Advanced Typography | Task 1: Typographic Systems & Type and Play

22/04/2024 - 13/5/2024 | Week 1 - 4

Iman Mikudim | 0338004 | Section 3

Advanced Typography | Bachelor of Design (Hons) in Creative Media 

Task 1: Exercise 1 (Typographic Systems) & Exercise 2 (Type and Play)

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SECTIONS

|  Lectures

• Lecture 1: Typographic Systems
• Lecture 2: Typographic Composition
• Lecture 3 : Context & Creativity
• Lecture 4: Designing Type
• Lecture 5: Perception & Organisation

|  Instructions

• Exercise 1: Typographic Systems
• Exercise 2: Type and Play

|  Feedback

|  Reflections

|  Further Reading

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LECTURES

Lecture 1 | Typographic Systems

"Typographic systems provide a sense of purpose that focuses and directs the decision-making. Shape grammar is a set of shape rules that apply in a step-by-step way to generate a set, or language, of designs."

Fig 1.1 Typographic Systems

All design is based on a structural system. There are eight major variations according to Elam which are:

• Axial: all elements are organized to the left or right of a single axis.
• Radial: all elements are extended from a point of focus.
  
• Dilatational: all elements expand from a certain point in a circular fashion.
• Random: elements appear to have no specific pattern or relationship.
  
• Grid: a system of vertical and horizontal divisions.
  
• Modular: a series of non-objective elements that are constructed in as standardised units.
• Transitional: an informal system of layered banding (segregating information within specific bands).
• Bilateral: all text is arranged symmetrically on a single axis.
  

Lecture 2 | Typographic Composition

There are two (2) aspects of typography:

• Typography pertains to the creation of letters.
• Typography pertains to the arrangement of large amounts of text within a given space (Typographic Composition), which can be screen, print, tactile, on a building, or any other space.
  
  

There are several ways to approach typographical composition:

Fig 2.1 Emphasis in Typographic Composition

Principles of Design Composition: Emphasis, isolation, repetition, symmetry, asymmetry, alignment, and perspective are just a few examples. However, when used in typographic layouts or compositions, these principles can appear ambiguous and more relevant to imagery. Emphasis, symmetry, and asymmetry are easily translated into typographic composition, whereas repetition and perspective are harder to achieve.

Fig 2.2 Rule of Thirds in Typographic Composition

Rule of Thirds: A photographic composition guide that suggests dividing a frame (space) into three columns and three rows. The intersecting lines are used as a guide for placing the points of interest within the available space. However, it is rarely used in typographic compositions.

Typographic Systems

Fig 2.3 Grid System (or Raster Systeme)

The Grid System (also known as the Raster Systeme) is the most commonly used of the eight typographic systems. It was further enhanced by what is now known as the Swiss (Modernist) typographic style. The grid system is popular because it is versatile and modular, allowing for an infinite number of variations. Our reading style favours order and well-organized compositions.

Fig 2.4 Paula Scher, Jonathan Barnbrook, David Carson

In the postmodernist era, younger designers experimented with chaos, randomness, and asymmetry. Designers relied heavily on intuition and instinct, and there was order to the chaos. Asymmetry, randomness, repetition, dilational, and radial systems began to emerge. David Carson, Paula Scher, and Jonathan Barnbrook expertly combined legibility and readability.

Other Models / Systems

Fig 2.5 Environmental Grid

Environmental Grids: Based on the exploration of an existing structure / combination of structures. An extraction of critical lines, both curved and straight, is created. The designer arranges the data around this superstructure, which contains non-objective elements, to create a distinct combination of texture and visual stimuli. The system is built around key features of an environment that provide context for the forms created in the design.

Fig 2.6 Form and Movement

Form and Movement: Based on the exploration of an existing Grid System, it encourages students to explore the opportunities of the grid and eliminate the seriousness surrounding the system. The placement of a form on a page, over many pages, creates movement. The forms could represent images, text, or colour.

"There is a fine line between genius and insanity, just as there is a fine line between legibility, redability and memorability." (1st line, Oscar from Levant; 2nd line, Mr. Vinod).

 

Lecture 3 | Context & Creativity

Handwriting

Fig 3.1 Evolution of the Latin Alphabet

Studying handwriting is important because the first mechanically produced letterforms were designed to directly imitate handwriting. Handwriting is the standard basis for form, spacing and conventions of mechanical type that we try and mimic.

Letterforms shape and line are influenced by the tools and materials used to make them. Some tools that contributed to the unique characteristics of the letterform are: Sharpened bones, Charcoal sticks, Plant stems, Brushes, Feathers and steel pens.

Another factor that contributed to the unique characteristics of the letterform lies in the material it was written on, such as clay, papyrus, palm leaf, animal skins (vellum and parchment) and paper.

Fig 3.2 Cuneiform (c. 3000 B.C.E)

• Earliest system of actual writing, from 34C.B.C.E. through the 1st century C.E.
• Written from left to right.
• Distinctive wedge results from pressing the blunt end of a reed stylus into wet clay tablets.
• Characters evolved from pictograms.
  
  

Fig 3.3 Hieroglyphics (2613 - 2160 B.C.E)

• The Egyptian writing system.
• Fused with the art of relief carving.
• The system is a mixture of both rebus and phonetic characters.
• Hieroglyphics images could be used as ideograms, determinations and phonograms.
• Ideograms: To represent the things they actually depict.
• Determinatives: To show that the signs preceding are meant as phonograms.
• Phonograms: To represent sounds that "spell out" individual words.
  
  

Fig 3.4 Early Greek System

• Phonetic alphabets consists of 22 letters.
• Phoenicians were adopted by the Greeks who added the necessary vowels.
• Early Greek comprises only capital letters, written between two guidelines in order to organize them in horizontal rows.
• The direction of reading is not yet fixed so it was read one row left to right and then switched from right to left in a format known as boustrophedon or 'as the ox ploughs'. 
• Written freehand, not constructed with compasses and rules, no serifs.
• The strokes of these letters grew thicker, the aperture lessened, and serifs appeared.
• Model for calligraphy in the past 2000 years.
  
  

Fig 3.5 Roman Uncials

• Roman letters became more rounded.
• The curved forms allow for fewer strokes and therefore could be written faster.
  
  

Fig 3.6 English Half Uncials (8th C.)

• The uncials evolved into a more slanted and condensed form.
• While English and Irish uncials evolved, the European continent devolved considerably and needed a reformer and that is when Carolingian Handwriting Reform came in.
  
  

Fig 3.7 Carolingian Minuscule

• Capitals at the start of a sentence, spaces between words and punctuation.
• Used for all legal & literary works to unify communication between various regions of the European empire.
• This style became the pattern for the Humanistic writing of the fifteenth-century.
• The basis of our lower-case Roman type.
  
  

Fig 3.8 Blackletter (12-15 C. CE)

• Gothic is an artistic expression, occurring roughly from 1200-1500 and originated with the Italians who referred to rude or barbaric cultures north of the Italian Alps. 
• 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.
  
  

Fig 3.9 The Italian Renaissance (Antica)

• Humanist scholars were reviving the culture of antiquity.
• Humanists named the 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.
  
  

Fig 3.10 Movable Type

• Printing on wood blocks has already been practised in China, Korea and Japan.
• The earliest known printed book (AD 868) is Diamond Sutra, with the world’s first printed illustration. 
• Koreans established a foundry to cast movable type in bronze, allowing the dismantling and resetting of text.
• The movable type was introduced in 1000-1100 CE. Pioneered by China but achieved in Korea.
  
  

Fig 3.11 Evolution of Middle Eastern Alphabets

The evolution of Middle Eastern Script itself has been possibly influenced by the Egyptian Hieroglyphics and Hieratic Scripts.

Fig 3.12 Evolution of Chinese Script

The evolution of Chinese Script from the Oracle Bone, to Seal Script, to Clerical Script, Tradition and Simplified Scripts.

Fig 3.13 Indus Valley Civilization (IVC) Script

• Oldest writing found in the India Continent, Indus Valley Civilization.
• It is undeciphered and is believed to have non- linguistic nature.
• The script is very decorative, showing how advanced the IVC was.
  
  

Fig 3.14 Brahmi Script 

• The earliest writing system developed in India after the Indus script.
• One of the most influential writing systems: All modern Indian scripts and many scripts found in Southeast and East Asia are derived from Brahmi script.
• Derived or at least influenced by one or more contemporary Semitic scripts due to cross-cultural exchange.
  
  

Fig 3.15 Other Writing Systems in Southeast Asia

• Pallava (or Pallawa in Malay):
• A South Indian script originally used for writing Sanskrit and Tamil.
• Highly influential, became the basis for writing systems across Southeast Asia.
• Pra-nagari:
• Indian script used in the Malay Archipelago for writing Sanskrit.
• An early form of the Nagari script.
• Kawi:
• Indonesia's most important historical script.
• Based on Nagari, but indigenous to Java.
• Used for contacting other kingdoms.
• Became the basis of other scripts in both Indonesia and the Philippines.
• Incung:
• The original writing system from Kerinci.
• Comes from a South Sumatran grouping of scripts known as Rencong.

Other scripts that are assimilated from Indonesian communities into Peninsula Malay Communities: Rajang script, Batak script, Bugis script (Lontara), and Javanese script.

Programmers & Type Design

Fig 3.16 Baloo (font with a blend of Latin and vernacular fonts)

• More vernacular scripts are being produced by software giants (Google).
• More vernacular and ‘multi-script’ typefaces are being produced to cater to situations where written matter is communicated in vernacular script or vernacular and Latin script.

Lecture 4 | Designing Type

Why design a new typeface? 

• Type design carries a social responsibility so one must continue to improve its legibility.
• Type design is a form of artistic expression.
  
  

Fig 4.1 'Frutiger' Typeface by Adrian Frutiger

• Designed by the Swiss type designer Adrian Frutiger, who also designed Univers type.
• A sans serif typeface.
• Developed for the Charles De Gaulle International Airport in France.
• The letterform needed to be easily readable even when the reader was moving and is easy to see from both close up and far away.
• Tested with unfocused letters to see which letterforms could still be identified in poor light conditions or when the reader was moving quickly past the sign.
  
  

Fig 4.2 'Verdana' Typeface by Matthew Carter

• Many of Carter's fonts were created to address specific technical challenges.
• Commissioned by Microsoft to create a typeface designed for the screen.
• The font was extremely legible even at very small sizes on the screen.
• Characteristics derived from the pixel rather than the pen, the brush or the chisel.
  
  

Fig 4.3 'Bell Centennial' Typeface by Matthew Carter (Font vs. Printed)

• Commissioned by AT&T which wanted a new typeface for use in their telephone directories and to solve problems related to the existing phonebook typeface, Bell Gothic.
• Design ink traps to prevent ink spread when printing on low-quality paper at high speeds.
  
  

Fig 4.4 'Johnston Sans' Typeface (Earlier Version vs Digitised Version)

• Previously known as "Underground" typeface.
• Commissioned by London's Underground Railway to create a standardized font for their posters and signage.
• Used the proportions of Roman capital letters which had a lot of history in traditional calligraphy, but was also simple enough to fit the modern age.
  
  

General Process of Type Design

1. Research:

• Before creating a type, it is essential to understand type history, type anatomy and type conventions.
• Determine the type's purpose, what it would be used for, and what different applications it will be used in (such as for school buses or airport signage, etc.).
• Study existing fonts that are presently used for inspiration/context/usage patterns/ideas/etc.

2. Sketching:

• Sketching can be done with both traditional tool sets (brushes/pens, ink and paper) and then scanned for the purpose of digitization, or with digital tools such as Wacom, directly into a font design software. 
• Both methods have their positives and negatives, just use whatever works for you.

3. Digitization:

• Using professional software such as Fontlab and Glyph Apps.
• Attention should not be given to the whole form at this stage but also the counter form - the readability of the typeface is heavily dependent on it.

4. Testing:

• Testing is a part of the refining and correcting aspects of typeface.
• Prototyping is part of the process and leads to important feedback.

5. Deploy:

• Deploying a typeface does not mark the end of the revision.
• Teething problems may emerge after the prototyping and testing phases.
  
  

Typeface Construction

Fig 4.5 Construction Grid for Roman Capitals using 8 x 8 cells

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

Construction & Considerations

Fig 4.6 Classification according to form and construction

Depending on their form and construction, the 26 characters of the alphabet can be arranged into groups. A distinction is made between a group for the capitals and a group for lowercase letters.

Fig 4.7 Overshoots

Many different forms and constructions must be taken into account when creating a new type. One of the important visual corrections 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.

Fig 4.8 Comparison of Humanistic and Didone Typeface

A visual correction is also needed for the distance between the letters. A consistent 'visual' white space between letters must be created because some letters next to each other may not look good with equal spacing. The white space between letters should look the same (fitting type).

Lecture 5 | Perception & Organisation

Perception

Perception in typography deals with the "visual navigation and interpretation of the reader through contrast, form and organization of content". The content can be textual, visual, graphical or in the form of colour.

Fig 5.1 Contrast devised by Rudi Ruegg

There are several methods in typography to create contrast and the image shown above is devised by Rudi Ruegg. They are self explanatory.

Fig 5.2 Contrast devised by Carl Dair

Carl Dair had 7 ways to create contrast - size, weight, contrast of form, contrast of structure, contrast of texture, contrast of colour and contrast of direction.

• Size: A contrast of size provides a point to which the reader’s attention is drawn. The most common use of size is in making a title or heading noticeably bigger than the body text.
• Weight: Describes how bold type can stand out in the middle of the lighter type of the same style. Using rules, spots, and squares also provides a “heavy area” for a powerful point of visual attraction or emphasis.
• Form: The distinction between a capital letter and its lowercase equivalent, or a Roman letter and its italic variant, condensed and expanded versions of the typeface are also included under the contrast of form.
• Structure: 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. Texture refers to the way the lines of type look as a whole up close and from a distance. 
• Direction: The opposition between vertical and horizontal, and the angles in between.
• Colour: The use of colour suggests that a second colour is often less emphatic in values than plain black on white. It is important to give thought to which element needs to be emphasized and to pay attention to the tonal values of the colours that are used.
  
  

Form

Fig 5.3 Examples of 'Form'

• Typography, derived from Greek words “typos” (form) and “graphis” (writing), involves writing in accordance with form.
• It serves two primary functions: representing a concept and doing so visually.
• Displaying type as a form showcases the unique characteristics and abstract presentation of letterforms.
• Manipulating type through distortion, texture, enlargement, and extrusion into space transforms it into a form, blurring its identity as individual letters and creating a balanced harmony between function and expression.
  
  

Organisation: Gestalt Laws (Principles)

Gestalt in German means the way things have been placed or put together. Gestalt theory emphasizes that the whole of anything is greater than its parts, this can be the same for designing layouts.

Fig 5.4 Gestalt Laws (Principles)

• Law of Similarity: Elements that are similar to each other tend to be perceived as a unified group (eg. grouping of colour, orientation, size, or indeed motion).
• Law of Proximity: Elements that are in close proximity to each other tend to be perceived as a unified group.
• Law of Closure: Refers to the mind’s tendency to see complete figures or forms even if a picture is incomplete or partially hidden by other objects.
• Law of Continuation: Refers to how humans tend to perceive each of two or more objects as a different, singular, and uninterrupted object even when they intersect.
• Law of Symmetry: Humans tend to perceive objects as symmetrical shapes, even if symmetry isn't explicit.
• Law of Simplicity (Praganz): People prefer simplicity and clarity in visual stimuli, organizing complex scenes in the simplest way possible.
  
  

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INSTRUCTIONS

Exercise 1 | Typographic Systems

Sections:

1. Brief

2. Process

3. Final (Submission)

1. Brief

For this exercise, we are to explore 8 systems which are Axial, Radial, Dilatational, Random, Grid, Modular, Transitional and Bilateral in InDesign using the content provided in the MIB.

• Size: 200 x 200 mm.
• In addition to black, allowed to use one other colour.
• Graphical elements (line, dot, etc.) can be used but limitedly.
  
  

We were also instructed to watch the InDesign Formatting and Modular System demonstration videos in the lecture playlist to help recap and assist us with the tools and layouts to use in our designs.

Fig 6.1 Formatting Tutorial

Fig 6.2 Modular System Tutorial

2. Process

(i) Initial Layouts

Fig 6.3 Creation Process (Grids & Guides) | Week 1 (22/4/24) 

I prefer to work directly in the software when it comes to layout ideas, so I didn't create any sketches, which makes my thought process easier to see. Fig. 6.3 shows the creation process of 8 different systems. I mainly used sans serif typefaces as I felt it fit the theme for 'Punk' theme.

All body text sizes range from 10 to 12 points, with the majority being 12 points with a 14.5 leading. Title point size varies. The accent colour is magenta, along with black and white, because these are popular punk colours.

(ii) Feedback

After receiving feedback from Mr. Vinod these were the comments he made for each system:

• Axial/Dilational/Transitional: Good, no comments.
• Random: It is about artistic expression, so I need to learn to use the sensibility of contrast and dominance more when placing information. It shouldn't just be lines of text scattered everywhere. There is chaos, but there is also some rhythm. 
• Bilateral: Good but angles of axis should not be 45 degrees.
• Radial: There are too many different weights and types, which makes readability difficult. When experimenting with fonts and weights, make sure it's readable. 

(iii) Revised Layouts

Fig 6.4 Revised Axial Layout (Before & After) | Week 2 (30/4/24) 

For axial, I reduced the angle of the axis and shifted it to the right slightly. I also changed the placement of "All Ripped" and right-aligned it with the word "Up".

Fig 6.5 Revised Bilateral Layout (Before & After) | Week 2 (30/4/24)

For bilateral, I created a new and simpler layout with a straight axis because I thought it would better represent the bilateral structure.

Fig 6.6 Revised Modular Layout (Before & After) | Week 2 (30/4/24)

For modular, I've also redone my layout, using a 4 by 4 column and row structure and precisely placing each piece of information in one unit, as opposed to the previous design, which used two columns for headings.

Fig 6.7 Revised Grid Layout (Before & After) | Week 2 (30/4/24)

For grid, I went ahead and reduced the weights of some of the texts and lines because I felt they were too strong. Finally, I've added a bar to the top right of the page that highlights 'open public lectures' and 'lecture theatre 12'.

Fig 6.8 Revised Radial Layout (Before & After) | Week 2 (30/4/24)

For radial, I went with a new simpler layout, reducing font weights and adding a circle to draw attention to the heading, as well as placing the heading slightly to the left of the outer circle to draw more attention to it.

Fig 6.9 Revised Random Layout (Before & After) | Week 2 (30/4/24)

I tried my best to get out of my OCD and comfort zone by focusing on the random aspect of the heading. Though it is not the most random of layouts, I believe it is better to the one I previously created.

3. Final (Submission)

Final Typographic Systems Layouts (JPEG)

Fig 6.10 Final Axial Layout | Week 2 (1/5/24)

Fig 6.11 Final Bilateral Layout | Week 2 (1/5/24)

Fig 6.12 Final Dilational Layout | Week 2 (1/5/24)

Fig 6.13 Final Grid Layout | Week 2 (1/5/24)

Fig 6.14 Final Modular Layout | Week 2 (1/5/24)

Fig 6.15 Final Radial Layout | Week 2 (1/5/24)

Fig 6.16 Final Random Layout | Week 2 (1/5/24)

Fig 6.17 Final Transitional Layout | Week 2 (1/5/24)

Final Typographic Systems Layouts (PDF) - Without Guides

Fig 6.18 Final Typographic Systems Layouts - Without Guides | Week 2 (1/5/24)

Final Typographic Systems Layouts (PDF) - With Guides

Fig 6.19 Final Typographic Systems Layouts - With Guides | Week 2 (1/5/24)

Exercise 2 | Type & Play

Sections:

1. Brief

2. Type

• Process
• Final (Submission)

3. Poster

• Process
• Final (Submission)
  
  
  

1. Brief

• This task requires us to choose an image of a man-made object or structure, or something from nature. Make sure the image has a few elements.
• Our task is to analyze, dissect, and identify letterforms in the image. Explore and digitize the forms. It is expected that the forms will evolve from crude representations to a more refined celebration that reflects its origins.
• After creating the letterforms, we must combine them with an image that forms the extracted letters. The goal is to improve letterform-visual interaction. Text and image must work together.

2. Process (Type)

(i) Finding an image

Fig 7.1 Chosen Image | Week 2 (2/5/24)

I chose my own shot of a washing basket at home because I thought the diagonal and octagonal repeated patterns were interesting.

(ii) Deconstruction of letterforms

Fig 7.2 Deconstructing letterforms | Week 2 (2/5/24)

After deconstruction, I discovered and realized that there were several ways to angle the stems of the letters.

(iii) Identifying letterforms

Fig 7.3 Identification of letterforms | Week 2 (2/5/24)

I chose the four letters 'T', 'U', 'L', and 'C' mostly because they are our university's acronym, but also because I felt I could experiment with adding serifs as needed later on.

(iv) Extracting letterforms

Fig 7.4 Extraction of letterforms | Week 2 (2/5/24)

After extracting the letterforms and arranging them on the baseline, I realized that a few adjustments needed to be made, such as the thickness and lengths of the stems and bars, for example.

(v) Identify a reference

Fig 7.5 Extracted letterforms placed against a reference typeface | Week 2 (2/5/24)

I chose two typefaces as my references: Serifa and ITC New Baskerville, because I felt that the desired direction and style of my final font would be a blend of the two.

(vi) Refining letterforms

Fig 7.6 Initial refinement process | Week 2 (2/5/24)

The following week, Mr. Vinod commented that my font was interesting, reminiscent of a Blackletter style typeface; however, he suggested that I increase the thickness/width of the letter 'U'.

Fig 7.7 Example of detailed construction to referenced typefaces | Week 3 (6/5/24)

Fig 7.8 Detailed construction of all letterforms | Week 3 (6/5/24)

Following Mr. Vinod's feedback, I went on to do even more detailed construction, comparing my font to the referenced typefaces, Serifa (Roman) and ITC New Baskerville (Roman), to ensure that the strokes of my letterforms were consistent in style and weight.

Fig 7.9 Final process stages of letterforms | Week 3 (6/5/24)

Fig 7.10 Extracted letterform and refined letterform | Week 3 (6/5/24)

Extracted letterform (basket) on the left, referenced letterform on the right (Serifa & ITC New Baskerville, Roman), and the result in the middle.

Final Typeface Design (JPEG)

Fig 7.11 Image and Extracted Letterforms | Week 4 (14/5/24)

Fig 7.12 Referenced Typefaces | Week 4 (14/5/24)

Fig 7.13 Final Letterforms | Week 4 (14/5/24)

Fig 7.14 Compiled Process | Week 4 (14/5/24)

Fig 7.15 Initial Extracted Letterforms and Final Letterforms | Week 4 (14/5/24)

3. Process (Poster)

Note: The poster has to be square, 1024x1024 px. Export 300 ppi. All information needs to be related to the poster. Pick appropriate logos. Do not do layouts in Photoshop, make sure everything is back in Illustrator.

Fig 8.1 Initial image for poster | Week 3 (8/5/24)

My initial thought process for choosing a poster was to go with something horror-related because I thought it would fit the theme and feel of my typeface.

Fig 8.2 Initial poster design | Week 3 (8/5/24)

However, after receiving feedback from Mr. Vinod, he noted that while the poster was visually appealing, it was too distracting and should focus solely on the basket rather than the person or anything else.

Fig 8.3 Updated selected images for poster | Week 4 (13/5/24)

Fig 8.4 Poster variations | Week 4 (13/5/24)

I ended up finding two other photos with only baskets and creating three variations for each: one with a gradient, one with a gradient grain texture, and the third with a black and white gradient grain texture.

However, I chose the top middle variation of the first image because I felt it better represented the repetitive patterns of a basket from which I extracted my letterforms.

Final Poster Design (JPEG)

Fig 8.6 Final Poster Design | Week 4 (13/5/24)

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FEEDBACK

Exercise 1 | Typography Systems

Week 1 (22/4/24)

General Feedback: 

• Watch all lectures and document them in the e-portfolio.
• Choose only 1 topic out of the 3 provided.
• Turn off facing pages in InDesign.
• Make sure texts are cross-aligned.
• Sketch all 8 typography systems (2-3 each).
  
  

Week 2 (29/4/24)

General Feedback:

• If possible, combine all images into a single post to avoid a long e-portfolio.
• To maintain focus, keep your eye on the artwork; avoid placing large headings in corners or in layouts that draw viewers away from it.
• Never have one side of the page one colour and the other a different colour; this causes too much conflict and is generally bad design.
• Remember form follows function. It is critical to understand information hierarchy and how to segregate it.
• Questions to ask oneself:
• Do the arrangements adhere to the prescribed system?
• Comment on the information's hierarchy?
• Does the composition draw you in?
• Does the design adhere to best practices in typesetting?
• How can she/he improve on the design?

Specific Feedback: 

• Dilational/Transitional: Good, no comments.
• Random: It is about artistic expression, so I need to learn to use the sensibility of contrast and dominance more when placing information. It shouldn't just be lines of text scattered everywhere. There is chaos, but there is also some rhythm. 
• Radial/Bilateral: Good but angles of axis should not be 45 degrees.
• Radial: There are too many different weights and types, which makes readability difficult. When experimenting with fonts and weights, make sure it's readable. 
  
  

Exercise 2 | Type & Play

Week 3 (29/4/24)

General Feedback:

• The poster has to be square, 1024x1024 px.
• Export 300 ppi.
• All information needs to be related to the poster.
• Pick appropriate logos.
• Do not do layouts in Photoshop, make sure everything is back in Illustrator.

Specific Feedback:

• Interesting font design, reminiscent of a Blackletter style typeface; just increase the thickness/width of the letter 'U'.
  
  

Week 4 (13/5/24)

General Feedback:

• Never have rivers (large spaces of gaps) in between paragraph. Look to create opportunities for interplay and integration in the poster. 

Specific Feedback:

• It's a good poster, but there's too much emphasis on the person rather than the font. Choose another image for the poster; while it may appear less dramatic than the original, it will better capture functionality. If you look at the poster, the first thing you'll notice is the font and where it came from, which in my case was the basket.
  
  

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REFLECTIONS

Exercise 1 | Typographic Systems

Experience

For exercise 1, I mostly battled my OCD side, which was quite challenging for me, especially when doing the "random system," and I struggled to be creative while adhering strictly to the systems. Apart from meeting expectations, there was additional pressure to create original layouts. Whenever I wasn't happy with the result, I would go back to a system and look for ways to improve it or start over from scratch. Still, I was rather happy with the outcome. 

Observations

Exercise 1 required me to consider balance in addition to the standard typography principles of leading, point size, alignments, etc. It is crucial to guarantee that white space is distributed or used well, taking full use of the available space, even in an asymmetrical design or layout.

Findings

Exercise 1 was essentially a growth-promoting exercise that highlighted the mutually beneficial relationship between structure and creativity and the need of balance in typographic design. Equipped with these understanding, I am ready to tackle next projects with fresh inventiveness and a greater respect for the nuances of design.

Exercise 2 | Type & Play

Experience

For exercise 2, I gained a great deal of knowledge on letterform translation from pictures. Concentrating just on the forms and shapes of the image helps. Though challenging at first, I realized that changing my viewpoint was crucial rather than restricting myself. 

Observations

For this exercise, it seems that the most important thing to recognize the letterforms is to be observant. To create distinctive letterforms, we had to preserve the qualities of the selected image even if we shouldn't make the letterform too different from the reference typeface. 

Findings

The second task pushes us to experiment and be imaginative with the letterform design as well. I found that making a font out of natural objects enables us to comprehend the whole process of font design. 

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FURTHER READINGS

Book | Typographic Systems

Fig 8.1 Typographic Systems by Kimberly Elam

Fig 8.2 Constraints and Options

Lines can be broken to create multiple lines, altering grouping and reading flow. Leading is variable, leading to changes in position and textures, while variable word and letter spacing create distinct changes in texture and tone.

Fig 8.3 The Circle and Composition

The circle serves as a versatile element in composition, capable of being used anywhere. In compositions with one size and one weight, the circle can significantly impact the composition's dynamics. Its placement can create tension between lines of text, emphasize specific elements, or contribute to visual organization and balance. Aligning the circle with lines provides a sense of structure and organization.

Fig 8.4 Nonobjective Elements

Nonobjective elements enhance composition by emphasizing, organizing, and balancing it. They function as guides alongside typography, improving message clarity and directing the viewer's eye. These elements convey organization and direction, strengthening the message. Designers, familiar with composition nuances, find working with nonobjective elements particularly interesting and satisfying.

Article | Finding Type: A Novel Typographic Exercise

Fig 8.5 Finding Type: A Novel Typographic Exercise by Mr. Vinod

Mr. Vinod's article on 'Finding Type' breaks down the process of creating letterforms into several steps, which are: 

1) Finding an image: The subject matter is preferred to have a repetitive nature without many elements. It is possible to do it without these characteristics, but the result could be inconsistent and time-consuming to extract letterforms.

Fig 8.6 Fence by Calvin Ma; leaves by Brat Zimny; windows by Ján Jakub Naništa; pool by Wesley Tingey

2) Deconstructing an image: Outline the identified shapes. The shapes and form of the object, as well as the lines, textures and overall form, should be studied.

Fig 8.7 Deconstruction by Piyaphon Inthavong (left), Azmina Fathima Haris (centre) and Rausha Aminath (right)

3) Identifying letterforms: The shapes do not have to look like an exact letter but resemble its basic shape.

Fig 8.8 Deconstruction and identification by Rausha Aminath

4) Extracting letterforms: Identify core characteristics of the letterform. 

Fig 8.9 Extracted letterforms placed on a baseline by Tamara Audrey Saputra.

5) Identify a reference: Find a similar typeface with the same direction style. It guides the identified letterforms towards an overall aesthetic and determines the shape of a letter.

Fig 8.10 Extracted letterforms placed against a reference typeface
(Univers LT Std 47 Light Condense) by Piyaphon Inthavong, 2019

Fig 8.11 Extracted letterforms placed against a reference typeface
(ITC Garamond Std. Book) by Jessica Chan Qian Hui, 2019

6) Refining letterforms: Refine the letterform to a point that is consistent and similar to the other letterforms extracted. It should retain the core characteristics of the original subject but also be used as a legible typeface.

• Introduce consistency in height, width and contrast.
• Deliberate on retaining or removing characteristics.
• Decide what areas require simplification.
  
  

Fig 8.12 Extracted letterform and refined letterform by Piyaphon Inthavong, 2019

Extracted letterform (surface reflection of water in a swimming pool) on the left, reference letterform on the right (in this case Univers LT Std 47 Light Condense) and the result in the middle. It is important to note that the reference is an aim but not the destination. 

Fig 8.13 Extracted letterform and refined letterform by Tamara Audrey Saputra, 2019

Extracted letterform (tree branches) on the left, reference letterform on the right (in this case Myriad Regular) and the result in the middle. 

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QUICK LINKS

|  Task 2: Key Artwork

|  Task 3: Type Exploration and Application

|  Task 4: Final Compilation & Reflection