. After completing the task, I was able to learn that there are endless possibility to create typefaces with the objects around us. This task trained us to look outside the box by exploring, trying and creating different compositions of typography and blending typeface into image.
Findings
For exercise 1, my knowledge on typographic system is very little. After attempting the exercise, my view on typographic system change as there are various way to play with placement to make the layout interesting. For exercise 2A, I learned that we need to study the typeface and the image/item before we start the refining process. Lastly, for exercise 2B, I learn that text can make and image interesting.
FURTHER READING
Fig. 8.2 Typographic Systems by Kimberly Elam
Typographic system by Kimberly Elam explores the eight major structural frameworks including radial, axial, modular, transitional and more. This book provides a variety of good examples of student and professional works. I was able to gain a better understanding of the typographic systems through this book.
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