22.04.2024 - 13.05.2023 | Week 1 - Week 4
Maisarah binti Mohd Sufian | 0358458
Advanced Typography | Bachelor of Design (Hons) in Creative Media
Task 1: Typographic Systems, Type & Play
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LECTURES
Week 1
Typographic Systems
The elements of typographical organization are dependent on communication and criteria such as hierarchy, order of reading, legibility and contrast.
Shape grammar = a set of shape rules that apply in a step-by-step way to generate a set of designs.
Typographic systems are akin to shape grammars. They are similar that the systems have a set of unique rules, providing a sense of purpose that focuses and directs decision making. It provides a solid framework that guides learners in their exploration while their intuition develops and matures.
There are 8 major variations of structural systems in design with an infinite number of permutations, which are:
Axial
- all elements are organized to left or right of a single axis.
The information is divided into groups and placed in different angles on different sides of the axis. The line does not necessarily have to be straight, it can be bent, but not curved.
Radial
- all elements are extended from a point of focus.
All sentences point towards a point of focus, there can be multiple points as well.
Dilational
- all elements expand from a central point in a circular fashion.
There can be multiple rings of circles with information on either sides or in line with them. The information can be placed in a hierarchal manner where the most important takes precedence. Information could also be grouped and placed on different rings depending on the reading rhythm of the particular text.
Random
- elements appear to have no specific pattern or relationship.
Despite being random, there are still methods in organising the information within the page.
Grid
- a system of vertical and horizontal divisions.
A very common system. Information can be structured according to different grids, using different sizes and different weights to create emphasis and hierarchy.
Transitional
- an informal system of layered banding.
Different types of information is segregated within certain bands.
Modular
- a series of non-objective elements that are constructed as standardised units.
Different elements can be shifted in different units. Single units can replace other single units, and double units can replace other double units, etc.
Bilateral
- all text is arranged symmetrically on a single axis.
Commonly used for formal invites. Multiple axis may exist with different information grouped together.
Week 2
Typographic Composition
The Rule of Thirds
- a photographic guide to composition.
A space can be divided into 3 columns and 3 rows, the intersecting lines are used as a guide to place the points of interest. Generally not a very common guide used in typography.
Other models/Sytems in Typographic Compostion:
Environmental Grid
Based on the exploration of an existing structure/s. Crucial lines both curved and straight are extracted and formed. Information is then organised around this super-structure to create a unique and exciting mixture of texture and visual stimuli.
Form and Movement
Based on the exploration of existing grid systems, to allow students to explore the multitude of options the grid offers and to dispel the seriousness surrounding the application of the grid system.
Week 3
Context and Creativity
The first mechanically produced letterforms were designed to directly imitate handwriting. Handwriting would become the basis or standard for form, spacing, and conventions mechanical type would try and mimic.
The earliest system of actual writing, written from left to right and evolved from pictograms.
Early Greek (5th C. B.C.E.): Drawn freehand, not constructed with compasses and rules, and they had no serifs. In time the strokes of these letters grew thicker, the aperture lessened, and serifs appeared.
Roman Uncials: By the 4th century Roman letters were becoming more rounded, the curved form allowed for fewer strokes and could be written faster.
English Half Uncials (8th C.): In England, the uncial evolved into a more slanted and condensed form.
Carolingian Minuscule: Capitals at the start of a sentence, spaces between words, and punctuation. It was this style that became the pattern for the Humanistic writing of the fifteenth century; this latter, in turn, was the basis of our lower-case Roman type.
Black Letter (12-15 C. CE): Characterised by tight spacing and condensed lettering. Evenly spaced verticals dominated the letterform. Condensing line spacing and letter spacing reduced the number of costly materials in book production.
The Italian Renaissance: Newly rediscovered letterforms Antica. The Renaissance analysis of form that was being applied to art and architecture was directed toward letterforms — resulting in a more perfect or rationalized letter.
Roman Uncials: By the 4th century Roman letters were becoming more rounded, the curved form allowed for fewer strokes and could be written faster.
English Half Uncials (8th C.): In England, the uncial evolved into a more slanted and condensed form.
Carolingian Minuscule: Capitals at the start of a sentence, spaces between words, and punctuation. It was this style that became the pattern for the Humanistic writing of the fifteenth century; this latter, in turn, was the basis of our lower-case Roman type.
Black Letter (12-15 C. CE): Characterised by tight spacing and condensed lettering. Evenly spaced verticals dominated the letterform. Condensing line spacing and letter spacing reduced the number of costly materials in book production.
The Italian Renaissance: Newly rediscovered letterforms Antica. The Renaissance analysis of form that was being applied to art and architecture was directed toward letterforms — resulting in a more perfect or rationalized letter.
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EXERCISE 1 - Typographic Systems
Instructions
Fig. 1.1 Module Info
For this exercise, we are required to use Adobe InDesign to explore different typographic systems with a given set of information. The final product is a 200mm x 200mm composition done in black, with the exception of one other colour. Graphical elements may be used but limitedly.
1. Research
I first looked up some examples of each typographic system on Pinterest and picked out the layouts I liked the most to get an idea of the correct composition/technique.
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| Fig. 1.2 Typographic system examples from Pinterest. |
2. Drafts
I decided to create a composition for each type of typographic system in InDesign. I wanted to only focus on the type, so I didn't add any graphical elements and used gray colours.
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| Fig. 2.1 Typographic systems first attempt. |
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| Fig. 2.2 Typographic systems final attempt. |
I also ended up changing my transitional system to look more natural.
EXERCISE 2 - Type & Play
Instructions
Fig. 3.1 Module Information
For this exercise we must choose an image of a manmade object or structure from nature and analyse, dissect and identify potential letterforms within the image.We will then create a poster using the letterforms and combine it with an image that is the basis of the extracted letters.
1. Identifying Letterforms
I decided to go with an image of a zebra pattern, my goal was to find the letters to spell out ZEBRA.
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| Fig. 3.2 Letter extraction first attempt. |
I did find a few more letters such as G and O.
2. Digitising
I then imported my image to Adobe Illustrator and outlined the shapes of my letters and refined them.
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| Fig. 4.2 Letter extraction digitised first attempt. |
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| Fig. 4.3 Letter extraction digitised second attempt. |
With this, I continued to refine the leterforms with the font reference below. The font I chose to reference is 93 Univers LT Std Extra Black Extended.
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| Fig. 4.4 Letter refinement with reference. |
While constructing the letterforms, I used a grid based on my reference font.
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| Fig. 4.5 Letter refinement with grid. |
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| Fig. 4.6 Letter refinement without grid. |
I then thought my letter E looked a bit too sparse compared to the rest of the letters, so I made some of the lines denser.
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| Fig. 4.7 Letter refinement second attempt (bottom). |
3. Poster
I then created a fake movie poster using my type.
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| Fig. 5.1 Poster process. |
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| Fig. 5.2 Final poster. |
Submission
Exercise 1
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| Random Typographic System |
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| Dilatational Typographic System |
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| Radial Typographic System |
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| Axial Typographic System |
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| Bilateral Typographic System |
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| Module Typographic System |
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| Transitional Typographic System |
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| Grid Typographic System |
Typographic Systems PDF
Typographic Systems PDF with grid
Exercise 2
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| Original image + extraction |
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| Letter extraction |
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| Reference font |
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| Letter process |
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| Intial extraction + Final Refinement |
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| Movie Poster |
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FEEDBACK
Week 1:
No feedback given
Week 2:
General feedback:
1. Ensure e-portfolio is updated consistently.
2. Content must be placed in a way that it sits well in the space allocated (balanced). Less space = More tension, Too much tension = Imbalanced.
3. Avoid radical angles, it creates bad reading rhythm and the space is not utilised.
4. Good designs keep the reader's eye within the page, without distractions pulling attention away from the text.
5. Each sentence needs to be aligned to a point.
6. Avoid too much isolation between information, each element must be cohesive.
7. Avoid too much clumping of text, at which it creates an area of distraction. Random layouts are an exception, as the overall design should be made in a way where nothing is legible at first glance, conveying a desired emotion, but with further inspection the information can still be clearly made out.
8. Leading, paragraph spacing, etc. should all be applied in this work.
9. References should be analysed individually instead of trying to apply different techniques from different work into one layout.
10. If the design does not work without graphical elements, the design does not work at all. The text should stand out alone.
11. Different methods of contrast shouldn't be used together as it creates imbalance, e.g. big and bold, bold and italics, italics and underlined, etc.
2. Content must be placed in a way that it sits well in the space allocated (balanced). Less space = More tension, Too much tension = Imbalanced.
3. Avoid radical angles, it creates bad reading rhythm and the space is not utilised.
4. Good designs keep the reader's eye within the page, without distractions pulling attention away from the text.
5. Each sentence needs to be aligned to a point.
6. Avoid too much isolation between information, each element must be cohesive.
7. Avoid too much clumping of text, at which it creates an area of distraction. Random layouts are an exception, as the overall design should be made in a way where nothing is legible at first glance, conveying a desired emotion, but with further inspection the information can still be clearly made out.
8. Leading, paragraph spacing, etc. should all be applied in this work.
9. References should be analysed individually instead of trying to apply different techniques from different work into one layout.
10. If the design does not work without graphical elements, the design does not work at all. The text should stand out alone.
11. Different methods of contrast shouldn't be used together as it creates imbalance, e.g. big and bold, bold and italics, italics and underlined, etc.
Week 3:
General feedback:
1. The letterforms should clearly reflect what the base image was, organic elements should try to be retained and not overly refined.
2. Characteristics should be mimicked and maintained across all letterforms.
3. Weight, proportion should all be consistent.
4. When searching for letterforms within the image, look for them in the most prominent elements. (e.g. don't focus on the stems instead of the leaves)
5. The letterforms should not be restricted to the forms of the image, we may introduce elements where we see fit.
Specific feedback:
I should take out larger chunks of the image to create my letterform, e.g. I could have bits sticking out of the letters to make it more representative of the pattern.
Week 4:
General feedback:
1. Type should be integrated with the image in a unique way.
2. Everything should be consistent.
3. The image chosen should relate to the designed type.___________________________________________________________________________________
REFLECTION
Experience
Completing this task was honestly quite challenging, as I was unmotivated and had no ideas on how to present my work. For the first task, trying to come up with 8 unique layouts seemed way out of my capability, but nontheless I was able to complete it. The second exercise however was fun, and I enjoyed it a lot as it was more in my comfort zone.
Observation
Each typographic layout had its own vibe and challenges. The axial layout felt balanced and orderly, while the radial layout was dynamic, radiating from a center point. The dilatational layout expanded text in a circle, creating a unique look. The transitional layout mixed styles for a flowing effect, and the grid and modular layouts kept things consistent and organized. The bilateral layout was all about symmetry, and the random layout allowed for creative freedom, though it was tricky to keep readable. Creating a typeface from a zebra pattern was about balancing the distinctive stripes with clear letterforms.
Findings
Each layout fit different design needs, the axial, grid, and bilateral layouts focused on balance and symmetry, while the radial and dilatational layouts brought visual interest. The transitional and modular layouts offered flexibility and coherence, and the random layout highlighted the challenge of maintaining readability. Moreover, my zebra-pattern typeface was perfect for titles and display text. This assignment helped me better understand typographic principles and how to balance creativity with functionality.
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FURTHER READING
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| Fig. 6.1 Typographic Systems, Kimberly Elam (2007) |
For the first week, Mr Vinod suggested we read through this book to get a deeper understanding on the tasks we are required to carry out. I read through a few pages and interestingly it had many examples and explanations for each typographic system, which helped me to understand what is considered correct and incorrect, and identify the differences between them.
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