Advance Typography/ Task 1 - Exercises: Typographic systems & Type & Play

22/04/2024 - 13/05/2024 (Week 1 - Week 4)

Isabel Tan Xen Wern/ 0355602/ Bachelors of design in creative media/ Taylors University

Advance Typography  GCD 61004

Task 1/ Exercises

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JUMPLINKS

Lecture

Introductions

Task 1: Ex Typographic Systems & Type & play

Feedback

Reflection

Further Reading

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LECTURES

Week 1 (22/04/24): AdTypo_1_Typographic Systems

Advance Typography: Typographic Systems

Tend to function within these 8 systems even though there are infinite

many artists rely on intuition.

when u have a guide, its good to have a guide bc it helps along the way

Figure 1.1

Axial System (22/04/24)

all the elements are organized on left or right axis, place on different angles. 

There are many variations. 

In real life, you could use multiple different axis's

But for the coming task you need to adhere to the framework of what constitutes axis which is a single line.

Figure 1.2

Radial System(22/04/24)

All elements are extended from a point of focus

All the sentence's are pointing to that particular point of focus

Can have multiple point of focus.

Figure 1,3

Dilatational System(22/04/24)

All elements expand from a central point in a circular fashion.

Can put the more important information on the outer rings and the less important information can be on the inner rings or it can be the other way around or arrange it based on the reading rhythm of that particular text.

Can be simple organization or complex organization of information.

Figure 1.4

Random System(22/04/24)

Elements appear to have no specific pattern or relationship.

Even though it is random, it does take a certain amount of effort to get it done and there is a method.

Figure 1.5

Grid System(22/04/24)

A system of vertical and horizontal divisions.

Common, used frequently

Different sizes and widths to create different Emphasis and hierarchy.

 

Figure 1.6

Transitional System(22/04/24)

An informal system of layered banding.

Banding: segregating information within certain bands.

different weight color and size, as contributed to readability and excitable nature of the composition.

Figure 1.7

Modular system(22/04/24)

a Series of non-objective elements that are constructed in as a standardized units

the units have to be standardized, 

Can shift these different elements into different places.

The double unit structures can be replaces with double unit structures and the same goes for single unit structures can be replaced with single unit structures.

Figure 1.8

Bilateral System(22/04/24)

All text is arranged symmetrically on a single axis.

Used many time in invitation cards or formal invites.

these two axis in the middle, one that is horizontal and one that is vertical

on the top and bottom the single axis is slightly bent

there's a mix or italics and regular typeface's used in this layout

the bilateral axis has two bilateral axis.

Week 2 (29/04/24): AdTypo_2_Typographic Composition

principles of typographic composition

- some of these principles are a little more translatable than others.

- For example; Emphasis

Figure 1.9

Emphasis (22/04/24)

Figure 2.1

Rule of Thirds (22/04/24)

photographic guild to composition

frame (space) can be divided into 3 columns and 3 rows

Grid System:

the versatility of the system and its modular nature tends to allow infinite number of adaptations.

other models/ systems:

environmental grid:

-based of the exploration of existing structure or numerous structures combined

-an extraction of crucial lines both straight and curved are formed.

Figure 2.2

Form and Movement (22/04/24)

Form & Movement:

- based on the exploration of existing grid systems

- to explore the multitude of options the grid offer

Week 3 (06/05/24): AdTypo_3_Context&Creativity

• First letterforms were made to imitate handwriting
• materials like sharpened bones, charcoal, sticks, plant stems, brushes, feather and steel pens were used to make them

Figure 2.3

Evolution of Latin alphabet (06/05/24)

Cuneiform:

• The earliest system in actual writing
• Numbers of languages
• Pressing the blunt end of a reed stylus into wet clay tablets 

Figure 2.4

Hieroglyphics Chart (06/05/24)

Hieroglyphics

• Egyptian writing system
• Art of relieved carving
• Mixture of both rebus and phonetic characters
• Hieroglyphics images could be used as ideograms, determinations and phonograms

Figure 2.5

Roman Uncials (06/05/24) 

• Early Greek 
• Phonetic alphabets consisting of 22 letters
• Adopted by the Greeks 
• They have no serifs
• the letters grew thicker
• Model for calligraphy in the past 2000 years

Figure 2.6

English half Uncials (06/05/24)

• Roman Uncials
• Roman letters were becoming more rounded
• Curved forms allow for less strokes therefore faster writing 

Figure 2.7

Early Greek (06/05/24)

• Printing on wood block has already been practice in China, Korea and Japan 
• Korea established a foundry to cast movable text in bronze
• This allowed the dismantling and resetting of text hangul.

Figure 2.8

Font with blend of latin and vernacular fonts (06/05/24)

Week 4 (13/05/24): AdTypo_4_Designing Type

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

Figure 2.9

Frutiger Arabic(13/05/24)

• used by Celcom / Telecom Malaysia

Figure 3.1

Matthew Carter Fonts (13/05/24)

• Matthew Carter is the son of  Harry Carter, Royal Designer for the industry, contempurary british type designer and ultimate craftsman.
• many of carters fonts were created to address specific technical challenges like those posed by early computers.
• the purpose was tuned to be extremely legible even at very small sizes on the screen.
• deprived from pixel rather than pen.

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Figure 3.2

Hint of Verdana (13/05/24)

Figure 3.3

Comparison: Font Vs Print (13/05/24)

• Edward Johnson: creator of the London's hugely influential "underground typeface".
• asked to create a typeface with "bold Simplicity" that was truly modern yet rooted in tradition.
• purpose: posters and signage.

Figure 3.4

London's underground exit sign (13/05/24)

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INTRODUCTION

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TASK 1 - EXERCISES

Exercise 1: Typographic systems 

• only using adobe Insdesign
• in size 200mm x 200mm 
• explore the 8 typographic systems taught in lecture 1 

Visual Reference:

Figure 3.6

Inspiration photo (22/04/24)

Figure 3.7

Inspiration photo (22/04/24)

Sketches:

• I roughly sketched out some ideas for the more 'complicated' typographic systems layouts.

Figure 3.8

Sketches (24/04/24)

Figure 3.9

8 Typographic Systems #first attempt (29/03/24)

i started digitalizing my sketches using the text, Mr Vinod gave us, however after receiving some feedback and hearing from others feedbacks, these are too plain and simple. i decided to try adding some graphical elements and changing the layout of some designs.

Figure 4.1

8 Typographic Systems #updated (30/04/24)

I did not change much, however i did try to make them more eye catching and upgraded some of the layouts to something more creative. 

FINAL SUBMISSION

Typographic Systems:

Figure 4.2

Grid System Final(13/05/24)

Figure 4.3

Axial System Final(13/05/24)

Figure 4.4

Random System Final(13/05/24)

Figure 4.5

Bilateral System Final(13/05/24)

Figure 4.6

Modular System Final(13/05/24)

Figure 4.7

Transitional System Final(13/05/24)

Figure 4.8

Radial System Final(13/05/24)

Figure 4.9

Dilatational System Final(13/05/24)

Without Grid:

Figure 5.1

Final without grid (13/05/24)

With Grid:

Figure 5.2

Final With Grid (13/05/24)

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Exercise 2: Type and Play

• Finding Type: Select an image of a man-made object / structure / building or something from nature.
• Analyze, Dissect and identify potential letterforms 

Finding Images

Figure 5.3

Selected image (15/05/24)

Figure 5.4

Selected image(15/05/24)

Extraction and Dissecting:

Figure 5.5

Net Extraction #first attempt (03/04/24)

Figure 5.6

Net Extraction #first attempt (03/04/24)

Figure 5.7

Extracted Letterform (20/05/24)

Figure 5.8

Extracted letterform (20/05/24)

Figure 5.9

Extraction process (21/05/24)

Poster 

Figure 6.1

First Attempt (21/05/24)

Figure 6.2

Updated Attempt (21/05/24)

• I attempted to add integration between the letter form and the background image while still making it stand-out.

FINAL SUBMISSION

Reference type: Bahnschrift

Figure 6.3

Extraction from original image (20/05/24)

Figure 6.4

Referenced Typeface (20/05/24)

Figure 6.5

process of extraction and refinement (20/05/24)

Figure 6.6

Initial extraction and final refinement (20/05/24)

Figure 6.7

Poster Final (21/05/24)

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FEEDBACK

Week 1 (22/04/24): 

Specific Feedback:-

General Feedback:-

Week2 (29/04/24):

General feedback:

• your work cannot be pressed to the side - work must command the space, meaning it sits well in that space. How do you know know? There is a sense of balance. - move it slightly to the center.
• Design should keep the readers eye within the page.
• Radial System - the point doesn't have to be obvious, could become a distraction if it is too big.
• Random system - There's a dominant/ area of attraction. - if you look closely, you can understand but from a wide point of view, it is very messy.
• When using condensed typefaces, it can be difficult to read so pay attention to the inter-letterspacing.
• Your work must stand well without the use of graphical elements.
• this is doesn't include the type setting.

Specific Feedback:

• Axial System: Contrast too strong. why is it bad? Making viewer go back and forth between both. Reduces reading rhythm.
• Random System: Doesn't look random.
• Transitional System: too plain, not eye-catching.
• Bilateral System: Center alignment correct but plain.
• Dilatational System: Corner typing doesn't help in layout.
• Modular System is good.
• Radial System:  graphical elements is too strong.

Week 3 (06/05/24)

General Feedback: 

• Use what sticks out in the photo the most (misplaced focus).
• Have a reference font first(as a guild/ show what you're doing).put the reference forms behind the extracted forms to make it more neat and refined.
• Word have to represent the photo/ related to the image (add details/ characteristics related to the image).
• Need a really sharp image, can introduce elements into your form as you refine (not restricted to your form).
• Can get letters from strange shapes, introduction to foreign elements to make it more refine.

Specific Feedback: 

• Have a reference font first(as a guild/ show what you're doing).put the reference forms behind the extracted forms to make it more neat and refined.
• Word have to represent the photo/ related to the image (add details/ characteristics related to the image).

Week 4 (13/05/24)

General Feedback: 

• make sure the title has strength and presents
• intergrade it with the main thing on the poster photo
• background cannot be too noisy

Specific Feedback: 

• can be more consistent in lettering/ in terns of size
• poster logo missing
• good contrast
• there's no relatability with text and background/ connect the text to the background 
• integration with the image
• making the letters slightly transparent/ going through / or more better quality

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REFLECTION

Experience : 

My experience with this exercises was quite challenging. I was confused with how to do some of the typographic system layouts such as the radial system. it also isn't easy finding letters through random selected images and it is especially difficult to refine those letterforms that were form when they are quite distorted.

Observation : 

My observation was that no matter how distorted the letterform extracted from the image is, if refined properly, you can create a new and unique letterform by just adding certain details extracted from the image. watching my other classmates work also made me realize how many different and unique letterforms can be created with some unexpected images.

Findings : 

My Findings are if you arrange your guild lines properly and efficiently, creating the 8 different typographic systems isn't hard. i find that asking your classmates on parts where we are uncertain, we both can learn new things along the way.

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FURTHER READING

Figure 6.

Typographic Systems Book Kimber - Kimberly Elam (22/04/24)

Chapter 1:

sets the stage for a deeper exploration of each typographic system, emphasizing the importance of understanding and utilizing these frameworks to create effective and aesthetically pleasing designs.

it covers the introduction of typography, the typographic systems and importance of systems in design.

Chapter 2: 

it is about axial systems, The Axial System focuses on creating designs with elements aligned along a central axis. This system is rooted in the classical idea of symmetry, where elements are balanced on either side of an imaginary line, creating a sense of harmony and stability.

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