Advanced Typography / Task 1: Exercises
22.04.2024 - 26.05.2024 (Week 1 - Week 4)
Gunn Joey / 0366122
Advance Typography / Bachelor of Design (Honours) in Creative Media
Task 1 / Exercises: Typographic Systems & Type & Play
LECTURES
Week 1 - Lecture 1
Typographic Systems
There are eight major variations with an infinite number of permutations
such as
- Axial
- Radial
- Dilatational
- Random
- Grid
- Modular
- Transitional
- Bilateral
Typographic systems has a set of rules that provides a sense of purpose that
focuses and directs the decision making.
A shape grammar is a set of rules that apply in a
step-by-step way to generate a set, or language, of designs.
1. Axial System: All elements are organised to the left or
right of a single axis.
Figure 1.1.1 Axial System - Type 365
Figure 1.1.2: Axial System
Figure 1.2.1 Radial System - Type 365
Figure 1.2.2 Radial System
Figure 1.3.1 Dilatational System - Type 365
Figure 1.3.2 Dilatational System
Figure 1.4 Random system
Figure 1.5.1 Grid system - Type 365
Figure 1.5.2 Grid System
Figure 1.6 Transitional System - Type 365
Figure 1.7 Modular system - Type 365
Figure 1.8 Bilateral System - Type 365
Week 2 - Lecture 2
Typographic Composition
Principles of Design Composition: Fundamental principles
like emphasis, symmetry, and alignment guide the arrangement of design
elements for visually appealing layouts.
Figure 2.1 Principles of Design - emphasis
The Rule of Thirds: This photographic guideline divides a
frame into thirds both horizontally and vertically, providing points
of interest for balanced compositions.
Figure 2.2 The Rule of Thirds
Figure 2.3 Environmental Grid
Form and Movement: Explores the concept of movement
within design, treating page turning as a form of animation to create
dynamic compositions that guide the viewer's eye.
Figure 2.4 Form and Movement
Week 3 - Lecture 3
Context & Creativity
Early mechanical letterforms were initially crafted to replicate the
appearance of handwritten script, thus establishing a foundational
template for the shape, arrangement, and conventions of subsequent
typographic designs.
Figure 3.1 Evolution of the Latin Alphabet
Cuneiform (c. 3000 B.C.E.):
- Earliest known writing system, evolving from pictograms and written from left to right.
Figure 3.2 Cuneiform
Hieroglyphs (2613-2160 B.C.E.):
- Egyptian writing system combining pictorial and phonetic elements, serving as a precursor to alphabetic systems.
Figure 3.3 Hieroglyphs
Development of Western Handwriting:
1. Early Greek (5th C. B.C.E.)
- Drawn freehand, without serifs.
- Over time, strokes thickened, apertures lessened, and serifs appeared.
2. Roman Uncials
- By the 4th century, letters became more rounded for faster writing.
3. English Half
Uncials (8th C.)
- Evolved into a more slanted and condensed form in England.
4. Carolingian
Minuscule
- Introduced capitals at the start of sentences, spaces between words, and punctuation.
- Influenced Humanistic writing of the 15th century and became the basis of lower-case roman type.
5. Black Letter
(12-15 C. CE)
- Characterized by tight spacing and condensed lettering, dominated by evenly spaced verticals.
- Reduced material costs in book production.
6. The Italian Renaissance
- Rediscovered and rationalized letterforms (Antica) through renaissance analysis applied to art and architecture.
Figure 3.4 Development of Western Handwriting
- The Phoenician alphabet marked a significant turning point by using letters to represent sounds, influenced by Egyptian Hieroglyphics and Hieratic Scripts.
Figure 3.5 Evolution of Middle Eastern Alphabets
Evolution of the Chinese Script:
- Developed from Oracle bone script to Seal Script, Clerical Script, and then to Traditional and Simplified scripts.
Figure 3.6 Evolution of the Chinese Script
Writing Systems in the Indian Subcontinent:
- Indus Valley Civilization (IVC) Script (3500-2000 BCE)
- Brahmi Script (450-350 BCE)
- The earliest post-Indus writing system in India,
influencing all modern Indian scripts and
many Southeast and East Asian
scripts.
Figure 3.7 Writing Systems in the Indian Subcontinent
Handwriting in Malaysia:
- Jawi Script:
- An
Arabic-based alphabet introduced along with Islam.
- Significant in modern Malaysia for literary works.
- Despite
a lack of extensive pre-Jawi inscriptions, Jawi remains integral to
Malay literature.
Figure 3.8 Jawi Scrip
Programmers and Type Design:
- Software giants like Google are producing more vernacular and "multi-script" typefaces (a term coined by Muthu Nedumaran) to support communication in various scripts, accommodating both vernacular and Latin scripts.
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Figure 3.9 Programmers and Type Design
Week 4 - Lecture 4
Designing Type
Reasons why design another typeface:
- Type design carries a social responsibility so one must continue to improve its legibility.
- Type design is a form of artistic expression
1. Adrian Frutiger
- renowned 20th-century Swiss graphic designer.
- He specialized in typeface design and is credited with advancing typography into the digital age.
2. Matthew Carter
- the son of Harry Carter, Royal Designer for Industry contemporary British type designer and ultimate craftsman.
- trained as a punchcutter, responsible for Crosfield's typographic program in the early 1960s.
3. Edward Johnston
- the creator of the hugely influential London "Underground" typeface, which would later come to be known as "Johnston Sans".
General Process of Type Design:
1. Research
- understand type history, type anatomy, and type conventions
- study existing fonts that are presently being used for inspiration/ideas/reference/context/usage pattern/etc
2. Sketching
- traditional tool (brushes, pens, ink and paper) set then scan them for the purpose of digitization.
- digital tool sets, such as Wacom directly into a font design software.
3. Digitization
- Professional software : Fontlab and Glyphs App are used in digitization of typefaces.
4. Testing
- Prototyping and feedback are key components of testing.
- Readability and legibility are especially critical for text typefaces, while display typefaces prioritize expressive form.
5. Deploy
- Deploying a completed typeface often reveals unforeseen issues that were not evident during prototyping and testing.
- Revision work continues after deployment to address these issues effectively.
- The rigor of testing is crucial to ensure that any problems that arise post-deployment remain minor and manageable.
Typeface Construction:
Fig. 4.1 Construction grid for roman capitals
Using grids (with circular forms) can ease the construction of letterforms and is a possible method to build/create/design letterform.
Construction and considerations:
Fig. 4.2 Classification according to form and construction
- Different forms and constructions must be considered when designing a new typeface.
- An important visual correction involves the extrusion of curved forms past the baseline and cap line (overshoot).
- Vertical alignment between curved and straight forms also requires attention.
- Fitting the type involves correcting the distance between letters for uniform visual white space.
- Ensuring consistent white space between letters is crucial for visual harmony.
Context & Creativity:
- Typeface creation often arises from intrinsic or extrinsic needs.
- Intrinsic motivation involves a designer's personal interest or identification of a gap/problem to solve.
- Extrinsic motivation includes commissioning or assignment tasks for designing a typeface.
- Successful design requires investment in the idea, understanding of requirements/limitations, and consideration of stakeholders.
- Typeface design is a laborious process driven by passion, as the rewards may not match the effort expended.
MODULE INFORMATION BOOKLET
TASK 1: EXERCISES
Exercise 1: Typographic System
In this task, we are required to learn all typographic system and design
eight posters of each system using Adobe InDesign.
- Dimension: 200mm x 200mm
- Colours: Black and one other colours
- Graphical elements (line, dot, etc.) can be used limitedly.
1. Research
Mr Vinod told us to do some research before we begin our task as many
students may be confused of these typographic systems.
Figure 4.1.1 Research on typographic system
2. Process
Figure 4.2.1 Process
Figure 4.2.2 Process
Figure 4.2.3 Process
Figure 4.2.4 Process
3. Layout
Figure 4.3.1 Axial
Figure 4.3.2 Radial
Figure 4.3.3 Dilatational
Figure 4.3.4 Random
Figure 4.3.5 Grid
Figure 4.3.6 Transitional
Figure 4.3.7 Modular
Figure 4.3.8 Bilateral
4. Final Outcome
Figure 4.4.1 Final-Axial (JPEG)
Figure 4.4.2 Final-Radial (JPEG)
Figure 4.4.3 Final-Dilatational (JPEG)
Figure 4.4.4 Final-Random (JPEG)
Figure 4.4.5 Final-Grid (JPEG)
Figure4 4.4.6 Final-Transitional (JPEG)
Figure 4.4.7 Final-Modular (JPEG)
Figure 4.4.8 Final-Bilateral (JPEG)
Figure 4.4.9 Final Outcome without grid (PDF)
Figure 4.4.10 Final Outcome with grid (PDF)
Exercise 2: Type and Play
In this task, we are required to select 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,). We must ensure that the image does not contain many
different elements.
1: Finding Type
The image I selected for this task is a snake skin image:
Figure 5.1 chosen image
Mr Vinod told me to change a different snake skin image. Only
real images are allowed in this task. The illustration of snake
skin image above is not allowed to begin the task. I searched
for real snake skin images online and selected this image as my
chosen image.
2. Letterform Extraction
I extracted letters such as g, h, o, c, k from the chosen
image.
Figure 5.2.1 extracted letterform in chosen image
Figure 5.2.2 Extracted letterform
3. Reference Font
I used Serifa Std as my reference font because of the lines and
hooks of the font. My extracted letterform has many hooks
similar to Serifa Std.
Figure 5.3 Reference font and extracted letterform
4. Refined Letterform
Firstly, I adjusted the angle of the extracted letterform
properly.
Figure 5.4.1 Refined letterform
Then. I adjusted the font height and width based on the reference
font.
Figure 5.4.2 Refined letterform
I asked for Mr Vinod's suggestion about the idea of my extracted
letterform. He suggested me to reduced some of the strokes. I then
adjusted and reduced many strokes and hooks to match with the
reference font and make them look more tidy and not
complicated.
Figure 5.4.3 Refined letterform
This is my first final letterform. After showing Mr Vinod, he told
me this was not what he expected and was not good enough to be a
final letterform.
Mr Vinod told me to use the "g" and "o" in my second attempt of the
letterform, "h" and "k" in my third attempt of the letterform. Mr
Vinod also let me to decide the "c" between my second attempt and
third attempt.
This is my final letterform after consulting Mr Vinod:
Figure 5.4.5 Refined letterform
5. Final Letterform
Figure 5.5.1 Final letterform
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Figure 5.5.2 Final letterform
Figure 5.5.3 Final letterform (PDF)
Part 2: Type and Image
After completing the letterforms, we are required to combine
the letterforms with an image that is the basis of the extracted
letters to create a mock movie poster. The purpose is to support
the interplay between the letterforms and the selected visual.
The text must be woven into a symbiotic relationship with the
image.
I chose two images related to snake for the mock movie
poster:
Figure 6.1.1 Chosen image
I decided to add some gradient to the letterform but the
outcome does not match with the image of movie poster. I
changed the colour to light grey to emphasis the title of
the mock movie poster in a dark green background.
Figure 6.1.2 Font with gradient
These are my design for the mock movie poster:
Figure 6.1.3 Movie Poster
I chose the left poster as my final poster. The right image is
quite bright. The snake almost takes up the entire page. This
makes the typography of the poster unclear.
Final Poster
Figure 6.2.1 Final Poster (JPEG)
Figure 6.2.2 Final Poster (PDF)
FEEDBACK
Week 4
General Feedback: Complete the poster. The image of the poster must
be related to the image of extracted letterforms.
Specific Feedback: Public Holiday
Week 3
General Feedback: Continue exercise 2. Complete the part 2: Type and
Image.
Specific Feedback: Mr.Vinod suggested me to change the picture of snake skin. Listen to the feedback given in class to continue my type design. Reduce the strokes of the extracted letterform.
Week 2
General Feedback: There is lecture video for
typographic systems in Mr Vinod's Youtube Playlist. Learn
the eight typographic systems and begin exercise 1 using
InDesign.
Specific Feedback: Avoid allowing too many graphic elements and sharp angles in the poster.
Week 1
Module briefing of all tasks. It is important to watch all
lecture videos and complete lectures and exercises. Update
feedback for each week on time.
REFLECTION
Experience:
In this task, learning typographic system has deepened my
understanding of graphic design. I learned about typography
hierarchy, which uses size, weight and spacing to create a clear
poster. Creating my own letterform is challenging and
interesting in the process. This is my first time exploring the
interesting aspects of typography. At first, I thought typography was just about picking fonts, but I soon learned it is about arranging type to convey meaning clearly and beautifully.
Observations:
I observed that spacing brings different visual effects.
Typography hierarchy will guide readers through the content.
Too many graphic elements in a poster will make readers feel
that the poster is unclear. Organising typographic system in
designing helps me make better design choices. In the first
task, I observed that many students extracted the wrong
letterform and the final letterform is not good enough. We
have to ensure our refined letterforms are edited
properly.
Findings:
In this task, I found that creating a new letterforms was
a transformative process that significantly sharpened my attention to detail. I gained a deeper understanding of the details involved in
creating each character as I delved deeper into the details of
letterform design. I learned from this experience how important
proper kerning and spacing are to maintaining readability and
visual balance in fonts.
FURTHER READING
1. Typographic Systems: Harmony, Proportion, and Rhythm -
Kimberly Elam
Figure 7.1 Typographic Systems: Harmony, Proportion, and
Rhythm
Typographic Systems is a book written by Kimberly
Elam. This book explores the use of grids to generate
order and clarity in design, demonstrating how various
typographic systems can be utilised to structure text and
images harmoniously. This book explains and details harmony,
proportion and rhythm in typography. Overall, this book about typographic systems would aim to equip readers with the knowledge to create well-structured, visually appealing, and effective typographic designs by mastering these three core principles.
2. The Vignelli Canon - Massimo Vignelli
In Visual Power, Massimo Vignelli emphasized the use of bold, clear, and timeless visuals that possess a
strong aesthetic appeal. The focus on visual power underscores the idea that a design should communicate effectively and leave a lasting impression, often achieved through the strategic use of colour, form, and iconic imagery. It involves understanding how visual and structural choices communicate messages and information effectively to users. Vignelli emphasized clarity and coherence in design, where every element serves a purpose, contributing to the overall semantic richness of the visual language. Syntactics emphasized the importance of structure, grid systems, and visual syntax in creating a cohesive and organised design language. It involves the deliberate use of rules and structures to convey meaning and guide the viewer through a visually harmonious experience.
3. Just My Type: A Book About Fonts - Simon Garfield
Figure 7.3: Just My Type
Simon Garfield’s Just My Type is a fascinating and easy-to-read book about fonts and their influence on our world. Garfield takes us through the history of typefaces, from the earliest designs to today’s digital fonts. He tells interesting stories about famous fonts like Helvetica and Times New Roman, explaining how these typefaces have shaped our communication and culture.
The book connects fonts to everyday life, showing how they impact our feelings and perceptions. Garfield explains why the choice of font matters in different settings, such as advertising, fashion, and even politics. Just My Type is a fun and informative read that helps us understand why the fonts we see every day are more important than we might think.
4. A Type Primer - John Kane
Figure 7.4 A Type Primer
John Kane's "A Type Primer" provides a comprehensive
review of typography, including key subjects such as the
history of type, type anatomy, and classifications. In
this book, type is used to examine several design
settings, such as print and digital media, with an
emphasis on readability, legibility, and visual hierarchy.
John Kane provides guidance on how to choose the right
typefaces for certain tasks and how to blend them together
properly to produce designs that are eye-catching. John
Kane emphasises the importance of attention to detail in
typography and provides examples of both good and bad
typographic practices.
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