Advanced Typography / Task 1: Exercises 1 & 2
Derin / 0354969 / Design in Creative Media
GCD 61004 / ADVANCED TYPOGRAPHY
Task 1
Lecture 1: AdTypo_1_Typographic Systems
Design is based on structural systems, and according to Elam (2007), there are eight main variations with countless possibilities. These variations are:
Axial: Elements are organized to the left or right of a central axis.
Radial: Elements extend from a focal point.
Dilatational: Elements expand from a central point in a circular manner.
Random: Elements appear without a specific pattern or relationship.
Grid: Elements are organized using vertical and horizontal divisions.
Transitional: Elements are informally layered, with differences in size and width creating hierarchy.
Modular: Non-objective elements are standardized units that can be randomly placed.
Bilateral: Text is symmetrically arranged along a single axis.
Lecture 2: AdTypo_2_Typographic Composition
Typographic composition is how text is arranged on a space. There are different composition techniques, such as emphasis, the rule of thirds, and the grid system.
In the post-modernist era, chaos, randomness, and asymmetry became popular. Artists like David Carson, Barnbrook, and Paula Scher pushed boundaries and used planning and intuition to create exciting compositions. Some examples from these artists:
The Rule of Thirds: This is a guide for photography composition. It suggests dividing a frame into 3 columns and 3 rows. The intersecting lines serve as guides to place points of interest within the space.
Environmental Grid: This system involves exploring existing structures and combining crucial curved and straight lines. Designers organize their information around this super-structure, incorporating non-objective elements for a unique and visually stimulating composition.
Forms & Movement: This system is based on exploring existing grid systems. It encourages students to explore the numerous options the grid offers, remove the seriousness around its application, and view the turning of pages in a book as a slowed-down animation that determines the placement of images, text, and color.
Lecture 3: AdTypo_3_Context&Creativity
The first mechanically produced letterforms were designed to imitate handwriting, which served as the standard for form, spacing, and conventions that mechanical type sought to mimic.
Early Greek (5th century B.C.E.): Drawn freehand without compasses or rules, these letters had no serifs. Over time, the strokes grew thicker, the aperture decreased, and serifs appeared.
Roman Uncials: By the 4th century, Roman letters became more rounded, allowing for fewer strokes and faster writing.
English Half Uncials (8th century): In England, the uncial style evolved into a slanted and condensed form.
Carolingian Minuscule: Introduced capitals at the beginning of sentences, spaces between words, and punctuation. This style became the basis for Humanistic writing in the fifteenth century and eventually influenced our lowercase roman type.
Black Letter (12th-15th centuries): Characterized by tight spacing and condensed lettering, with evenly spaced verticals dominating the letterform. Condensing line and letter spacing helped reduce material costs in book production.
Italian Renaissance: During this period, newly rediscovered letterforms called Antica emerged. The Renaissance's focus on form analysis in art and architecture extended to letterforms, resulting in more perfect and rationalized letters.
Indus Valley Civilization (IVC) script: The oldest undeciphered writing found in the Indian subcontinent (3500-2000 BCE). It appears to be somewhat logo-syllabic in nature.
Brahmi script: The earliest writing system developed in India after the Indus script. It has had a significant influence, as it served as the ancestor for modern Indian scripts and hundreds of scripts found in Southeast and East Asia.
Lecture 4: AdTypo_4_Designing Type
Type Design Process:
1. Research:
- Learn about type history, anatomy, conventions, and terms.
- Understand the purpose and different applications of the typeface.
- Study existing fonts for inspiration and reference.
2. Sketching:
- Create preliminary designs using traditional or digital methods.
3. Digitization:
- Use professional software like FontLab or Glyphs App to convert sketches into digital fonts. Some designers may use Adobe Illustrator before using specialized font apps.
4. Testing:
- Test the typeface to refine and correct aspects of it.
- Prototype the typeface to gather feedback.
- Consider readability and legibility, especially for text types, while display types allow more focus on expressive forms.
5. Deployment:
- Even after deploying the typeface, be prepared for minor issues that may arise.
- Continuously revise and improve based on testing and feedback.
Typeface Construction:
- Grids with circular forms can help in constructing letterforms.
- Consider different forms and constructions when designing a new typeface.
- Correct visual aspects like overshoot (extrusion of curved forms) and vertical alignment between curved and straight forms.
- Ensure consistent spacing between letters to create a uniform visual white space.
- Ink traps were traditionally used to handle excess ink in fast and imprecise printing, keeping the corners visible.
Lecture 5: AdTypo_5_PerceptionAndOrganisation
Perception:
Perception is how we understand and interpret things. In typography, it involves how readers navigate and interpret content through contrast, form, and organization. Contrast includes size, weight, form, structure, texture, color, and direction.
Contrast:
Contrast of size makes certain elements stand out, like using a bigger title compared to the body text. Contrast of weight uses bold or other techniques to create visual emphasis. Contrast of form distinguishes between capital and lowercase letters or different typeface styles. Contrast of structure refers to different letterforms.
Form:
Form refers to the overall look and feel of typographic elements. It plays a role in visual impact, first impressions, and creating memorable designs. Typography combines form and function to represent concepts visually.
Organization/Gestalt:
Gestalt psychology explores how we perceive meaningful groupings. The laws/principles include similarity (similar elements are seen as a group), proximity (closely placed elements are grouped), closure (mentally completing incomplete figures), continuation (perceiving objects as separate even when they intersect), symmetry, and simplicity.
The idea is to be aware of and apply these principles to effectively organize information and communicate meaning in typography. It is a social responsibility of designers to facilitate understanding through well-designed layouts.
"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 understanding to occur."
- Vinod J. Nair
INSTRUCTIONS
Task 1 (20%): Exercises
1) Typographic Systems (1 Week)
Axial, Radial, Dilatational, Random, Grid, Modular, Transitional and
Bilateral. 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.
2) Type & Play Part 1 & 2 (2 Week)
Finding type –
Students will be asked to select an image of a man-made object (chair,
glass, etc.) or structures (buildings), or something from nature (Human,
landscape, leaf, plant, bush, clouds, hill, river, etc). Ensure that the
image does not contain many different elements.
Students will analyse, dissect and identify potential letterforms within the dissected image. The forms would be explored and ultimately digitized. It is expected that through a process of iteration the forms would go from crude representation to a more refined celebration that would reflect to a degree its origins.
Upon completing the letterforms, students will combine the letterforms with a visual of their choosing. The objective is to enhance/support the interplay between the letterforms and the selected visual. The text must be woven into a symbiotic relationship with the image.
Learning Goals:
1) To demonstrate an enhanced use of grids,
layouts and page flow for effective typographic communication.
2) To
create a typeface that reflects/hints of its origins
3) To create a
symbiotic relationship between image and type and to devise methods to
enhance interplay between the two.
TASK 1: EXERCISE 1 / TYPOGRAPHIC SYSTEMS
Our first task, as instructed by Mr. Vinod, entails the use of the texts featured in the Module Information Booklet (MIB) to create different layouts utilizing the 8 typographic systems that were presented and discussed in the first lecture notes.
Week 1 Practical
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| Fig 2.1 Axial System Practical, Week 1 (05/04/2023) |
During our practical session, we had to create an Axial system design, which was quite a challenge for me since I hadn't used InDesign in a while. Luckily, Mr. Vinod's lecture videos were a lifesaver and reminded me how to use the software's mechanics and the systems. My first attempt at the design was a bit of a disaster, to be honest. It took me ages to figure out what to do, and when I finally finished it, I realized it was boring and unimpressive. The only thing I was happy with was the title, which I managed to make look pretty cool.
Mr. Vinod comments that my design is done correctly according to the axial system. However, the design seemed to be heavy on one side. The font-size of the body text is too big, normally it would be 8px-12px. More exploration could be done with the feedback.
Font used: Janson Text LT Std (55 Roman, 75 Bold)
InDesign process
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| Fig 2.2 Sketch #1, Week 1 (08/04/2023) |
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| Fig 2.3 Sketch #2, Week 1~2 (08~14/04/2023) |
To begin with, I started working on the design project by creating some layout design sketches. In me previous attempt during practical, I made a mistake by jumping into the task without any clear idea in mind. I was sort of flying blind, and it showed in my result before. This time around, I spent some time brainstorming and coming up with a solid concept before diving into the design process. I found this to be a much more effective approach, as it helped me to stay focused and gave me a clearer sense of direction. To create these sketches, I used Procreate, which is a digital drawing tool that I've found to be incredibly helpful for creating quick sketches and rough drafts.
Following the initial sketching phase, I proceed to the next step in the design process by attempting to digitalize the sketches. We are required to use InDesign which was specified as the necessary software for this exercise.
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| Fig 2.4 Design Process, Week 1~2 (06~14/04/2023) |
Typographic Systems Design Attempts
Axial System
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| Fig 3.1 Axial System, Week 1 (08/04/2023) |
Axial system took me a while to figure out despite its simple structure. Perhaps it's because the texts are attached into a single axis that makes it difficult.
Font used:
- Univers LT Std (47 Light Condensed, 55 Roman), Adobe Caslon Pro (Regular, Bold).
- Univers LT Std (37 Thin Ultra Condensed, 53 Extended), Adobe Caslon Pro (Regular, Bold).
Radial System
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Fig 3.2 Radial System - 1st attempt Week 2 (10/04/2023) |
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| Fig 3.3 Radial System - Final attempt, Week 2 (13/04/2023) |
Initially, coming up with a design for the radial system was a bit of a struggle for me. I found the system to be less flexible compared to others, which made it a bit more challenging to work with. It was difficult to create something that was both visually appealing and easy to understand. But as I continue to explore more and let creativity take over, I was able to create 3 different designs. Wow :D
Font used:
- Futura Std (Medium, Bold, Bold Condensed)
- Futura Std (Medium)
- Futura Std (Medium, Bold)
Dilatational System
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| Fig 3.4 Dilatational System, Week 1 (09/04/2023) |
Creating a design for the dilatational system was fun to work on. For the first design, I tried to make a cyclops eye inspired design. The design feels as though it moves in an old clock mechanism. For the second design, I tried to make it a more wave-like version of the first one.
Fonts used:
- Adobe Caslon Pro (Regular, Bold)
- Adobe Caslon Pro (Regular, Bold)
Random System
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| Fig 3.5 Random System - 1st attempt, Week 1 (09/04/2023) |
My first attempt at the random system didn't look as random as I had intended. I had to do a lot of experimenting to achieve the desired effect. It was challenging to create a design that was both random and readable. To overcome this, I decided to add more elements to my design.
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Fig 3.5 Random System - 2nd attempt, Week 2 (10/04/2023) |
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| Fig 3.6 Random System - Final attempt, Week 2 (12/04/2020) |
Font used:
- Adobe Caslon Pro (Italic, Regular, Semibold Italic), Bodoni MT (Regular), Futura Std (Book, Extra Bold, Light), ITC Garamond Std (Ultra Condensed), Janson Text LT Std (55 Roman, 75 Bold), Serifa Std (45 Light), Univers LT Std (35 Ultra Condensed, 55 Oblique, 55 Roman, 57 Condensed, 75 Black).
Grid System
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My previous attempts at working with the grid layout system weren't done correctly. Mr. Vinod was able to give me some guidance and show me how the grid system works. With his help, I was able to better understand the principles behind the grid system and apply them effectively to my design.
For the first design, I opted for a minimalist look, with a focus on utilizing the negative space in a strategic and intentional way. I wanted the design to feel clean and uncluttered, while still effectively conveying the desired message. In the end, I was pleased with how the design turned out, and felt that the use of the grid system was an important factor in achieving the desired aesthetic.
Font used:
- Futura Std (Medium, Heavy, Extra Bold)
- Adobe Caslon Pro (Regular), Futura Std (Book, Bold)
Modular System
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| Fig 3.10 Modular System - Final attempt, Week 1 (12/04/2023) |
At first, I had a tough time wrapping my head around the modular system, even after watching the lecture video over and over again. Similarly, with the grid system, I didn't quite grasp the concept, which resulted in me creating an incorrect design of the modular system. But once I understood the modular system, I found it easier to create my design. I utilized the units created by the grids and guides for the title and kept hierarchy in mind. Additionally, I experimented with the color schemes presented in Fig 3.10 but was unable to decide on one, so I included both in my design portfolio here.
Font used:
- Futura Std (Medium, Bold, Extra Bold)
Transitional System
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| Fig 3.7 Transitional System, Week 2 (14/04/2023) |
I found the transitional system to be quite challenging to work with. When I received feedback on my first design, I learned that I needed to improve the flow of my design. So, I tried to create a design that flowed better this time, while also incorporating white space. It took some trial and error, but eventually, I was able to create a design that met the requirements of the transitional system.
Font used:
- Futura Std (Book), Univers LT Std (47 Light Condensed, 39 Thin Ultra Condensed, 67 Bold Condensed)
- Adobe Caslon Pro (Bold), Univers LT Std (59 Ultra Condensed, 67 Bold Condensed)
Bilateral System
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| Fig 3.8 Bilateral System, Week 1 (09/04/2023) |
Creating a design for the bilateral system was also a challenge. It's hard to keep the layout from becoming boring when everything is in the center.
Font used:
- Futura Std (Medium, Heavy, Extra Bold)
Final Outcome for Task 1: Exercise 1: Typographic Systems
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| Fig. 4.1 Final Axial System (Layout #1) - JPEG, Week 2 (14/04/2023) |
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Fig. 4.2 Final Axial System (Layout #2) - JPEG, Week 2
(14/04/2023) |
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Fig. 4.3 Final Radial System - JPEG, Week 2 (14/04/2023) |
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Fig. 4.4 Final Dilatational System (Layout #1) - JPEG, Week 2
(14/04/2023) |
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Fig. 4.4 Final Dilatational System (Layout #2) - JPEG, Week 2
(14/04/2023) |
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Fig. 4.5 Final Random System - JPEG, Week 2 (14/04/2023) |
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Fig. 4.6 Final Grid System (Layout #1) - JPEG, Week 2
(14/04/2023) |
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Fig. 4.7 Final Grid System (Layout #2) - JPEG, Week 2
(14/04/2023) |
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Fig. 4.8 Final Modular System - JPEG, Week 2 (14/04/2023) |
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Fig. 4.9 Final Transitional System - JPEG, Week 2 (14/04/2023) |
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Fig. 4.10 Final Bilateral System - JPEG, Week 2 (14/04/2023) |
Fig. 4.11 Final Task 1 - Exercise 1: Typographic Systems - PDF, Week 2
(14/04/2023)
Fig. 4.12 Final Task 1 - Exercise 1: Typographic Systems Grids and Guides - PDF, Week 2 (14/04/2023)
TASK 1: EXERCISE 2 / TYPE & PLAY
For this exercise, we are required to choose a single image of a man-made object, structure, or natural element that has distinct and recognizable shapes (such as a chair, building, tree, or river). It is important that the image is not overly complex and contains only a few distinct elements.
Our task is to analyze and dissect the selected image, identifying potential letterforms within its shapes. These forms should be explored and ultimately digitized. It is expected that through an iterative process, the forms will evolve from rough sketches to a more refined design that reflects the origins of the image to some degree.
Part 1: Finding Type
When tasked with selecting an object to extract letters from, I was initially uncertain about what direction to take. Ultimately, given my strong interest in the ocean and its inhabitants, I chose a sea anemone as the subject of my exploration. There is something intriguing about this creature, it's considered an oddball since it's that of a half-animal and half-plant. An otherworldly beauty, with their long, flowing tentacles and vivid colors.
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| Fig 5.1 Subject of choice - Sea Anemone |
As I began extracting letters from the sea anemone image, I find it kind of difficult to discern clear letterforms that could form a word amidst the tangle of tentacles and curves, even so I managed to extract 4 letters, which are 'V', 'E', 'I', and 'n'.
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| Fig 5.2 Extracting letters, Week 3 (17/04/2023) |
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| Fig 5.3 Extracted letters, Week 3 (17/04/2023) |
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| 5.4 Digitized letters, Week 3 (17/04/2023) |
For the refining process, I decided to use Helvetica (Regular) as my reference font.
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| Fig 5.5 Studying the Helvetica font, Week 3 (23/04/2023) |
The following is the refinement process for the collected letterforms. Firstly, I adjust the width of the letterforms to similar sizes and make them look more like their corresponding letters. Then, using a reference font, I continue to refine the letters while keeping the sea anemone's characteristics in mind. I decided to change the lowercase 'n' to its uppercase version to match the rest of the letters.
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| Fig 5.5 Refinement process, Week 3 (23/04/2023) |
It's worth noting that there is a difference in stroke width from the start to the end. For letters V and E, I decided to keep one each of the original strokes as if not then the letters appear deformed.
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| Fig 5.6 Difference of stroke width from start to end |
Final Outcome
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| Fig 5.7 Final outcome for finding type - JPEG, Week 3 (23/04/2023) |
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| Fig 5.8 Final outcome for E - JPEG, Week 3 (23/04/2023) |
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| Fig 5.9 Final outcome for I - JPEG, Week 3 (23/04/2023) |
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| Fig 5.10 Final outcome for N - JPEG, Week 3 (23/04/2023) |
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| Fig 5.11 Final outcome for V - JPEG, Week 3 (23/04/2023) |
Fig 5.12 Final outcome for finding type - PDF, Week 3 (23/04/2023)
Part 2: Type & Image
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| Fig 6.1 Process work |
The following is my first draft for the poster.
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| Fig 6.2 First Draft for Type & Image - JPEG, Week 4 (25/04/2023) |
During our feedback session in week 4, Mr. Vinod adds that the theme of the poster should at least be related to the extracted subject. Additionally, Mr. Vinod reminds me that the poster format should be in a square layout instead. Keeping his feedback in mind, I made changes to the poster.
To begin with, I changed the poster's layout to a square format. It was a simple task as it only required me to rearrange the texts and images. However, this time, I needed to mask the image. The original stock image of the vein hand has a black background. I selected the black area, ensuring that only the outline of the vein hands remained in the layer.
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| Fig 6.3 Masking the image if vein hand in Photoshop, Week 4 (29/04/2023) |
After masking out the black background, I proceeded to copy and paste the hands, aligning them in order to create a cool composition, transforming the fingers into an anemone-like figure. To distinguish the hand in front from those at the back, I used a black airbrush. This technique provided depth to the poster, creating a more realistic and eye-catching effect.
Final Outcome
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| Fig 6.4 Final Outcome for Type & Image - JPEG, Week 4 (29/04/2023) |
FEEDBACK
Week 1
Blog is set up nicely and the link provided is linked to Typography page. Blog sections divided properly.
Specific feedback:
Mr. Vinod comments that my design is done correctly according to the axial system. However, the design seemed to be heavy on one side. The font-size of the body text is too big, normally it would be 8px-12px. More exploration could be done with the feedback.
Week 2
After receiving feedback from my peers on my designs for each system, and it looks like there's room for improvement. The Axial system design seems a bit lopsided, with one side looking heavier than the other. The transitional design also seems to lack flow, and the grid and modular system design needs some fixing up. On the bright side, the other designs are mostly fine, but it wouldn't hurt to give them some more emphasis with the 'Bauhaus' title. I also got a suggestion that some of the designs could use a bit more exploration to avoid looking bland. Overall, I appreciate the feedback and will use it to make my designs better..!
General feedback:
Specific feedback:
Week 4
The integration of letterform and image is necessary. It is not required to conform strictly to the curve of other letterforms.
Specific feedback:
Mr. Vinod comments that my work has a good combination of strokes and extracted well. Although for the poster, it should be closely related to the extracted subject. Additionally, Mr. Vinod reminds that the poster format should be in a square layout.
Exercise 1
Exercise 2
Observation
FURTHER READING
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| Fig 7.1 Vignelli Canon on Design, by Massimo Vignelli (2010) |
- Design is about communicating a message.
- The three main components of design are semantics, syntactics, and pragmatics.
- Semantics refers to the meaning or message that a design conveys.
- Syntactics refers to the visual language used to convey that meaning.
- Pragmatics refers to the context in which the design is used.
- Simplicity in design allows for clarity and ease of understanding.
- Paying attention to details is important in design.
- Designers should approach their work with rigor and discipline.
- Timelessness in design is important, and a well-designed object should be able to withstand the test of time.