Advanced Typography: Task 1 Exercises
25/9/2024 - 16/10/2024 / Week 1 - Week 4
Tay Yue Chern / 0373215
Advanced Typography / Bachelor of Design (Honours) in Creative Media / Taylor's University
Task 1: Exercises
TABLE OF CONTENTS
1. LECTURES
2. INSTRUCTIONS
3. PROCESS WORK
- EXERCISE 1: TYPOGRAPHIC SYSTEM
4. FEEDBACK
5. REFLECTIONS
1. LECTURES
Lecture 1 / Typographic Systems
8 major variations:
1. Axial - All elements are organised to the left or right of a single axis.
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| Fig 1.1.1 Axial system (source: type 365) |
2. Radial - All elements are extended from a point of focus.
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3. Dilatational - All elements expand from a central point in a circular fashion.
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4. Random - Elements appear to have no specific pattern or relationship.
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5. Grid - A system of vertical and horizontal divisions.
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| Fig 1.1.5 Grid system (sample student designer: Tamara Audrey) |
6. Transitional - An informal system of layered banding.
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| Fig 1.1.6 Transitional system (source: type 365) |
7. Modular - A series of non-objective elements that are constructed in as a standardised units.
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| Fig 1.1.7 Modular system (sample student designer: Tamara Audrey) |
8. Bilateral - All text is arranged symmetrically on a single axis.
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| Fig 1.1.8 Bilateral system (sample student designer: Tamara Audrey) |
Lecture 2 / Typographic Composition
Dominant Principals of Design Composition
- Emphasis
- Isolation
- Repetition
- Symmetry & Asymmetry
- Alignment
- Perspective
Rule of Thirds
A photographic guide to composition, which basically suggests that a frame (space) can be divided into 3 columns and 3 rows. The intersecting lines are are used as guide to place the points of interest, within the given space.
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| Fig 1.2.1 Rule of Thirds |
From the 8 systems, the most pragmatic and the most used system is the Grid System, which is derived from the grided compositional structure of Letter Press printing. It is also known as the Swiss (Modernist) style of Typography in modern days.
Environmental Grid - Based on the exploration of an existing structure or numerous structures combined.
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| Fig 1.2.2 Environmental grid (Typographic design: Form and communication) |
Form and Movement - To create something unique based on the exploration of an existing Grid Systems. Explore the systems by dispelling the seriousness surrounding of the application of the grid system and to see the turning of pages in a book as a slowed-down animation in the form that constitutes the placement of image, text and colour. The placement of a form (images, text, colour) on a page, over many pages creates movement.
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| Fig 1.2.3 Form and Movement |
Lecture 3 / Context & 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.
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| Fig 1.3.1 Evolution of the Latin Alphabet |
The shape and line of hand drawn letterforms are influenced by the tools and materials used to make them. Sharpened bones, charcoal sticks, plant stems, brushes, feather and steel pens all contributed to the unique characteristics of the letterform.
Additional factors included the material upon which the forms were written: clay, papyrus, palm leaf, animal skins (vellum and parchment) and paper.
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| Fig 1.3.2 Evolution of Middle Eastern Alphabets |
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| Fig 1.3.3 Evolution of the Chinese Script |
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| Fig 1.3.4 Indus Valley Civilisation (IVC) script (3500-2000 BCE) |
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| Fig 1.3.5 The Brahmi script (450-350 BCE) |
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 or vernacular and Latin scripts.
Local Movements and Individuals
Creativity and originality are properties that are most often intertwined. It is important for young designers to look inward and examine their histories, civilization, culture and communities to bring these past developments into the future and develop on them instead of blindly appropriating cultures and developments that have no context, relatability or relevance.
Creativity and inspiration should begin by observing our surroundings and exploration of our collective histories.
Lecture 4 / Designing Type
2 reasons for designing a typeface by Xavier Dupré (2007):
- 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, type conventions and terminologies
- determine the type's purpose / what it would be used for
- examine existing fonts
2. Sketching
- traditional (brushes, pens, ink and paper) or digital
3. Digitisation
- professional softwares: FontLab and Glyphs app
- designers also use Adobe Illustrator to design then introduce into specialised font apps
4. Testing
- results of testing is part of the process of refining and correcting aspects of the typeface
- prototyping is also part of the testing process
- important consideration: readability and legibility
- expression of the form takes more precedence when the typeface is a display type
5. Deploy
- task of revision doesn't end upon deployment
- there are always teething problems that did not come to the fore during prototype and testing phases
- rigour of the testing is important so that the teething issue remain minor
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| Fig 1.4.1 Typeface Construction |
Using grids (with circular forms) can facilitate the construction of letterforms and is a possible method to build / create / design your letterform.
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| Fig 1.4.2 Classification according to form and construction |
Depending on their form and construction, the 26 characters of the alphabet can be arranged into groups, whereby a distinction is made between a group for the capitals and a group for lowercase letters.
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 (overshoot). 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 - the white space between the letters should appear the same.
2. INSTRUCTIONS
3. PROCESS WORK
Task 1: Exercise 1 - Typographic Systems
For this exercise, we are to explore the 8 systems (Axial, Radial, Dilatational, Random, Grid, Transitional, Modular, Bilateral) using the content given in MIB.
- to be done using Adobe InDesign only
- size 200 x 200 mm
- colour: black and one additional colour
- graphical elements (line, dot, etc.) can be used but limitedly
Week 1 Attempts
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| Fig 3.1.1 Working Process (grids and guides), Week 1 (25/9/2024) |
Fig 3.1.1 shows the creation process of all the systems. The main colours used were green, along with black and white.
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| Fig 3.1.2 Axial System - attempt #1, Week 1 (25/9/2024) |
The left design is more of an experimental attempt, as it was the first system I started with. After completing the first design on the left, it felt 'correct' but 'boring' to me, so I explored other ways to align the text and ended up with the design on the right. I slightly slanted the text (not to 45 degree because thats felt too extreme) to a comfortable angle, and used lines to guide the reading direction and balance the layout.
Left: Univers LT Std (Light, Bold, Black)
Right: Univers LT Std (Bold condensed, Light condensed), Futura Std (Light, Book, Heavy)
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| Fig 3.1.3 Radial System - attempt #1, Week 1 (25/9/2024) |
The right design was my first attempt for radial system. I tried to emphasise the title and both dates by separating them into three main parts (three circles). However, it didn't really turn out as I expected, so I reduced the main parts in the left design, and used the repetition of the title and a colour gradient to balance the overall layout.
Futura Std (Heavy, Medium, Light)
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| Fig 3.1.4 Dilatational System - attempt #1, Week 1 (25/9/2024) |
The left design was my first attempt to emphasise the title and the dates, but it didn't turn out well, so I tried a more free and layered approach, as shown in the right design.
ITC Garamond Std (Bold) for title
Bembo (Regular, Semibold, Bold, Extra bold)
Font used: Most of the 10 typefaces
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| Fig 3.1.5 Random System - attempt #1, Week 1 (25/9/2024) |
Initially I thought the random system would be the hardest to do since it is not truly random; there needs to be some structure and logic in the design. However, it turned out to be the fastest one to complete. I filled up the entire space with 'ABCs' and placed other informations in different ways randomly. It was originally an experimental attempt, but I liked the outcome.
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| Fig 3.1.6 Grid System - attempt #1, Week 1 (25/9/2024) |
Again, the left design was an experimental attempt, and I didn't like the overall layout as it seemed unbalanced. Therefore, I tried a more organised and balanced approach to placing the information in the right design, and also emphasising the title and the dates.
Font used:
Left: Bodoni Std (Bold condensed, Roman), Bembo Std (Semibold, Regular)
Right: Futura Std (Heavy, Bold, Light)
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| Fig 3.1.7 Transitional System - attempt #1, Week 1 (25/9/2024) |
Initially I attempted to create a 'Z' pattern flow in this design, and it was achieved on my first try. However, I found that the original 'Z' pattern, which starts from the top left, wasn't what I wanted since I want the title to be more eye-catching. So, I tried an inverted 'Z' pattern and it looked better.
Univers LT Std (Bold, Roman, Light)
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| Fig 3.1.8 Modular System - attempt #1, Week 1 (25/9/2024) |
This is the one I struggled with the most. Initially, I couldn't clearly differentiate between the modular system and the grid system, and it was difficult to create an interesting design within the set areas. After the further explanation Mr Vinod provided during week 3 classes, I made some minor adjustments to the design.
Font used:
Bodoni Std (Poster) for title
Univers LT Std (Light Ultra Condensed)
Gill Sans Std (Regular, Light)
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| Fig 3.1.9 Bilateral System - attempt #1, Week 1 (25/9/2024) |
The left design was a trial of the system, and I found that emphasising the title and aligning the information with it worked well. Therefore, I tried a more organised approach in the right design to make it look better and visually balanced.
Font used:
Left: ITC Garamond Std (Ultra Narrow), Bodoni Std (Bold, Book), Futura Std (Book)
Right: Futura Std (Bold condensed), Univers LT Std (Bold, Light), Bodoni (Bold, Book)
After the Week 2 Feedback session, I made some adjustments to the Axial System and Grid System according to Mr Vinod's suggestions.
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| Fig 3.1.10 Axial System Adjustment, Week 2 (2/10/2024) |
I increased the paragraph spacing for the Axial System to balance out the empty space at the bottom right.
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| Fig 3.1.11 Grid System Adjustment, Week 2 (2/10/2024) |
I decreased the size of the numbers and aligned them to 'June', but I still find the original version to be more balanced and visually attractive, which matches my intention of emphasising the dates. Therefore, I decided to go with the original design.
Final Outcome of Task 1: Exercise 1
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| Fig 3.1.12 Axial System Final, Week 2 (2/10/2024) |
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| Fig 3.1.12 Radial System Final, Week 2 (2/10/2024) |
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| Fig 3.1.12 Dilatational System Final, Week 2 (2/10/2024) |
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| Fig 3.1.12 Grid System Final, Week 2 (2/10/2024) |
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| Fig 3.1.12 Modular System Final, Week 2 (2/10/2024) |
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| Fig 3.1.12 Transitional System Final, Week 2 (2/10/2024) |
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| Fig 3.1.12 Bilatational System Final, Week 2 (2/10/2024) |
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| Fig 3.1.12 Random System Final, Week 2 (2/10/2024) |
Fig 3.1.13 Typographic System Final - PDF, Week 2 (2/10/2024)
Fig 3.1.14 Typographic System Final (Grids and Guides) - PDF, Week 2 (2/10/2024)
Task 1: Exercise 2 - Type & Play Part 1
We were asked to select an image of a man-made object or structures, or something from nature. Ensure that the image does not contain many different elements.
Then we need to analyse, dissect and identify potential letterforms within the dissected image. The letterforms would be digitised and refined according to a specific reference font.
Letterform extraction
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| Fig 3.2.1 Chosen Image, Week 3 (9/10/2024) |
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| Fig 3.2.2 Extracted Letterforms - K, C, O, Y, R, Week 3 (9/10/2024) |
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| Fig 3.2.3 Extracted Letterforms - R, O, C, K, Y, Week 3 (9/10/2024) |
Digitisation and Refinement
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| Fig 3.2.4 Working Process in Adobe Illustrator, Week 3 (9/10/2024) |
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| Fig 3.2.5 Week 3 progress overview, Week 3 (9/10/2024) |
This is an overview of the attempts in Adobe Illustrator and the overall progress in Week 3.
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| Fig 3.2.6 Reference font - Square Slabserif Bold, Week 3 (9/10/2024) |
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| Fig 3.2.7 Attempt #1, Week 3 (9/10/2024) |
I arranged the letterforms based on the rough overall shapes with reference to the square shapes of the reference font while retaining some edges to fit the characteristics of rock.
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| Fig 3.2.8 'R' refinement attempt #1, Week 3 (9/10/2024) |
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| Fig 3.2.9 'O' refinement attempt #1, Week 3 (9/10/2024) |
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| Fig 3.2.10 'C' refinement attempt #1, Week 3 (9/10/2024) |
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| Fig 3.2.11 'K' refinement attempt #1, Week 3 (9/10/2024) |
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| Fig 3.2.12 'Y' refinement attempt #1, Week 3 (9/10/2024) |
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Fig 3.2.13 attempt #2, Week 3 (9/10/2024)
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I like the small cut-out at the top left corner of the original extracted 'C', as I think it somehow evokes the feeling of cracking stones. Therefore, I applied it to the other four letters to maintain consistency in attempt #3.
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| Fig 3.2.15 attempt #4, Week 3 (9/10/2024) |
From attempt #2 to attempt #4, I modified the 'C' to ensure it had the same and consistent counter space, and I added more cracks to the 'O', 'R', 'C', and 'Y' to balance the design, as the 'K' significantly has more cracks in it. In attempt #4, I feel the top right corners of both letters 'K' and 'Y' were too 'complete', so I cut off the edges and left some cracked parts.
After the Week 3 feedback session, I decided to refine attempt #1, as Mr Vinod suggested that the final version (attempt #3) was too close to the reference font. I also felt it loses its original organic features, as they were being framed inside certain shapes.
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| Fig 3.2.16 attempt #5, Week 3 (9/10/2024) |
I kept the cracked part at the top of 'R' because I really like the rough feeling, and I applied it to the rest of the letterforms. I changed the counter space in the 'C' in a different way to make it look more harmonious. After receiving feedback from Mr Vinod, he suggested reducing the cracks instead of increasing them to maintain consistency, as we do not need that many cracks in this design.
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| Fig 3.2.17 attempt #6, Week 3 (9/10/2024) |
In this attempt, I reduced the cracks and decided to keep the 'C' with its original counter space, as I preferred this design more and it somehow looks consistent even without the same counter space.
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| Fig 3.2.18 Image and Extraction, Week 3 (9/10/2024) |
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| Fig 3.2.19 Overall Process, Week 3 (9/10/2024) |
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| Fig 3.2.20 Reference font, Week 3 (9/10/2024) |
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| Fig 3.2.21 Extracted letterforms (baselines), Week 3 (9/10/2024) |
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| Fig 3.2.22 Final letterforms (baselines), Week 3 (9/10/2024) |
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| Fig 3.2.23 Original extraction and Final letterforms comparison, Week 3 (9/10/2024) |
Task 1: Exercise 2 - Type & Play Part 2
In part 2 of this exercise, Mr Vinod instructed us to create a movie poster using the type designs we had made in part 1.
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| Fig 3.2.24 Poster design attempt #1, Week 3 (9/10/2024) |
After the Week 4 Feedback Session, I modified the tagline according to Mr Vinod's suggestion.
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| Fig 3.2.25 Poster design attempt #2, #3, #4, Week 4 (16/10/2024) |
I placed the letters following the crack completely in attempt #2, tried a more organised way in attempt #3, and swapped the positions of the tagline and 'coming soon' in attempt #4. I preferred attempt #3 the most, and Mr Vinod also suggested sticking with it.
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| Fig 3.2.26 Finalised Poster - JPEG, Week 4 (16/10/2024) |
Fig 3.2.27 Finalised Poster - PDF, Week 4 (16/10/2024)
4. FEEDBACK
Week 2
General Feedback
Avoid using too many graphical elements, as they would serve as a distraction if they don't function.
Specific Feedback
Increase the paragraph spacing for the Axial system, as there is some empty space at bottom right. For the grid system, it is better not to use a large number to emphasise the information; same point size with a bold font is enough.
Week 3
Specific Feedback
It's on the right path to use the entire shape and maintain those gaps instead of just using the cracks, but the final letterform is too close to the reference. Step 2 would be a good stopping point.
Week 4
Specific Feedback
Remember to add movie logo. The tagline has a readability issue, try to place them following the cracks.
5. REFLECTIONS
Experience
For Exercise 1, I mainly struggled with coming up with creative designs and layouts while following the rules of the typographic systems. I spent most of my time exploring different layouts and ways of placing information, especially in the modular and dilatational systems. However, I still found that most of my designs were too 'safe' and 'correct', which I didn't like, I wanted to try more interesting approaches. Overall, it was still fun to explore, and surprisingly, the random system ended up being my favourite design. For exercise 2, this was the part I enjoyed the most. I liked the idea of creating our type designs with different elements, and incorporate the letterforms into a poster design. It was fun doing, and it was satisfying to see the letterforms evolve throughout the process.
Observation
In Exercise 1, we needed to be constantly aware of our overall designs. While paying attention to basic typographic rules like leading and alignment, we also had to observe whether the design was visually balance. For Exercise 2, during in-class feedback sessions, I observed that everyone chose different elements, and it was interesting and helpful to look at each other's work and learn from one another. It was fun to find potential letterforms in an image, and it gave me an opportunity to observe everyday sceneries and objects from a different perspective.
Findings
Before doing Exercise 1, the idea of typographic systems seemed a bit 'boring' to me, as I thought it was just about creating layouts within set limitations. However, after completing Exercise 1, I found that we can actually come out with many creative layouts once we truly understand how the systems work. For Exercise 2, I was initially worried that my extraction of letterforms would look too abstract, which is why I abandoned my initial idea of using sea waves, as it might have ended up looking too abstract. But as I began the exercise, I realised that it is okay to have an abstract letterform as long as you have the basic idea of its shape. That's why we need to refine after the initial extraction. I also felt that it might be better to express the characteristics if the original extraction is more abstract.
6. FURTHER READING
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| Fig 6.1 Typographic System by Kimberly Elam |
We were suggested to start by reading this book, and honestly, it has helped me a lot in understanding how typographic systems work. I was particularly confused about the difference between the grid system and the modular system, as I somehow applied them in the same way in my first attempt, so I delved deeper into these two specific chapters.
Grid System
Vertical and horizontal divisions that organise and create relationships between elements, usually formal and are intended to create visual order.
All of these compositions use tone to create and control the hierarchy. The selective use of black text in the work guides the viewer's attention to the time, place, and dates.
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| Fig 6.2 Grid System by Mona Bagla |
Modular System
Unlike the other systems, it involves non-objective elements in all compositions. Modules take the place of non-objective elements and the designer is challenged to design with modular shapes at the outset.
Early compositions often contain stand-alone modules, but as work progresses modules begin to touch, overlap, and combine so as to create other interesting shapes.
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| Fig 6.3 Different phases |
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