Advanced Typography-Task 1

05.04.2023-26.04.2023 / Week 1-Week 4

Kor Qian Qian / 0359496

Advanced Typography / Bachelor of Design (Hons) in Creative Media / Taylor's University

Task 1

LECTURES

L1: Typographic Systems

Axial, Radial, Dilatation, Random, Grid, Modular, Transitional, Bilateral. Typographic systems are akin to what architects term shape grammars.

Axial System: All elements are organised to the left or right of a single axis. Information is divided into groups and placed at different angles and sizes. The axis can be straight and bent (fig 1.1).

fig 1.1-axial system

Radial System: All elements are extended from a point of focus and the information are spread out from a particular point of focus.

fig 1.2-radial system fig 1.3-radial example

Dilatation System: All elements expand from a central point in a circular fashion. Can have multiple circles.

fig 1.4-dilatation system fig 1.5-dilatation example

Random System: Elements appear to have no specific pattern or relationship. although it's random there is a method for the chaos that is created within the page.

fig 1.6-random system fig 1.7-random example

Grid System: A system of vertical and horizontal divisions. Information is been structured according to the different grids within the page and font size.

fig 1.8-grid system fig 1.9-grid example

Transitional System: An informal system of layered banding. (Banding: Segregating information within certain bands)

fig 1.10-transitional system fig 1.11-transitional example

Modular System: A series of non-objective elements that are constructed as a standardised unit. Modulars allow moving the individual units to a different portion of the page.

fig 1.12-modular system fig 1.13-modular example

Bilateral System: All text is arranged symmetrically on a single axis. Always used in invitation cards.

fig 1.14-bilateral system fig 1.15-bilateral example

Conclusion: An understanding of the systems organization process allows the designer to break free from “the rigid horizontal and vertical grid systems of letterpress” (Elam, 2007). It allows designers to use more fluid means to create typographic messages.

“Typography is the use of type to advocate, communicate, celebrate, educate, elaborate, illuminate, and disseminate. Along the way, the words and pages become art.”

— James Felici, The Complete Manual of Typography

L2: Typographic Composition

Principles of Design Composition: Emphasis, isolation, repetition, symmetry & asymmetry, alignment, perspective

fig 1.16-example of emphasis

The Rule of Thirds: A photographic guide to composition, the intersecting lines are used as a guide to place the points of interest, within the given space.

fig 1.17-rule of thirds

Environmental Grid: Based on the exploration of an existing structure or numerous structures combined. An extraction of crucial lines both curved and straight is formed.

fig 1.18-An example from lecturer Brenda McMannus, of Pratt Inst. from the book: Typographic Form and Communication, pp211.

Form and Movement: Based on the exploration of existing Grid Systems. The placement of a form (irrespective of what it is) on a page, over many pages, creates movement. Whether the page is paper or screen is irrelevant.

There is a fine line between genius and insanity, just as there is a fine line between legibility-readability & memorability.
— 1st point came Oscar from Levant, second from me.

L3: Context and Creativity

Importance of handwriting in typography:

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.

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.

fig 1.19-earliest system of actual writing

Distinctive wedge form was the result of pressing the blunt end of a reed stylus into wet clay tablets.

fig 1.20-Hieroglyphics (2613–2160 B.C.E.)

Ideograms: to represent the things they actually depict.
Determinatives: to show that the signs preceding are meant as phonograms and to indicate the general idea of the word.
Phonograms: to represent sounds that "spell out" individual words.

Early Greek / 5th C. B.C.E.: Comprised of only capital letters, written between two guidelines to organize them into horizontal rows. Drawn freehand, not constructed with compasses and rules, and they had no serifs. In time the strokes of these letters grew thicker, the aperture lessened, and serifs appeared.

fig 1.21-early greek example

Roman Uncials: By the 4th century Roman letters were becoming more rounded, the curved form allowed for fewer strokes and could be written faster.

fig 1.22-roman uncials example

English Half Uncials, 8th C.: In England, the uncial evolved into a more slanted and condensed form.

fig 1.23-English half uncials example

Carolingian Minuscule: During Charlemagne's patronage book production increased and language was standardized —pronunciation and spelling as well as writing conventions— capitals at the start of a sentence, spaces between words and punctuation. The Carolingian minuscule was used for all legal and literary works to unify communication between the various regions of the expanding European empire.

fig 1.24-example of Carolingian minuscule

Black Letter 12-15 C. CE: Characterized by tight spacing and condensed lettering. Evenly spaced verticals dominated the letterform. Condensing line spacing and letter spacing reduced the number of costly materials in book production.

fig 1.25-example of black letter

The Italian Renaissance: Humanists named the newly rediscovered letterforms Antica. The renaissance analysis of form that was being applied to art and architecture was directed toward letterform — resulting in a more perfect or rationalized letter.

fig 1.26-example of the Italian renaissance

Movable Type 11 C.—14 C.: In late 14 C. several decades before the earliest printing in Europe, the Koreans establish a foundry to cast movable type in bronze—allowed the dismantling and resetting of text.

fig 1.27-example of movable type

Looking behind gives you context. Looking forward gives you opportunities.

— Vinod J. Nair

L4: Designing Type

Reason for designing type: To create a clean, distinctive and legible typeface that is easy to see from both close up and far away. Extremely functional. Carries a social responsibility so one must continue to improve its legibility.

General Process of Type Design: Research, Sketching, Digitization, Testing, Deploy

Research: This involves understanding the history, anatomy, conventions, and terminology of type, as well as the intended purpose and potential applications of the typeface. Designers may also study existing fonts for inspiration and reference.
Sketching: Designers use either traditional or digital tools to sketch their typeface, each method having its advantages and disadvantages.
Digitization: Professional software such as FontLab and Glyphs App is commonly used for digitizing typefaces, but some designers may use Adobe Illustrator, which is not preferred by purists, and attention should also be given to the counter form for the readability of the typeface.
Testing: Testing is an important part of refining and correcting aspects of the typeface. Prototyping can provide valuable feedback, and readability and legibility are important considerations depending on the typeface category.
Deploy: Revision is not finished after deploying a typeface as there can be unforeseen issues, making rigorous testing important in order to ensure that any problems that arise are minor.

Typeface Construction

Fig 1.28-Construction grid for the Roman Capital using 8 x 8 cells.

The use of grids with circular forms can aid in the construction of letterforms, as demonstrated in the construction of Roman Capital letters which consist of a square grid with a circle and rectangle inside.

Construction and considerations

Fig 1.29-Classification according to form and construction

When designing a new typeface, various factors such as extrusion of curved forms, vertical alignment, and letter spacing need to be taken into account, and "fitting" the type to achieve uniform white space between letters is important, although there are many other considerations to be taken into account beyond what is provided in the given link.

Designing a typeface is often driven by intrinsic or extrinsic motivation, and in order for the design to be successful, the designer must be invested in the idea and understand the requirements and limitations, as it is a laborious and challenging process with little reward.

The mindset of a type designer—if clinically studied—might be construed as sick; plagued by an unusual obsession to detail.

— Vinod J. Nair

L5: Perception and Organisation

Perception in typography encompasses the reader's visual understanding and interpretation of the content through contrast, form, and organization, with a specific focus on typography.

Size:

example of size

By utilizing a contrast in size, the reader's attention is directed to a specific point, with larger elements grabbing more immediate attention than smaller ones. This technique is commonly employed by making titles or headings noticeably larger than the body text.

Weight:

example of weight

Weight determines the prominence of bold type amidst lighter type of the same style, while visual elements like rules, spots, and squares can also create impactful focal points, emphasizing visual attraction and emphasis beyond variations in type weight.

Form:

example of form

The contrast of form encompasses the differentiation between capital and lowercase letters, Roman and italic variants, as well as condensed and expanded versions of a typeface.

Structure:

example of structure

Different letterforms of different kinds of typefaces.

Texture:

example of texture

By putting together the contrasts of size, weight, form, and structure, and applying them to a block of text on a page, you come to the contrast of texture.

Direction:

example of direction

The contrast of direction encompasses the opposition between vertical and horizontal elements, including angles, and can be achieved through various techniques such as rotating words or combining wide blocks of long lines with tall columns of short line

Colour:

example of colour

The use of colour is suggested that a second colour is often less emphatic in values than plain black on white.

Form

The form of typographic elements plays a crucial role in the visual impact and first impressions. Typography, originating from the Greek words for "form" and "writing," aims to represent concepts through visual forms. Displaying type as a form highlights the unique characteristics and abstract presentation of letterforms. The interplay of meaning and form creates a balanced harmony in terms of function and expression.

When a typeface is treated as a form, it undergoes manipulation and transformation, such as distortion, texture, enlargement, and extrusion, resulting in a departure from its original letter-like perception.

Gestalt

Gestalt Psychology is concerned with understanding the principles behind meaningful perceptions and how elements are grouped together. Gestalt theory emphasizes that we experience things as unified wholes, and in design, the overall visual form is more important than the individual components.

Gestalt Principles of Grouping:

Law of Similarity
Law of Proximity
Law of Closure
Law of Continuation
Law of Symmetry
Law of Simplicity (Praganz)
…

The organization of information and how it is perceived should be considered by designers as a social responsibility — crucial for effective communication, transfer of knowledge and for under-standing to occur.

— Vinod J. Nair

INSTRUCTION

Task 1: Exercise 1-Typographic System

In the first week, we were asked to explore the 8 typography system that learned in lecture 1 with InDesign, which is Axial, Radial, Dilatation, Random, Grid, Modular, Transitional, and Bilateral. There is a lecture video in the lecture playlist that revise some functions we used to learn in sem 1.

The exercise task is to be done using Adobe InDesign only. Size 200 x 200 mm. In addition to black, you can use one other colour. Graphical elements (line, dot, etc.) can be used but limitedly.

Week 1

fig 2.1 Axial-attempt 1, week 1 (5/4/2023)

Font used:

ITC New Baskerville Std (Bold, Roman)

Font size:

Title 36pt-40pt, Body text 12pt

I first start with a vertical single axis to familiarise myself with the operations of InDesign. After that, I tried with some tilt text and not only a single axis in the rightmost attempt. I was actually bold in the title at first, but it seems too heavy and steal the limelight, so I used Roman.

fig 2.2 Radial-attempt 1, week 1 (5/4/2023)

Font used:

Left-Title: Gill Sans ultra bold, Body text: Gill Sans MT (Regular, Bold)

Middle & Right- Gill Sans MT (Bold, Regular)

Font size:

Title: 14pt-20pt, Body text: 12pt

The radial system is quite hard for me to make nice and balance. I had tried a lot of failed attempts, and these took a lot of time, but I did not felt wasting my time, because that is progress for me to learn. For the attempts above, I used 2-3 circles.

fig 2.3 Dilatation-attempt 1, week 1 (5/4/2023)

Font used:

Left-Title: ITC Garamond Std

Second from left-Title: ITC Garamond Std (Bold Condensed)

Third from left- Title: Adobe Caslon Pro (Bold Italic)

Right- Title: Adobe Caslon Pro (Bold Italic)

All body text-Body text: ITC New Baskerville Std (Roman, Bold)

Font size:

Title: 30pt-50pt, Subtitle: 18pt-24pt, Body Text: 12pt-14pt

The dilatation system is hard as the radial system. It is hard to make it balance. This took me a lot o time because need arrange it smoothly and avoid the text overlapping and being unreadable. These designs still need to improve and modify.

fig 2.4 Random-attempt 1, week 1 (5/4/2023)

Font used:

All the 10 typefaces given

Font size:

Title: 50pt-60pt, Body Text: 12pt-18pt

The random system is the system I like the most. In the random system, I don't need to be limited by font, orientation and format. I overlapped, flip rotate the text.

fig 2.5 Grid-attempt 1, week 1 (5/4/2023)

Font used:

Title: Bodoni Std (Poster Compressed)

Body Text: ITC New Baskerville Std (Roman, Bold)

Font size:

Title: 52pt (left), 58pt (right), Body Text: 12pt

I will always mess up the grid system and the modular system. The grid system isn't hard to design but is easy to design a boring layout.

fig 2.6 Transitional-attempt 1, week 1 (5/4/2023)

Font used:

Left-Janson Text LT Std (76 Bold Italic)

Middle & Right-ITC New Baskerville Std (Bold, Roman)

Font size:

Left-Title: 30pt, Body text: 12pt-14pt

Middle & Right-Title: 46pt, Body text: 12pt-18pt

The transitional system is quite an interesting system. My understanding of the transitional system is to layering the text. It can be curved, straight or tilted.

fig 2.7 Modular-attempt 1, week 1 (5/4/2023)

Font used:

Left-ITC New Baskerville Std (Bold, Roman)

Right-Title: Serifa Std (56 Italic), Body text: ITC New Baskerville Std (Bold, Roman)

Font size:

Title: 54pt (left) & 26pt (right), Body text: 12pt

The transitional system is quite an interesting system. My understanding of the transitional system is to layering the text. It can be curved, straight or tilted.

fig 2.8 Bilateral-attempt 1, week 1 (5/4/2023)

Font used:

Left-Title: Adobe Caslon Pro (Bold Italic), Body text: Serifa Std (45 Light, 65 Bold)

Right-Title: Bodoni Std (Bold), Body text: Serifa Std (45 Light, 65 Bold)

Font size:

Title: 38pt, Body text: 12pt-14pt

The bilateral system is a common system we can see in our life, like invitation cards, K-pop albums and etc. It is quite straightforward with the axial system but the bilateral system is to arrange the text symmetrically.

Final Submission:

fig 3.1 Final Axial System JPEG-week 2 (12/4/2023)

fig 3.2 Final Radial System JPEG-week 2 (12/4/2023)

fig 3.3 Final Dilatation System JPEG-week 2 (12/4/2023)

fig 3.4 Final Random System JPEG-week 2 (12/4/2023)

fig 3.5 Final Grid System JPEG-week 2 (12/4/2023)

fig 3.6 Final Transitional System JPEG-week 2 (12/4/2023)

fig 3.7 Final Modular System JPEG-week 2 (12/4/2023)

fig 3.8 Final Bilateral System JPEG-week 2 (12/4/2023)

fig 3.9 Final Submission PDF without grid-week 2 (12/4/2023)

fig 3.10 Final Submission PDF with grid-week 2 (12/4/2023)

Task 1: Exercise 2-Type & Play

We were asked to find 4-5 types from a selected image of a man-made object (chair, glass, etc.) or structure (buildings), or something from nature (Human, landscape, leaf, plant, bush, clouds, hill, river, etc). Analyse, dissect and identify potential letterforms within the dissected image.

Selected image

fig 4.1 Chosen image and type-week 3 (19/4/2023)

I trace the letter that I could find with Ipad (not in detail).

fig 4.2 extracted letterforms-week 3 (19/4/2023)

I traced the shapes of the Guazi with the pen tool in Adobe Illustrator without any detail.

fig 4.3 Reference type-week 3 (19/4/2023)

I found a reference type that looks really similar to the shape of Guazi which is Singly Linked Regular.

fig 4.4 Process of refinement-week 3 (19/4/2023)

According to Mr Vinod's feedback, I added some texture and lines of the Guazi to my type.

fig 4.5 Process of refinement-week 3 (19/4/2023)

But I feel like it is too messy, so I reduced the size of the line.

fig 4.6 Process of refinement-week 4 (26/4/2023)

I straightened all horizontal strokes.

fig 4.7 Process of refinement-week 4 (26/4/2023)

fig 4.8 Process of refinement with grid-week 4 (26/4/2023)

I turned one of the horizontal and vertical sides into a right angle to make the font look neater.

fig 4.9 Final refinement-week 4 (26/4/2023)

Lastly, I decided to remove the white lines.

fig 4.10 Compared-week 4 (26/4/2023)

Final Type:

Poster:

(failed attempts)

fig 4.11 Poster failed attempt 1-week 4 (26/4/2023)

fig 4.12 Poster failed attempt 2-week 4 (26/4/2023)

fig 4.13 Attempt-week 4 (26/4/2023)

Final Part 2: Type and Image

fig 4.14 Final type and image JPEG-week 7 (17/5/2023)

FEEDBACK

Week 2

General feedback: majority designs are ok, only one colour can be used.

Specific feedback: 3rd Axial- Can colour the title, 1st grid-it is too empty at the white space, 1st Modular-wrong guides, 2nd Bilateral-change the body text into black.

Week 3

General feedback: We should introduce the characteristic of the image to the extractions, refine and reflect on our works.

Specific feedback: Introduce the veined pattern into the extraction, and try to replicate the pattern and the direction with one benchmark. Make sure every letter is the same size.

Week 4

General feedback: The type and the image chosen must be interplay and make sure the poster size is 1024px.

Specific feedback: The final type is good. The poster is not working, can't just paste the type into the image.

REFLECTION

Experience

In Exercise 1, we learned 8 Typographic Systems. I feel hard when I design radial and dilatation systems, either unbalanced or look funny. I spend a lot of time doing these two systems even rewind after designing the rest of the systems. I love this exercise because when I search the references, I refer to the K-pop albums. There are various systems used in the album cover and content. This enhances my interest in this exercise.

In Exercise 2, I was looking at the Tauge sample shown by Mr Vinod and was confused about what I should do for a long time. When I was eating Guazi, I saw that the shape and texture of Guazi were very special, so I decided to choose Guazi. In the beginning, I'm very confused about how to extract more on my Guazi, but when sir feedback on my attempt, I got the direction.

Observations

Exercise 1 is more focused on the correction of the system theory and the balancing of the art. Sometimes we may completely follow the theory but it looks unbalanced or vice versa.

Exercise 2 is quite interesting, not only did it exercise our ability to refine fonts, but it also made me pay more attention to various objects in my life where fonts can be found. It was very fascinating seeing how the text evolved, learning to properly discard some unimportant elements but still look symbolic to the original object.

Findings

As I mention in the experience part, I spend a lot of time designing failed attempts. It's because I was too restricting myself in a rigid format limited. When I refer to more examples, that makes me more creative and imaginative.