Advanced Typography GCD61004 Exercise task 1
Advanced Typography Exercise
-task 1-
Week1 - Week4
Dong Xinbei 0359733
Bachelor of Design (Honours) in Creative Media
LECTURE
week1-week4：
Lecture 1- /AdTypo_1_TypographicSystems
Lecture 2- / AdTypo_2_TypographicComposition
Lecture 3- / AdTypo_3_Context&Creativity
Lecture 4- / AdTypo_4_DesigningType
- Lecture 1- /AdTypo_1_TypographicSystems -
In the first lecture, Mr. Vinod introduced us to the fundamental systems of
typography. It was mentioned in the video that, according to Elam (2007),
this design system encompasses 8 major variations and various permutations
for advanced typography.
1. Axial System
Using a single axis, information is divided into groups and placed on both sides of the axis, and this is called axial.
Figure 1.1 Axial system
2. Radial System
This system is where all elements extend from a single focal point, so every keyword converges at the same focal point.
Figure 1.2 Radial system
3. Dilitational System
All systems radiate outward from the same central point in a circular fashion and can be arranged hierarchically.
Figure 1.3 Dilitational system
4. Random System
It lacks a specific pattern and relationship, it is random.
Figure 1.4 Random system
5.Grid System
Figure 1.5 Grid system
6.Transitional System
Transitional System，it is curved and ribbon-like.
Figure 1.6 Transitional system
7. Modular System
Figure 1.7 Modular system
8.Bilateral System
All text is symmetrically aligned along a central axis.
Figure 1.8 Bilateral system
From the perspective of Lecture 1，based on the above, these systems are
more practical, but for inexperienced individuals, mastering them can be
challenging. Many people focus on grid-based system patterns, but few
understand their significance and essence. Employing this system for
typography design can lead to more detailed outcomes for designers.
-Lecture 2- / AdTypo_2_TypographicComposition
Figure 2.1 TypographicComposition
Principle of Design Composition
Concerning composition, we take into account essential design principles
such as emphasis, isolation, repetition, symmetry, asymmetry, alignment, and
perspective. However, translating these abstract concepts into typographic
layouts can be somewhat challenging. They often align better with images
rather than intricate informational elements.
Applying these concepts to actual content (including images, text, and
color) on a page or screen may sometimes appear disjointed. Nevertheless,
some principles are more adaptable than others.
Figure 2.2 Design Composition
The Rule of Thirds
“The Rule of Thirds" is a fundamental principle in visual composition
used in photography and design. It consists of a grid of nine sections,
and key elements are placed along the intersecting lines or at their focal
points to create a visually pleasing and engaging composition, with a
strong focus on visual comfort and appeal.
Figure 2.3 The Rule of Thirds
Typographic Systems
We've discussed and introduced the applications of the eight systems
mentioned in the video. Among these systems, the Grid System (or Raster
Systeme) is more well-known and widely practical. This system originates
from the gridded compositional structure of Letter Press printing. Later,
it was further refined by the Swiss (Modernist) style of typography,
championed by influential figures like Josef Muller Brockmann, Jan
Tschichold, Max Bill, and others, and applied in various contexts.
Figure 2.4 Grid system
Environmental Grid
"Environmental Grid" is an important structural concept for spatial
design. It aims to establish stability and functionality at their best
by extending grid principles from graphic design to real-world
environments, with a focus on efficiency and user satisfaction.
Figure 2.5 Environmental Grid
Form And Movement
This system builds upon the more advanced grid systems and offers a
wide range of possibilities in terms of different styles. It expands on
the types found in basic grid systems and treats page turning as a
deliberate animation. Through the arrangement of images, text, and
colors, they will present a dynamic visual experience across any
medium.
Figure 2.6 Form And Movement
-Lecture 3- /
AdTypo_3_Context&Creativity
Why is handwriting important in the study if type/typography?
The importance of studying handwriting in printing or typography lies
in the fact that the earliest mechanically produced letterforms were
directly modeled after handwriting. Handwriting served as the
benchmark for the shape, spacing, and conventions that mechanical
typography aimed to replicate. The shape and style of hand-drawn
letterforms were influenced by the tools and materials used. Different
implements such as bones, charcoal sticks, brushes, feathers, and pens
resulted in distinct characteristics of letterforms. Furthermore, the
materials on which these forms were inscribed, such as clay, papyrus,
palm leaves, animal skins (vellum and parchment), and paper, also
played a role in shaping their attributes.
Figure 3.2 Ancient Egypt Hieoglyphics Chart
The Egyptian writing system was combined with the art of relief
sculpture. This system consisted of a combination of hieroglyphics
and phonics.
In these ways, as hieroglyphs, they are used to directly represent
the things they depict. Those deterministic symbols, used to show
that the preceding symbol is used as a phonetic script, and to
indicate the general concept of the word, as phonetic scripts, used
to represent the sound that "spells out" a few words.
Figure 3.3
Early Greek (5th century BCE), Roman Uncials, English Half
Uncials (8th century), Carolingian Minuscule, Black Letter
(12-15th century), Antica (left to right).
In the 5th century BCE, ancient Greece (500–401 BCE)
experienced progress in democracy, architecture, and culture.
Eminent philosophers like Socrates and Plato emerged during this
time, leading to the flourishing of naturalistic art and tragic
plays.
Roman Uncial is a rounded, uppercase script style that
originated during ancient Rome. It was primarily used for
inscriptions, official documents, and manuscripts, serving as a
transitional form between older and medieval scripts.
English Half Uncials emerged in 8th-century England as a
transitional script, blending elements of Roman and medieval
styles. It was mainly employed for copying texts in monastic
settings, reflecting the cultural developments of the era.
Carolingian Minuscule appeared during the Carolingian era and
standardized writing. It influenced modern lowercase letterforms
and had a significant impact on later scripts and
printing.
Black Letter, used from the 12th to the 15th centuries,
featured dense angular letterforms in manuscripts. It reflected
medieval culture and served as a transitional script from
earlier styles to later print typefaces.
The Italian Renaissance, spanning the 14th to 17th centuries,
was characterized by a revival of ancient Greek and Roman art,
humanism, and scientific progress. It left a lasting impact on
art, architecture, science, and modern thought.
Movable Type
Movable-type printing, pioneered by Johannes Gutenberg in the
15th century, transformed printing with the use of single
characters, enabling the mass production of books, accelerating
the spread of knowledge and leading to a shift from handwritten
manuscripts to mechanical printing.
Figure 3.4 Movable Type
Figure 3.5 Movable Type Knowledge
Evolution of Middle Eastern Alphabets
The development of Middle Eastern alphabets saw a
significant turning point with the introduction of the
Phoenician letter, which played a pivotal role in
representing sounds in writing. It's noteworthy that this
script may have been influenced by Egyptian Hieroglyphics
and Hieratic Scripts.
Figure 3.6 Evolution of Middle Eastern Alphabets
The Evolution of the Chinese script
From the Oracle bone to Seat to Clerical Script, Traditional and
Simplified script.
Figure 3.7 The Evolution of the Chinese script
Figure 3.8 Indus Valley Civilization script
Figure 3.9 Examples of Indus script seals
The script of the Indus Valley Civilization (IVC), which was in use
around 2600–1900 BCE, consists of a series of undeciphered symbols
inscribed on seals and artifacts. Despite its significance, the
language and meaning of this script remain unknown to this day,
leaving behind a mysterious enigma.
-Lecture 4- / AdTypo_4_DesigningType-
Why another typeface?
type design carries a social responsibility, thus we must continue
to improve its legibility.
type design is a dorm of artistic expression.
Frutiger
Frutiger is a highly acclaimed sans-serif typeface created by
Swiss designer Adrian Frutiger in the 1960s. Known for its modern
and extremely legible design, it is widely used in signage,
corporate branding, and printed materials. Its influence lies in
shaping contemporary typeface design and setting the standard for
typographic clarity and versatility.
Figure 4.1The Signage
Objective: Develop a typeface that is clean, distinctive, and
easily legible, suitable for both close-up and distant viewing,
and highly practical.
Considerations/Constraints: The letterforms must remain
recognizable even in low-light conditions and when readers are
in motion. Adrian Frutiger conducted experiments with blurred
letterforms to identify those that remained discernible.
Matthew Carter, a contemporary British type designer and master
craftsman, as well as the son of Royal Designer for Industry Harry
Carter, created this typeface in 1996. This typeface is primarily
utilized for on-screen content, such as web text and user
interfaces, owing to its clean geometric design and legibility.
Despite its primary digital focus, it has also found applications
in print and signage where clarity and modern aesthetics are
crucial.
Figure 4.2 Hint of Verdana
Process of Type Design
Research
Designers start by comprehending the background, structure,
conventions, terminology, kerning, metrics, and subtleties of
type. The specific purpose and applications of the typeface are
then determined, such as for schools, buses, airport signage, and
various other uses. Existing typefaces should also be examined for
a range of reasons, including inspiration, ideas, references,
context, usage trends, and more.
Sketching
Sketches can be created using traditional tools and then scanned
for digitization.
Alternatively, digital tools such as a Wacom tablet can be used
for direct sketching within font design software.
Digitization
The primary software tools used for digitizing typefaces include
Glyphs and FontLab. Although some purists may disapprove of Adobe
Illustrator, it is still used by some designers. When digitizing
letterforms, designers need to consider both their overall shape
and inner details.
Testing
Testing is an essential part of the process, resulting in
refinement and correction of various aspects of the typeface.
Display
Prototyping is also a crucial step in the testing process and
provides valuable feedback.
Typeface construction
Even after deploying a finalized typeface, unforeseen issues that
were not evident during the prototyping and testing phases may
arise and need to be addressed.
Construction & Considerations
Characters of identical case can be organized based on their
visual shapes.
Figure 4.3 Categorization based on form and construction of
characters
INSTRUCTION
EXERCISE
Task requirements:
- 200*200mm
- In addition to black, allow to use other color.
- Graphic elements (line, dot, etc.) allow to use but limitedly.
- Text given:
The Design School,
Taylor's University
All Ripped Up: Punk Influences on Design
or
The ABCs of Bauhaus Design Theory
or
Russian Constructivism and Graphic Design
Open Public Lectures:
June 24, 2021
Lew Pik Svonn, 9AM-10AM
Ezrena Mohd., 10AM-11AM
Suzy Sulaiman, 11AM-12PM
June 25, 2021
Lim Whay Yin, 9AM-10AM
Fahmi Reza, 10AM-11AM
Manish Acharia, 11AM-12PM
Lecture Theatre 12
Figure 5.2 Axial System
I used a few lines to bring out the design of the text and to make
better
use of the left and right margins.
Figure 5.3 Radial System
Figure 5.4 Radial System
In the Radial System ,I have added a few points that serve as their
focal
points so that the text content can be displayed.
Figure 5.5 Dilatational System
Figure 5.6 Dilatational System
In figure 5.6, dilatational system asked more attention. I interlaced
the
contents, arranged according to different fonts, and changed the text
into a
state of different sizes, which could increase the visual sense.
Figure 5.7 Random System
Figure 5.7 Random System
Use different directions, fonts, colors, and lines to create some
randomness.
Figure 5.8 Grid System
Figure 5.9 Grid System
I don't have too many ideas about the Grid System yet, but it could be
improved
because it has a little bit of discipline, like a standard format.
Figure 5.10 Modular System
Figure 5.11 Modular System
I arranged them in order, and when I made modular system, I
didn't
add a lot of borders because it would be messy.
Figure 5.12 Transitional System
Figure 5.13 Transitional System
I used a parallel approach to express the system. A concise cover
allows the
viewer to see the subject more clearly. If the text is changed to
a wavy style, I
don't think it will bring a good visual effect.
Figure 5.14 Bilateral System
Figure 5.15 Bilateral System
They are both design sources for opposite edges, and even though the
size and
color of the letters change, it looks as a whole bilateral.
Final Outcome
Figure 6.1 Axial System in final outcome
Figure 6.2 Radial System in final outcome
Figure 6.3 Dilatational System in final outcome
Figure 6.4 Random System in final outcome
Figure 6.5 Grid System in final outcome
Figure 6.7 Transitional System in final outcome
Figure 6.9 Final outcome in PDF
Exercise 2
Type & Play
In Exercise Two, our task is to find an image with a subject from
everyday life or nature that contains more structures. We are to observe
the patterns and the visual impressions it provides, in order to
identify structures related to letterforms. Finally, these structures
will gradually transform into recorded forms resembling fonts.
Exploring the Selection
After receiving suggestions from Mr. Vinod, I ultimately chose a
dried and waterless piece of coral as my research image. Within this
image, the growth patterns reveal numerous details that can serve as
materials for letter exploration.
Figure7.1 Dried coral
Searching for Letters
After conducting my research, I used the pen tool in Adobe
Illustrator to outline the letters I will need next. In the image, I
chose the more distinct ones: C, V, E, N, H.
Figure 7.2 Letter Presentation
I used a red pen to outline the selected letters.
I will use Gill Sans Std font as a reference for the letterforms, as
they both share the characteristic of having rounded bodies.
Figure 7.4 font
Sketches
Figure 7.6 Sketches 2
Figure 7.7Sketches 3
Figure 7.8 all of sketches
Figure 7.9 exercise
The Evolution of a Letter
An example using "H"
In the original form of the letter, we can see that it was an
irregular shape, but it had the semblance of the letter we desired.
From the outlined lines, it is evident that a more refined
presentation of the letter is needed. I also need to make adjustments
and straighten the sides and contours of the "H" to make its lines
smoother.
Figure 7.10 The Evolution Process
Figure 7.11 letter C.
Figure 7.12 letter V.
Figure 7.13 letter N.
Figure 7.14letter E.
Figure 7.16 Final work JEPG
Figure 7.17 Final Letterform PDF
Creating a poster
After completing the letterform design, we need to use the same visual
elements and letterform to create a movie poster.
Requirements:
The letterform must interact with the visual elements.
The size should be 1024 pixels by 1024 pixels.
I chose a vibrant coral as my main background theme, and I used Adobe
Photoshop to adjust the background color to almost black and white.
This was done to make the position of our created letters more
prominent, as drawing attention to the title is the key focus of the
poster.
Figure 8.2 Final poster PDF
FEEDBACK
Week 4
General Feedback: In Task 2, your design should have more depth and
incorporate a variety of elements from everyday life in different
forms.
Specific Feedback: Adjust the format of the poster and work on
unifying the elements of each letter in the remaining time. Regarding
the movie poster, make sure to highlight the theme in the background
to make it more appealing.
Week 3
General feedback ：
The extracted letterforms from the images should possess
characteristics similar to those of the source images. During the
refinement of the letterforms, it is essential to maintain stroke
consistency and preserve the core details of the selected images without
being overly prominent. They should adhere to a sense of
structure.
Specific Feedback:
You can select a characteristic from the found typeface and unify
them to identify the traits for the subsequent transformations. Then,
apply this characteristic to each extracted letter to make them more
consistent. Don't worry if you can't find exact matches for every letter
because there are no specific guidelines for that.
week 2
General Feedback:
We should consider whether large fonts help or distract our
attention. The size of the numbers should be reduced and made more
attractive, and font size should be adjusted appropriately to present
the content. We don't need to implement a polygonal system layout.
It's important to ensure that the spacing between rows and columns is
moderate.
Specific Feedback:
Color can be added to the work.
Reduce the white space and center the text.
The bilateral design looks a bit dull.
REFLECTION
Experience
This time our tasks, respectively, are typesetting systems and
research discovery creation, and the first practice is to design two
different designs using each typesetting system. However, these
designs cannot leave the scope. In the process, I learned and
understood the content and knowledge points of these systems. I made
my work initially, but in the second class, Mr. Vinod gave guidance to
my work. When I revised it again, I added regular colors from the
original single color and made changes according to Mr. Vinod's
suggestions. In the second task, which I think is very interesting, we
need to select a texture image that appears in life, find the
discovered letters in the picture, and outline them, which is our task
this time, which provides a rich resource for discovering glyphs. I
use Adobe Illustrator to create my artwork.
Observing
These typesetting systems in task 1, they all have their own
different meanings. The challenge we face is to create works of
different styles in these very similar systems, which is also the key
point for our mentor to inspect us. It emphasizes the importance of
understanding and effectively applying different typographic elements
to convey a variety of messages. Research plays an important role in
ensuring accuracy, and Mr. Vinod's feedback highlights the iterative
nature of the design.
As for Task 2, this is a highly expansive creative opportunity to
find design inspiration and creative ideas in complex pictures, and
extend my discovery to the works, which is also one of the
investigation parts. Adobe Illustrator has played an important role in
this exploration, composing in the plane, and making the work from the
visual side this time is crucial.
Finding
These exercises, compared to the typography course from the
previous semester, appear to have added a lot of expansion and
research, making them more comprehensive. Additionally, the creative
aspect of typography shines in the "Type and Play" exercise, adding
an artistic and innovative touch to the design. Such ideas can often
be applied in future works for added visual appeal.
FURTHER READING
The book covers a wide range of topics related to typography,
including the origins of famous typefaces, the transformation of
typefaces in the digital age, and the unique properties of different
designers and typographers, with each chapter exploring the unique
aspects of typography that make it easy to understand and
satisfying, even for those unfamiliar with design.
If we have enough space to illustrate font thickness, what we
want to show is what the font designer does to compensate for the
design when increasing font thickness. Even the most geometric
fonts can be adjusted to retain counters, maintaining the overall
balance between glyphs, and allowing fonts to work across a wider
range of sizes. Here we can see some examples of these
adjustments, such as A larger bowl (P), a lower beam (A), a wider
shape, and more contrast (the difference between thin and thick
strokes). Even the platform, with its deliberately extreme
proportions, is adjusted.
One way to determine a high-quality, professional font family
from an amateur or rushed product is to check all the thicknesses
and make sure the proper adjustments are made.
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