Advanced Typography | Task 1 : Typographic Systems & Type & Play

22/4/2024- 17/5/2024 / Week 1 - Week 4

Kerly Ooi / 0358726

Advanced Typography / Bachelor of Design (Honours) in Creative Media / Taylor's University

Task 01 /  Typographic systems & Type & Play 

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LECTURES

Lecture 01 : AdTypo_1_Typographic Systems

Elam (2007) states that there are eight main versions with an endless number of permutations for the statement "All design is based on structural system."

Below are the eight main variations:

• Axial
• Radial
• Dilatational
• Random
• Grid
• Modular
• Transitional
• Bilateral

Typographic organisation is complicated since each component depends on the others for operation. Other factors including contrast, hierarchy, reading order, and readability are also taken into consideration. 

Typographic systems are similar to "shape grammars," as used by architects. The typographic systems are comparable in that they each have a distinct set of rules and a purpose that serves to concentrate and guide decision-making. Elam (2007)

• Axial Systems - all elements are organised to the left or right of a single axis.

Fig 1.1 Examples of Axial System , Week 1

• Radial System - all elements are extended from a point of focus.

Fig 1.2 Examples of Radial System , Week 1

• Dilatational System - all elements expand from a central point in a circular fashion.

Fig 1.3 Examples of Dilatational System , Week 1

• Random System -elements appear to have no specific pattern or relationship.

Fig 1.4 Examples of Random System , Week 1

• Grid System - a system of vertical and horizontal divisions.

Fig 1.5 Examples of Grid System , Week 1

• Transitional System - an informal system of layered banding. (banding means segregating information within certain bands)

Fig 1.6 Examples of Transitional System , Week 1

• Modular System - a series of non-objective elements that are constructed in as a standardised units.

Fig 1.7 Examples of Modular System , Week 1

• Bilateral System - all text is arranged symmetrically on a single axis.

Fig 1.8 Examples of Bilateral System , Week 1

Lecture 02 : AdTypo_2_Typographic Composition

Composition : A space where individual elements must come together to form a unified design that combines text, graphics, colour, and pictures.

Typographic composition - the letter, which is the arrangement of textual information in a given space.

Principles of Design Composition

Perspective, alignment, symmetry/asymmetry, emphasis, repetition, and isolation. While there are numerous design composition principles, using concepts like perspective and repetition in typography may be difficult, but not impossible.

Fig 1.9 Emphasis Example , Week 2

The Rule of Thirds

Rule of Thirds is a photographic guide to composition, it basically suggest that a frame (space) can be divided into 3 columns and 3 rows. The intersecting lines are used as guide to place the points of interest, within the given space.

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

Fig 1.10 Rule of Thirds Example , Week 2

Typographic Systems

From the 8 systems the most pragmatic and the most used system is the Grid System (or Raster System), which is derived from the grided compositional structure or Letter Press printing.

Despite the Grid systems' seeming age or rigidity, there are countless ways to customise them thanks to their adaptability and somewhat modular design. That's the reason it's still in demand. 

Fig 1.11 Grid system , Week 2

Fig 1.12 , Week 2

Other models / Systems

From the 8 systems the most pragmatic and the most used system is the Grid System (or Raster System), which is derived from the grided compositional structure or Letter Press printing.

Environment Grid 

The basis of his approach is the investigation of an existing structure or a combination of many structures. An extraction of important straight and curved lines is created. The designer then arranges his data in relation to this super-structure, which consists of non-objective components, to produce a distinctive and captivating mixture of visual stimuli and texture.

Fig 1.13 , Week 2

Form & Movement

This system is based on the exploration of an existing Grid systems.

Fig  1.14 , Week 2

Fig 1.15 , Week 2

Fig 1.16 , Week 2

Fig 1.17 , Week 2

Lecture 03 : AdTypo_3_Context & Creativity

Handwriting

The first mechanically produced letterforms were designed to directly imitate handwriting and it has become the basis/standard for from, spacing and conventional mechanical type would try and mimic. The shape and line of hand drawn letterforms are influenced by the tool and materials used to make them such as sharpened bones, charcoal sticks, plant stems, brushes, feather and steel pens.

Fig 1.18 Evolution of the Latin Alphabet , Week 3

Cuneiform (c. 3000 B.C.E)

> Earliest system of actual writing.

> Its distinctive wedge form was the result of pressing the blunt end of reed stylus into wet clay tablets. 

> Was written left to right. 

Fig 1.19 Cuneiform , Week 3

Hieroglyphics (2613-2160 B.C.E)

> Egyptian writing system is fused with the art of relief carving. 

> The system was a mixture of both rebus and phonetic characters -- the first link to a future alphabetic system. 

> It can be used in three different ways:

1. As ideograms, to represent things they depict.

2. As determinatives to show the signs preceding are meant as phonograms and to indicate the general idea of the word. 

3. As phonograms to represent sounds that "spell out" individual words. 

Fig 1.20 Ancient Egypt Hieroglyphics Chart , Week 3

Early Greek (5th C. B.C.E)

> Built on Egyptian logo-consonantal System.

> Phoenicians developed a phonetic alphabet consisting of 22 letters. 

>Greek was frequently read in a format known as boustrophedon / "as the ox plows". One row would read left to right, followed by a right to left transition. These Greek letters were created freehand without the use of compasses or rules, and they had no serifs. Over time, letter strokes became heavier, the aperture reduced, and serifs developed.

Fig 1.21 Early Greek Letters , Week 3

Roman Uncials

> By the 4th century, Roman letters had become more rounded; the curved form required lesser strokes and could be written faster. 

Fig 1.22 Roman Uncials , Week 3

English half Uncials (8th C.)

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

Fig 1.23 English Half Uncials , Week 3

Emperor Charlemagne (8 C. CE)

> Following the fall of the Roman Empire, widespread illiteracy and the lack of a centralised culture resulted in a variety of regional writing styles. 

> Writing knowledge persisted mostly in isolated religious outposts for almost 300 years, until Emperor Charlemagne enforced reforms.

Fig 1.24 Emperor Charlemagne , Week 3

Carolingian Minuscule 

> During Charlemagne's govern, book output increased and language became standardised. That covers spelling and writing regulations. Capital letters at the beginning of phrases, space between words, and punctuation. 

> It was utilised in all legal and literary works to standardise communication. This form provided the model for Humanistic Writing in the fourteenth century, which in turn served as the foundation for current lower-case roman type.

Fig 1.25 Examples of Carolingian Minuscule , Week 3

Black Letter (12-15 C. CE)

> Gothic aesthetic.

> Characterised by narrow spacing and condensed typography. Evenly spaced verticals dominated the letterform. Condensing line and letter spacing helped to minimise the amount of costly materials used in book production.

Fig 1.26 Black Letter , Week 3

The Italian Renaissance 

> As the Gothic spirit peaked in other parts of Western Europe, Humanist intellectuals in Italy were gradually bringing back the ancient civilisation. The Humanists admired the Carolingian alphabet, which had clear open handwriting, thus they termed the newly found letterforms Antica. The renaissance examination of form applied to art and architecture focused on letterform, resulting in a more perfect and rationalised letter.

Fig 1.27 Examples of Carolingian Script , Week 3

Movable Type (11 C. - 14 C.)

> Movable type printing originated in China, but it was developed in Korea in the late 14th century. While China attempted moveable type previously, it encountered difficulties due to the large quantity of characters. 

>Korea's adoption of Han gul script and metal moveable type enabled effective printing. 

>This innovation began before Gutenberg's printing of the Bible in Europe by several decades.

Fig 1.28 & 1.29 Korean's Movable Type (Left) & China's Movable Type (Right) , Week 3

Eastern Developments in Handwriting

Evolution of Middle Eastern Alphabets

> The Phoenician letter represents sounds with letters, indicating an enormous change in written language. Its evolution might have been inspired by Egyptian scripts.

Fig 1.30 Evolution of middle Eastern Alphabets , Week 3

Evolution of Chinese Script

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

Fig 1.31 Evolution of Chinese Script , Week 3

The Ancient Script of Indus Valley Civilisation (IVC)

> Oldest writing found in the 'Indian' subcontinent the IVC script (3500 - 2000 BCE).

Fig 1.32 Ancient Script of IVC (left, middle) , Examples of Indus Script Seals (right) , Week 3

The Brahmi Script (450 - 35 BCE)

> Earliest writing system developed after the Indus Script, one of the most influential writing systems.

> Several scripts found in Southeast and East Asia are derived from Brahmi.

Fig 1.33 The Brahmi Script , Week 3

Southeast Asia Developments in Handwriting

> Kawi, Indonesia's most important historical script, is based on Nagari but local to Java. The word is derived from the Sanskrit phrase kavya, which means poet. Interestingly, the Kawi script was utilised to communicate with other kingdoms. Because it was so popular, Kawi formed the foundation for other scripts in Indonesia and the Philippines. This suggests that early Malay kingdoms used both Indian scripts and Kawi to write the old Malay language.

Fig 1.34 Laguna Copperplate Inscription , Week 3

Incung

> Incung comes from Kerinci, while "tulisan asal" refers to the original writing system, which is not Jawi.

Fig 1.35 Incung , Week 3

Jawi

> Arabic-based alphabet.

> When traders engaged in missionary activity, they taught Jawi to individuals who would not otherwise have learned to read and write. This allowed it to spread among the top and middle classes at the commerce ports. 

> However, Jawi took some time to entirely replace other scripts, and in some cases, it never did. In modern Malaysia, Jawi is more important since it is the script utilised in all of our notable works of literature. 

> All Hikayat and Malay charm books are written in Jawi.

Fig 1.36 Jawi , Week 3

Programmers and Type Design

> Software gigantic companies like Google are developing more vernacular scripts while hiring a large number of Asian engineers and designers.

> This tendency is leading to the development of "multi-script" fonts, a term established by Muthu Nedumaran, to address circumstances in which written material is delivered in vernacular or both vernacular and Latin scripts.

Fig 1.37 Vernacular Script , Week 3

Lecture 04 : AdTypo_4_Designing Type

Xavier Dupre (2007) suggested two reasons on why typefaces are being designed

> type design carries a social responsibility so its legibility must be constantly improved.

> artistry is being expressed through type design.

Adrian Frutiger 

> Adrian Frutiger, a well-known Swiss designer from the twentieth century, produced this sans serif typeface. He also developed the Univers typeface. 

> The purpose of designing frutiger was to create a clean, unique, and readable font that is easy to see both close up and at a distance, making it incredibly practical. 

> When designing letterforms, keep in mind that they must be legible in low-light conditions and while moving unevenly. 

Fig 1.38 Univers (left) , Frutiger (right) , Week 4

Frutiger Arabic has been modified for airport signs, boosting its use beyond its Latin origins.

Fig 1.39 Frutiger Arabic signage in airport , Week 4

Matthew Carter 

Verdana: 

It is created by Matthew Carter and commissioned by Microsoft. The typeface was designed to be exceptionally legible, even at very small sizes. It is intended to be read on electronic devices and is thus designed as a screen typeface. 

Fig 1.40 Verdana typeface , Week 4

Edward Johnston

Johnston Sans: 

> In 1916, he invented the widely used London Underground font, which became known as Johnston Sans.

> The typeface strives for "bold simplicity" by combining traditional Roman proportions with humanist warmth.

Fig 1.41 Johnston Sans used in underground railway (left) &

 1.42 Examples of his typeface (right) , Week 4

Process of Type Design :

1. Research 

> Understand type history, anatomy, and norms. Take attention of words like side-bearings, metrics, hints, etc.

> Determine the typeface's intended use, for as for school buses or airport signs.

> Examine existing typefaces that are utilised for inspiration, ideas, reference, content, usage patterns, and so on. 

Fig 1.43 In traps , Week 4

2. Sketching

> Using conventional tools like as brushes, pens, ink, and paper, which are then digitised. 

 Used by designers who feel more comfortable using their hands.

> Using digital tools, such as a drawing tablet.

For faster, more consistent results. 

Could restrict the natural mobility of hand strokes.

Fig 1.44 Sketching , Week 4

3. Digitisation

> Professional software such as FontLab & Glyphs are used to digitise typefaces. 

> Adobe Illustrator was also utilised to design/craft the letterform before introducing it to the font programmes, however purists objected. The entire shape, as well as its equivalent, should be considered. The readability of the font is highly reliant on it.

Fig 1.45 Glyphs & FontLab Apps , Week 4

4. Testing 

> Testing is essential to the design thinking process since it provides critical input for developing and correcting components of the font. This phase relies heavily on prototyping to provide significant insights.

> The readability and legibility of a typeface are critical concerns, particularly for text kinds. However, for display types in which form expression takes primacy, readability and legibility are less important.

Fig 1.46 Prototype Stencil (Stenz) , Week 4

5. Deploy

> Even after releasing a finalised font, teething difficulties arise that were not apparent during the prototype and testing phases. Thus, the work of revision does not cease with deployment. The thoroughness of the testing is critical in ensuring that the teething problem remains minimal.

Fig 1.47 Prototype Number plate typeface , Week 4

Typeface Construction :

> Using grids (with circular shapes) can aid in the development of letterforms and is one approach for building/creating/designing them. 

 

Fig 1.48 Construction grid for the Roman Capital using 8x8 cells , Week 4

Constructions & Considerations :

> When developing a new type, a variety of shapes and structures must be considered. An significant optical corrective if curving (and projecting) shapes extend beyond the baseline and cap line. This also applies to the vertical alignment of curved and straight structures.

> A visual adjustment is also required for the spacing between characters. The letters must be changed to a uniform 'visual' white space, which implies that white space should look the same between letters. This is known as 'fitting' the type.  

Fig 1.49 Classification according to form and construction , Week 4

Fig 1.50 Visual Correction , Week 4

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INSTRUCTIONS

 

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TASKS

Exercise 1 - Typographic Systems 

As presented in Lecture 1, the first task required us to study and analyse eight different typographic systems. Axial, radial, dilatational, random, grid, modular, transitional, and bilateral systems are among them. We would explore this by working with the same information but following to different systems to create an artwork.

Below shows the information to be used in the artwork :

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

Additionally, we were free to select the topic we wanted to study. I chose to focus on All Ripped Up: Punk Influences on Design. To make the artwork stand out more, we may put a colour of our choice on top of the black and white background. I chose red because I believe it creates a striking contrast with black and white.

Layout exploration 

Initially, I made the decision to test and experiment with layouts directly in InDesign since I can make quick changes to see whether I like the way it looks. I started trying several layouts after seeing Mr. Vinod's InDesign video. I explored with a variety of typefaces to see whether they matched the composition and design language overall. 

Fig  2.0 , Week 1

Axial System 

Fig 2.1 , Week 1

Font used 

Left & Right :  ITC New Baskerville std (Bold, Roman)

Radial System 

Fig 2.2 , Week 1

Font used 

Left : Futura std ( Extra Bold Condense, Heavy), Futura (Bold), Gill Sans (Regular),  ITC New Baskerville std (Roman)

Dilatational System 

Fig 2.3 , Week 1

Font used 

Left : Univers LT Std (65 Bold), Gill Sans (Regular)

Random System 

     

Fig 2.4 & 2.5 , Week 1

Font used 

Top-left  : Univers LT Std (55 Roman, 65 Bold), Gill Sans (Regular), Futura (Medium, Bold)

Top-right : ITC New Baskerville std (Bold), Futura (Bold), Gill Sans (Regular, Semi-Bold)

Bottom: Futura (Bold, Medium), Univers LT Std (75 Black, Roman), ITC New Baskerville std (Bold)

Grid System 

Fig 2.6 , Week 1

Font used 

Left : Univers LT Std  (65 Bold), Adobe Caslon Pro (Regular & Bold)

Right: Univers LT Std  (65 Bold), Adobe Caslon Pro (Regular & Bold), Futura (Medium)

Modular System 

Fig 2.7 , Week 1

Fig 2.8 , Week 1

Font used 

Top : Gill Sans (Regular, Semi-Bold), Univers LT Std  (65 Bold)

Bottom: Futura Std (Bold), Gill Sans (Regular, Bold)

Transitional System 

Fig 2.9 , Week 1

Font used 

Left : Gill Sans (Regular), Univers LT Std  (65 Bold, 55 Roman), Futura (Bold)

Right: Univers LT Std (65 Bold), Gill Sans (Regular), Futura (Medium)

Bilateral System 

Fig 2.10 , Week 1

Font used 

Left : Univers LT Std  (65 Bold), Gill Sans (Regular, Semi-Bold) 

Middle & Right : Gill Sans (Regular), Univers Lt Std (65 Bold), Futura (Medium, Bold)

Final Outcome | Exercise 1  : Typographic Systems

Fig 2.11 Final Axial system (JPEG) , Week 2

Fig 2.12 Final Radial system (JPEG) , Week 2

Fig 2.13 Final Dilatational system (JPEG) , Week 2

Fig 2.14 Final Random system (JPEG) , Week 2

Fig 2.15 Final Grid system (JPEG) , Week 2

Fig 2.16 Final Modular system (JPEG) , Week 2

Fig 2.17 Final Transitional system (JPEG) , Week 2

Fig 2.18 Final Bilateral system (JPEG) , Week 2

 

Fig 2.19 Final Typographic system (PDF) , Week 2

 

Fig 2.20 Final Typographic system with grids (PDF) , Week 2

Exercise 2 - Type & Play

For the following task, we have to choose an image from a man-made, natural, or structural context that does not contain a large number of elements. We need to analyse, identify, and breakdown potential letterforms in the image. 

We were required to design a typeface based on natural or man-made things. The purpose of this exercise is to create a typeface that represents certain aspects of the object that make it stand out. Then we need to use the type we produced to construct a movie poster. The picture chosen for the poster must be related to the specific element we first chose, and there should be a symbiotic relationship between the letters and the image.

Part 1 : Finding Type 

Attempt # 1

For my first try, I have chosen a leaf texture picture.

Fig 2.21  Leaf's texture image , Week 3

I have extracted six letterforms from the image : L, E, A, F, K and Y.

Fig 2.22  Tracing potential letterforms , Week 3

Fig 2.23 Progress , Week 3

But, after the feedback session given by Mr Vinod, which was to focus on larger section of the leaf rather than just the veins of the leaf. I decided to find another image and took the second attempt as I found it difficult to proceed with this image. 

Attempt # 2

Finding an image :

For my second attempt, I have chosen a water surface image.

Fig 2.24  Water Surface/ Ripples Image , Week 3

Identifying & Extracting Letterforms :

I have extracted five letterforms from the image : G, T, R, M, and O. 

Fig 2.25  Tracing potential letterforms , Week 3

Identifying a Reference :

I picked ITC Garamond Std, Book Condensed as my reference font since I noticed some similarities between itself and my extracted letterforms.

Fig 2.26  Letterforms Reference, Week 3

Refining Letterforms :

Fig 2.27 All Letterform Refining phases , Week 3

Fig 2.28  Entire process , Week 3

  Final Outcome 

Fig 2.29  Final Refinement , Week 3

Part 2 : Type & Play (Movie Poster)

Research :

Before creating the movie poster, I reviewed the existing movie posters for inspiration. Most include a billing block, production logos, and a catchy tagline to attract viewers.

Fig 2.30 Visual References , Week 3

Below is my chosen image for my movie poster. 

Fig 2.31 Image for poster , Week 3

Progress :

Here is my approach of selecting colours for the title:

Fig 2.32 Colour choosing process , Week 3

Trying different layouts for the poster. 

                    

Final Outcome :

Fig  Final Poster (JPEG) , Week 4

 

Fig  Final Poster (PDF) , Week 4

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FEEDBACK

Week 1

Exercises : 

General feedback : Briefing for MIB and assigned task 1.

Week 2

Exercises : 

General feedback : Make sure that to avoid aggressive line angles for information. Limit strong graphical elements. Maintain readability even in randomness. Avoid serifs as outlines due to varying stroke thickness. Numbers don’t need to be larger than words. Outlines around text can hinder readability. Red on black is not effective.

Week 3

Exercises : 

General feedback : Consider if the typeface you have chosen is appropriate for the image. Especially when designing width and weight, consistency is key. When extracting a picture, carefully select the areas of the image to use in large parts (if applicable).

Week 4

Exercises : 

General feedback : Make sure the title and the image are the focal points of the poster, and that everything is readable and not overly crowded.

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REFLECTIONS

Experience

In exercise 1, I enjoyed creating a layout based on the 8 method. However, random and dilatational systems are the most challenging for me.

Observation

During exercise 1, I realised how important space and colour selection are for the final composition. Ensuring proper space between elements and selecting pleasant colour combinations were critical to developing an appealing layout. In exercise 2, however, I found the risks of leaning too much on the chosen reference typeface. I tried to find a balance and improve the design without relying too much on any one feature. This approach demonstrated the significance of composition and colour selection in poster making. I noted that a poster should not seem overly cluttered, and the general colour scheme, especially for company logos, should be consistent and obvious.

Findings

In Exercise 1, I learnt the value of integrating composition and creativity to create interesting and expressive layouts. This exercise showed me that it is always good to explore any idea, no matter how rough it appears, because even the most basic principles can lead to something extraordinary. However, during Exercise 2, I struggled to creatively include my piece with a typeface. Only after deeply looking at the original element's references had I realise how much this research may widen my artistic boundaries.

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FURTHER READING

The book I decided to read this week is Typographic Systems. 

This book has a remarkable ability to take us to other worlds, and "Typographic System" is a must-read for anybody interested in design. After finishing this captivating book, I not only gained a deeper understanding of typographic systems, but I also enjoyed immersing myself in a visual feast of typographic examples.

This book has taught me a lot about typographic systems, and it will be very useful for my exercise 1. When I run out of ideas for the system, I return to this book for inspiration.