Advanced Typography - Task 1

5 April 2023 - 5 May 2023 / Week 1 - Week 5
Sim Jia Min 0349784
Advanced Typography / Bachelor of Design (Hons) in Creative Media / Taylor's University
Task 1: Exercise 1 - Typographic Systems, Exercise 2 - Type & Play

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LECTURES

AdTypo_1_Typographic Systems

Typographic systems
- axial
- radial
- dilational
- random
- grid
- modular
- transitional
- bilateral
typographical organization: elements are dependent on communication for functioning, other criteria such as hierarchy, order of reading, legibility & contrast.
use the system for handling complex information
1. Axial system: information divided into groups on a single line, placed at different angles or sides, could be straight lines or bend. 
2. Radial system: elements are extended from a focal point. 
3. Dilatational system: elements expand from a central point in a circle. 
Exp of how the reading order works: Multiple rings of circles with information on either side or placed in hierarchical system where the most important info is placed in the most outer or the inner circle
4. Random system: elements appear to have no specific pattern or relationship. Even if it's random but there's a method for using this system
5. Grid system: vertical & horizontal divisions, usually use in books.
6. Transitional system: in an informal system of layered banding. Headline be larger in a band, while other texts remain smaller in their single band
7. Modular system: non-objective elements that are constructed as standardised units (little squares). Allows to move the individual units to different portions of the page, for replacing another unit on the other side. Units can be randomly placed
The layout tends to look like grid system as well, but elements are able to shift in different spaces (able to move around as long as it fits within a single unit). 
8. Bilateral system: all text is arranged symmetrically on a single axis 

AdTypo_2_Typographic Composition

- Principles of design composition guide the arrangement of visual elements: emphasis, isolation, repetition, symmetry, asymmetry, alignment, and perspective

- Balancing form and function is key to creating an effective composition

- The Rule of Thirds is a photographic guide to composition

- It suggests dividing a frame into 3 columns and 3 rows

- The intersecting lines are used to place points of interest in the space

- The Environmental Grid is a design system that uses existing structures to create a super-structure.

- Information is organized around this structure, incorporating non-objective elements

- It provides context based on key features of the environment associated with the message's communicators

- The Form and Movement system explores existing grid systems

- It highlights the placement of forms (such as images and text) to create movement

- It emphasizes that the turning of pages in a book is a slowed-down animation of form placement

AdTypo_3_Context&Creativity

- Handwriting was the basis for the first mechanically produced letterforms

- Mechanical type tried to mimic the conventions, form, and spacing of handwriting

- Unique characteristics of letterforms were influenced by factors such as the materials used for writing

- Hieroglyphics: Egyptian writing system fused with relief carving. It uses rebus and phonetic characters, and can be used as ideograms, determinatives or phonograms to represent sounds and words

- Cuneiform: the earliest form of writing, used wedge-shaped characters created by a reed stylus pressed into wet clay tablets. It evolved from pictograms and was written from left to right

- Early Greek writing: adopted Phoenician phonetic alphabet with added vowels, written in all capital letters between horizontal guidelines.

- Read boustrophedon, letters were freehand without serifs. Greek letterforms evolved to become thicker, less open, and with serifs, serving as models for Roman lettering

- Roman Uncials: By the 4th century, Roman letters became more rounded, requiring fewer strokes and allowing for faster writing

- English Half Uncials: evolved in England to a slanted and condensed form

- The Carolingian minuscule became the pattern for Humanistic writing of the fifteenth century and the basis of our lowercase roman type

- Gothic writing, known as Blackletter, reflected this aesthetic with condensed, tightly spaced lettering.

Condensed spacing in Blackletter reduced material costs in book production

- Italian Renaissance: Gothic spirit in Western Europe

- Embrace of Greek and Roman culture

- Creative wave in Italian art, architecture, literature, and letter form design

- The movable type was introduced in 1000-1100 CE

- China had attempted to use movable type, but was unsuccessful due to the number of characters and the material used

- Movable type was pioneered in Korea with the Diamond Sutra

AdTypo_4_Designing Type

General Process of Type Design:

1. Research

- Understand type history, anatomy, and conventions

- Determine the type's purpose and examine existing fonts for inspiration
- Consider terminologies, side-bearing, metrics, hinting, etc.

2. Sketching

- Traditional tool set or digital tool set

3. Digitization

- Professional software used for digitization (FontLab and Glyphs App)
- Some designers use Adobe Illustrator for letterform design, but this is frowned upon
- Attention should be given to the whole form and counter form

4. Testing

- Testing and prototyping are important for refining and correcting aspects of the typeface
- Readability and legibility are crucial considerations for text typefaces

5. Deploy

- Revision may be necessary even after deployment
- Rigorous testing is important to minimize teething problems

Typeface Construction:

- Grids with circular forms can facilitate construction of letterforms
- Extrusion and visual correction needed for curved and protruding forms past baseline and cap line
- Uniform "visual" white space needed between letters, known as "fitting" the type

Others:

- Most typefaces come about due to a need or demand, either intrinsic or extrinsic
- Designers need to be invested in the idea and understand the requirements and limitations

AdTypo_5_Perception & Organisation

Contrast 
- Size contrast draws the reader's attention to a specific point by making it noticeably bigger than other elements on the page.
- Weight contrast is achieved by using bold type or other visual elements to create a "heavy area" for emphasis.
- Form contrast involves using different variations of letterforms, such as capital and lowercase letters or roman and italic typefaces.
- Structure contrast refers to the differences between different types of typefaces, such as sans-serif and serif or italic and blackletter.
- Texture contrast is the result of combining different contrast techniques to create a visually interesting and varied texture on the page.
- Direction contrast involves using vertical and horizontal oppositions and angles to create contrast.
- Color contrast can be achieved by using different tonal values to emphasize specific elements on the page.

Form  

- Refers to the overall look and feel of the elements that make up the composition, which is the part that plays a role in visual impact and first impressions.
- Displaying type as a form provides a sense of letterforms' unique characteristics and abstract presentation.
- The interplay of meaning and form brings a balanced harmony both in terms of function and expression.

Gestalt 

- It is a German word meaning the way a thing has been "placed" or "put together," and it is an attempt to understand the laws behind the ability to acquire and maintain meaningful perceptions.
- Emphasizes that the whole of anything is greater than its parts and that we experience things as unified whole.
- The components that make up a design are only as good as their overall visual form, and the sum of its parts is not greater than the whole or the overall form.

Gestalt Groupings

- The Law of Similarity: Elements that are similar to each other tend to be perceived as a unified group (e.g. color, orientation, size, motion).
- The Law of Proximity: Elements that are close together tend to be perceived as a unified group. Items close to each other tend to be grouped together, whereas items further apart are less likely to be grouped together.
- The Law of Closure: The mind tends to see complete figures or forms even if a picture is incomplete, partially hidden, or missing some information needed to make a complete picture.
- The Law of (Good) Continuation: Humans tend to perceive each of two or more objects as different, singular, and uninterrupted object even when they intersect. Alignment of the objects or forms plays a major role for this principle to take effect.

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INSTRUCTIONS (MIB)

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Task 1: Exercise 1 - Typographic System

8 systems from different titles

Adobe InDesign: 200 x 200 mm

- can use one other colour than black

- graphical elements like lines & dots can be used

Week 1:

Figure 1.1: Practical class attempt - Axial system (Week 1, 5/4/23)

After listening to the lecture recording of learning different types of typographic systems, I tried to make my first attempt at axial system, it is a system that divides information with a single line. 

Exercise 1 progress:

Figure 1.2: Week 1 progress (Week 1, 8/4/23)

Referring to the lecture recording, I start developing the other systems. Fonts used are the 10 given fonts since semester 1, body text size I used is usually around 10-12 pt. 

Week 2:

Figure 1.3: Week 2 progress (Week 2, 11/4/23)

Since I am not quite satisfied with some of the attempt outcomes, I did a little few changes before attending the week 2 class. 

Refinement & further ideas:

After looking at my peers' works and getting feedback from them, I start doing the refinements and exploring more ideas.

Figure 1.4: Week 2 refinement & further ideas (Week 2, 14/4/23)

Referring to Mr Vinod's feedback for others, my peers' suggestions, and my self-reflection, I made some necessary changes to make the aesthetic overall not look too boring. My original ideas were a bit bland since I was still not familiar with the systems and just tried to follow the rules of the systems, which is why I was not able to focus on the aesthetic. 

Ideas Compilation

Axial System

Figure 1.5: Axial system (Week 2, 14/4/23)

Font: Futura Std (Bold, Heavy, Heavy Oblique, Medium)

Using a diagonal line for dividing information.

Bilateral System

Figure 1.6: Bilateral system (Week 2, 14/4/23)

Fonts: Left - ITC Garamond Std, Right - Univers Lt Std

Dilatational System

Figure 1.7: Dilatational system (Week 2, 14/4/23)

Font: Left - ITC Garamond Std, Right - Univers Lt Std

Instead of using the small dot as just a pure decoration, I make it to actually support the design by applying the dates around it.

Grid System

Figure 1.8: Grid system (Week 2, 14/4/23)

Font: Univers Lt Std, ITC Garamond Std

According to the feedback I get from peers, the heading of the middle one seems getting cut off due to the huge difference in font size, so I refine it into the right one with the same font size in the heading. I also adjusted the placement of the other texts as the white space in the middle design seems off, I tried to make them look connected in the refinement.

Modular System

Figure 1.9: Modular system (Week 2, 14/4/23)

Font: Univers Lt Std

Radial System

Figure 2.1: Radial system (Week 2, 14/4/23)

Font: Univers Lt Std

Since the first and last body text is perfectly placed at 0 and 270 degrees, I place a half semicircle to enhance their straightness.

Random System

Figure 2.2: Random system (Week 2, 14/4/23)

I feel that this is one of the most challenging systems to make, although it's called a random system, it actually takes more time to make compared with other systems. Especially since I am very used to making designs under a certain rule or system, making it random is more difficult.

Transitional System

Figure 2.3: Transitional system (Week 2, 14/4/23)

Font: Gill Sans

Submission: Exercise 1 - Typographic System

Figure 2.4: Final axial system - JPEG (Week 2, 14/4/23)

Figure 2.5: Final dilatational system - JPEG (Week 2, 14/4/23)

Figure 2.6: Final radial system - JPEG (Week 2, 14/4/23)

Figure 2.7: Final random system #1- JPEG (Week 2, 14/4/23)

Figure 2.8: Final radial system #2 - JPEG (Week 2, 14/4/23)

Figure 2.9: Final modular system - JPEG (Week 2, 14/4/23)

Figure 3.1: Final grid system - JPEG (Week 2, 14/4/23)

Figure 3.2: Final transitional system - JPEG (Week 2, 14/4/23)

Figure 3.3: Final bilateral system - JPEG (Week 2, 14/4/23)

Figure 3.4: Final axial system grids and guides- JPEG (Week 2, 14/4/23)

Figure 3.5: Final dilatational system grids and guides- JPEG (Week 2, 14/4/23)

Figure 3.5: Final radial system grids and guides- JPEG (Week 2, 14/4/23)

Figure 3.7: Final random system #1 grids and guides- JPEG (Week 2, 14/4/23)

Figure 3.8: Final random system #2 grids and guides- JPEG (Week 2, 14/4/23)

Figure 3.9: Final bilateral system grids and guides- JPEG (Week 2, 14/4/23)

Figure 4.1: Final modular system grids and guides- JPEG (Week 2, 14/4/23)

Figure 4.2: Final transitional system grids and guides- JPEG (Week 2, 14/4/23)

Figure 4.3: Final grid system grids and guides- JPEG (Week 2, 14/4/23)

Figure 4.4: Final Exercise 1: Typographic System - PDF (Week 2, 14/4/23)

Figure 4.5: Final Exercise 1: Typographic System - grids and guides PDF (Week 2, 14/4/23)

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Task 1: Exercise 2 - Type & Play

Finding type

- select an 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)

- ensure that the image does not contain many different elements

- analyse, dissect and identify potential letterforms within the dissected image

My selected photo:

Figure  4.6: Interior of a building (Week 3, 19/4/23)

This photo is taken by me a few months ago, when browsing through my phone gallery I noticed the rooftop in this photo has the potential to develop some letterforms from it. 

Figure  4.7: Tracing the lines on Illustrator (Week 3, 19/4/23)

I can see "A", "P', "M", and "O", in the photo,  this is the process of extracting them from the photo.

Figure 4.8: Extracted letter forms (Week 3, 19/4/23)

The extracted letter forms have sharp corners, and the strokes are also thick and curvy. The curve of the extracted letterforms are looking quite interesting, and it's the main characteristic of all the letterforms. Therefore, my preliminary plan is to pick this certain characteristic to become the letterforms' main element.

Figure 4.9: Stages of refinement (Week 3, 19/4/23)

Referring to the original "O" shape, I use this certain characteristic to apply the rest of the letterforms for consistency. My reference font is "Squarea Regular" since it has a few similarities with the extracted letterforms. 

Figure 5.1: Guidelines (Week 3, 19/4/23)

Using guidelines for adjusting the stroke of each letter in a consistent way.

Figure 5.2: Adding 3D effect (Week 3, 22/4/23)

As Mr Vinod suggested during feedback session, adding another element like 3D will be better, since the rooftop in the original photo is also 3-dimensional, adding 3D element in letterforms will relate to the original photo even more. 

I use the 3D effect in Illustrator for developing the 3D look of the letterforms.

Figure 5.3: Enhance light and shadow (Week 4, 26/4/23)

To make the letterform more contrasting, I adjusted and enhanced the light and shadow.

Figure 5.4: Final letterforms (Week 4, 26/4/23)

Letterforms and visual

Figure 5.5: Chosen image (Week 4, 26/4/23) https://www.pinterest.com/pin/351912463823023/ 

For the visual, the originally extracted letterforms are from a rooftop, and it's kind of difficult to find the perfect image to relate to the rooftop, so I chose an image that has a similar curvy, 3-dimensional, and architecture-looking pattern as the rooftop. 

Figure 5.6: Change the material of 3D (Week 4, 26/4/23)

Since the image is looking like some metal/aluminium visual, I change the material of the 3D letterforms to aluminium to fit into the image.

Figure 5.7: Attempt (Week 4, 26/4/23)

Placing letter forms following the flow of the lines in the image.

Figure 5.8: Add on information & filter (Week 4, 26/4/23)

Added some information to make it looks like an actual movie poster, also edited the whole poster in Photoshop by adding grain filter and adjusting contrast. 

Submission: Exercise 2 - Type & Play

Figure 5.4: Final letterforms - JPG (Week 4, 26/4/23)

Figure 6.1: Final visual poster - JPG (Week 4, 26/4/23)

Figure 5.9: Final exercise 2 - PDF (Week 4, 26/4/23)

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FEEDBACK

Week 2

General: 

Headline is the most significant, it should be placed until satisfied, only then placing other contents avoid placing other text too near to the headline

Leading and kerning in general situations should not be too tight, also should be consistent

modular system: make sure every text is inside of the grid columns (units can be shift freely)

Feedback from peers:

Overall -  put some colours in the designs

axial: "All ripped up" can move align with the rest of the headline

radial: can change the circle into outline, put colour on the circle and title

dilatational: put colour on the circle and title

random: fill the white space with some bigger font size, can change some font colour into grey (shadow)

grid: the headline is quite confusing to read, try to place them near each other. "Punk" font size is too massive

transitional: "lecture theatre 12" feels out of place. The placement of "The design school, Taylor's university" should be adjusted

modular: can add some colour

bilateral: add colour

Week 3

General:

Not necessary to keep remaining all the same elements extracted from ori image, once understand the core characteristic just transform and refine the letters into anything

Specific:

Add another element - apply 3-dimensional effects/shadows like the rooftop in ori image

Week 4

General:

- letterforms should integrate with the chosen image, the letterforms must stand out

- add information to make it looks like a movie poster

Specific:

- add more lighting on the 3d letterforms to make contrast

- proceed with the poster with more information

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REFLECTION

Exercise 1

Experience: It is a pleasant experience to pick up InDesign again by doing exercise 1 since semester 1. To be honest, I was forgetting some of the navigation of it, but as I was doing the designs, the more I became familiar with it. I was also able to explore the use of circular text layout on InDesign when making designs in radial & dilatational systems, adjusting the circles was quite a challenge for me since it took a long time to reach a satisfactory outcome. I was having the most fun when doing the random system design, but also spent the most time on it, as it doesn't really have a fixed rule like other systems. 

Observations: By completing the exercise for making layout designs using typographic systems with InDesign, I realised the importance of consistency and efficiency in the design process. As I learned & utilize typographic systems, I was able to create a cohesive layout that adhered to a set of rules and guidelines, resulting in a very different-looking layout other than the general grid systems. I also found that testing out different typographic systems and adjusting them as needed helped me to find the balance between readability and visual appeal.

Findings: Overall, this exercise has taught me the importance of understanding and utilizing typographic systems and design principles in creating a successful layout. I was able to explore more possibilities for using InDesign as a powerful tool for creating many possible design ideas in different systems.

Exercise 2:

Experience: This exercise is very different from all the previous exercises that I have done in typography, it starts with an absolutely unrelated image and extracts it into letterforms. Before extracting letterforms, it required observation and attention to detail to identify the unique shapes and curves within the image (the ceiling). Once the letterforms were extracted, the main task began as I began to develop them into a cohesive typography design. Developing these letterforms from the image was a tedious process that required precision and patience. It was important to retain certain element of letterforms, ensuring that they remained recognizable and cohesive with the overall design. 

Observations: As I analysed the image, I began to notice subtle variations in the letterforms, with a certain distinct personality based on the ceiling. They extracted letterforms curvy and I could see the possibility of them being curvy in a more consistent way, so I developed this element as the main style of the letterforms. 

Findings: I discovered that typography is more than just the arrangement of letters on a page. It's an art form that requires creativity, attention to detail, and a long working process. It was a great opportunity to explore my own artistic abilities and push myself to create something from an image. It challenged me to think outside the box and develop a design that was both fine in readability and visually unique.

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FURTHER READING

Figure 6.1: Typographic Design: Form & Communication (2015)

Reference: Carter, R., Day, B., Meggs, P. B., Maxa, S., & Sanders, M. (2015). Typographic design: Form and communication. Hoboken, New Jersey: John Wiley & Sons, Inc.

The typographic grid: structure & space

Figure 6.2: Shapes of typographic elements have directional qualities that create implied spatial corridors

- Space is the common element in all typographic communication.
- Typographic elements create subliminal divisions in space, which lead to spatial structures when introduced.
- New structures emerge when typographic elements shift syntactically in size, weight, and position (Figure 6.2).
- Letterforms can be seen as points in space, which can extend to lines of text, and eventually to text blocks.
- Typographic elements are kinetic in nature and appear to be in perpetual motion.
- When centered, a letterform appears motionless, but when placed off-center, it appears to move, gaining velocity as it approaches the outermost boundaries of the space.
- Lines of type suggest horizontal movement, except when positioned vertically or at an angle in space.
- Humans perceive the natural world in terms of horizontal and vertical dimensions and feel more comfortable in the horizontal realm.

The typographic grid: proportion

- Divided space is perceived as a system of proportional relationships.

- The typographic grid is also a system of proportions governed by a grid ratio, which determines the size and placement of typographic elements.

-  The basic grid ratio is X:2X (one unit to two units), and this establishes an underlying proportional system among the parts (Figure 6.3).

Figure 6.3: Grid ratio

- Designers rely on an innate sense of proportion, but they can also consider models handed down over centuries.

- The golden section is a law of proportionality found frequently in nature and the human body, used throughout centuries in art, architecture, design, and music.

- The golden section is a relationship or ratio between two numbers (or objects), wherein the ratio of the smaller number to the larger number is the same as the sum of both numbers.

- The ratio is 1:1.618 numerically and 38% to 62% in percentages (Figure 6.4)

Figure 6.4 Example of 38% to 62%

The golden section can be constructed from the square and dominated as the proportional system for the design of medieval manuscripts (Figure 6.5)

Figure 6.5: Example of golden section