ADVANCED TYPOGRAPHY/ TASK 1: EXERCISES - TYPOGRAPHIC SYSTEMS & FINDING TYPE

March 27, 2022

ADVANCED TYPOGRAPHY/ TASK 1: EXERCISES - TYPOGRAPHIC SYSTEMS & FINDING TYPE

28.03.2022 (Week 1-Week 3)
Luisa Audrey / 0348741 / Bachelor of Design in Creative Media
Advanced Typography
Task 1/ Exercises- Typographic Systems & Finding Type

LECTURES

Week 1:

Advanced Typography: Typographic Systems

"All design is based on a structural system" and according to Elam, 2007, there are eight major variations with an infinite number of permutations. These eight major variations are as follows:

Axial
Radial
Dilational
Random
Grid
Modular
Transitional
Bilateral

Typographical organization is complex because the elements are dependent on communication in order to function. Additional criteria such as hierarchy, order of reading, legibility, and contrast also come into play.

The typographic systems are akin to what architects term shape grammars. The typographic systems are similar that the systems has a set of rules that is unique and provides a sense of purpose that focuses and directs the decision making."

Axial system: All elements are organized to the left or right of a single axis.

Fig 1.1 Axial example 1

Fig 1.2 Axial example 2

Fig 1.3 Axial Example (Julius Teoh Hoong Boon)

Radial system: All elements are extended from a point of focus.

Fig 1.4 Radial Example

Fig 1.5 Radial Example (Tamara Audrey)

Dilatational system: All elements expand from a central point in a circular fashion.

Fig 1.6, Dilatational Example

Fig 1.7 Dilatational Example (Julius Teoh Hoong Boon)

Random system: Elements appear to have no specific pattern or relationship.

Fig 1.8 Random Example

Fig 1.9 Random Example (Tamara Audrey)

Grid system: A system of vertical and horizontal divisions

Fig 1.10 Grid Example

Fig 1.11 Grid Example (Tamara Audrey)

Transitional system: An informal system of layered banding.

Fig 1.12 Transitional Example

Fig 1.13 Transitional Example (Julius Teoh Hoong Boon)

Modular system: A series of non-objective elements that are constructed in as a standardized units.

Fig 1.14 Modular Example

Fig 1.15 Modular Example (Tamara Audrey)

Bilateral system: All text is arranged symmetrically on a single axis.

Fig 1.16 Bilateral Example

Fig 1.17 Bilateral Example (Tamara Audrey)

Student designers may initially find the system awkward but as work develops and understanding of the systems emerges whereby its creative potential (in terms of its permutations or combines uses) is realized.

Week 2:

Typographic Composition

Principles of Design Composition

When we think about composition, we think about the dominant principles 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 color) on a page or screen can sometimes feel disparate. That said, Some of these principles are a little more easily translatable than the others.

1.18 Design composition

The Rule of Thirds

The 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 are used as guide to place the points of interest, within the given space.

1.19 Rule of third

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

1.20 Rule of third

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 Systeme), which is derived from the grided 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.

1.21 typographic system

In reaction to this very ordered approach to Typography of the modernist era, a group of younger designers began to question and challenge this notion of order. Thus was born the post-modernist era in Typographical systems where chaos, randomness and asymmetry were explored. Legibility and readability were relegated to the back seat however the bests examples seem to combine the two seamlessly. Its proponents include: David Carson, Paula Scher, Jonathan Barnbrook, to name a few.

There was a method to their madness. 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

1.22 Typographic system

Other models / Systems

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.

It is an interesting manner of exploration and provides context to the forms developed in the designs context why? Due to the fact that the system/structures were developed around key features of an environment associated to the communicators of the message.

1.23 Environmental grid

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

1.24 Form and Movement

1.25 Form and Movement

Week 3:

Advanced Typography: Context & Creativity

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.

Additional factors included the material upon which the forms were written: clay, papyrus, palm leaf, animal skins (vellum and parchment) and paper.

1.26 Evolution of alphabet

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

1. As ideograms, to represent the things they actually depict.

2. As determinatives to show that 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.

1.27 Hieroglyphics 2613-2160 B.C.E

Built on the Egyptian logoconsonantal system, the Phoenicians developed a phonetic alphabet consisting of 22 letters

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

1.29 Roman Unicials

1.30 English half unicials, 8th C.

INSTRUCTIONS

for this task, we were assigned to create 8 designs for each typography system including Axial, Radial, Dilatational, Random, Grid, Transitional, Modular, and Bilateral. The first thing that I did was looking for references through Pinterest.

Some systems are easy to understand while the others are not. I was really confused at first about modular and Transitional. I tried looking for ideas in internet but there are barely any examples to look through. So I ended up scrolling our seniors' blog :)

Anyway, here are my references:

Fig 2.1 References, 3.4.2022

After looking for some interesting references I tried to make some sketches. I made several for Axial and Radial but that's all ;-;

I figured that it's gonna take a bit long and I can't guarantee on how good will it look like when I put it in Indesign. So I made the rest directly in Indesign.

Here are the sketches:

Fig 2.2 Sketches, 3.4.2022

Yeah but in the end I didn't use them anyways :"D

So here are my axial attempts:

Fig 2.3 Axial attempt Indesign 1, 3.4.2022

Fig 2.4 Axial attempt Indesign 2, 3.4.2022

Fig 2.5 Axial attempts, 3.4.2022

For these axials, the fonts vary around Gill Sans variation. I was actually annoyed because I can only use 1 color, but then I figured out gradient. I used a lot of gradient in all of my designs to make them look interesting.

Feedback: Mr. Vinod likes the third one better because it doesn't have too much graphic.

Here are the radial attempts:

Fig 2.6 Radial attempts, 3.4.2022

For this radials, I also used Gill Sans character. The reason why I really like to use this font is because I think it suits Bauhaus a lot aside from Futura. For these designs, I tried to make it look as fun as possible to catch people's eye.

Feedback: For this one, it seems like Mr. Vinod likes the second one better.

Fig 2.7 Dilatational attempts, 3.4.2022

For the dilatational, I really wanted to make something different because I don't really like how the dilatational designs come out. So I found this poster in Pinterest that shows the words revolving and I thought it was really cool. I tried to make it in Illustrator and then moved it to Indesign. But I didn't really think of how I should put the body texts and ended up not looking as good as I was expecting.

The second attempt however came out nicely. I figured that it might look too similar to my reference, so I decided to make the white version. Although still I can't deny that the black one still looks better.

Feedback: For this one Mr. Vinod chose the third one because it has less graphic.

Here is my random attempt:

Fig 2.8 Random attempt, 3.4.2022

For this random, I used a lot of different typefaces. At first I was really confused on how to create the random because I mostly don't like the results. I tried my best to make it look good and this is the best that I could do.

Mr. Vinod said that he likes it.

Grid attempt:

Fig 2.9 Grid attempt, 3.4.2022

For the grid, I used different kinds of Futura. I largen the title to make it look interesting.

Feedback: Mr. Vinod said that it is technically correct however show down with the graphic xD.

so I changed it into this:

Fig 2.15 Grid final, 10.4.2022

Modular attempts:

Fig 2.10 Modular attempts, 3.4.2022

I was very confused on how to make the modular at first. I saw several examples from the senior and some of them are a bit confusing. I then decided to use 4x4 squares to make these designs.

Feedback: Mr. Vinod said that he doesn't really like the first one because the composition is not that good. However he likes the second one with a lighter graphic, so I changed it into something like this

Fig 2.14 Modular final, 10.4.2022

Transitional attempt:

Fig 2.11 Transitional attempt, 3.4.2022

Honestly, this is gonna be the hardest system. I found out from the seniors' works that there must be waves in their work, so I just followed. I decided to add lines and gradient background to make it look more interesting.

feedback: Mr. Vinod said that it needs more transition especially at the bottom part. So I changed it into like this:

Fig 2.13 Transitional final, 10.4.2022

Bilateral attempt:

Fig 2.12 Bilateral attempt, 3.4.2022

For the bilateral, I tried to make it simple but neat. It's probably not as fancy as the others, but I still like the simplistic.

FINAL SUBMISSION:

2.16 Axial Final Submission, 10.4.2022

2.17 Radial Final Submission, 10.4.2022

2.18 Dilatational Final Submission, 10.4.2022

2.19 Random Final Submission, 10.4.2022

2.20 Grid Final Submission, 10.4.2022

2.21 Modular Final Submission, 10.4.2022

2.22 Transitional Final Submission, 10.4.2022

2.23 Bilateral Final Submission, 10.4.2022

FINAL SUBMISSION GRID:

FINAL SUBMISSION NO GRID:

TYPE & PLAY 1:

Fig 2.24 Cacti :)), 10.4.2022

For this exercise, I chose to use this particular cactus just because I think it is so pretty. It looks like a flower and I feel like I might be able to make beautiful font with it.

Fig 2.25 Flower cactus, 10.4.2022

Fig 2.26 Traced E, N, V, I, U, Y, 10.4.2022

At first I planned to write "Envy" just because it reminded me of the word envy for some reason. But then I got reminded of this one particular song that I really like called "INVU". It is read as I envy you, which I think is a very clever way to put it. The word "INVU" itself sounds prettier than the original "I envy you".

Fig 2.27 extracted characters, 10.4.2022

After I showed Mr. Vinod my work, he told me that it is better if I take the entire shape of the plant to make it more interesting. Therefore, I decided to remake the alphabet from the same picture.

Fig 2.28, attempt 2, 17.4.2022

Fig 2.29, extracted characters, 17.4.2022

After I found the letters, I decided to move them to Illustrator to give them a better look.

Fig 2.30, Traced letters (attempt 1), 17.4.2022

After tracing them in Illustrator, I tried to look for the font that I wanted to use as reference. After few looks, I decided that I wanna go with ITC New Baskerville Std Roman.

Fig 2.31, comparison, 17.4.2022

After this, I tried to refine them as much as possible until they look presentable.

Fig 2.32, Second attempt, 17.4.2022

Fig 2.33, Third attempt, 17.4.2022

Until third attempt, I still thought that it was messy. For the next attempt, I decided to make guidelines for each letter based on the Baskerville font so I can resemble them better.

Fig 2.34, guidelines, 17.4.2022

Fig 2.35, Fourth attempt, 17.4.2022

For this attempt, it feels like I'm starting to get there. I still thought that it needs more refinement. I tried to straighten up the letters, and changed mostly the letter T and W.

Fig 2.36, Fifth attempt, 17.4.2022

After looking at it several times, I feel like the typeface is a little bit too thin. I decided to add more volume and this is what I got:

Fig 2.37, Final attempt, 17.4.2022

Personally, I really like how the end typeface looks. Just like what I said in the beginning of the assignment, I wanted to write the letters "INVU" and here it is. I took the background from the music video itself to make a better impression.

Fig 2.38, Final look, 17.4.2022

Fig 2.39, Final look 1, 17.4.2022

Fig 2.40, Final look all letters, 17.4.2022

Fig 2.41, Refinement progress, 17.4.2022

After receiving feedback from Mr. Vinod, he said that I need to do a little bit more refinement to make them look more similar to the original typeface.

So here I made a huge refinement. To be honest, I don't know if my refinement is good enough or not, because in my opinion it was simplified too much. However, it does resemble the original typeface more and it looks a lot neater. It still has the picture's feature such as sharp edges, a bit rounded looking just like the cactus leaves.

Here is my final result:

Fig 2.42, Final Typeface, 1.5.2022

Fig 2.43, Final Typeface 2, 1.5.2022

And here is the INVU version

Fig 2.44, INVU version, 1.5.2022

FINAL SUBMISSION:

Fig 2.45 Final Typeface, 1.5.2022

Fig 2.46 Final comparison, 1.5.2022

Fig 2.47 Final Typeface INVU version, 1.5.2022

FINAL PDF:

TYPE & PLAY 2:

For this exercise, the first thing that I did was looking for references. I chose to scroll through Pinterest and find suitable images. At first I really wanna try to make a cute and bubbly concept. I also wanted to use red velvet's image teaser just because I think they are all so fun. I then found this picture of Seulgi from one of their album.

Fig 2.48 Concept ideas, 1.5.2022

I figured that I wanted to use a balloon typeface for the images above. In the end, I decided to choose the black background image:

Fig 2.49 chosen image 1, 1.5.2022

Looking from the picture, it reminds me of a word festival and carnival. However I chose the word festival.

Replicating a balloon is very NOT EASY. I had to watch tutorial several times to be able to get the effect. Here is the result:

Fig 2.50 "festival" attempt 1, 1.5.2022

I also added a few dots as element support.

At first I used the color purple. Mr. Vinod said that this works, however I better change the color that has existed in the original image. I then changed again and decided to play with the hue and saturation to change the color.

Fig 2.51 progression, 1.5.2022

Fig 2.52 "festival" attempt 1 final, 1.5.2022

Font used: ITC Garamond std

I was not satisfied with just this, plus I think Mr. Vinod didn't really like mine so I tried to make a new one. I wanted to change the concept now because I realized making a cute concept is most likely going to be more difficult. Since I'm gonna have to use so many effects ;-;

So I chose this image:

Fig 2.53 chosen image 2, 1.5.2022

I wanted to put letter in the wall and her face. I had this idea where I would write "I can make it" in the wall and "I can't" in her face. I picture the letters in the wall as something people keep saying to her, but the ones in the face are something she really feels.

I tried to edit the shadow mostly using gaussian blur. Here is the end result:

Fig 2.54 "I can make it" attempt 2, 1.5.2022

Font used: Gill Sans std

But then again, I was not satisfied with this either ;-;

I tried to make another one that is more bubbly again, just because I found this one nice picture that I personally think would be nice if I pair it with a bubbly text.

Here is the image:

Fig 2.55 chosen image 3, 1.5.2022

It looks very pinky and pastel, I love it so much. I finally scrolled again through tutorial to be able to create a bubbly effect. I decided that I want to go with "Summer Magic" just because it looks like summer but prettier.

Here is the end result:

Fig 2.56 "summer magic" attempt 3, 1.5.2022

Font used: ITC Garamond std

I would say that I am pretty much satisfied with this compared with the last 2 creations that I made. It looks so cute and magical just like the original concept I was aiming for.

After going through dilemma and asking so many of my friends, I finally decided my final submission.

FINAL SUBMISSION:

Fig 2.57 Final submission Type & Image, 1.5.2022

FINAL PDF:

FEEDBACK

Week 2:

Specific Feedback:

The first axial is okay however the graphic is a bit too strong so it takes away the typographic information. Dilatational also works but it is overly dependent on the graphics. The transitional works however it can be a lot softer with the transitions at the bottom text. The grid also works but still Mr. Vinod said to take it easy with the graphic as well xD. However, Mr. Vinod liked most of my optional works except for modular.

General Feedback:

We need to focus more on the typography and not the colors. It is better to use black and white first when we're first making the design so that we know whether it creates a good typography or not. Make sure that we create the design balanced as well to make a good composition.

Week 3:

Specific Feedback:

Mr. Vinod told me to use the shape of the picture to make the typeface look more interesting instead of just using the outline of the image.

General Feedback:

Mr. Vinod told us to focus and make sure that we know how to trace the alphabet from the image that we take. Mr. Vinod also told us to not lose the characteristic of the image when we are making the typeface.

Week 4:

Specific Feedback:

Mr. Vinod told me that I was already on the right track but my typeface need a bit more refinement so I can make them look more similar to the original typeface that I am using as a reference.

General Feedback:

Mr. Vinod told us to not lose the character of the original image. Make sure that there is no feature that doesn't appear in the image.

Week 5:

Specific Feedback:

Mr. Vinod said that my image works with the typeface, however I need to change the color to the existing color in the image.

General Feedback:

I need to make sure about what is it that I am going to replicate. If I wanna create a shadowy text, I need to make sure that I can create the shadow well.

REFLECTION

Experience: Personally I think the first exercise is quite challenging. Especially for me, I tend to make things graphical and more fancy to make it interesting, however that's not always the right case in Typography. However I still like this exercise because it is quite experimental and I got to be creative with the layout. Secondly, doing the type & play was surely a fun experience. Making a typeface based on a picture sounds pretty hard, however I really enjoyed the progress. I made 7 letters in total even though Mr. Vinod only asked for 4. For the second type and play, it was not my favorite. The task reminds me a lot of digital photography in the first semester, which is not a very favorable module for me. Plus replicating effects is really difficult.

Observation: When doing this first exercise I can see that it is hard sometimes to create a good composition. I realized that we need to create a balanced design whether it is a symmetrical or asymmetrical. We also need to pay attention with the font that we use as well as the placement of it. Aside from that, the most important thing is not to depend too much on the graphic. When I did the first type and play, I realized that it is pretty tricky to be able to get to the best refinement. I ended up having so many progression because I had to refine it multiple times but at the same time trying not to lose the feature from the image. For the second type and play, it took me so long just to create one design just because making the type effect is the hardest. I had to scroll through tutorial multiple times.

Finding: When I did this task, I found that creating and expressing information through some of these typography systems are not easy. For example transitional, personally I find this system the hardest. It is very hard to create a properly transitioning information yet still has a nice design and composition. For the type & play, I found that maintaining the original feature pretty hard. As I was making my final refinement, I realized I almost lost all of the feature. For the type and image, I found that it is really hard to be able to create something that you have had in your mind as a main concept. I realized I had to scroll through pictures and find the easiest image that I can to add the letters.

FURTHER READING

Fig 3.1 Typographic Systems by Kimberly Elam

All design is based on a structural system. These systems or frameworks can be broken down into eight major variations with an infinite variety of compositions within each system. Once essential visual organization systems are understood, the designer can fluidly organize words or images within a structure, combination of structures, or create a variation of a structure. Typographic organization is complex because the elements are dependent on communication in order to function.

Additional criteria such as hierarchy, order of reading, legibility, and

contrast come into play.

Project Elements and Process

An understanding of systems of visual organization gives the designer an in-depth knowledge of the design process. The traditional ties that bind design education and visual process to the rigid horizontal and vertical grid systems of letterpress are no longer the sole means of order and efficiency in production.

This is possible for the designer to use a more fluid means to create typographic messages through the eight systems of typographic.

Axial System

All elements are organized either to the left or right of a single axis