Advanced Typography - Task 1 / Exercises 1 & 2

24/4/2024 - 24/5/2024 (Week 1 - Week 5)
Shawn Wong Kai Hen / 0375372
Advanced Typography / Bachelor of Design (Hons) in Creative Media
Task 1: Exercise 1

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  LECTURES NOTE  

Week 1

Lecture 1 - Typographic System

A typographic system represents a meticulously crafted framework comprising guidelines and elements meticulously curated to govern the visual presentation of text. Its primary objective is to uphold hierarchy and ensure steadfast consistency in design.

Example of 8 typographic system:

Fig. 1.1 Typographic System Examples (source: type 365.com, Pinterest)

Axial

An axial typographic system organizes text along a central axis for balanced and harmonious layouts, emphasizing symmetry and hierarchy for clear readability and visual appeal.

Radial

A radial typographic system organizes text around a central point for dynamic layouts, offering unique design possibilities while maintaining hierarchy and readability.

Dilatational

Elements radiate outward from a central point in a circular manner, adhering to a radial typographic system that promotes balanced and visually engaging designs.

Random

Elements manifest without adherence to a discernible pattern or structured relationship, reflecting a random or non-systematic typographic approach.

Grid

A layout framework utilizes lines to systematically organize content, ensuring a consistent and cohesive design structure.

Transitional

A casual system characterized by layered banding for organizing content in a structured yet relaxed manner.

Bilateral

This system allows for diverse text design approaches, encompassing vertical and horizontal spacing, multiple groupings, tilting, and incorporation of non-objective elements.

Modular

Elements are structured into standardized units or modules, facilitating flexible assembly and modification within the design framework.

  Week 2  

Lecture 2 - Typographic Composition

Two parts of typography:

• Creation of letters
• Arrangement of textual information within a given space
  
  

The principle of Design Composition:

• Emphasis
• Isolation
• Repetition
• Symmetry
• Asymmetry
• Alignment
• Perspective

Rule of Thirds:

Fig. 1.2 Example of Rule of Thirds

• A composition guide in photography.
• Intersecting lines guide the placement of points of interest.
• Nobody would use this rule when there are more favorable options.

Typographic System:

• The 8 system on lecture 1
• The most used system is Grid system (Raster Systems) derived from letter press printing
• The grid system, despite its age and perceived rigidity, remains a popular framework due to its versatility and capacity for infinite adaptations. Its enduring relevance lies in its ability to provide structured yet flexible layouts, making it an essential tool in modern design.

Environmental Grid:

• Exploring existing structures and extracting essential curved and straight lines.
• Using a photo as a reference, the grid system analyzes and simplifies elements into shapes, lines, or dots. These key features help organize information within the space, combining creativity with structure for a professional layout.

Form and movement:

Fig. 1.3 Typographic System Example

• This system is created based on exploration on existing grid system.
• To create different layout, replace element with text, image or graphic elements
• Emphasize the placement of elements in this animation.
• To create variation

  Week 3  

Lecture 3 - Context & Creativity

The important for handwriting in typographic

• Handwriting is crucial in typography as it adds a personal, human touch that enhances emotional connection and authenticity in design. It bridges the gap between mechanical precision and artistic expression, creating a unique and engaging visual experience.

BCE before common era

CE common era

Icon style letter form evolve to letterform from picture to sound

Carolingian Minuscule

• Developed during the Carolingian Renaissance under the reign of Charlemagne (8th-9th centuries).
• Standardized script for clear and uniform writing across the Holy Roman Empire.
• Rounded, easily readable letterforms with distinct upper and lower case letters.
• Basis for modern Western lowercase alphabets; influenced the development of Roman typefaces.

Hieroglyphics 

• Historical Context: Ancient Egyptian writing system used from around 3100 BCE to the 4th century CE.
• Composition: Consists of logographic, syllabic, and alphabetic elements, with over 1,000 distinct characters.
• Decipherment: Lost understanding until the discovery of the Rosetta Stone in 1799, which enabled scholars to decode the script.

Early Greek

• Historical Context: Emerged around the 8th century BCE, influenced by the Phoenician alphabet.
• Alphabet: Early Greek script consisted of 24 letters, combining vowels and consonants.
• Variants: Different regions of Greece used slightly varied versions of the alphabet (e.g., Ionic, Attic).
• Influence: Laid the foundation for the Latin alphabet, influencing modern Western alphabets.

Roman letter (4th century) 

• Becomes rounder and enabling faster writing with fewer strokes.

Black Letter (12 - 15 C.CE)

• Historical Context: Developed in Western Europe in the 12th century and used until the 17th century.
• Appearance: Characterized by dense, angular, and ornate letterforms with sharp contrasts between thick and thin strokes.
• Variants: Includes Textura, Rotunda, Schwabacher, and Fraktur style.

Movable Type (11 C. - 14 C.)

• Invention: Developed in China during the Song Dynasty around 1040 CE by Bi Sheng.
• Components: Individual characters carved onto movable ceramic or wooden blocks.
• Advantages: Allowed for faster and more efficient printing compared to handwritten manuscripts.

Indus Valley Civilization (3500 - 2000 BCE)

• The oldest writing in Indian subcontinent.
• Most similar to southern Indian
• IVC script

Brahmi Script (450 - 350 BCE)

• Origin: Developed in ancient India during the 3rd century BCE.
• Inventor: Often attributed to Emperor Ashoka, who used it for inscriptions on pillars and rock faces.
• Characteristics: Originally a pictographic script, it evolved into a syllabic script with distinct characters for consonants and vowels.
• Spread: Brahmi script spread across the Indian subcontinent and influenced the development of numerous South Asian scripts, including Devanagari, Bengali, and Tamil scripts.
• Decipherment: Scholars like James Prinsep played a crucial role in deciphering Brahmi inscriptions, unlocking insights into ancient Indian history, languages, and culture.

  Week 4  

Lecture 4 - Designing Type

Design Type

There are so many typeface in the world, why we still need to design more?

• Specific Needs: Different projects may require typefaces with specific characteristics that existing ones don't fulfill.
• Innovation and Creativity: Designing new typefaces allows typographers to push the boundaries of design, experimenting with new styles, forms, and techniques.
• Accessibility and Inclusivity: Designing typefaces with improved legibility and accessibility features can benefit individuals with visual impairments or reading difficulties, promoting inclusivity in design. 

Edward Johnston:

• Creator of "Johnston Sans", a renowned British calligrapher and typographer, in 1916.
• Designed typefaces: Johnston Sans
• Known for its clean, geometric shapes, even stroke widths, and distinctive letterforms, including the distinctive 'roundel' dot over the letter "i".
• Johnston Sans served as a model for many subsequent sans-serif typefaces and became an iconic symbol of British design.

Eric Gill:

• Created several notable typefaces, including Gill Sans.
• Acknowledged the influence of Johnston's work on his own typeface, Gill Sans.

General Process of Type Design

1. Research

• Before starting a design, we begin by understanding the history, anatomy, conventions,  terminology, side bearings, metrics and hinting of type. We need to determine the purpose and think what it would use for. We also need existing typefaces for inspiration, idea, reference, context and usage patterns.

2. Sketching

• Sketching also a important part in design, during the design will facing no idea or stuck, we can brainstorming and try sketch out all the idea first. We can create sketches using traditional tools like brushes, pens and paper or using use digital tools such as tablet with font design software.

3. Digitalization

• Font lab and Glyphs are the leading software for digitizing type. But all the time we use Adobe Illustrator to frown upon it. During the digitization, need to pay more attention to both  the form and counter form of the letter.

4. Testing

• After the digitalization,  we still need to refine and correct our design, prototype or getting feedback from lectures or audience. At this stage, readability and legibility should be carefully considered, because is can more expressions (Display Type).

5. Display

• After the release, unforeseen issues may raise and requiring revisions and updates.

Typeface Construction

Fig. 1.4 Construction for the Roman Typeface

For the left image shown the Roman Capital typefaces and it constructed on grid often use a grid with a square and circle to making it easier to create letterforms. For the right is the classification of characters into capital and lowercase groups based on their form and construction.

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  INSTRUCTIONS  

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  Task 1 - Exercise 1: Typographic Systems  

As part of our mandate, we're tasked with selecting a piece of content from the MIB and crafting eight distinct designs, each aligned with a specific typographic system: axial, radial, dilatational, random, grid, transitional, modular and bilateral.

Requirements:

• Software:  Adobe InDesign
• 200 x 200 mm
• B&W + 1 color (same color must be used throughout all systems)
• Minor graphical elements allowed (lines, dots, circles...etc.)

The content is shown below:

Fig. 2.1 Selected Content

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  Week 1 - Attempts  

Fig 3.1 Axial system attempts (23.05.20242)

Mr. Vinod tasked us with initiating the axial system as the first step. Thanks to his tutorial video guidance, this process proved efficient, sparing me excessive time. Despite its apparent simplicity, I recognized the potential for imbalance between body text and titles. Relying on both Mr. Vinod's instruction and independent research, I embarked on designing the system, ensuring a harmonious integration of elements.

Font Used

Left: Univers LT Std (Regular, Black, Bold, Light)

Right: Gill Sans (Bold, Condensed, Italic, Light)

Fig 3.2 Radial system attempts (23.05.20242)

Developing the radial system required a thoughtful approach and careful consideration of its unique requirements. Drawing from research references and insights gleaned from senior work, I navigated the process with relative ease. Central to this system is the establishment of a focal point, around which all elements are thoughtfully arranged to ensure coherence and visual unity.

Font Used

Left: Univers LT Std (Bold Condensed, Light, Regular, Extended)

Right: Bodoni Std (Bold, Condensed, Book, Roman)

Fig 3.3 Dilatational system attempts (23.05.20242)

Initiating the dilational system posed an initial challenge as I grappled with defining its parameters. Uncertainty loomed regarding whether curves or circles best served its design principles. Through meticulous research, I discovered that both curves and circles could effectively embody the essence of the dilational system. Armed with this knowledge, I adopted a dual approach, crafting designs that showcased the versatility of both curve lines and circles within the dilatational framework.

Font Used

Left: Univers LT Std (Light, Extended, Black)

Right: Bodoni Std (Bold, Roman, Book, Regular)

Fig 3.4 Random system attempts (23.05.20242)

Contrary to popular belief, I found the random system to be the most challenging among typographic systems. Balancing randomness with aesthetic appeal was intricate, requiring careful consideration and refinement to achieve a visually pleasing composition. Achieving this delicate balance demanded iterative refinement to ensure design coherence while embracing spontaneity.

Font Used

Left: Gill Sans Std (Bold, Light, Italic, Shadowed, Condensed)

Right: Univers LT Std (Bold, Light, Black, Extended, Roman)

Fig 3.5 Grid system attempts (23.05.20242)

I found the grid system particularly appealing in its design approach. Aligning all elements within a defined grid structure resulted in a clean and aesthetically pleasing composition. This methodical arrangement not only enhances visual clarity but also imbues the design with a sense of sophistication and orderliness.

Font Used

Left: Gill Sans Std (Bold, Regular, Light, Condensed)

Right: Bodoni Std (Bold, Book, Roman)

Fig 3.6 Transitional system attempts (23.05.20242)

In exploring the transitional system, I experimented with layering techniques, strategically incorporating empty space, and integrating subtle line elements to enhance the overall design. Additionally, I introduced overlapping text to add depth and visual interest. These deliberate design choices aimed to elevate the composition and create a cohesive and visually engaging outcome.

Font Used

Left: Univers LT Std (Light Condensed, Bold Obique, Light, Extended)

Right: Gill Sans Std (Bold, Regular, Bold condensed)

Fig 3.7 Bilateral system attempts (23.05.20242)

Implementing the bilateral system was challenging as I aimed for visual appeal while adhering to center alignment. Opting for the left design, I was drawn to its intriguing title and clear element arrangement. This layout meets bilateral system criteria and presents information clearly, enhancing audience engagement.

Font Used

Left: Bodoni Std (Bold, Book, Poster)

Right: Gill Sans Std (Bold, Regular, Italic, Light)

Fig 3.8 Modular system attempts (23.05.20242)

In exploring the modular system, I found similarities with the grid system, albeit with distinct differences. Each content or group of texts occupies a defined space, ranging from one square to four squares. This structured approach allows for flexible yet systematic organization of elements within the design. By adhering to these modular guidelines, I was able to create a layout that balances visual cohesion with dynamic flexibility, catering to both aesthetic appeal and functional clarity.

Font Used

Left: Gill Sans Std (Bold, Regular, Italic, Light)

Right: Bodoni Std (Bold, Roman, Book, Condensed)

Week 2 Attempts - Revised and minor edits

Fig. 3.9 Axial - Revised, Week 2 (30.4.2024)

Following the week 2 class, I received constructive feedback from Mr. Vinod regarding the axial system. In response, I made adjustments by narrowing the middle gap and bringing the left and right content closer together. These refinements aim to enhance the overall balance and coherence of the design, aligning it more closely with the intended aesthetic and functional objectives.

Fig. 3.10 Dilational - Revised, Week 2 (30.4.2024)

Following Mr. Vinod's feedback, I've resized the red dot in the dilational system to improve overall balance. This adjustment aims to create a more harmonious composition, enhancing visual hierarchy and ensuring effective message conveyance.

Fig. 3.11 Random - Revised, Week 2 (30.4.2024)

After feedback from Mr. Vinod on the random system, I addressed excessive white space by adjusting to achieve a more balanced composition while maintaining randomness. These changes enhance visual impact, ensuring the design effectively captures randomness while optimizing space usage.

Fig. 3.12  Bilateral - Revised, Week 2 (30.4.2024)

After receiving feedback from Mr. Vinod regarding the bilateral system, I made minimal adjustments. While he suggested a 45-degree angle, I opted to maintain the original straight alignment as I found it aesthetically pleasing. Instead, I focused on optimizing spacing to reduce excessive blank areas, ensuring a more balanced and cohesive layout. These refinements aim to uphold the integrity of the design while addressing feedback to enhance overall effectiveness.

Final Task 1 - Exercise 1: Typographic System

Fig. 4.1 Final Axial System - JPEG, Week 2 (30.4.2024)

Fig. 4.2 Final radial System - JPEG, Week 2 (30.4.2024)

Fig. 4.3 Final Dilational System - JPEG, Week 2 (30.4.2024)

Fig. 4.4 Final Random System - JPEG, Week 2 (30.4.2024)

Fig. 4.5 Final Grid System - JPEG, Week 2 (30.4.2024)

Fig. 4.6 Final Transitional System - JPEG, Week 2 (30.4.2024)

Fig. 4.7 Final Bilateral System - JPEG, Week 2 (30.4.2024)

Fig. 4.8 Final Modular System - JPEG, Week 2 (30.4.2024)

Fig. 4.9 Final Task 1 - Exercise 1: Typographic Systems - PDF, Week 2 (30.4.2024)

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Fig. 4.10 Final Task 1 - Exercise 1: Grids and Guides - PDF, Week 2 (30.4.2024)

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  Task 1 - Exercise 2: Type and Play 

Part 1: Finding Type

Our task is to analyze an image, identifying letterforms specifically four letters within either organic or man-made subjects. This requires a systematic approach, keen observation and rigorous analysis to isolate shapes embodying these letters. Our aim is to fulfill our commitment to meticulous scrutiny and scholarly investigation by illuminating their presence.

Chosen subject

Fig 5.1 Chosen subject - water (2/5/2024)

The image is i research from website. My decide using wave on the water to be my idea. I tried to analyze the image and i found some problem. The image seen very easy to find the letters but the water wave is too difficult. But i still try to analyze more details.

Letterform Extraction

Fig 5.2 Letterform extraction (2/5/2024)

Initially, I embarked on identifying letters present within the image, meticulously scrutinizing its details. Utilizing the pen tool, I meticulously traced and outlined the letters discerned within the image. Through this process, I successfully identified six distinct letters embedded within the visual composition.

Research reference

Fig 5.3 Typeface Reference (2/5/2024)

Typeface reference

Fig 5.4 Typeface Reference (2/5/2024)

Prior to advancing to the subsequent phase, it was imperative to choose a suitable typeface from the selection provided by Mr. Vinod. After careful consideration, I opted for ITC Garamond Std (Book Narrow). This decision was made with the intention of setting a clear direction for the extraction process, aligning with the desired aesthetic and functional objectives of the project.

Digitalization

Fig 5.5 Process refinement - attempt 1, Week 2 (4.5.2024)

Here is an overview of the iterative process undertaken in Adobe Illustrator. Following the initial extraction of letters, I proceeded to refine them through several iterations, aiming to enhance their visual appeal and clarity. However, following feedback from Mr. Vinod during the week 3 class, additional detail was deemed necessary for the design. Consequently, further adjustments were made to incorporate these suggestions, ensuring the final output aligns more closely with the project's objectives.

Final Part 1: Finding Type

Fig. 5.6 Redo & Process refinement - attempt #2, Week 3 (10-11.5.2024)

Here's the progress I've made on my finding type project. It all began with extracting letters from the image, followed by selecting a suitable typeface for reference. Combining the extracted letters with the chosen typeface facilitated adjustments in size and height to streamline the simplification process. Subsequently, I embarked on refining the simplified letters, drawing inspiration from water as my conceptual reference. Through iterative refinement, the letters began to embody fluidity, adorned with subtle curve patterns reminiscent of water's movement. Finally, in the last refinement stage, I incorporated lighting effects to evoke the reflective qualities of water, culminating in a cohesive and visually compelling final design.

Fig. 5.7 Original extracted letterforms compared to the final type design, Week 3 (10-11.5.2024)

Fig. 5.8 Final type design, Week 3 (11.5.2024)

Fig. 5.9 Letter W, Week 3 (11.5.2024)

Fig. 5.10 Letter A, Week 3 (11.5.2024)

Fig. 5.11 Letter X, Week 3 (11.5.2024)

Fig. 5.12 Letter Y, Week 3 (11.5.2024)

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Showcase

In the creation of my movie poster design, I've meticulously combined the final letter designs with a carefully selected water surface background. Leveraging Photoshop, I integrated the fluidity and reflective qualities of the water surface to complement the thematic essence of the letters, which embody the concept of water. This harmonious fusion between the letters and the background enhances the overall visual impact of the poster, effectively conveying the intended mood and message of the movie.

Fig. 5.13 Process on photoshop, Week 3 (11.5.2024)

Final Outcome

For the first, I choose also using water as my background to match with my design. And we are required to have text and some production icon or logo in our poster. First idea i choose the background for this poster is i decide to make a horror poster like got something inside the water. Also the text also make it in horror way. 

Below is the final outcomes for my poster:

Fig. 5.14 Final outcome, Week 3 (11.5.2024)

Revised and minor edits:

After week 4 class, i getting feedback from Mr.Vinod that the background image does not match with my letters design. For my design is extracted from water wave but my background is water ripple! So i decide to change another background image and refining my design as the image shown below.

Fig. 5.15 Final poster - Revised, Week 4 (13.5.2024)

As we can see, i have done the change and refine the poster. For the left is the previous and the right is the newest. First, I change the background image to more match with my letters design. Next, I changing the typeface for the top title because feedback from Mr. Vinod more better to use San-serif fonts so i decide to use Poppins for the text. Also i move the main title to more upper because i decide to change some layout and also make the main title more bigger as Mr. Vinod mentioned. Last, i adding some text and add more logo to let it not look so blank and empty.

Final Poster:

Fig. 5.16 Final Task 1 - Exercise 2: Type and Play - JPEG, Week 4 (13.5.2024)

Fig 5.16 Final outcome - PDF, Week 3 (11.5.2024)

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  FEEDBACK  

Week 2 - Exercise 1: Typographic Systems

General

• Update further reading weekly.
• Don't leave too much space for random system
• Change the e-portfolio post and background colors make the picture more easier to view.

Specific

• I have change to axial system center become more near and narrow. Mr.Vinod say the distance is too wide like "highway".
• I also add more design in my random attempts to make it more "loud", Mr.Vinod say there are still too much space for the random attempts.
• Also for the axial system i have change the color and take off some elements because Mr.Vinod say the elements color is too astract and too heavy for the design and a good design doesn’t need much elements.

Week 3 - Exercise 2: Finding Type

Specific

• Refine the letters more curve and rounded
• Put the font reference with the progress for review.
• Add some lighting on the letters make it like the reflection on the water.

Week 4 - Exercise 2: Finding Type

Specific

• Change the poster background. The image background not match with the letters style.
• Make the letters text bigger.
• Add more logo, too much black space.

 

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  REFLECTION  

Experience

Engaging in Exercise 1 on typographic systems has proven both enjoyable and enlightening. It's provided me with a wealth of knowledge that wasn't covered during my diploma studies. Through this exercise, I've come to appreciate the pivotal role typography plays in design. It's become evident how the right typographic choices can captivate an audience, evoking various emotions and moods. Moving forward, I'll prioritize mastering typographic skills as a cornerstone of my design practice, recognizing its significance in creating compelling visuals.

Transitioning to Exercise 2, I've found it to be an intriguing departure from my usual design tasks. Analyzing real-life images to extract and simplify letterforms was a novel challenge. The process of distilling complex visual elements into distinct letters while maintaining coherence with the researched references has broadened my creative perspective. This exercise has underscored the importance of observational skills and the ability to derive inspiration from diverse sources. I look forward to incorporating these newfound insights into future design endeavors, enhancing both creativity and precision in my work.

Observations

Exploring typographic systems presented a stimulating challenge, albeit one that required concerted effort to translate theory into practice. Nonetheless, delving into these systems has markedly expanded my understanding of compositional arrangements within design. Through this exploration, I've honed a keener sensitivity to the nuances of white space and texture, gradually refining my ability to craft more harmonious visual compositions. Integrating type into images proved to be an engaging exercise, as it demanded a nuanced application of design principles tailored to each unique context. Each iteration offered valuable insights into the symbiotic relationship between typography and imagery, further enriching my design repertoire. Moving forward, I am eager to leverage these newfound insights to enhance my design proficiency and tackle future challenges with heightened creativity and precision.

Findings

Engaging with these exercises has shifted my perception of typography from mundane to multifaceted. While I still have much to learn, I've realized the importance of selective information absorption, especially in tasks like typographic system design. The finding type exercise emphasized the necessity of deliberate design choices and heightened observational skills. Moving forward, I aim to apply these insights to my design practice, fostering intentional creativity and continual improvement.

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  FURTHER READING  

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Font Selection

• Choose appropriate typefaces (serif, sans-serif, etc.) for readability and style.

Hierarchy

• Establish clear text hierarchy with different sizes and styles for headings, subheadings, and body text.

Spacing

• Maintain optimal line length and spacing between lines (leading) for readability.

Alignment

• Align text left, right, center, or justify based on design requirements.

Kerning and Tracking

• Adjust space between individual characters (kerning) and uniformly across a range (tracking) for visual balance.

Responsive Design

• Ensure text adapts well to different screen sizes and devices for consistent readability and aesthetics.