Advanced Typography Task 1 - Exercise 1 & 2

Week 1 - Week 4
Marcus Leong Ka Shing / 0363643
Advanced Typography / BDCM / Taylors Uni
Task 1 - Exercise 1 & 2 

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LECTURES

Week 1 - AdTypo_1_Typographic Systems

Design is based on structural systems, there are 8:

- Axial

- Radial

- Dilatational

- Random

- Modular

- Transitional

- Bilateral

Elements in typographical organization is dependent on communication to function. 

Fig 1.1

Axial: Elements organized to left or right of an axis

Fig 1.2

Radial: Elements extended from a point of focus 

Fig 1.3

Dilatational: Elements expand from a central point, in circular fashion

Fig 1.4

Random: Elements have no specific pattern or relationship

Fig 1.5

Grid: System of vertical and horizontal division

Fig 1.6

Transitional: Informal system of layered banding 

Fig 1.7

Modular: Series of non-objective elements constructed as standardized units

Fig 1.8

Bilateral: All text is arranged symmetrically on one axis

Week 2 - AdTypo_2_Typographic Composition

Typographic composition involves organizing text within a designated area, and it can be achieved using various techniques, including emphasis, the rule of thirds, and the grid system.

Fig 1.9

Principle of Design Composition: Composition relates to the dominant principles such as emphasis, isolation, repetition, symmetry and asymmetry, alignment, pespective.

Fig 1.10

Rule of Thirds: Photographic guide for composition. Intersecting lines are used as guide to place points of interest. 

Fig 1.11

Environmental Grid: System based on exploring structures.

Fig 1.12

Form and Movement: Based on exploring existing grid systems. Created to explore multitude of options grid system has to offer.

Week 3 - AdTypo_3_Context&Creativity

In this lecture, Mr. Vinod advises young designers like us to look within our own culture for inspiration rather than simply following Western trends. He highlights the need to find our creative voice in our heritage. He also points out that, as Easterners, we didn't have the luxury of time to study less financially rewarding fields. Now, as our country develops, we should focus on preserving our cultural identity.

Ancient Greek (5th century BCE): Initially, letters were drawn by hand without the use of compasses or rules, and they lacked serifs. Over time, these letters evolved with thicker strokes, reduced apertures, and the addition of serifs.

Roman Uncials (4th century): Roman lettering became more rounded, enabling quicker writing with fewer strokes.

English Half Uncials (8th century): In England, Uncial script adopted a slanted and condensed form.

Carolingian Minuscule: Introduced capitals at the beginning of sentences, spaces between words, and punctuation. This style influenced Humanistic writing in the 15th century, forming the basis for lowercase Roman type.

Black Letter (12-15th century): Known for its tight spacing, condensed lettering, and prominent vertical lines, this style reduced the use of costly materials in book production.

Italian Renaissance: The Renaissance applied a newfound focus on form to lettering, resulting in more refined and rationalized letterforms known as Antica.

Week 4 - AdTypo_4_Designing Type

Type design process

Research: Explore type history, anatomy, conventions, and terminology. Define the type's intended use and potential applications. Analyze existing fonts for inspiration, ideas, references, and usage patterns.

Sketching:

Create initial sketches using traditional or digital methods.

Digitization:

Utilize professional software such as FontLab and Glyphs App for digitization. Some designers may start with Adobe Illustrator, although this may not meet purist standards.

Testing:

Testing is essential for refining the typeface, with prototyping providing valuable feedback.
Consider readability and legibility, particularly for text typefaces.
Display typefaces prioritize expressive forms over strict legibility.

Deployment:

Even after deploying a finished typeface, minor issues may surface.
Ongoing testing and revision are crucial to address these teething problems.

Typeface Construction Utilizing Grids:

Grids incorporating circular forms can be a helpful tool for constructing letterforms, offering a viable approach to crafting and designing them.

Construction and Considerations: When creating a new typeface, it's essential to consider various forms and constructions. An important visual adjustment involves extending curved and protruding shapes beyond the baseline and cap line (overshoot). This also pertains to achieving vertical alignment between curved and straight forms.

Letter Spacing: Maintaining consistent visual spacing between letters is another crucial aspect. The letters should be adjusted to ensure uniform visual "white space" between them, creating a balanced appearance.

Ink Traps: Ink traps were traditionally employed when printing on inexpensive, absorbent paper and during fast, imprecise printing. They were designed to capture excess ink that tends to accumulate at the corners, ensuring that the corners remain visible.

AdTypo_5_Perception & Organization

Perception involves the interpretation of something.

Contrast is a crucial element for differentiation and creating distinction. It can be achieved through various means like size, weight, structure, texture, direction, color, and form. Form is particularly attention-grabbing due to its intriguing nature.

Gestalt Principles was also discussed about how they influence layout design. Understanding how information organization is perceived is a social responsibility for designers.

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INSTRUCTIONS

Task 1 - Typographic Systems

In this week, Mr Vinod introduced us to the Module Information Booklet as well as the first task. We were told to watch the lecture playlist and complete 8 typographic systems. We did the axial typographic system in class as a test run, to get to know our task better and get the hang of Indesign again. 

Fig 2.1 Axial test

Process

Fig 2.2 System Outlines

These are the designs I came up for the 8 different systems. I used a mixture of all the fonts provided and found myself liking the Univers LT Std 55 Roman typeface the most. 

Spreads

Fig 2.3 Axial System

This is my attempt and 2 variations I made for an Axial System. I found this system a little bit tricky, as I did not understand the axis lines. I did some reading and watched the lectures and I proceeded with the task. I wanted to implement elements of Bauhaus into my spreads, hence the Bauhaus Blue and a rectangle that is attached along the axis. 

Fonts used:
variation 1 - Gill Sans Std Bold, Gill Sans Std Bold Italic
variation 2 - Futura Std Bold, Futura Std Light, 

Fig 2.4 Radial System

These are the variations for Radial System. I wanted to recreate light rays for the first one so I had the text placed along the arc of the triangle. I decided to do a second variation with the same idea and direction, but made it more eye catching. I made it seem like it was burst out from a single point. 

Fonts used:

variation 1 - Futura Std Light,  Futura Std Medium

variation 2 - Univers LT Std Black Extended, Serifa Std Light

Fig 2.5 Dilatational System

Next is the Dilatational System. I created shapes of circles and arranged them around in the form of an orbit so it layers.

Fonts used: 

variation 1 - Gill Sans Std Regular, Gill Sans Std Light
variation 2 - Gill Sans Std Regular, Gill Sans Std Light

Fig 2.6 Random System

For the Random System, I found it difficult at first as there was no direction and requirements. I first did it randomly, mixing around font sizes, typefaces and font types. When I was not satisfied, I decided to go back and do more reading on the Bauhaus book that was provided in the Module Information Booklet. I had the idea of implementing shapes of Bauhaus and mixing all the typographic systems into one. 

Fonts used: 

variation 1 and 2 - most of the fonts

Fig 2.7 Grid System

The Grid System was something that was familiar to me as it was what was learned and practiced throughout the Typography semester. I wanted to create a simple, minimalistic layout that also stands out. 

Fonts used: 

variation 1 - Univers LT Std Roman, Univers LT Std Bold Condensed
variation 2 - Univers LT Std Roman, Univers LT Std Bold Condensed, Univers LT Std Black

Fig 2.8 Modular System

Modular System was also tricky at the start. I felt it was very similar to grid but slight differences. I watched the lecture video and proceeded with two variations. 

Fonts used:
variation 1 and 2 - Futura Std Medium, Futura Std Light

Fig 2.9 Transitional System

For the Transitional System, I wanted to recreate a wavy like layout. I placed the text in a way where it looks like there is a flow from top to bottom.

Fonts used:

variation 1 and 2 - Serifa Std Light

Fig 2.10 Bilateral System

Lastly, for Bilateral System, I was inspired by wedding card invitations. I liked the clean simple layout but it can be boring at times. 

Fonts used:

variation 1 and 2 - Serifa Std Light

Post Feedback Process

After listening to week 2's general feedback, I decided to change up some of my designs that I felt were either too simple or was incorrect use of application. I decided to push out of my comfort zone this time to see where it goes and I am finally satisfied with my work. 

Fig 2.11 Dilatational System Post Feedback

For the Dilatational System, I wanted to recreate the letter 'B' to signify Bauhaus. I played around with the pen tool and realize it worked wonders in my favor to adjust and create the shape of the letter face 'B' with the content available. 

Fig 2.12 Random System Post Feedback

I decided to make my Random System more random. I really like how everything is mushed up but all the content is still readable. I continued to implement my idea of mixing all systems in one and emphasize the title with the shape of a triangle and a Bauhaus color. 

Fig 2.13 Modular System Post Feedback

I rearranged my Modular System into single columns. 

Fig 2.14 Transitional System Post Feedback

For the Transitional System, I switched up the technique used to layer the text. It now embodies more of a fluid motion with a hint of the Bauhaus color at the top. 

Fig 2.15 Bilateral System Post Feedback

I changed up the title for the Bilateral System to be more strong and be the first thing people see. I also made it into the shape of a triangle so it signifies the Bauhaus elements.

Final Task 1 - Exercise 1: Typographic Systems

Fig 2.16 Final Axial System

Fig 2.17 Final Radial System

Fig 2.18 Final Dilatational System

Fig 2.19 Final Random System

Fig 2.20 Final Grid Sytem

Fig 2.21 Final Modular System

Fig 2.22 Final Transitional System

Fig 2.23 Final Bilateral System

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Task 1 - Exercise 2: Type and Play

For this exercise, we are tasked to analyze, dissect and identify 5 letterforms from an image we choose. Then, we choose a reference font and try to find a middle ground between the raw extractions and the reference font.

Fig 3.1 Photo Reference 

This is the image I am using that I retrieved from Unsplash. 

Fig 3.2 Extraction in Photo

I looked for letterforms in the waves and lighting. I also flipped the image around to have a different perspective to see if I can find any more letterforms. 

Fig 3.3 Extracted Letterforms

These are the raw extractions that I came up with. 

Fig 3.4 Refinement 

Fig 3.5 Complete Refinement Process

Next, I chose my reference font 'Grinder' as I liked the look of the drippy fluid type of font. I thought of implementing that into my extractions. I used the pencil tool to edit and shaped my typefaces. 

Fig 3.6 Small Detailed Changes

I added more effects on the letterforms using the pencil tool as I wanted it to have more character and randomness, to imitate the shape of water. 

Final Typeface

 

Fig 3.7 Final Refined Typeface

Type Poster

After completing the typeface, it is to be used in a poster design. I attached images relating to the extraction and typeface in the poster.

Fig 3.8 Poster Design

Fig 3.9 Adding Tagline

This is my first attempt. I created the poster in relevance of a reflection. I added a few elements to create and implement the idea of a light and dark contrast. However, I did not feel satisfied with it so I came up with another design.

Fig 3.10 Poster Attempt 1

This is my second attempt. I went out of my comfort zone to explore and try out a more fun and unique direction for this poster. I create a shape and placed the image inside and then added the placeholder texts along with my title. I gave it a tagline and changed the font for the first letter to create a unique look with contrast to it. 

Fig 3.11 Freeform Shape Tool

Fig 3.12 Adding Content

After receiving feedback and an opinion from Mr Vinod, I made some small tweaks and finalized my type and play poster.

Fig 3.13 Final Type & Play Poster

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FEEDBACK

Week 2:

- Bilateral has to be symmetrical
- size for print 8-12pt

- graphical elements can be distracting, reduce size does the job and reduce distraction

Week 3: - consistency within fonts - width, height, unique characteristics should be same - more time taken = better output/fresh eyes/reflect Week 4: - second attempt of my poster is better

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REFLECTION

Experience

In exercise 1, my main challenge was balancing creativity within the systems. I was afraid of creating basic or similar designs with other people. The random system was the most stressful as there was too much variation and limitless possibilities. I ended up going with the idea of implementing everything from the systems to the theme. The "finding type" exercise was enjoyable and creative, aligning with my passion for type design in typography. I enjoyed creating my typeface and creating a poster relating to it. I did not find it very difficult in terms of a creative direction.

Observation

In this task, I realized that attention to detail is important. In both the systems exercise and finding type, I found that small changes in the structure changes the entire overall look either for the better or worse. 

Findings

In exercise 1, I was finding myself reverting to previous skills and techniques used for InDesign. I had to make sure leading and formatting was correct before proceeding. I also found new skills along the way during this exercise. Through the "finding type" exercise, I gained insight into closely examining letters to identify and rectify issues that make them appear awkward. 

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FURTHER READING

Fig 4.1

Week 1: 

Reading about the Finding Type blog written by Mr Vinod made me have a clearer direction for my task and helped me in understanding the importance of each step.

Fig 4.2

Week 2: 

Reading about this article helped me in small ways on the details of typography. For example, how it gives a voice to design, its influence and how it conveys messages. 

Fig 4.3

Week 3:

I often find myself afraid of stealing art. By reading this book gave me more insight and how to use my favorite work as inspiration and implement techniques rather than making a 1 for 1 duplicate. A key take away is originality is often seen as the hallmark of great art. Many believe that art must be entirely unique to be exceptional. This notion can lead artists to strive for complete originality, but they'll inevitably fall short. No art or artist, be it Picasso, Dali, or W. B. Yeats, is entirely devoid of influence. Artists are not truly original; rather, they borrow and build upon the work of others to create something new.

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