Advanced Typography Task 1

24.04.2024 - 15.05.2024 (Week 1-Week 4)
Ng Kar Yee / 0367743
Bachelor of Design (Honours) in Creative Media
Advanced Typography / Task 1

LECTURES

Week 1⇒ Typographic System

There are eight major variations with an infinite number of permutations. These eight major variations are as follows:

Axial
Radial
Dilatational
Random
Grid
Modular
Transitional
Bilateral

1. Axial System

all elements are organised to the left or right of a single axis

Figure 1.0 Example of Axis System, week 1 (24.04.2024)

Figure 1.1 Example of Axis System, week 1 (24.04.2024)

Figure 1.2 Example of Axis System by student designer Julius Teoh Hoong Boon, week 1 (24.04.2024)

2. Radial System

All elements are extended from a point of focus

Figure 1.3 Example of Radial System, week 1 (24.04.2024)

Figure 1.4 Example of Radial System by student designer Tamara Audrey, week 1 (24.04.2024)

3. Dilatational System

All elements expand from a central point in a circular fashion

Figure 1.5 Example of Dilatational System, week 1 (24.04.2024)

Figure 1.6 Example of Dilatational System by student designer Julius Teoh Hoong Boon, week 1 (24.04.2024)

4. Random System

Elements appear to have no specific pattern or relationship

Figure 1.7 Example of Random System, week 1 (24.04.2024)

Figure 1.8 Example of Random System by student designer Tamara Audrey, week 1 (24.04.2024)

Figure 1.9 Example of Random System by student designer Vedha Vania, week 1 (24.04.2024)

5. Grid System

A system of vertical and horizontal divisions

Figure 2.0 Example of Grid System, week 1 (24.04.2024)

Figure 2.1 Example of Grid System by student designer Tamara Audrey, week 1 (24.04.2024)

6. Transitional System

An informal system of layered banding

Figure 2.2 Example of Transitional System, week 1 (24.04.2024)

Figure 2.3 Example of Transitional System by student designer Julius Teoh Hoong Boon, week 1 (24.04.2024)

Figure 2.4 Example of Transitional System by student designer Vedha Vania, week 1 (24.04.2024)

Figure 2.5 Example of Transitional System by student designer Tamara Audrey, week 1 (24.04.2024)

7. Modular System

A series of non-objective elements that are constructed in as a standardised units

Figure 2.6 Example of Modular System, week 1 (24.04.2024)

Figure 2.7 Example of Modular System by student designer Tamara Audrey, week 1 (24.04.2024)

Figure 2.8 Example of Modular System by student designer Julius Teoh Hoong Boon, week 1 (24.04.2024)

Figure 2.9 Example of Modular System by student designer Julius Teoh Hoong Boon, week 1 (24.04.2024)

8. Bilateral System

All text is arranged symmetrically on a single axis

Figure 3.0 Example of Bilateral System, week 1 (24.04.2024)

Figure 3.1 Bilateral System by student designer Tamara Audrey, week 1 (24.04.2024)

Figure 3.2 Bilateral System by student designer Tamara Audrey, week 1 (24.04.2024)

Figure 3.3 Bilateral System by student designer Vedha Vania, week 1 (24.04.2024)

Figure 3.4 Bilateral System by student designer Tamara Audrey, week 1 (24.04.2024)

Week 2⇒ Typographic Composition

1. Principles of Design Composition

Dominant principles are usually underpinning design composition, which are emphasis, isolation, repetition, symmetry and asymmetry, alignment, perspective to name a few.
However these abstract notions seem ambiguous when it comes to translating it into typographic layouts or composition.
They seem more relevant to imagery than complex units of information that consist different elements.
The ideas mentioned above and the application of these ideas into real-life content (images, textual information and colour) on a page or screen can sometimes feel disparate.

Figure 3.5 Example of Principles of design composition, week 2 (01.05.2024)

2. The Rule of Thirds

Realistically no one would ever use the rule of thirds when there are other more favorable options.

Figure 3.6 Example of the rule of thirds, week 2 (01.05.2024)

3. Typographic Systems

These 8 systems we have covered in depth in theory and practical. From the 8 systems the most pragmatic and the most used system is the Grid System (or Raster System), which is derived from the gridded compositional structure of Letter Press printing.
It was further enhanced by what is now come to be termed as the Swiss (Modernist) style of Typography, with its foremost proponents being Josef Muller Brockmann, Jan Tschichold, Max Bill and such.
While the Grid System may seem to be old or rigid, the versatility of the system and its (to some degree) modular nature tends to allow an infinite number of adaptations. This is why it continues to remain popular.

Figure 3.7 Example of the typographic system, week 2 (01.05.2024)

Typographical systems where chaos, randomness and asymmetry were explored in post-modernist era.
Legibility and readability were relegated to the back seat however the bests examples seem to combine the two seamlessly.
Order was replaced with apparent chaos but this chaos was exciting and ‘new’ for a generation that was being exposed to Punk anti-establishment thought and music. As such the asymmetry, random, repetition, dilatational and radial systems began to take root in the lexicon of designer.

Figure 3.8 Example of the typographic system, week 2 (01.05.2024)

4. Other models / Systems

A. Environmental Grid

This system is based on the exploration of an existing structure or numerous structures combined. An extraction of crucial lines both curved and straight are formed.
The designer then organizes his information around this super-structure, which includes non-objective elements to create a unique and exciting mixture of texture and visual stimuli.

Figure 3.9 Example of the other system, week 2 (01.05.2024)

B. Form and Movement

This system is based on the exploration of an existing Grid Systems. I developed this system to get students to explore; the multitude of options the grid offer; to dispel the seriousness surrounding the application of the grid system; and to see the turning of pages in a book as a slowed-down animation in the form that constitutes the placement of image, text and color.
The placement of a form (irrespective of what it is) on a page, over many pages creates movement. Whether the page is paper or screen is irrelevant.

Figure 4.0 Example of the form and movement, week 2 (01.05.2024)

Static versions of the form placed on spread (Grids were hidden). Care was taken to ensure visual connections and surprises on every page. The forms could represent images, text or colour. Right: animated version, the spreads of a book mimic the frame by frame nature of moving screen.

Figure 4.1 Example of the form and movement, week 2 (01.05.2024)

Week 3⇒ Context & Creativity

1. Handwriting

Why is handwriting important in the study of type/typography?

We study handwriting because 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 shape and line of hand drawn letterforms are influenced by the tools and materials used to make them. Sharpened bones, charcoal sticks, plant stems, brushes, feather and steel pens all contributed to the unique characteristics of the letterform.

Figure 4.2 Evolution Of Latin Alphabet, week 3 (08.05.2024)

The evolution of handwriting

i. Evolution of Middle Eastern Alphabets

It is also important to note that while the Phoenician letter marks a turning point in written language. The use of sound represented in letters and the script itself has been possibly influenced by the Egyptian Hieroglyphics and Hieratic Scripts.

Figure 4.3 Evolution Of Middle Eastern Alphabets, week 3 (08.05.2024)

ii. The Evolution of the Chinese Script

From the Oracle bone to Seal Script to Clerical Script, Traditional and Simplified scripts.

Figure 4.4 Evolution Of Chinese Script, week 3 (08.05.2024)

iii. Indus Valley Civilization (IVC) script (3500-2000 BCE)

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. “Some believe that these symbols are non-linguistic, while others argue that they represent a Dravidian language.”

Figure 4.5 Indus Valley Civilization (IVC) script (3500-2000 BCE), week 3 (08.05.2024)

Figure 4.6 Examples Of Indus Valley Civilization (IVC) script (3500-2000 BCE), week 3 (08.05.2024)

iv. The Brahmi script (450–350 BCE)

is the earliest writing system developed in India after the Indus script.
It is one of the most influential writing systems
All modern Indian scripts and several hundred scripts found in Southeast and East Asia are derived from Brahmi.
The origin of the script is still much debated, with most scholars stating that Brahmi was derived from or at least influenced by one or more contemporary Semitic scripts, while others favor the idea of an indigenous origin or connection to the much older and as-yet undeciphered Indus script of the Indus Valley Civilization.

Figure 4.7 The Brahmi script (450–350 BCE) , week 3 (08.05.2024)

A. Cuneiform

Cuneiform, the earliest system of actual writing, was used in a number of languages between the 34C. B.C.E. through the 1st century C.E.
Its distinctive wedge form was the result of pressing the blunt end of a reed stylus into wet clay tablets. The cuneiform characters evolved from pictograms. Cuneiform was written from left to right,

Figure 4.8 Cuneiform, week 3 (08.05.2024)

B. Hieroglyphics 2613–2160 B.C.E.

The Egyptian writing system is fused with the art of relief carving.
The system was a mixture of both rebus and phonetic characters.

i. Hieroglyphic images have the potential to be used in three different ways:

As ideograms, to represent the things they actually depict.
As determinatives to show that the signs preceding are meant as phonograms and to indicate the general idea of the word.
As phonograms to represent sounds that "spell out" individual words.

Figure 4.9 Hieroglyphics Charts, week 3 (08.05.2024)

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

Built on the Egyptian logo-consonantal system, the Phoenicians developed a phonetic alphabet consisting of 22 letters.
The Phoenicians system then was adopted by the Greeks who added the necessary vowels.
Early Greek was comprised of only capital letters, written between two guidelines to organize them into horizontal rows.
Greek was often read in a format known as boustrophedon or “as the ox plows.” One row would read left to right and then switch from right to left.
These early Greek letters were drawn freehand, not constructed with compasses and rule, and they had no serifs —neither the informal entry and exit strikes left by a relaxed and fluent writer, nor the symmetrical finish stroke typically added to letters by formal scribes.

Figure 5.0 Early greek, week 3 (08.05.2024)

D. Roman Uncials

By the 4th century Roman letters were becoming more rounded, the curved form allowed for less strokes and could be written faster.

Figure 5.1 Roman Unicials, week 3 (08.05.2024)

E. English Half Uncials, 8th C.

In England the uncial evolved into a more slanted and condensed form. While English and Irish uncials evolved, writing on the European continent devolved considerably and need

Figure 5.2 English Half Unicials, week 3 (08.05.2024)

F. Emperor Charlemagne 8C.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. For 300 years the knowledge of writing was kept alive mainly in the remote outposts of religious cloisters and retreats.

Figure 5.3 Emperor Charlemagne 8C.CE, week 3 (08.05.2024)

G. Carolingian Minuscule

During Charlemagne's patronage book production increased and language was standardized. Pronunciation and spelling as well as writing conventions and capitals at the start of a sentence, spaces between words and punctuation.
A new script emerged, the Carolingian minuscule. The Carolingian minuscule, was used for all legal and literary works to unify communication between the various regions of the expanding European empire.
The Carolingian minuscule became the pattern for the Humanistic writing of the fifteenth century; this latter, in turn was the basis of our lower-case roman type.

Figure 5.4 Carolingian Minuscule, week 3 (08.05.2024)

H. Movable Type 11 C.—14 C.

The introduction of moveable type was introduced in the 1000-1100 CE. This innovation was pioneered in China but achieved in Korea (Diamond Sutra). In the late 1300-1399 CE, several decades before the earliest printing in Europe (Guttenberg’s bible 1439), the Koreans establish a foundry to cast movable type in bronze.

Figure 5.5 Movable Type, week 3 (08.05.2024)

Figure 5.6 Records Of Movable Type, week 3 (08.05.2024)

2. Why do we talk about Greek influence on Rome, but not Egyptian or Near Eastern influence on Greece?

It is because in the 19th century and the rise of the modern British Empire, it became out of style to credit Africa or Africans with anything of value, and therefore Greece and Rome were elevated over much older, much more influential civilizations, specifically Ancient Egypt, but also less extensive or old civilizations like Mesopotamia, the Indus Valley, China, etc.
An example of this insidiousness is how the European academic process worked to create the discipline of “Indology”.

Week 4⇒ Designing Type

Two reasons for designing a typeface

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

General Process of Type Design

1. Research

When creating type, we should understand type history, type anatomy and type conventions. We should also know terminologies, side-bearing, metrics, hinting…
It is then important to determine the type’s purpose or what it would be used for, what different applications it will be used in such as whether the typeface is for school busses or airport signages, etc
We should also examine existing fonts that are presently being used for inspiration/ideas/reference/context/usage pattern/etc.

2. Sketching

Some designers sketch their typeface using the traditional tool set (brushes/ pens, ink and paper) then scan them for the purpose of digitization. They are more confident with their hands and have better control using it.
Some designers sketch their typeface using digital tool sets, such as Wacom directly into a font design software (much quicker, persistent, and consistent) but this can sometimes impede the natural movement of hand strokes.
Both methods have their positives and negatives.

3. Digitization

There are professional software that are used in the digitization of typefaces, amongst the leading software are: FontLab and Glyphs App.
There are designers that also use Adobe Illustrator to design or craft the letterforms and then introduce it into the specialized font apps. This however is frowned upon by the purist.
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

4. Testing

Testing is an important component in the design thinking process.
The results of the testing is part of the process of refining and correcting aspects of the typeface.
Prototyping is also part of the testing process and leads to important feedback.
Depending on the typeface category (display type/text type) the readability and legibility of the the typeface becomes an important consideration. However it is not as crucial if the typeface is a display type, where expression of the form takes a little more precedence.

5. Deploy

Even after deploying a completed typeface there are always teething problems that did not come to the fore during the prototyping and testing phases. Thus, the task of revision doesn’t end upon deployment.
The rigor of the testing is important so that the teething issue remains minor.

Construction and considerations:

Classification according to form and construction depends on their form and construction, the 26 characters of the alphabet can be arranged into groups, whereby a distinction is made between a group for the capitals and a group for lowercase letters.

Figure 5.7 Construction And Considerations, week 4 (15.05.2024):

Many different forms and constructions must be taken into account when designing a new type.
An important visual correction is the extrusion of curved (and protruding) forms past the baseline and cap line. This also applies to vertical alignment between curved and straight forms.
A visual correction is also needed for the distance between letters. It is not possible to simply place letters next to each other with equal spacing between them.
The letters must be altered to a uniform ‘visual’ white space. This means that the white space between the letters should appear the same. This is called ‘fitting’ the type.

Figure 5.8 Construction And Considerations, week 4 (15.05.2024):

INTRODUCTION

TASK 1

EXERCISE⇒ TYPOGRAPHIC SYSTEM & TYPE & PLAY

For our first task, Mr Vinod introduced Typographic System to us, which is an understanding of systems of visual organization gives the designer and in-depth knowledge of the design process. It is possible for the designer to use a more fluid means to create typographic messages through the eight systems of typographic organization. These systems expand the visual language of typographic communication and invite the reader into the text.

For this task, we are required to

1. Typographic System

Design according the 8 Typographic Systems which are, Axial, Radial, Dilatational, Random, Grid, Modular, Transitional & Bilateral.

2. Type & Play

Students will be asked to select an 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). Ensure that the image does not contain many different elements.

Students will analyse, dissect and identify potential letterforms within the dissected image. The forms would be explored and ultimately digitized. It is expected that through a process of iteration the forms would go from crude representation to a more refined celebration that would reflect to a degree its origins.

EXERCISE A⇒ TYPOGRAPHIC SYSTEM

For this exercise, we are needed to demonstrate an enhanced use of grids, layouts and page flow for effective typographic communication. From the 3 different heading content provide by Mr Vinod, I chose to go with The ABC's of Bauhaus.

RESEARCH

To have a head start, I began to do some research to get a briefly idea on how should I design the 8 system.

Figure 1.0.0 Example Of Axial System From Pinterest, week 2 (01.05.2024)

Figure 1.0.2 Example Of Radial System From Pinterest, week 2 (01.05.2024)

Figure 1.0.3 Example Of Random System From Pinterest, week 2 (01.05.2024)

Figure 1.0.4 Example Of Grid System From Pinterest, week 2 (01.05.2024)

Figure 1.0.5 Example Of Modular System From Pinterest, week 2 (01.05.2024)

SKETCH

After doing some research, I started sketching out my ideas.

Figure 1.0.6 Sketching, week 2 (01.05.2024)

DIGITIZATION

After sketching my ideas, I started doing digitization using Adobe Indesign.

Figure 1.0.7 Digitization For Axial System, week 3 (08.05.2024)

Figure 1.0.8 Digitization For Radial System, week 3 (08.05.2024)

Figure 1.0.9 Digitization For Dilaterial System, week 3 (08.05.2024)

Figure 1.1.0 Digitization For Random System, week 3 (08.05.2024)

Figure 1.1.1 Digitization For Grid System, week 3 (08.05.2024)

Figure 1.1.2 Digitization For Modular System, week 3 (08.05.2024)

Figure 1.1.3 Digitization For Transitional System, week 3 (08.05.2024)

Figure 1.1.4 Digitization For Bilateral System, week 3 (08.05.2024)

FINAL DIGITIZATION TYPOGRAPHIC SYSTEM

Figure 1.1.5 Final Digitization For Axial System (JPEG), week 3 (08.05.2024)

Figure 1.1.6 Final Digitization For Radial System (JPEG), week 3 (08.05.2024)

Figure 1.1.7 Final Digitization For Dilaterial System (JPEG), week 3 (08.05.2024)

Figure 1.1.8 Final Digitization For Random System (JPEG), week 3 (08.05.2024)

Figure 1.1.9 Final Digitization For Grid System (JPEG), week 3 (08.05.2024)

Figure 1.2.0 Final Digitization For Modular System (JPEG), week 3 (08.05.2024)

Figure 1.2.1 Final Digitization For Transitional System (JPEG), week 3 (08.05.2024)

Figure 1.2.1 Final Digitization For Bilateral System (JPEG), week 3 (08.05.2024)

Figure 1.2.2 Final Digitization For Typographic System With Guide (PDF), week 3 (08.05.2024)

Figure 1.2.3 Final Digitization For Typographic System Without Guide (PDF), week 3 (08.05.2024)

EXERCISE B⇒ TYPE & PLAY (FINDING TYPE)

For our first task, Mr Vinod introduced Type & Play (Finding Type) to us, which we are needed to explore and analyse an image. After that dissecting and identify potential letterforms.

RESEARCH

To have a head start, I began to do some research to get a briefly idea on how should I design the 8 system.

Blog by Mr Vinod
https://kreatifbeats.com/2023/08/06/finding-type-a-novel-typographic-exercise/

Figure 1.2.4 Example from Mr Vinod's blog, week 3 (08.05.2024)

Figure 1.2.5 Example from Mr Vinod's blog, week 3 (08.05.2024)

Figure 1.2.6 Example from Mr Vinod's blog, week 3 (08.05.2024)

Figure 1.2.7 Example from Mr Vinod's blog, week 3 (08.05.2024)

DIGITIZATION

After doing the research and understanding what I need to do, I started on digitizing my work using Adobe Illustrator.

Figure 1.2.8 Digitization Attempt 1, week 3 (08.05.2024)

Figure 1.2.9 Digitization Attempt 2, week 3 (08.05.2024)

Figure 1.3.0 Digitization Attempt 3, week 3 (08.05.2024)

Figure 1.3.1 Digitization Attempt 4, week 4 (15.05.2024)

After trying doing a few attempt and getting feedback from Mr Vinod, I finalise my work with digitization attempt 4. After adjusting the final touches, I decided to add colours to the font for the final poster to make the font look more like french fries. I took a few attempt to tune the colours as I wanted to try my best to tune the closest colour of the font to the color of fries in reality.

Figure 1.3.2 Digitization Attempt 4 with color, week 4 (15.05.2024)

I added three types of gradient to the font as I wanted to imitate the different burness of the fries. I also add a shadow to the font as I wanted the font to be have a larger impact and visuality for the viewers.

Figure 1.3.3 Color Palette, week 4 (15.05.2024)

FINAL DIGITIZATION

Figure 1.3.4 Final Digitization, week 4 (15.05.2024)

FINAL TYPE & PLAY (FINDING TYPE)

MOVIE POSTER

After finalizing our font, we were instructed to create a movie poster for our fonts. I decided to select a basket of french fried as my background as it was the inspiration for the font.

Figure 1.3.5 Movie Poster (JPEG), week 4 (15.05.2024)

Figure 1.3.6 Movie Poster (PDF), week 4 (15.05.2024)

FEEDBACK

WEEK 1

General Feedback

Time management is very important
Artboard for the 8 systems are 1024 pix 300ppi & 200mmx200mm
Lines and dots acceptable in the design
No pictorial elements are allowed
One more additional colour is acceptable other then black
Combie the 8 designs together when posting on Facebook

WEEK 2

General Feedback

Avoid using too many lines and grphic in the 8 typographic system

WEEK 3

General Feedback

Listen to every individual feedback as it’s a opportunity of learning
Font Extration must be related with the image
Consistantcy in font stroke proportional character n weight
Reference need to have some shade in extraction or have a neutral characteristic

Specific Feedback

Image extraction not detail enough
Over influence by reference font lost characteristic
Didn’t study the object enough

WEEK 4

General Feedback

Integration between fonts and background is the key to a good design

Specific Feedback

The body info of the poster isn't convincing enough
Need more research to compare self design with actual movie poster

REFLECTION

Learning the typographic system and creating fonts from a selected image was quite interesting as we get to learn how to not just limit our design in a horizontal or vertical way instead we can design them flexibly yet visually convenience to the readers. Moreover, we have the opportunity to analyze and explore a selected image, while also redesigning the font to maintain visibility without compromising its uniqueness. Compared with the previous semester, we were taught to be more self observation, info digestion and to have a better self reflection in the current semester as Mr Vinod wanted to train our self observation and solving problem skills as a designer. Therefore, this semester was a challenging yet new experience for me as I tried my best to produce "good work" and increase my skills as well as knowledge along the way. As Mr Vinod once said,"we need to take risk and live with it regardless of the result as a designer."