Advanced Typography: Task 1 Exercises

25/9/2024 - 16/10/2024  Week 1 - Week 3

Gao Yuan Yi 0373945

GCD61004 Advanced Typography / Bachelor of Design (Hons) in Creative Media / Taylor's University

Task 1 Exercises - Typographic Systems & Type & Play

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LECTURES

Lecture 1 AdTypo_1_Typographic Systems

Shape Grammar: A set of shape rules that apply in a step-by-step way to generate a set, or language, of designs. 

Axial System: All elements are organised to the left or right of a single axis. 

Fig.1.1.1 Axial System

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

Fig.1. 1. 2 Radial System

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

Fig.1. 1. 3 Dilatational System

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

Fig.1. 1. 4 Random System

Grid System: A system of vertical and horizontal divisions. 

Fig.1. 1. 5 Grid System

Transitional System: An informal system of layered banding. 

Fig.1. 1. 6 Transitional System

Modular System: A series of non-objective elements that are contructed in as a standardised units. 

Fig.1. 1. 7 Modular System

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

Fig.1. 1. 8 Bilateral System

Lecture 2 AdTypo_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.

Fig. 1. 2. 1 Principles of Design Composition

The Rule of Thirds

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 areother more favorable options.

Fig. 1. 2. 2 The Rule of Thirds

Enviralmental Grid

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. Due to the fact that the system/structures were developed around key features of an environment associated to the communicators of the message

Fig. 1. 2. 3 Examples of Enviralmental Grid from the book: Typographic Form and Communication, pp211. 

Form and Movement

Based on the exploration of an existing Grid Systems. This system is for students to get 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.

Fig. 1. 2. 4 Form and Movement

Lecture 3 AdTypo_3_Context&Creativity

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.

Fig. 1. 3. 1 Cuneiform c. 3000 B.C.E.

The earliest system of actual writing, written from left to right and evolved from pictograms.

Fig. 1. 3. 2 Hieroglyphs

Early greek (5th C. B.C.E.): Drawn freehand, not constructed with compasses and rules, and they had no serifs. In time the strokes of these letters grew thicker, the aperture lessened, and serifs appeared.

Fig. 1. 3. 3 Early greek (5th C. B.C.E.)

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

Fig. 1. 3. 4 Roman Uncials

English Half Uncials (8th C.): In England, the uncial evolved into a more slanted and condensed form.

Fig. 1. 3. 5 English Half Uncials (8th C.)

Carolingian Minuscule: Capitals at the start of a sentence, spaces between words and punctuation. It was this style that became the pattern for the Humanistic writing of the fifteenth century; this latter, in turn, was the basis of our lower-case roman type.

Fig. 1. 3. 6 Carolingian Minuscule

Black Letter (12-15 C. CE): Characterised by tight spacing and condensed lettering. Evenly spaced verticals dominated the letterform. Condensing line spacing and letter spacing reduced the amount of costly materials in book production. 

Fig. 1. 3. 7 Black Letter (12-15 C. CE)

The Italian Renaissance: Newly rediscovered letterforms Antica. The renaissance analysis of form that was being applied to art and architecture was directed toward letterform — resulting in a more perfect or rationalised letter.

Fig. 1. 3. 8 The Italian Renaissance

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.

Fig. 1. 3. 9 'Indian' subcontinent the Indus Valley Civilization (IVC) script (3500-2000 BCE)

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.

Fig. 1. 3. 10 Brahmi script (450–350 BCE)

Fig. 1. 3. 11 Southeast Asia scripts, scripts of the communities that assimilated into Peninsula Malay communities.

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INSTRUCTIONS

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Task 1: Exercises 1 - Typographic Systems

In Task 1, we were required to explore 8 systems which are Axial, Radial, Dilatational, Random, Grid, Modular, Transitional and Bilateral in InDesign using the content given in the MIB. We were also instructed to watch the InDesign demonstration videos in the lecture playlist.

- Size 200 x 200 mm

- Colours: Black and additional colour

- Minor graphical elements

Sketches

First, I learnt these Typographic Systems trough the lectures. I also learnt about the content of the article's topic that I chose. After those, I started making sketches by using Procreate.

Fig. 2. 1. 1 sketches

Indesign Progress

Then I tried to create my designs by using Indesign.

Fig. 2. 1. 2 Designs created with Indesign

Random System:

Fonts used
#1: Univers LT Std (93 Extra Black Extended) and Futura Std (Heavy, Medium)

#2: Gill Sans Std (Extra Bold Display, Bold, Regular) 

Fig. 2. 1. 3 Random System #1

Fig. 2. 1. 4 Random System #2

Bilateral System:

Fonts used
#1: Gill Sans Std (Ultra Bold Condensed, Extra Bold, Regular)

#2: Gill Sans Std (Ultra Bold Condensed, Bold, Regular) 

Fig. 2. 1. 5 Bilateral System #1

Fig. 2. 1. 6 Bilateral System #2

Dilatational System:

Fonts used
#1: Gill Sans Std (Extra Bold) and Futura Std (Heavy, Medium)

#2: Gill Sans Std (Extra Bold Display, Bold, Regular) 

Fig. 2. 1. 7 Dilatational System #1

Fig. 2. 1. 8 Dilatational System #2

Radial System:

Fonts used
#1: Univers LT Std (63 Bold Extended Oblique) and Gill Sans Std (Bold Italic, Italic)

#2: Gill Sans Std (Ultra Bold Condensed, Bold Italic, Italic) 

Fig. 2. 1. 9 Radial System #1

Fig. 2. 1. 10 Radial System #2

Modular System:

Fonts used
#1: Gill Sans Std (Ultra Bold Condensed, Bold, Regular) 

#2: Univers LT Std (93 Extra Black Extended) and Futura Std (Heavy, Book)

Fig. 2. 1. 11 Modular System #1

Fig. 2. 1. 12 Modular System #2

Axial System:

Fonts used
#1: Futura Std (Medium, Bold, Regular) and ITC New Baskerville Std (Bold, Roman)

#2: Futura Std (Bold, Heavy, Medium) 

Fig. 2. 1. 13 Axial System #1

Fig. 2. 1. 14 Axial System #2

Fig. 2. 1. 15 Axial System #3

Grid System:

Fonts used
#1: Futura Std (Extra Bold Condensed, Heavy, Medium) 

#2: Gill Sans Std (Bold Condensed) and Univers LT Std (57 Condensed, 47 Light Condensed)

Fig. 2. 1. 16 Grid System #1

Fig. 2. 1. 17 Grid System

Transitional System:

Fonts used
#1: Gill Sans Std (Ultra Bold Condensed) and Futura Std (Heavy, Medium)

Fig. 2. 18 Transitional System #1

Final Task 1: Exercise 1 - Typographic Systems

Fig. 2. 2. 1 Final Grid System - JEPG, Week 2

Fig. 2. 2. 2 Final Radial System - JEPG, Week 2

Fig. 2. 2. 3 Final Dilatational System - JEPG, Week 2

Fig. 2. 2. 4 Final Modular System - JEPG, Week 2

Fig. 2. 2. 5 Final Random System - JEPG, Week 2

Fig. 2. 2. 6 Final Bilateral System - JEPG, Week 2

Fig. 2. 2. 7 Final Transitional System - JEPG, Week 2

Fig. 2. 2. 8 Final Axial System - JEPG, Week 2

Fig. 2. 2. 9 Final Task 1: Exercise 1 - Typographic Systems with grids - PDF, Week 2

Fig. 2. 2. 10 Final Task 1: Exercise 1 - Typographic Systems without grids - PDF, Week 2

Task 1: Exercises 2 - Type and Play

Part 1: Finding Type

1. Chosen subject

Fig. 2. 3. 1 Chosen subject, Week 2

2. Letterform extraction

Fig. 2. 3. 2 Traced letters - B, V, P, N, H,  Week 2

Fig. 2. 3. 3 Sketches of letterforms, Week 2

3. Reference

Fig. 2. 3. 4 Typeface reference - Gill Sans Std (Light)

4. Digitalisation

Fig. 2. 3. 5 Guides in Adobe Illustrator, Week 2

Redo the progress

After the tutoral on week 3, Mr. Vinod told me the image that I chose is not good enough, learn more details and shape about branches and choose a clearer picture if the design need the shape of branches. Final Fonts are to far from the firt one.

So I redo the work started on finding new image.

1. Chosen subject

Fig. 2. 3. 6 New image for chosen project, Week 3

2. Letterform extraction

Fig. 2. 3. 7 Traced letters - X, V, Y, N, Z, Week 3

3. Digitalisation

I compared the font found in the image with the reference font, and try to modify the design font again and again to make it close to the reference font.

Fig. 2. 3. 8 Guides in Adobe Illustrator, Week 3

Fig. 2. 3. 9 First extraction

Fig. 2. 3. 10 Typeface reference - Univers LT Std (47 Light Condensed), Week 3

Fig. 2. 3. 11 Final letterform

Fig. 2. 3. 12 First extraction and final letterform

Task 1: Exercise 2 - Type & Play Part 2

Finally, I designed a poster with the final design font.

Fig. 2. 3. 13 Poster design attempt, Week 3

Final Movie Poster

Fig. 2. 3. 14 Final Poster JEPG, Week 4

Fig. 2. 3. 15 Final Poster PDF, Week 4

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FEEDBACK

Week 2

General Feedback
Avoid too many patterns misleading readers, and focus on words. The dots in the design can be changed to round lines, so that the design focus can be returned to the text.

Specific Feedback
Random System and Transition need to be modified as a whole, which is not in line with the definition.

Week 3

Specific Feedback
Image is not good enough, learn more details and shape about branches and choose a clearer picture if the design need the shape of branches. Final Fonts are to far from the firt one.

Week 4

Specific Feedback

Poster should have at least one movie logo, remember to keep the four margins of the poster. 

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REFLECTION

Experience

In the first three weeks of my studies, I tried to express my own artistic style within the set conditions of the progress. I thoroughly enjoyed the process, but it also required me to be more cautious to avoid violating assignment requirements. I made efforts to bravely express my style in the progress, though there were instances where I deviated from the assignment criteria. However, I made timely adjustments based on my tutor's feedback to ensure my work met the requirements while still showcasing my personal style. To further understand typographic systems and seek inspiration, I also referred to platforms like Pinterest to learn and absorb ideas.

Observations

Details are crucial in design, and this is especially true for the typographic systems we learn. Some differences between systems are very subtle, so it requires us to constantly observe the details in each design and understand their nature and meaning. In Exercise 2, we needed to find letters within images and refine our type design, which also demanded attention to every detail. Nonetheless, learning to observe organic forms and identify letters is quite engaging and fun to some extent. Somehow, it's like a treasure hunt where you use what you find to create something reminiscent of its original form. In the final exercise on typography and images, I learned to observe the qualities of an image, such as mood, color, and the theme I was trying to integrate my type into. Understanding the theme is crucial so that I know how to merge the text effectively.

Findings

Through my studies and exercises over the past few weeks, I discovered the importance of balancing personal expression with adherence to assignment requirements. The process of integrating my artistic style while staying within set conditions taught me to be flexible and responsive to feedback, ensuring that my designs remain both unique and compliant.

In my exploration of typographic systems, I learned that even the smallest details can significantly alter the outcome of a design. This realization has sharpened my attention to subtle elements, such as the curvature of letters and the integration of type into images. By observing organic forms, I found that inspiration can come from unexpected sources, and recognizing these shapes is a skill that requires patience and precision.

Finally, understanding the theme and mood of a project has proven to be essential when merging typography with visuals. This practice has not only deepened my appreciation for the nuances of typographic systems but also enhanced my ability to communicate emotions and narratives effectively through design.

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FURTHER READING

Fig. 3. 1 Typographic Systems - Kimberly Elam

The axial system is one of the simplest systems. All elements are organized either to the left or right of a single axis. This is a branching arrangement from an implied main line. The axis can exist anywhere in the format to create a symmetric or asymmetric composition. Examples of axial arrangements in nature include the trunks of trees, flower stems, and many other plants.

Experience working with the axial system reveals that asymmetric arrangements are often more interesting than symmetrical ones. When the axis is placed off center to the left or right the space is divided in a more interesting way, with a shift in the proportion of larger and smaller volumes of space.The use of asymmetry results in a relatively simple visual arrangement with heightened visual interest.

Fig. 3. 2 Axial system (Page 19)

In a dilatational system circles dilate or expand from a central point. Examples of this system include the iris of the eye, the waves created when a pebble is dropped into still water, and sound waves. Similar to the radial system,the compositions are dynamic as the eye moves along the arc of the circle or is drawn to the focal point at the center of the circle.

The simplest forms of the dilatational system are circles that expand in regular or rhythmical increments from the center. Variations of this system can include dilations that are tangent, dilations that are non-concentric, and multiple dilations.

Fig. 3. 3 Dilatational system (Page 55)

The random system consists of elements that are arranged without definite aim, pattern, direction, rule, method or purpose, but it is deceptively simple because the viewer imposes organization on compositions even when it is unin-tentional. The human eye and brain are keenly programmed to be pattern-seeking, image-seeking, and order-seeking because these abilities insured survival in early man. For centuries humans have found images in the constellations of stars in the sky or in cloud formations.

Work is often begun by scattering elements in the compositional field with free abandon. Inevitably, some of those elements align and the composition feels intentional. Success is more frequent when legibility diminishes with cropping,  overlapping, and placing text at odd angles, which are cues of randomness. Surprisingly, random placement often yields a very dynamic and spontaneous result that, although difficult to read, is visually satisfying.

Fig. 3. 4 Random system (Page 73)