Advanced Typography Task 01 Exercises

April 02, 2022

Advanced Typography Task 01 Exercises

01/04/2022 - 29/04/2022 / Week 01 - 04

Ellyn Saw Mei Hui / 0353358
Bachelor of Designs (Hons) in Creative Media
Advanced Typography Task 01

LECTURES

♡ 01.04.2022 Week 01

During the first week of our class, Mr Vinod started the lecture by introducing us to the Facebook group that he created specifically for this subject. After that, he briefed us on the MIB, as well as explained certain assignments we have to complete. Then, Mr Vinod continued the class by showing us a pre-recorded lecture on the 8 structural systems used in typography.

AdTypography1_Typography Systems (youtube)

Fig 1, 8 Typographic System, Source Mrsseckler.Weebly

The 8 structural systems are:

Axial System:

♡ texts or elements are all arranged on either the left or right side of a single axis line

Fig 1.1 Axial System, Source Type 365

Radial System:

♡ texts or elements are extended from a point of focus

Fig 1.2 Radial System, Source Type 365

Dilatational System:
♡ texts are set on a circular path, curve around a point
Fig 1.3 Dilatational System, Source Type 365

Random System:
♡ no specific pattern or layout
Fig 1.4 Random System, Source Filippo Marinetti

Grid System:

♡ a system of horizontal and vertical divisions

Fig 1.5 Grid System, Source Stephan Kelman (Behance)

Transitional System:

♡ an informal way of layered banding

Fig 1.6 Transitional System, Source Type 365

Modular System:

♡ standardised units

Fig 1.7 Modular System, Source Type 365

Bilateral System:

♡ texts are arranged symmetrically

Fig 1.8 Bilateral System, Source Type 365

♡ 08.04.2022 Week 02

AdTypo_2_Typographic Composition (youtube)

Typographic Composition

Principles of design composition: emphasis, isolation, repetition, symmetry and asymmetry, alignment and perspective. They seem more relevant to imagery than complex units of information. Some principles are a little more easily translatable than others.

The Rule of Thirds

A photographic guide to composition. Frame or space can be divided into 3 columns and 3 rows. The intersecting lines are used as a guide to place the points of interest, within the given space. Generally never used in typography compositions when there are other favourable options.

Fig 2.1 Rule of Third

Grid system

The most used system is also known as the raster system. May seem old or rigid but the versatility of the system and its modular nature allows an infinite number of adaptations.

Fig 2.2 Grid system

Environmental Grid

Exploration of an existing structure or numerous structures combined. The structure could mean architectural structure or painting etc. An extraction of crucial lines both curved and straight is formed.

Fig 2.3 Environmental Grid

Form & Movement
A system based on existing grid systems to create movement.

Fig 2.4 Form & Movement

♡ 15.04.2022 Week 03

AdTypo_3_Context&Creativity (youtube)

The first mechanically produced letterforms were designed to imitate handwriting. It became the basis or standard for the form, spacing, and conventions that the mechanical type would try to mimic.

Fig 3.1 Evolution of Latin Alphabet

Cuneiform / c. 3000 B.C.E

Earlies system of writing that was used in several languages between the 34C.B.C.E through the 1st Century C.E. Distinctive wedge form and it was written from left to right.

Fig3.2 Cuneiform

Hieroglyphics / 2613 - 2160 B.C.E

The Egyptian writing system is fused with the art of relief carving. This system was a mixture of both rebus and phonetic characters. The first link to a future alphabetic system.

Hieroglyphics can be used in 3 different ways:
♡ Ideograms - represent the things they actually depict.
♡ Determinatives - to show that the signs preceding are meant as phonograms and to indicate the general idea of the word.
♡ Phonograms - represent sounds that "spell out" individual words.

Fig 3.3 Hieroglyphics

Early Greek / 5th C. B.C.E

Built on the Egyptian logo-consonantal system. The Phoenicians developed a phonetic alphabet consisting of 22 letters. Adopted by the Greeks who added necessary vowels.

♡ Greek letters were drawn freehand and not constructed.

♡ Early greek was compromised of only capital letters, written between two guidelines to organize them into horizontal rows.

♡ The greeks often read from left to right and then switch from right to left.

Fig 3.4 Early Greek

Roman Uncials

By the 4th Century, Roman letters were becoming more rounded. Lesser strokes were used and it could be written faster.

Fig 3.5 Roman Uncials

English Half Uncials / 8th C

In England, uncial evolved into a more slanted and condensed form.

Fig 3.6 English Half Uncials

Emperor Charlemagne / 8 C. CE

After the fall of the Roman Empire, the end of a central advanced culture resulted in general illiteracy and a breakdown of handwriting into diverse regional styles.

Carolingian Minuscule

Capitals at the start of the sentence, spaces between words and punctuation.Used for all legal and literacy works to unify communication between various regions of the expanding European empire.

Fig 3.7 Carolingian Minuscule

Black Letter 12 - 15 C. CE

Gothic was the culminating artistic expression of the middle ages occurring roughly from 1200 to 1500. Characterized by tight spacing and condensed lettering. Evely spaced verticals dominated the letterform. This also reduced the number of costly materials in book production.

Fig 3.8 Black Letter

The Italian Renaissance
The Renaissance embrace of Ancient greek and roman culture spurred a creative wave through Italian art, architecture, literature and letterform design. Resulting in a more perfect or rationalized letter.

Fig 3.9 Italian Renaissance

♡ 22.04.2022 Week 04
AdTypo_4_Designing Type (youtube)

Type design carries a social responsibility so one must continue to improve its legibility. It is also a form of artistic expression.

The general process of Type Design :

Research

Understand type history, type anatomy and type conventions. We should also know terminologies, side-bearing, metrics and hinting.
Determine the type's purpose and what would it be used for.
Examine existing fonts that are presently being used for inspiration/ideas.

Sketching

Can be done traditionally (pencils, pens, brushes, etc) or digitally (Wacom, iPad)
Both methods have their pros and cons.

Digitization

Professional software used for digitization of typefaces. (FontLab, Glyphs app)
Some designers also use Adobe Illustrator to design or craft letterforms.
Attention should not only be given to the whole form at this stage but also to the counter form. The readability of the typeface is heavily dependent on it.

Testing

An important component in the design thinking process.
Results of testing are part of the process of refining and correcting aspects of the typeface.
Prototyping is also part of this process and leads to important feedback.

Deploy

There are always teething problems that did not come to the fore during the prototyping and testing phases. Thus, task revision doesn't end upon deployment.
Rigour testing is important so that teething issues remain minor.

Typeface Construction

Roman capital: Using grids (with circular forms) can facilitate the construction of letterforms and is a possible method to build or create your letterform.

Fig 4.1 Construction of Roman Capital using 8x8 cell

Construction & Consideration

Classification according to form and construction. Depending on their form, the 26 characters of the alphabet can be arranged into groups.

Visual correction is the extrusion of curved and protruding forms past the baseline and cap line. It is needed for the distance between letters. The letters must be altered to a uniform"visual" white space. This is called "fitting" the type.

Fig 4.2 Construction & Consideration

♡ 29.04.2022 Week 05
AdTypo_5_Perception&Organisation (youtube)

Perception in typography deals with the visual navigations and interpretation of the reader via contrast, form and organisation of the content.

Contrast

There are 7 methods in typography to create contrast. Contrast is used to create distinction or differentiation of information.

Rubi Ruegg uses different typefaces or colours to create contrast

Fig 5.1 Typographical contrast by Rudi Ruegg

Carl Dair on the other hand adds texture and direction "to make the design work and meaning pop out clearly and unambiguously and with flair. "

Fig 5.2 Contrast & Direction by Carl Dair

Fig 5.3 Contrast & Texture by Carl Dair

Contrast / Size

Provides a point to which the reader's attention is drawn. The most common use of size is in making a title or heading noticeably bigger than the body text.

Contrast / Weight

Describe how the bold type can stand out in the middle of the lighter type of the same style. Visual attraction or emphasis.

Contrast / Form

The distinction between a capital letter and its lowercase equivalent or a roman letter and its italic variant. Condensed and expanded versions of the typeface are also included.

Contrast / Structure

Different letterforms of different kinds of typefaces.

Contrast / Texture

Refers to the wat lines of type look as a whole up close and from a distance. This depends partly on the letterforms themselves and how they are arranged.

Contrast / Direction

The opposition between vertical and horizontal, and the angles in between. Turning one word on its side can have a dramatic effect on a layout.

Contrast / Colour

The second colour is often less emphatic in value than plain black on white. Pay attention to the tonal values of the colours that are used.

Fig 5.4 Typographical contrast by Carl Dair (left) & Rubi Ruegg (right)

Form

Form refers to the overall look and feel of the elements that make up the typographic composition. The interplay of meaning and form brings a balanced harmony both in terms of function and expression. When a typeface is perceived as a form, it no longer reads like a letter because it has been manipulated by distortion, texture, enlargement and has been extruded into a space.

Fig 5.5 Form

Displaying type as a form provides a sense of letterforms' unique characteristics and abstract presentation.

Fig 5.6 Type as form

Organisation / Gestalt

Gestalt theory emphasized that the whole of anything is greater than its parts. This is based on the idea that we experience things as a unified whole. Therefore in design, the component elements that make up the design are only as good as its overall visual form.

Fig 5.7 Gestalt Principles

The organization of informaiton and how it is perceived should be considered by designers as a social responsibility - crucial for effective communication, transfer of knowledge and for understanding to occur. - (Mr) Vinod J. Nair

INSTRUCTIONS

TASK 1A: TYPOGRAPHIC SYSTEMS

♡ Create one design for each of the 8 systems

♡ 200x200mm layout

♡ Graphical elements can be used but limited

PROGRESS ( 03 - 04/04/2022 ) :

♡ First attempt, total time spent 35hours

Axial System:

♡ Fonts used: Bembo std & Bodoni std

Fig 6.1 Axial System, Attempt 1

Firstly, I arranged the layout in Fig6.1 left, aligning the texts along the axis line I created using the line tool. After finishing, I felt unsatisfied as it looked a little empty on the bottom so I decided to make another draft (Fig6.1 right). I went for a more simple layout this time with no graphical elements.

Radial System:

♡ Fonts used: ITC New Baskerville std (italic), Bembo std (regular), Bodoni std (book)

Fig 6.2 Radial System, Attempt 1

The main idea was to make texts look like it's shooting out of the graphical elements. I was inspired by the angle icon in InDesign for this system. So, I tried to incorporate it into my design. As you can see on the left (Fig6.2 left) I used the circle shape tool and line tool to recreate the angle icon. With the main idea in mind, aligned and adjusted the texts accordingly for the finishing touches. Similarly, my right composition (Fig6.2 right) has the main idea concept but instead of aligning the texts and graphical elements in the middle, I made everything align to the right and I also discarded the lines.

Dilatational System:

♡ Fonts used: ITC New Baskerville std (bold & roman), Bembo std (regular, italic, semibold, bold & extra bold italic)

Fig 6.3 Dilatational System, Attempt 1

My main idea for this system came from the infinity sign. As you can see in my left composition (Fig6.3 left) I tried to recreate it by curving the texts and also using the line tool. As for my right composition (Fig6.3 right), I started with curving the title text and went with the flow from there.

Random System:

♡ Fonts used: ITC New Baskerville std, Futura (condensed medium, medium, bold, condensed extra bold), Bembo std (regular) & Bodoni std (book, book italic, poster)

Fig 6.4 Random System, Attempt 1

I was excited when Mr Vinod started explaining the random system to us. Personally, I do journaling and my style is maximalist so I LOVE to fill up pages. My initial thoughts were "Oh this looks like it'll be fun when I start designing." and I was right! I had so much fun creating these two pieces (Fig6.4). Mr Vinod did mention that there is the art between the randomness, it's not just messy. We have to make the composition random yet readable at the same time, which is what I was going for. I decided to play around with the text opacity and settled for a black and white concept.

Grid System:

♡ Fonts used: ITC New Baskerville std & Futura

Fig 6.5 Grid System, Attempt 1

I created a 9 boxes guide and just played around with the text layout, trying different positions and also used the (square) graphical element to make my composition look more balanced and put together.

Transitional System:

♡ Fonts used: ITC New Baskerville std, Bembo std & Bodoni std

Fig 6.6 Transitional System, Attempt 1

The idea for my transitional system is pretty simple. For Fig6.6 left, I wanted to make it look like a ball is rolling down from the texts. Hence, the use of the circle elements, different opacity settings and also the position of the texts. I felt pretty satisfied with my first draft (Fig6.6 left) but I wanted to try and create another one to explore more of the transitional system.

Modular System:

♡ Fonts used: Futura

Fig 6.7 Modular System, Attempt 1

This system looked easy in my head but sadly, that wasn't the case for me. This system is by far the hardest one for me to create as I didn't know what I wanted my layout to look like. I tried playing around with boxes and the angle of the texts on my first layout (Fig6.7 left) but it looked weird so I scraped the whole box thing and went for a more simple layout (Fig6.7 right).

Bilateral System:

♡ Fonts used: ITC New Baskerville std, Futura, Bembo std & Bodoni std

Fig 6.8 Bilateral System, Attempt 1

After positioning all my texts on my first attempt (Fig 6.8 left), I added lines to tie the layout together making it look more equal for each side. With the second attempt (Fig 6.8 right) I decided to make it more simple and clean but then I realised it's more of a multi-lateral system rather than a bilateral one.

Amended Versions (08 - 09/04/2022) :

♡ Second attempt and amended version, total time spent 1 hour

Fig 6.9 Axial System, Attempt 2

I felt quite unsatisfied with my axial system so I decided to design another 2 more layouts. I didn't want my layout to look so rigid and straight so I focused more on the angle of the texts this time.

Fig 6.10 Modular System, Attempt 2

Mr Vinod also mentioned that my modular system could do a little bit more work but the overall concept is correct. I decided to try another different layout, rearrange my texts and also brought back the graphical element to help frame my composition.

Fig 6.11 Bilateral System, Amended Version

Mr Vinod also asked me to work on the text size for my bilateral layout and to make it look a little bit more refined. I downsized my text size from 20pt to 11pt.

FINAL TASK 1A: TYPOGRAPHIC SYSTEMS (10/04/2022)

Fig 7.1 Axial System, FINAL JPEG

Fig 7.2 Radial System, FINAL JPEG

Fig 7.3 Dilatational System, FINAL JPEG

Fig 7.4 Random System, FINAL JPEG

Fig 7.5 Grid System, FINAL JPEG

Fig 7.6 Transitional System, FINAL JPEG

Fig 7.7 Modular System, FINAL JPEG

Fig 7.8 Bilateral System, FINAL JPEG

Fig 7.9 The 8 Typographic System, Final PDF.

Fig 7.10 The 8 Typographic System, Final PDF with grids and guides

TASK 1B _ EXCERCISE 2: TYPE & PLAY

EXCERCISE 2 _ Part 1: Finding Type

♡ Identify, dissect and analyse potential letterforms from the chosen image.

♡ 4 letterforms only

♡ Always refine letters on a baseline

♡ Refer to existing 10 typefaces from the list provided, allowed to go outside of the 10 typefaces if none are suitable but must choose a typeface that is known and good.

EXTRACTION PROGRESS ( 12/04/2022 ) :

♡ First attempt

Fig 8.1 image of a leaf from Google

Fig 8.2 Extraction of letterforms, Attempt 1

Second Attempt( 17/04/2022 ) :

♡ Total time spent 2 hours

♡ After Week 3's feedback session (mentioned below), I decided to change my image and try again.

Fig 8.3 Psychedelic image from Google

♡ I decided to split the image (Fig 5.3) into 2 different parts to see what letterforms I'm able to identify.

Fig 8.4 Skecth & extraction PART A, attempt 2

Fig 8.5 Skecth & extraction PART B, attempt 2

Fig 8.6 Sketch & extraction of all letterforms, attempt 2

Fig 8.7 Letters chosen to refine - AHUY

Refining progress ( 17-18/04/2022 ) :
♡ First attempt, total time spent 9 hours
♡ Reference letterform: Bodoni STD (Poster Compressed)

Fig 8.8 Reference letterform

Fig 8.9 Compilation of type progression, attempt 1

Amended refining progress ( 22/04/2022 ) :

♡ Total time spent 10 hours

♡ Reference letterform: Krungthep

Fig 9.1 Final reference letterform

♡ I tried to refine my letterforms again after the feedback I received (feedback written below)

Fig 9.2 Progress 1, extracted letters

Fig 9.3 Progress 2

♡ While shaping the letters in progress 2 (Fig9.3), I tried to make them a little curvier as Mr Vinod did mention that my letterforms were too rigid on my 1st attempt.

Fig 9.4 Progress 3

♡ After experimenting with the arc tool, I roughly knew what I wanted my letterforms to look like so I started to adjust the curves. I wanted to imitate the curves on my reference picture (Fig8.3).

Fig 9.5 Progress 4

♡ I adjusted the width of all my letterforms to the same size. Then I went ahead and adjusted the curves on my letter U and Y. I made the letter U a bit wavier and as for the letter Y, I curved them as I felt like the Y on progress 4 (Fig9.5) is a little too straight.

Fig 9.6 Progress 5

FINAL TASK 1B_PART 1: FINDING TYPE (22/04/2022)

Fig 9.7 Compilation of type progression (FINAL)

Fig 9.8 Evolution of Letter A

Fig 9.9 Evolution of Letter H
Fig 9.10 Evolution of Letter U

Fig 9.11 Evolution of Letter Y

Fig 9.12 Comparison of extraction & final ver.

Fig 9.13 Final Type Design

Fig 9.14 Final Type Design Display

Fig 9.15 Final type design PDF

EXCERCISE 2 _ Part 2: Type & Image

♡ combine a visual with a letter/word/phrase of our choosing

♡ enhance/support the interplay between letter/word/phrase and images chosen

PROGRESS ( 03 - 04/04/2022 ) :

♡ First attempt, total time spent 12 hours

♡ Fig 8.1 & 8.2 from google, Fig 8.3 taken by me

♡ Number 21 as candles

Fig 10.1 Attempt 1

♡ "cocoa" as marshmallows

Fig 10.2 Attempt 2

♡ "love" as the pink smoke

Fig 10.3 Attempt 3

Amended Version (30/04/2022) :

♡ Total time spent 6-7 hours

♡ Decided to go with the pink smoke photo as I really like how it turned out.

♡ Added more texts as Mr Vinod suggested. I decided to go with the phrase "LOVE THEORY"

Fig 10.4 Love Theory 1st Amended Version

♡ After positioning and editing the letters, I realised that I might've rotated the V in "LOVE" as it looks like L right now. So I decided to reposition the V again.

Fig 10.5 Love Theory 2nd Amended Version

FINAL TASK PART 2: TYPE & IMAGE (02/05/2022)

Fig 10.6 type & play FINAL JPEG

Fig 10.7 type & play comparison FINAL

Fig 10.8 Type & Play FINAL PDF (original & manipulated image)

FEEDBACKS

Week 02 - 08/04/2022

General Feedback:

Do tasks using InDesign and not Illustrator. Only random systems and some minor graphical elements can be done using Illustrator. Be careful when choosing colours for fonts, do not use pastel colours. Remember to format the text properly.

Lecturer Feedback:

Axial: Mr Vinod prefers the left option. (Fig6.1 left)

Radial: Good job for both. (Fig6.2)

Dilatational: Nice work and good job for both. (Fig6.3)
Random: looks very interesting, both options are great but Mr Vinod prefers the left more. (Fig6.4 left )
Grid: Interesting use of the grid for the left option. (Fig6.5 left)
Transitional: Mir Vinod prefers the left option. (Fig6.6 left)
Modular: Can do a little bit more work but the overall concept of modular is correct.
Bilateral: Left option (Fig2.8 left) is considered more bilateral but needs to work on the size of the text,

to make it look a little bit more refined.

Week 03 - 15/04/2022

General Feedback:

Remember to find reference letterforms before we start refining. Extracted texts must represent the texture of the image used.

Lecturer Feedback:

Mr Vinod mentioned that the lines I draw must represent the texture of the image I chose. He also said it was a little difficult to comment on anything yet since I haven't started refining. He also mentioned that I should find a reference letter form soon.

Week 04 - 22/04/2022

General Feedback:

Make sure there's consistency when refining letterforms and also don't forget to stay within the baseline.

Lecturer Feedback:

Extracted and refined letters don't look similar to the image as there are more curvy points in the image while my letters look more rigid and straight. After refining it a little more, I showed Mr Vinod before the class was over and he commented that it looks better now. He told me to make sure that the size of my curves is consistent when refining and to stay within the baseline.

Week 05 - 29/04/2022

General Feedback:

Pay attention to the different lighting(shadow colour), textures, etc on the images. Make sure the text can blend in with the images.

Lecturer Feedback:

Image 1 (cocoa, Fig10.2) - Good job creating the shine surrounding the texts, this proves that I studied the image carefully. The only issue is the position of my texts is slightly off. Other than that it was a great attempt.

Image 2 (heart smoke, Fig10.3) - Very interesting, add more texts as "love" is too short. Mr Vinod suggested that I could add the texts in front of the guy (in my image).

Image 3 (birthday cake, Fig10.1) - No specific feedback for this one as Mr Vinod ask me to choose between my previous 2 images.

FEEDBACK AFTER SUBMISSION

"Ex1: Excellent work. Ex2: FT valiant effort but image choice was an issue. T&I Excellent."

REFLECTIONS :

Experience - Task 1 really opened my eyes to the various types of typographic systems. I also really enjoyed doing it as it was very fun to experiment and come up with different layouts for each typographic system. Continuing, I really struggled in Part A for the 2nd task ( as seen above ). I felt a little discouraged because no matter how I design the letterforms, they never seem to represent my original image. After carefully studying the shape of my image and experimenting with different effects and shapes on Illustrator, I finally found a way to bring out the curves in my image onto my letterforms. I found the task quite refreshing as I've never done something like this but also frustrating at the same time. Lastly, I quite enjoyed doing Part B of the 2nd task. Prior to this task, I practised manipulating pictures (without text) on Photoshop so I'm quite familiar with some of the tools there. This task also allowed me to bring out my creative juices.

Observations - For Task 1, I observe that equal weight distribution is very important as it can make or break a design. With equal weight distribution, it can make a composition more balanced and eye-pleasing. In Task 2 Part A, I learned to observe the image chosen closely to find out the details of the image. I observe that we must be able to identify the details of the images properly to be able to fully translate them into the letterform design. While in Task 2 Part B, I observed that to be able to properly integrate texts into images we must first look at the quality of the image. Qualities such as colours, mood, shadows, lighting, etc. For example, my image has pink smoke around it so the texture of my text should represent smoke and the colour should be pink to fit the image.

Findings - I learned that there are various typographic systems we can use when designing. Since we are mostly exposed to grid / bilateral systems, I never knew that systems like transitional and radial existed. Personally, I found out that I work better with designing exercises (eg. manipulating pictures with texts / designing a whole composition) compared to designing letterforms. It took me quite a few tries and a lot of time to design letterforms.

FURTHER READINGS :

♡ Typographic systems

♡ Typographical Contrast by Carl Dair

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Ellyn Saw Mei Hui (0353358)

Advanced Typography Task 01 Exercises

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