Advanced Typography Task 1: Exercises 1 & 2

1 April 2022 - 22 April 2022 (Week 1 - Week 4)
Zetie Binti Bahaman / 0351297 / BDCM
Advanced Typography
Task 1: Exercises 1 & 2

LECTURES

Week 1 - Lecture 1

Typographic Systems

The systems provide:

a sense of purpose
focuses and directs decision making

1. Axial System

Fig 1.0 Axial systems, (1/4/2022)

All elements are organized to the left/right of a single axis.
The axis can be straight or bent.
Information can be divided into groups and placed in different angles/sides of the axis.

2. Radial System

Fig 1.1 Radial system, (1/4/2022)

All elements are extended from a point of focus.
There can be multiple points of focus.

3. Dilatational System

Fig 1.2 Dilatational system, (1/4/2022)

All elements expand from a central point in a circular fashion.
Determine the hierarchy and reading rhythm of the reader as we place the different clubs of information on different sides of the rings. (inner/outer)

4. Random System

Fig 1.3 Random system, (1/4/2022)

Elements appear to have no specific pattern or relationship.

5. Grid System

Fig 1.4 Grid system, (1/4/2022)

A system of horizontal and vertical divisions.

6. Transitional System

Fig 1.5 Transitional system, (1/4/2022)

An informal system of layered banding.

Banding -> Segregation of info within certain bands.

7. Modular System

Fig 1.6 Modular system, (1/4/2022)

A series of non-objective elements that are constructed in as a standardised units
Can be moved around as long as it's the same size as the unit.
Doesn't have to occupy the whole unit.

8. Bilateral System

Fig 1.7 Bilateral system, (1/4/2022)

All text is arranged symmetrically on a single axis.

All these systems help to explore outside the rigid systems of letterpress and allow designers to have more flexibility in creating layouts and typographic messages.

Week 2 - Lecture 2

Typographic Composition

Design Principles - Emphasis, Isolation, Repetition, Balance, Alignment, Perspective, Rhythm, Contrast

Fig 1.8 Emphasis

Some of the aspects tend to be more applicable for visual imagery as opposed to textual information. Notions like Repetition and Perspective are not easily usable in typographic compositions.

Rule of Thirds

Fig 1.9 Rule of Thirds

Generally never used in typographical compositions. However, it is useful in the decision-making process on the placement of important information in a given space. The intersecting points are areas where important information should be placed.

Grid System

Fig 2.0 Grid System Guide

Most used and most pragmatic. Based on letterpress printing but it is so versatile, that it is still being used today. It allows an infinite number of permutations.

Environmental Grid

Fig 2.1 Environmental grid, Typographic design: Form and communication (2015)

Based on the exploration of an existing structure or numerous structures combined.

Structures:
-Anything that could create structure.
- E.g. Architectural / Painting / Exterior / Interiors

Lines and curves are extrapolated from an image. Then, the keylines within the given image are further reduced followed by the textual information within the frame structure.

Form & Movement

Fig 2.2 Form and movement

Based on the exploration of the existing Grid System. Non-objective elements are placed within the larger grid and introduced with minor elements. A connection is made between one spread to another creating a surprise in each spread. However, one must take note of how decorative the elements are. This can be applied anywhere that requires a sequence. E.g. A book, webpage.

Week 3 - Lecture 3

Context & Creativity

Letterforms were intended to closely resemble handwriting. Handwriting would become the foundation or standard for form, spacing, and conventions that mechanical type would attempt to imitate.

Cuneiform
The earliest system of actual writing, and written from left to right.

Fig 2.3 Cuneiform c. 3000 B.C.E.

Hieroglyphs

Fig 2.4 Hieroglyphs

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

Early Greek 5th C. B.C.E

Fig 2.5 Early Greek 5th C.B.C.E.

Built on the Egyptian system
Words in rows but the direction of reading was not fixed.
Back in those days, one had to be fluent in reading the characters in two different ways.
Drawn freehand/not constructed with compasses and rule/no serifs. In time, thicker strokes/aperture lessened/serifs appeared

Roman Uncials

Fig 2.6 Roman Uncials

More rounded letters
Curved form allowed less strokes and written faster

Half Uncials, 8th C.

Fig 2.7 Half Uncials 8th C.

More slanted and condensed form

Carolingian Minuscule

Fig 2.8 Carolingian minuscule

Charlemagne standardised the language and a new script emerged.
Capitals at the start of a sentence, spaces between words and punctuation.
Became the pattern for the Humanistic writing.
Basis of the lower-case roman type.

Black Letter (12 -15 C. CE)

Fig 2.9 Black Letter (12 - 15 C. CE)

Reflected Gothic writing forms.
Tight spacing and condensed lettering.
Evenly spaced verticals dominated the letterforms.
Condensed line and letter spacing helped to reduce the amount of costly materials in book production.

The Italian Renaissance

Fig 3.0 Antica

Newly rediscovered letterforms Antica.
Resulting in a more perfect or rationalized letter.

Movable Type (11C. - 14C.)

Practice of the wood block printing.
Attempted by China but unsuccessful, and the Koreans succeeded with the creation of their new script Han'gul.

Eastern Developments in Handwriting

The oldest writing found in the ‘Indian’ subcontinent the Indus Valley Civilization (IVC) script (3500-2000 BCE), is as yet undeciphered and seems to have been somewhat logo-syllabic in nature.

Fig 3.2 'Indian' subcontinent the Indus Valley Civilization (IVC) script (3500-2000 BCE)

The Brahmi script is the earliest writing system after the Indus script.

Fig 3.3 The Brahmi Script (450 - 350 BCE)

Indonesia scripts that assimilated into Peninsula Malay communities.

Fig 3.4 Incung from Kerinci

Jawi, the Arabic-based alphabet that is introduced along with Islam.

Fig 3.5 Jawi handwriting

Local Movements and Individuals
(Involving vernacular scripts in digitised platforms)

- Muthu Nedumaran
- Huruf
-Ek Type and Indian Type Foundry

Creativity and inspiration should begin by observing our surroundings and exploration of our collective histories.

Week 4 - Lecture 4

Designing Type

Type design carries a social responsibility in improving its legibility and is a form of artistic expression.

Process of Type Design:

1. Research

Understand type history/anatomy/conventions
Determine the purpose of the type
Examine existing fonts - for inspo/ideas/reference/patterns/context

2. Sketching

Traditional tools set - Sketch and scanning
Digital tools set - Drawing tablet straight into font design software

3. Digitization

Professional softwares: FontLab and Glyphs App.
The method of using Adobe Illustrator then only the specialised font apps is frowned upon by the purist.
Give attention to the whole form as well as the counter form (readability dependent)

4. Testing

Part of the process of refining and correcting aspects of the typeface.
Prototyping leads to important feedback.
Consideration of readability and legibility depends on the typeface category. Display typefaces can afford to be more expressive.

5. Deploy

Teething problems may arise even after deploying a completed typeface.
Always test the typeface to understand how it behaves in its environment.

Type Construction

Fig 3.6 Construction grid for roman capitals

The use of grids (with circular forms) can facilitate the construction of a letterforms and is a possible method to build/create/design your letterform.

Construction & Considerations

Fig 3.7 Classification according to form and construction

Different forms and constructions must be taken into account when designing a new type. Visual corrections like the extrusion of curved (an protruding) forms past the baseline and cap line. This also applies to vertical alignment between curved and straight forms.

'Fitting' the type: Visual correction of distance between letters and altered to a uniform 'visual' white space.

Week 5 - Lecture 5

Perception & Organisation

Contrast
- to create differentiation between information

The types of contrast:

1. Size - Provides a point to draw the reader's attention.

Fig 3.8 Size by Carl Dair

2. Weight - "Heavy area" for a powerful point of visual attraction or emphasis.

Fig 3.9 Weight

3. Form - Distinction between a capital letter and its lowercase equivalent, or a roman letter and its italic variant and condensed typefaces/expanded versions.

Fig 4.0 Form

4. Structure - Different letterforms of different kinds of typefaces.

Fig 4.1 Structure

5. Texture - Putting together contrasts of size, weight, form, and structure, and applying them to a block of text on a page.

Fig 4.2 Texture

6. Direction - Opposition between vertical and horizontal, and the angles in between.

Fig 4.3 Direction

7. Color - Introducing color within a large amount of text.

Fig 4.4 Color

Form

Fig 4.5 Form

- the overall look and feel of the elements that make up the typographic composition.
- creates visual impact and important in first impressions.

Form and Communication

Fig 4.6 Sample posters of form and communication

Organisation/Gestalt

Fig 4.7 Gestalt law examples

- Gestalt is a German word meaning the way a thing has been 'placed' or 'put together'.
- The theory emphasized that the whole of anything is greater than its parts / look at the unified whole and how it relates or flows to one another.

The Law of Similarity
- Elements that are similar to each other tend to be perceived as a unified group.
- Similarity:color/orientation/size/indeed motion

The Law of Proximity
- Elements that are close together tend to be perceived as a unified group.

The Law of Closure
- The mind's tendency to see complete figures or forms even if a picture in incomplete, partially hidden by other objects, or if part of the information is missing.

Law of (Good) Continuation

- Humans tend to perceive each of two or more objects as different, singular, and uninterrupted object even when they intersect.

INSTRUCTIONS

Task 1: Exercise 1 - Typographic Systems

The first exercise is to explore the 8 typographic systems, which are Axial, Dilatational, Grid, Radial, Transitional, Modular, Random, and Bilateral. The dummy text is given to us via the module information and there are 3 heading options. I decided to go with 'All Ripped Up: Punk influences on design.

Week 1 Practical

Fig 4.8 Axial - Practical Attempt, Week 1 (1/4/2022)

This is an attempt I made for the Axial system in class after the briefing. Just a simple layout to get me going on using InDesign's tools. The last time I used InDesign was last year so I definitely had to revisit my notes, as well as, watch Mr. Vinod's tutorial videos.

InDesign Progress

Fig 4.9 Radial Process, Week 1 (3/4/2022)

Fig 5.0 Dilatational Process, Week 1 (3/4/2022)

Fig 5.1 Modular Grid Process, Week 1 (3/4/2022)

This entire exercise is done in InDesign. I don't have any sketches as I straight away design my layouts. However, I have a bad habit of not remembering to take progression screencaps. Here are some of the layout progressions that I did take.

The accent colors are black, white, and a burnt orange (#EC4821). I really wanted to use a color that gives it a pop of contrast and highlights the topic 'Punk'.

Week 1/2 Attempts

Fig 5.2 Typographic Systems Attempt #1

The systems I had the most issues with were Random, Dilatational, and Transitional. (Maybe Radial too lol.) Based on the feedback, my Random system can be better and there is a minor mistake in my Axial system. It's no surprise for Random though, as I find it to be the most challenging. My brain had a hard time trying to create an effect that is 'messy' but still legible.

All the systems use a variety of fonts in different sizes too.

Fonts Used:

1. Dilatational

- Futura (Heavy, Heavy Oblique, Extra Bold Condensed, Bold Condensed) / Serifa (Bold, Light, Roman)

2. Random
- Univers LT Std (Light Ultra Condensed, Bold Extended, Ultra Condensed, Thin Ultra Condensed) / Serifa Std (Black, Bold, Light, Roman) / Gill Sans Std (Regular) / Bodoni Std (Roman)

3. Transitional
- Gill Sans (Bold, Regular) / Serifa (Bold, Roman)

4. Modular
- ITC Garamond Std (Bold Narrow, Book Narrow Italic, Book) / Univers LT Std (Condensed, Bold Condensed)

5. Bilateral
- Gill Sans (Bold, Condensed, Bold Condensed) / Serifa (Roman, Light Italic)

6. Axial
- Univers LT Std (Condensed Oblique, Light Condensed Oblique, Bold Oblique) / Serifa Std (Light, Roman, Bold, Italic)

7. Radial
- Bembo Std (Bold, Bold Italic) / Univers LT Std (Black Extended, Bold Condensed, Condensed)

8. Grid
- Univers LT Std (Bold Condensed) / Bodoni Std (Poster, Bold, Bold Condensed, Bold Italic) / ITC Garamond Std (Book) / Futura Std (Bold Condensed)

Week 2 - Refinements & Exploration

Fig 5.3 Axial system refinement, Week 2 (8/4/2022)

I moved the position of 'The Design School' text towards the axis. I also tried to give it a slight rotation to mirror the content on the right side of the axis. However, it doesn't look balanced as shown in refine #2. Hence, I shall rotate the 'open public..' in the final version.

Fig 5.4 Random system exploration, Week 2 (8/4/2022)

My first attempt was acceptable but it wasn't showing randomness so much. Hence, I tried to tweak my ocd brain to be random, and attempt #2 was made. I played around with opacity and repetition of words. One of the key repeated words was 'up' and I expressed them floating in the air. I also used ':' as a non-objective element in the layout. Hopefully, the randomness is shown here.

Final Task 1 - Exercise 1: Typographic Systems

Fig 5.5 Final Axial System - JPEG, Week 2 (8/4/2022)

Fig 5.6 Final Bilateral System - JPEG, Week 2 (8/4/2022)

Fig 5.7 Final Dilatational System - JPEG, Week 2 (8/4/2022)

Fig 5.8 Final Grid System - JPEG, Week 2 (8/4/2022)

Fig 5.9 Final Modular System - JPEG, Week 2 (8/4/2022)

Fig 6.0 Final Radial System - JPEG, Week 2 (8/4/2022)

Fig 6.1 Final Random System - JPEG, Week 2 (8/4/2022)

Fig 6.2 Final Transitional System - JPEG, Week 2 (8/4/2022)

Fig 6.3 Final Task 1 - Exercise 1: Typographic Systems - PDF, Week 2 (8/4/2022)

Fig 6.4 Final Task 1 - Exercise 1: Typographic Systems Grids and Guides - PDF, Week 2 (8/4/2022)

*No grids and guides were used for random, dilatational, and transitional systems so they're not included in the PDF. Some heading texts are not aligned to the baseline grid (axial).

Task 1: Exercise 2 - Type and Play
Part 1: Finding Type

For exercise 2 part 1, we are tasked to analyze, dissect and identify potential letterforms from a chosen image of man-made objects or structures and nature.

(Failed attempt)

Fig 6.5 Failed chosen subject - kain batik, Week 3 (15/4/2022)

Fig 6.6 Letterform extraction from kain batik, Week 3 (15/4/2022)

Initially, I chose a kain batik as an object. I thought it would be interesting to see a font forming out of it. However, I missed the memo about the letterforms having to represent the source of the image. They must express an ambiguous feeling that gives the viewer an indication of what it could be.

Fig 6.7 Extraction from other images, Week 3 (15/4/2022)

I showed Mr. Vinod my other selection of images. He suggested I work on the cactus image. The cactus looked really interesting with the ridges on the outer lining and the curves had a nice letterform potential.

Since the photos were sourced from Unsplash, I searched up the name of the cactus to study its form in more detail.

1. Chosen subject
(Successful attempt)

Fig 6.8 Chosen subject - Cactus 'Euphorbia Ingens', Week 3 (15/4/2022)

Reference Font

Fig 6.9 Typeface Reference - Univers LT Std (Bold Condensed)

We were instructed to have a reference font to guide us throughout this task. I chose Univers among the 10 typefaces because the thickness is similarly reflected in the shape of the cactus.

Digitalisation Attempt #1

Fig 7.0 Attempt #1 - Letter T digitalisation, Week 3 (15/4/2022)

I used image trace to get the shape of the cactus just like in the photo. It looked like a distorted jellyfish and I was struggling to see the bigger picture.

After a demo shown by Mr. Vinod, I was clearer with the direction of my digitalisation. I learned that I should create a more uniform look instead of adding ad-hoc lines of different sizes.

Digitalisation Attempt #2

Fig 7.1 Exploration for Letterform Base Shape, Week 3 (15/4/2022)

Using the Distort/Transform tool, I created various types of stems to find the closest similarity to the cactus.

Fig 7.2 Digitised Attempts for Letter T, Week 3 (15/4/2022)

The stars represent the choices I wanted to go with. I combined the two designs opting to go for a less curvy column but adding the spiky ridges on the edge.

Fig 7.3 Digitised Attempts for Letter Y, Week 3 (15/4/2022)

Fig 7.4 Digitised Attempts for Letter N, Week 3 (15/4/2022)

Fig 7.5 Digitised Attempts for Letter V, Week 3 (15/4/2022)

Fig 7.6 Attempt #2 Digitised Letterforms, Week 4 (22/4/2022)

Refinements

Fig 7.7 Zigzag Refinements, Week 4 (22/4/2022)

I tried to find the right balance as suggested by Mr. Vinod between my first two attempts. I decided to go with the yellow star option because it's not too subtle or too obvious, yet still reflects the ridges of the cactus.

Final Exercise 2 - Part 1: Finding Type

Fig 7.8 Compiled Process, Week 3-5 (29/4/2022)

Fig 7.9 Original extracted letterforms compared to the final type design, Week 5 (29/4/2022)

Fig 8.0 Final Type Design - JPEG, Week 5 (29/4/2022)

Fig 8.1 Letter T - JPEG, Week 5 (29/4/2022)

Fig 8.2 Letter Y - JPEG, Week 5 (29/4/2022)

Fig 8.3 Letter N - JPEG, Week 5 (29/4/2022)

Fig 8.4 Letter V - JPEG, Week 5 (29/4/2022)

Fig 8.5 Type Showcase, Week 5 (29/4/2022)

Fig 8.6 Final Finding Type - PDF, Week 5 (29/4/2022)

Part 2: Type and Image

In Part 2 of Exercise 2, we are to combine a visual with a letter/word/sentence of our choice. The text must be woven into a symbiotic relationship with the image.

Attempt #1

Fig 8.7 Attempt #1 - "Escape", Week 4 (20/4/2022)

After scrolling countlessly on Pinterest, I came across this photo and thought I could use it for this project. The figure at the bottom looks as if it's running away so the word 'escape' crossed my mind. I added highlights and shadows to enhance the photo. The letterforms are arranged as if they are going into an empty void. I used drop shadow on them as if they were holes in the rings.

Fonts Used:

Univers LT Std (Bold Condensed)

Tools Used:

Drop Shadow - Effect on Letterforms
Blur/Gaussian Blur/Motion Blur - To create Shadows and Highlights in the background

However, I wasn't satisfied with this attempt and wanted to try out another image. Following the tutorial session, Mr. Vinod stressed that we should not put our own narrative into the image.

Attempt #2

This time I searched for an image via Unsplash, a platform for free high-res images. I was inspired when I saw this photo and got excited to execute my idea of an ice effect on the letterforms. My copywriting skills are pretty embarrassing so the only word that came to mind was 'frozen'.

Fig 8.8 Original photo by Tom Barrett
https://unsplash.com/photos/dkv2CXSoVfs

Fig 8.9 Attempt #2 - "Frozen", Week 4 (20/4/2022)

Fonts Used:

Univers LT Std (Bold Condensed)

Tools Used:

Fig 9.0 Layer Effects on the Letterforms in Photoshop, Week 4 (20/4/2022)

Fig 9.1 Texture Effect on Letterforms in Photoshop, Week 4 (20/4/2022)

Fig 9.2 Text Placement Exploration, Week 4 (20/4/2022)

Fig 9.3 Attempt #2 for the Ice Effect on Letterforms, Week 4 (22/4/2022)

This time, I utilised the other layer styles such as bevel & emboss and inner/outer glow to create the icy cold effect. I am glad that I worked out another layout because this was selected by Mr. Vinod for me to proceed with.

Refinements, Attempt #2

Based on the feedback from Week 4, Mr. Vinod suggested some ways how I could enhance the photo. Hence, this week I incorporated the crack of the ice into the letterforms.

Fig 9.4 Sketching lines for Crack and Displacement Effect, Week 5 (27/4/2022)

Fig 9.5 Testing cracks and displacement, Week 5 (27/4/2022)

Tools Used:
Brush Tool - Sketch out the lines of the crack
Polygonal Lasso Tool - to create the cracks and displacement effect
* Type was rasterized prior to this. *

Final Part 2: Type and Image

Fig 9.6 Final Type and Image: "Frozen" - JPEG, Week 5 (29/4/2022)

Fig 9.7 Final Type and Image - PDF, Week 5 (29/4/2022)

Hours spent on Task 1
Exercise 1 - 48 hours
Exercise 2, Part 1 - 24 hours
Exercise 2, Part 2 - 7 hours

FEEDBACK

Week 2
General Feedback:

Take charge of the space in a layout.
Apply paragraph spacing to differentiate a big chunk of text.
Downsize numbers so the cap height doesn't stick out so much, especially when using Futura. However, this only applies to small amounts of text.

Specific Feedback:

Overall, very nice work. The dots on the dilatational system show good emphasis, and make the layout interesting. Random system does not have enough randomness, but it is acceptable. Axial system is almost there - I just have to bring in the text 'The Design School, Taylor's University towards the axis.

Week 3
General Feedback:

The image we choose should have some form of consistency. When there is no form defined, there's no definite shape to identify with for the extraction process. We should also have a reference typeface and ensure that the letters we extract is representative of the photo we chose.

Specific Feedback:
The kain batik has a lot of decorative elements but I somehow chose the area that is least decorative and created an oversimplification of the image. The type design is not expressing the kain batik. Hence, I showed Mr. Vinod my other attempts using different materials. The photos were of wood chips and cacti. He suggested I work with the cacti as it is more interesting. He also showed samples of his previous type design of murukku and using an 'inline' element, which he thinks I should include in my type design with the cactus.

Week 4
General Feedback:
For Part 2 Exercise, ensure that the letterforms integrate by mimicking/closely replicating the elements in the existing image.

Specific Feedback:

Strike a balance between my first and second attempts at the typeface in terms of the ridges. Otherwise, everything is fine and I am done with Part 1. Great job on my Part 2 attempt. Mr Vinod suggested ways to enhance it -> crack the letterforms and displace the type a little bit just like the ice cracks on the original image.

REFLECTION

Experience:

In Exercise 1, I procrastinated starting on the task because there were many systems and each system had its own set of guides. Hence, I felt constricted and struggled to create layouts because of my personal high expectations of myself. The hardest system for me was the random system, I had a hard time trying to be random because my self-diagnosed OCD was just going crazy with the direction of the layout. The finding type exercise was also interesting as I went around my house looking for items that I could use to develop type design. Lastly, my favourite is the type and image. It's been quite awhile since I have used Photoshop but I managed to work out something great in the end.

Observations:

There was definitely a lot of observation in this task. The first exercise is a no brainer. We had to design the layouts following the typographic systems, but also ensure we pay attention to the usual typography basics. In the finding type exercise, I had to observe the cacti in detail, their full shape and form and identify the letters. I also had to try to simplify them, yet still, ensure that the type is representative of its original image. In the final exercise, I looked up multiple photos trying to find the 'one'. This is because not every photo is suitable for this exercise since we need to understand the subject and integrate type with it. To enhance it further, I observed the cracks of the ice in the original image in order to create the same effect and apply it to my letterforms.

Findings:

Along the process of Exercise 1, I got to explore the many ways the systems can be utilised. I actually enjoyed doing it despite the many typography rules we have to adhere to. I found that I have actually applied these systems in my work before this, but of course without knowing they were actually a system and there's a guide to effectively use them. The finding type exercise made me realize how easily letterforms can be created just by observing the finer details of the objects around us. Looking at my classmates' work, all sorts of images were used and the letterforms that were created turned out amazing. Who knew the letters are from a cloud?! or a chair??