Advanced Typography // Task 1
29.08.2022 - 28.09.22 Week 1 - Week 5
Lim Yi Xvan 0354552Bachelor of Design in Creative Media
Task 1 : Typographic Systems & Type&Play
Lectures
Week 1: Typographic Systems
On week 1, due to public holiday, class wasn't conducted but we were assigned to watch the pre-recorded tutorial and lecture videos. We were introduced to 8 major typographic systems.
All design is based on a structural system to create a good layout, there are eight major variations with an infinite number of permutations which are as follow:
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| fig 1.1 - examples of axial typographic system |
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| fig 1.2 - examples of radial typographic system |
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| fig 1.3 - examples of dilatational typographic system |
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| fig 1.4 - examples of random typographic system |
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| fig 1.5 - examples of grid typographic system |
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| fig 1.6 - examples of modular typographic system |
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| fig 1.7 - examples of axial typographic system |
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| fig 1.8 - examples of bilateral typographic system |
Week 2: Typographic Composition
Principles of Design Composition
The major principles that guide design composition, such as emphasis, isolation, repetition, symmetry and asymmetry, alignment, and perspective, come to mind when we think of composition.
However, when it comes to putting them into typographic layouts or composition, these abstract principles appear confusing.
The concepts presented above and how they are implemented in actual material (pictures, text, and colour) on a page or screen can occasionally seem incompatible. Nevertheless, some of these ideas are a little simpler to apply than others.
Emphasis
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fig 2.1 - examples of using design principles emphasis in
typographic system |
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| fig 2.2 - examples of using design principles rule of thirds in typographic system |
Typographic System
The most used typographic system among all the 8 is Grid System. The versatility of the system and its (to some degree) modular nature tends to allow an infinite number of adaptations. This is why it continues to remain popular.
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| fig 2.3 - examples on how to use grid typographic system |
Environmental Grid
This system is based on the examination of an already-existing structure or a combination of several existing structures. Straight and curved lines that are essential are extracted. The designer then arranges his data around this super-structure, which also has subjective components, to provide a distinctive and intriguing blend of texture and visual cues.
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Form and Movement
This system is based on the exploration of an existing Grid Systems. The vast array of alternatives the grid provides; to downplay the gravity of the grid system's application; and to view the turning of pages in a book as a slowed-down animation of the placement of picture, text, and colour.
Placing it on a page over several pages produces movement. It doesn't matter if the page is on paper or a screen.
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Week 3: Typographic Composition
Handwriting The methods and materials used to create hand drawn letterforms have an impact on their shape and line. Sharpened bones, charcoal sticks, plant stems, brushes, feathers, and steel pens are just a few of the materials that helped create the letterform's distinctive features.
fig 3.1 - evolution of the Latin Alphabet
Cuneiform (c. 3000 B.C.E.) The earliest system of actual writing. It acquired its distinctive wedge shape as a result of being pressed into wet clay tablets with a reed stylus' blunt end. Pictograms were the ancestors of the cuneiform characters. It's written from left to right.
fig 3.2 - The Cuneiform Hieroglyphics (2613–2160 B.C.E.) The art of relief carving is combined with the Egyptian writing system which combined phonetic and rebus letters, was the forerunner of the alphabet. There are three potential applications for hieroglyphic images: 1. As ideograms 2. As determinatives 3. As phonograms 
fig 3.3 - Hieroglyphics Chart Early Greek (5th C. B.C.E.) Built on the Egyptian logo-consonantal system, the Phoenicians developed a phonetic alphabet consisting of 22 letters.It was comprised of only capital letters, written between two guidelines to organize them into horizontal rows.
Roman Uncials The curved form allowed for less strokes and could be written faster.
English Half Uncials (8th C.) In England the uncial evolved into a more slanted and condensed form. Writing on the European continent devolved considerably and needed a reformer.
Carolingian Minuscule During Charlemagne's patronage book production increased and language was standardized so then a new script emerged. It was used for all legal and literary works. It was as important a development as the standard Roman capital, in turn was the basis of our lower-case roman type.
Black Letter (12-15 C. CE) Gothic was the culminating artistic expression of the Middle Ages. It is characterized by tight spacing and condensed lettering.
The Italian Renaissance The renaissance embrace of ancient Greek and Roman culture spurred a creative wave through letter form design. The renaissance analysis of form that was being applied to art and architecture was directed toward letterform.
Movable Type (11 C.—14 C.)
It 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.
The oldest writing found in the ‘Indian’ subcontinent the Indus Valley Civilization (IVC) script (3500-2000 BCE), is as yet undeciphered and seems to have been somewhat logo-syllabic in nature.
fig 3.4 - oldest writing script
The Brahmi script (450–350 BCE) is the earliest writing system developed in India after the Indus script. It is one of the most influential writing systems; all modern Indian scripts and several hundred scripts found in Southeast and East Asia are derived from Brahmi.
fig 3.5 - the Brahmi script Week 4: Designing Type Two reasons for designing a typeface:
• type design carries a social responsibility so one must continue
to improve its legibility.
• type design is a form of artistic expression.
General Process of Type Design:
1. Research: understand type history, type anatomy and type
conventions, determine the type’s purpose or what it would be used for, what
different applications it will be used in, examine existing fonts that are presently being used for
inspiration/ideas/reference/context/usage pattern/etc.
fig 4.1 - ink traps occur during printing on cheap paper
2. Sketching: Some designers sketch their typeface using the traditional tool
set (brushes/ pens, ink and paper) / using digital tool sets, such as Wacom directly into a font
design software.
3. Digitization: The leading software are: FontLab and Glyphs App. Adobe Illustrator is also used to design or
craft letterforms then only import into the font apps. The readability of the typeface is heavily dependent on it.
4. Testing: Part of the process of refining and correcting aspects of the
typeface. Prototyping is also part of the testing
process. However it is not as crucial if the typeface is a display type, where
expression of the form takes a little more precedence.
fig 4.2 -Prototype Stencil by Vinod J. Nair
5. Deploy: The rigour of the testing is important in so that the teething issue
remain minor.
Typeface Construction:
using grids (with circular forms) can facilitate the construction
of a letterforms and is a possible method to build/create/design
your letterform.
fig 4.3 - construction grid for the Roman Capitals
Construction and Considerations:
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.
fig 4.4 - classification according to the form and construction 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, called ‘fitting’ the type.
fig 4.4 - guidelines and baselines used for correction
Week 5: Perception and Organization In typography, perception refers to the reader's visual orientation and interpretation through contrast, form, and information organisation. Textual, visual, graphical, or coloured content are all acceptable forms of content. Contrast 7 kinds of contrast: 1. Size 2. weight 3. contrast of form 4. contrast of structure 5. contrast of texture 6. contrast of colour 7. contrast of direction  fig 5.1 - methods to create contrast by Rudi Ruegg
fig 5.2 - methods to create contrast by Carl Hair Form For describes the overall appearance and feel of the typographic composition's constituent parts. It is the component that affects first impressions and visual impact. A good typographic form typically draws the eye aesthetically, guides the eye from one place to another, engages the intellect, and is frequently memorable. A typeface that is viewed as a form no longer reads as a letter since it has been altered by extrusion into space, texture, expansion, and distortion.  fig 5.3 - methods to create forms using typefaces Gestalt 1.Law of Similarity 2.Law of Proximity 3.Law of Closure 4.Law of Continuation 5.Law of Symetry 6.Law of Simplicity (Praganz)  fig 5.4 - principles of gestalt theory |
Instructions
Task 1
Exercise 1 // Typographic Systems
On week 1, we were given task on exploring the 8 systems given. The exercise task is to be done using Adobe InDesign only. In addition to black, we can use one other colour. Graphical elements (line, dot, etc.) can be used but limitedly.
First, I started off with the axial typographic system, I used Futura because I think it would be more neat, safe and easy to manipulate without the serifs. We were said that could be playing with one another colour in addition of black, while I was thinking what colour would be matched well with black and here's my two colour options.
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| fig 6.1 - colour options for exercise 1 |
Digitalisation
Then I think it's still hard to decide which colour to go with so I just applied it on my design. Below are some drafts I made for the axial typographic system.
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| fig 6.1.2 - diff color options used in diff layout (8/9/22) |
I've also added some basic elements to balance the whole layout. Then I found out I still like pink more so I choose to play with pink for this exercise.
I've also created another layout design for the axial typographic system which I decided to make it more interesting instead of it just being simply vertical.
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fig 6.1.3 - axial design 2 (8/9/22) |
I also try playing with colours so it'll look more colourful and eye-catching. But then after few consideration, I think the simple one will look more secure for me to submit as final hahaha so ya I go with that one instead of this.
Fonts Used:
Heading - Futura Std Book
Contexts - Futura Std Light & Light oblique
Next, is the radial typographic system. To be honest, I remember that I spent like almost 3 hours for this one because I was trying so hard to balance the texts and everything damn! Well how do I balance it hahah here you go, this is how I make sure they're in the right angle and positions.
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fig 6.2.1 - radial system progress (8/9/22) |
I tried few attempts until I manage to make it look in nice position with their respective angles and make sure they don't look too crowded. I've also added white border outside of the text to create gaps for each other make sure they don't look too crowded together.
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fig 6.2.2 - radial system progress (8/9/22) |
Fonts Used:
Heading - Univers LT Std 85 Extra Black
Contexts - Gill Sans Regular & SemiBold
For dilatational system, my intention was to create a lot of circles collapsed and joined together in different positions instead of just the same position. So here's my design.
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fig 6.3.2 - dilatational system 1st attempt (8/9/22) |
Then I find that the angle was kinda weird so I did some adjustments to make the whole structure like more centered on the artboard. Well here's a comparison pic I did after adjustment.
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Fonts Used:
Heading - Futura Std Extra Bold & Gill Sans Semi Bold
Contexts - Gill Sans Regular & Bembo Std Regular
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| fig 6.4.1 - 1st attempt on random typographic system (8/9/22) |
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| fig 6.4.2 - final attempt on random typographic system (8/9/22) |
Fonts Used:
Most of the 10 typefaces
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| fig 6.5.1 - color options on grid typographic system, 1st and 2nd attempt (8/9/22) |
I added a small square in outline form on the left side so it balances the whole thing. Besides, I also make the dates into outline form and make the header in one row italic so it won't look too flat in viewing the whole thing. I try switching the colour because I think white background might be looking like something is missing so I decided to go with the one in black.
Fonts Used:
Heading - Futura Std
Contexts - Gill Sans
For modular, I'm more alert on this one as Mr.Vinod told us that they only can be in specific particular they own and not to be exceeded, also alignment must be the same. So I make them all in left alignment. For the main heading I make it italic and also the contents to form a balance view. I also added some shapes in it to make sure the empty column don't look too empty and also to show that they're all in respective border without exceeding another.
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| fig 6.6.1 - modular typographic system (8/9/22) |
Fonts Used:
Heading - Futura Std Heavy Oblique
Contexts - Futura Std Book & Light Oblique
Next is transitional system. For transitional, is to make the viewer to read by following the text in informal direction given, so I decided to make them all from left to right same goes the heading. However, I did added a think line behind the words of the heading so it has the effect of it's being highlighted.
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| fig 6.7.1 - transitional typographic system 1st attempt (8/9/22) |
Then as I long I look at it, I find that everything may seems like a bit upper heavy so I readjusted the whole text position into more centre.
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| fig 6.7.2 - transitional typographic system 2nd attempt (15/9/22) |
Fonts Used:
Heading - Adobe Caslon Pro Regular & Serifa Std 65 Bold
Contexts - ITC Garamond Bold & Light
Last for bilateral system, I decided to make them all align in middle the middle axis with the centre alignment and not just in one axis but with two. So this is how it looks for my 1st attempt.
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| fig 6.8.1 - bilatertal typographic system 1st attempt (8/9/22) |
Then I think it's missing something so I tried adding some line in the middle axis they're aligning to so it looks more obvious and more interesting. Also I did some repositions with the texts too.
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| fig 6.8.1 - bilatertal typographic system 2nd attempt (8/9/22) |
Somehow it actually have abit Christmas vibes as I think it looks like the bells and balls hang on the Christmas tree hahah.
Fonts Used:
Heading - Bodoni Std Bold Condensed
Contexts - ITC Garamond Book & Light
Final Submission Task 1: Exercise 1
1. JPEG
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fig 7.1 - final axial typographic system (8/9/22) |
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| fig 7.2 - final radial typographic system (8/9/22) |
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fig 7.3 - final dilatational typographic system (15/9/22) |
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fig 7.4 - final random typographic system (8/9/22) |
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fig 7.5 - final grid typographic system (8/9/22) |
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fig 7.6 - final modular typographic system (8/9/22) |
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fig 7.7 - final transitional typographic system (15/9/22) |
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fig 7.8 - final bilateral typographic system (8/9/22) |
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2. PDF
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fig 7.9.1 - final submission task 1 exercise 1 in pdf (15/9/22) |
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fig 7.9.2 - final submission task 1 exercise 1 in pdf with grids and guides (15/9/22) |
Exercise 2 // Type & Play Part 1
On this exercise, we were told to make a selection of image between man-made objects (chair, glass, etc.) or structures (buildings), and nature (Human, landscape, leaf, plant, bush, clouds, hill, river, etc). Then, analyse, dissect and identify potential letterforms within the dissected image. The forms would be explored and ultimately digitized. It is expected that through a process of iteration the forms would go from crude representation to a more refined celebration that would reflect to a degree its origins.
We can use the 10 typefaces given as a referenced when refining them. And here's the pic I've chosen for my exercise 2 to do the letter extractions.
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| fig 8.1 - image for letter extractions (12/9/22) |
Extractions of letterforms
So I used the image above and extracted out the letterforms that I saw from it which is Y, M, V, C, R.
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| fig 8.1.1 - image of letter extractions (12/9/22) |
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| fig 8.2 - letter extracted above the reference typefaces (12/9/22) |
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fig 8.2.1 - letter extracted above the reference typefaces
(13/9/22) |
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fig 8.2.2 - 3rd attempt of letter refinement compared with
reference typefaces (13/9/22) |
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fig 8.3.1 - letter 'y' lines added following the texture
on the image (18/9/22) |
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fig 8.3.2 - letter 'm' lines added following the texture on the
image (18/9/22) |
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fig 8.3.3 - letter 'v' lines added following the texture on the
image (18/9/22) |
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fig 8.3.4 - letter 'c' lines added following the texture on the
image (18/9/22) |
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| fig 8.3.5 - letter 'r' lines added following the texture on the image (18/9/22) |
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| fig 8.5 - image after colour and filter adjustment (19/9/22) |
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| fig 8.6.1 - letterforms placed on image composition 1 (19/9/22) |
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| fig 8.6.2 - letterforms placed on image composition 2 (21/9/22) |
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| fig 8.6.3 - letterforms placed on image composition 3 (21/9/22) |
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objective is to enhance/support the interplay between the letter/word/sentence and the selected visual. The text must be woven into a symbiotic relationship with the image.
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fig 10.1 - design themes of the HONOR competition (28/9/22)
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fig 10.1.2 - image options (26/9/22)
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fig 10.1.3 - fonts used for ex 2 (27/9/22)
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fig 10.1.4 - layers in ps (27/9/22)
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fig 10.2.1 - 1st attempt (27/9/22)
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fig 10.2.2 - 2nd attempt (27/9/22)
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fig 10.3.1 - reflections of the texts by wrinkle
tool (27/9/22)
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Then, I've created few versions of the texts as I'm not satisfied with my 1st attempt on this one. So here're some versions I worked with by adjusting its gradients, applying shadows to make it solid, also I used the displacement effect on PS just like how I did on the "tropical" one so to create a better interplay with the image. Here're some versions I've make for this.
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fig 10.3.2 - 1st attempt on "Marine" (27/9/22)
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| fig 10.3.4 -3rd attempt on "Marine" (27/9/22) |
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| fig 10.3.5 -4th attempt on "Marine" (27/9/22) |
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| fig 10.4.1 - final version of "Renewal" in ocean (28/9/22) |
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fig 10.4.2 - details of the texts and the leaves (28/9/22) |
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fig 10.4.3 - 1st attempt on the landscape version of
leaves (28/9/22) |
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For my final submission, I decided to pick fig
10.4.3 as it's more related to its title and the
interplay of texts and image is better so ya~
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fig 10.5.1 - final submission task 1 exercise 3 in jpeg (30/9/22) |
| fig 10.5.2 - final submission task 1 exercise 3 in pdf (30/9/22) |
Feedbacks
Week 2
General Feedback: The modular system must be noted and not to exceed the specific box.
Specific Feedback: All looks great to me.
Week 3
General Feedback: The pic have great characteristics but the extraction of the lettering is not too detailed which might make it hard for me to do the next step.
Specific Feedback: It looks more like I'm making it backwards and rely too much on the reference letters. It could be better.
Week 4
General Feedback: Vr.Vinod is fine with my extracted letterforms.
Specific Feedback: Good job. No problem.
Week 5
General Feedback: The texts need to be related with the image chosen, the texts only can be the letters within the theme's title. Make sure the image size are correct and are in landscape. Make something that you think you'll use for a wallpaper.
Specific Feedback: Nice embed and interplay of the letters with the image.
Reflections
Experience: Throughout task 1, I think it's much more easier to kick start with the knowledge learnt and gained in the last semester as we've known how to work with the basics so for this task, we will just need to add on our own creativities and then apply the knowledges we've learnt. To be honest, all the exercises actually have been quite heavy since they are all difficult and a lot of our creativities and ideas need to be explored. One exercise could already become a task individually. However, it's quite fun that we are being able to explore more about our creativity and lesser restrictions are given on this module compared to Typography. Overall, fun but exhausting.
Observations: In the journey of task 1, I've find that applying the correct ideas or design related are way more harder than applying the techniques. I always thought that creating a great design is based on the designer's technique and skills but I guess I'm wrong. A great design is having a related idea or theme in it and only apply the skills on it with the idea you got, then only this design will be amazed. Besides, I also find that a lot of articles or layout could look so perfect and interesting in design, it's because principles of design and typographic systems are applied to create balance, emphasis, contrast etc.
Findings: In the whole task 1, I've learnt on how to create different layouts for different Typographic Systems. I've also get to explore more creative Typographic layouts which can be used in editorial with the systems I learnt. Besides, I've also get to explore the characterictics owned by each typefaces and what are the ideas are being brought out by the designer itself with exercise 2 given. Me myself also get to apply the characteristics explored in the object and transform it into a typeface. Last but not least, I've also learn on how to create a great interplay with the typeface and image.
Further Readings
Elam, K. (2007). Typographic Systems. Princeton Architectural Press, New York
Radial System
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