Advanced Typography - Task 1
30.08.2023 - 12.09.2023 (Week 1 - Week 5)
Sorcha Griselda / 0353056
Advanced Typography / Bachelor of Design in Creative Media / Taylor's University
Task 1: Exercises 1 & 2
LECTURES
Week 1 | Typographic Systems
Typographic systems refer to how typographic components, such as fonts,
sizes, spacing, and hierarchy, are organized and arranged inside a design to
provide aesthetically coherent and successful information. In other words,
it is a methodical technique to using typography to construct visual
hierarchy, deliver information, and improve the design's overall aspects.
Several main systems include:
- Axial System: All elements are organized to be left or right of a single axis.
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| Fig 1.1 Axial System [source: type 365] |
- Radial System: All elements are extended from a point of focus.
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| Fig 1.2 Radial System [source: type 365] |
- Dilatational System: All elements expand from a central point in a circular fashion.
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| Fig 1.3 Radial System [source: type 365] |
- Random System: Elements appear to have no specific pattern or relationship.
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| Fig 1.4 random System [source: pinterest] |
- Grid System: A system of vertical and horizontal divisions.
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| Fig 1.5 Grid System [source: type 365] |
- Transitional System: An informal system of layered banding.
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| Fig 1.6 Transitional System [source: type 365] |
- Modular System: A series of non-objective elements that are constructed as a standardized unit.
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| Fig 1.7 Modular System [source: type 365] |
- Bilateral System: All text is arranged symmetrically on a single axis.
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| Fig 1.8 Bilateral System [source: type 365] |
Week 2 | Typographic Composition
Typographic composition is referred to the arrangement of
typographic components, such as text and characters, within a design. In
order to produce a visually appealing and effective communication,
intentional use of typefaces, font sizes, line spacing, letter spacing,
alignment, and other typographic elements is essential. The purpose
of typographic composition is to efficiently communicate the desired
message while enhancing the text's overall visual appeal.
- Principles of Design Composition: Designs can produce works of art that are both aesthetically pleasing and functional through following the fundamental rules of design composition. These notions act as the foundation for structuring elements in a way that is harmonic, balanced, and appealing.
- Emphasis, Repetition, Isolation, Balance, Rhythm, Contrast
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| Fig 2.1 Principles of Design Composition [Emphasis] |
- The Rule of Thirds: It is a design guideline that can be used in typographic composition to produce aesthetically appealing and engaging designs. Through drawing two equally spaced horizontal and vertical lines, the design space is divided into a 3x3 grid in accordance with 'The Rule of Thirds'.
- Placement of Text, Creating Emphasis, Balance and White Space, Image-Text Integration
|
| Fig 2.2 The Rule of Thirds |
- Environmental Grid: It refers to an approach of arranging and organizing type within a particular environment. The placement, scale, and relationships of typographical elements in a design are determined by a set of rules and spatial divisions.
- Modularity, Clear Hierarchy, Consistency, Whitespace Management, Adaptability
|
| Fig 2.3 Environmental Grid [Typographic Form and Communication, pp 211] |
- Form and Movement: The visual impact of the text and how it directs the reader's eye across the design are both influenced by form and movement, which are significant components of typographic composition.
- Form: It is referred as the visual appearance and placement of the text elements on a screen or page. Readability and aesthetics are directly impacted by the text's format.
- Movement: It refers to how the reader's eye moves through the text. A logical reading order, easy navigation across the text, and an improved reading experience are all made possible by proper movement.
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| Fig 2.4 Form and Movement |
Week 3 | Context & Creativity
Handwriting - Why is handwriting important in the study of
typography?
Since handwriting served as the inspiration for form, spacing, and
traditions in mechanical letterforms, they were initially created to
resemble it.
Sharpened bones, charcoal sticks, plant stems, brushes, feathers, and
steel pens
were among of the instruments and materials used to create those earlier
hand-drawn letterforms, which had an impact on their shape and line. The
forms' writing surfaces, such as
clay, papyrus, palm leaves, animal skins, and paper also had an
impact.
Western typographic developments in handwriting
+ Latin
|
| Fig 3.1 Evolution of the Alphabet |
+ Cuneiform
Even further back, about 3000 BC, there was Cuneiform. It is the earliest
writing system ever discovered and was used between the year 34 BC and
the first century AD in a number of languages. It took on its wedge
shape as a result of being pressed into wet clay tablets with a reading
stylus' blunt ends.
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| Fig 3.2 Cuneiform [c. 3000 B.C.E] |
+ Hieroglyphics
Egyptian is based on the technique of relief carving. The system, which
combined phonetic and rebus letters, was the forerunner of the
alphabet.
Ways to use hieroglyphics
- As ideograms
- to represent the things they actually depict
- As determinatives
- to show that the signs p[receding are meant as phonograms
- to indicate the general idea of the word
- As phonograms to represent
- to represent sounds that "spell out" individual words.
|
| Fig 3.3 Hieroglyphics [2613BC - 2160BC] |
Based on the logo-consonantal system of Egypt. 22 letters make up the
phonetic alphabet that the Phoenicians created. The Greek then adopted the
method and added the required vowels to create Early Greek. They were
written in rows with no definite direction; they were frequently read in
what is known as "boustrophedon" format, which alternated the directions
per row. Initially, these characters were written without serifs. The most
of the period, which allowed them to develop into their thicker stroked,
smaller aperture, serified counterparts.
|
| Fig 3.4 Early Greek Alphabets |
Roman letters improved in shape stroke quantity during the fourth
century, making them easier to write efficiently.
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| Fig 3.5 Roman Uncials |
+ English Half Uncials
In England, the uncials underwent significant development in the eight
century, becoming more compact and slanted.
|
| Fig 3.6 English Half Uncials |
+ Carolingian Minuscule
The Carolingian minuscule was created by the eight century emperor
Charlemagne, who also improved book production and standardized linguistic
elements. In the end, this style of writing was adopted as the standard
for Humanistic writing in the fifteenth century.
|
| Fig 3.6 Carolingian Minuscule |
+ Black letter
Gothic is considered to be the pinnacle of Middle Ages art (12th - 15th
century). Italians developed the phrase to describe societies that was
crude or barbarous to the north of the Italian Alps. It had tightly
spaced, vertically prominent lines that were uniformly spaced apart,
pointed arches, an almond shape, and compact typography.
|
|
|
+ Humanist
A Humanist creative movement that swept through Italy during the
Renaissance inspired the creation of Antica, a letter form design based on
Carolingian script. It had more rationalized letters and was consistent
with the renaissance understanding of form.
|
| Fig 3.8 Humanist |
+ Movable Type
Printing was developed and first used in China, Korea, and Japan. Due to
the quantity of characters and the substance, China's attempts at movable
type had not been effective. However, the Koreans were able to set up a
foundry to create moveable type in bronze, which allowed for the text to
be taken apart and reset, giving rise to the "Han'gui" script.
|
| Fig 3.9 Movable Type [Han'gui] |
Why are we talking about the Greek's influence on Rome, but not
Egyptian or Near Eastern influence on Greece?
Racism.
After the expansion of the British Empire, praising Africans was considered
"out of style".
Eastern typographic developments in handwriting
+ Miscellaneous
|
| Fig 3.10 Evolution of the Middle Eastern alphabet |
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| Fig 3.11 The evolution of the Chinese alphabet |
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| Fig 3.12 The yet-undeciphered Indus Valley Civilization [3500BC - 2000BC] |
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| Fig 3.13 The earliest writing system from India - Brahmi script [250BC - 350BC] |
+ Southeast Asia
The first writing systems in Southeast Asia were based on Indian scripts,
particularly Pallava, a South Indian scripts that was first used to write
Sanskrit and Tamil and ultimately served as the foundation for writing
systems all throughout the region. However, Pra-nagari, an early version
of Nagari, was also employed in India for the writing of Sanskrit.
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| Fig 3.14 Pra-nagari |
To communicate with neighboring kingdoms, Nusantara possessed Kawi, an
indigenous Javanese script based on Nagari. It is derived from the word
"kavya", which means poet in Sanskirt. It was so widely used that it
served as the foundation for subsequent scripts in both Philiphines and
Indonesia. Thus, it follows that ancient kingdoms on the Malay Peninsula
would have used both Indian and Kawi scripts to create the original
Malay language.
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| Fig 3.15 Laguna Copperplate Inscription [written in Kawi] |
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| Fig 3.16 Incung [coming from a South Sumatran grouping of scripts known as Rencong] |
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| Fig 3.17 The Rejang script |
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| Fig 3.18 The Batak script |
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| Fig 3.19 Lontara [a Bugis script and type of palm for Malay manuscripts] |
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| Fig 3.20 The Javanese script [a medieval descendant of Kawi] |
+ Jawi
Arabic-based, having an intriguing history that was imported alongside
Islam. Ancient Hindu communities in South and Southeast Asia were
caste-based, classist, and uneducated for the lowest classes. Islam,
through emphasizing the teaching of languages for proselytization,
somewhat altered this. They would have taught Jawi to those who would
never have learnt to read as missionary traders spread Islam. As a
result, Jawi was only partially able to spread outside of trading ports
among the top and middle classes.
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| Fig 3.20 Record of sale for a female Batak slave to the British written in Jawi |
Every hikayat and Malay charm book that is famous in contemporary
Malaysia is written in Jawi. Due to the lack of pre-Jawi texts and
inscriptions in our country, which contrasts with Indonesia, some
people mistakenly refer to Jawi as "tulisan asal Melayu". Every
writing system has some sort of effect. It is incorrect, and some
could even say foolish, to assert perfect originality. While history
provides context, it also gives designers the chance to create, do
research, or contribute to the codification of our shared past in
order to better convey and comprehend it.
+ Why is handwriting important in the study of
typography?
- We study handwriting because the first mechanically produced letterforms were designed to directly imitate handwriting. Handwriting would become the basis or standard that for form, spacing and conventions mechanical type would try and mimic.
Through adopting western printing technology, eastern
civilizations have abandoned much of their textual legacy for
decades. Many ancient writings could not have been produced in
printed form utilizing those technologies because of the time,
money, and effort required. However, with the arrival of several
Eastern computer programmers, there was sufficient labor to
digitally incorporate many of our native scripts.
Programmers and Type Design
+ Software giants
More and more "multi-script" typefaces are being generated as
software massive corporations like Google hire more Asian
programmers and designers.
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| Fig 3.21 Baloo by Ek Type [continuing 9 Indian scripts & a Latin counterpart] |
+ Murasu
A programming language called murasu
was developed in Malaysia under the leadership of Muthu
Nedumaran to encode several vernacular writing systems. This
language is now utilized on desktop computers and mobile
devices.
+ Huruf
Among the most well-known groups digitizing and reviving
typefaces in Malaysia are Malaysian graphic artists who are
interested in the localized lettering of Latin and vernacular
letters painted or written on walls and signage.
+ Ek Type & Indian Type Foundry
Companies that produced fonts in local languages.
Local Movements & Individuals
In contrast to India, which has a vast skill pool and
resources, the movement in Southeast Asia has not been
effectively structured and planned. It is crucial for new
designers to look to their own histories, civilizations,
cultures, and communities in order to bring past developments
into the present. This avoids blindly appropriating cultures
and developments that lack context, relatability, or
relevance. Creativity and originality are qualities that are
most frequently linked. Exploring our cultural histories and
taking in our surroundings should be the staring point for
creativity and inspiration.
Week 4 | Designing Type
Why another typeface?
- type design carries a social responsibility, thus we must continue to improve its legibility.
- type design is a dorm of artistic expression.
Prominent Historical Typeface
+ Frutiger
Adrian Frutiger, a renowned Swiss graphic designer who is
well known for developing "Univers", created the piece in 1968. On
the request of the Indian Design Institute, he is also credited with
creating the new Devangari font for contemporary typesetting and
printing.
|
| Fig 4.1 Airport Signage using Frutiger |
Consideration/Limitation: Letterforms needs to be
recognized even in poor light condition and when the readers are
moving quickly. Adrian Frutiger tested the typeface with unfocused
letters to see which letterforms could be identified.
+ Verdana
Matthew Carter, a modern
British type designer and master craftsman as well as the son of
Harry Carter, the Royal Designer for Industry, created the piece in
1996.
|
| Fig 4.2 Verdana |
Purpose: Create a typeface that stayed extremely
legible even at a very small sizes on the screen due in part to
the popularity of the internet and electronic devices.
Consideration/Limitation: Verdana exhibits
characteristics derived from the pixel rather than the pen. Some
characters like 'i', 'j', and 'l' that are commonly confused, are
helped by those characteristics.
+ Bell Centennial
Matthew Carter, a
modern British type designer and master craftsman as well as the son
of Harry Carter, the Royal Designer for Industry, created the piece
in 1976 as AT&T commissioned the design of a new typeface whose
sole purpose would be use for use in their telephone directories.
|
| Fig 4.3 Inktraps' on screen and print |
Purpose: Create a typeface that maintains readable in
small sizes in print.
Consideration/Limitation: Ink spreads when printed,
thus ink traps were introduced as spaces for excess ink to flow
into and not distort the actual letterform.
+ Underground Sans/Johnston Sans
Edward Johnston, a
creator of the hugely influential London "Underground" typeface,
which would later known as "Johnston Stans" (1916).
|
| Fig 4.4 Johnston Sans' earlier [top] and modern [bottom] variants |
Purpose: London's Underground railway ordered a new
typeface for its posters and signage from the calligrapher Edward
Johnston. He handed over details and examples of letter shapes
that would set the tone for printed text until the present day.
Consideration/Limitation: Numerous companies use the
same tracks and tunnels but with separate advertising and signs
made comprised the London Underground Group, which Edward wished
to bring together. He incorporated ancient calligraphy with an
elegance and simplicity into his design by modeling it
after the proportions of Roman capitals.
Process of Type Design
+ Research
Designers begin by comprehending the background, anatomy,
conventions, terminology, side-bearings, metrics, and hints of type.
The type's purpose and applications are then determined, such as for
school, buses, airport signage, and many more uses. Current
typefaces should be examined for a variety of reasons, including
inspiration, ideas, references, context, usage trends, and more.
+ Sketching
Designers can either use digital tool sets to sketch or use
traditional tools and then scan them. Both of them have advantages
and disadvantages. While some designers are simply faster because
they can take advantage of the digital workflow, others are simply
better with using their hands.
+ Digitization
The top softwares that are used in the digitization of typefaces are
Glyphs and FontLab. Although Adobe Illustrator is often disapproved
of by purists, some designers still use it. When digitizing a
letterform, designers should be aware of both its form and counter
form.
+ Testing
The readability and legibility of the typeface should be strongly
taken into consideration at this stage for the majority of typeface
categories (particularly with the exception of display kinds).
+ Display
Even after deploying a completed typeface there are always teething
problems that were not discovered during prototyping, which means
these will require revision and adjustments.
Typeface Construction
The Roman Capital is a grid with a square in its center. There is a
circle inside of it that touches the square's lines in four places.
It also has a rectangle inside of it that is 3/4 the size of the
square located at the centre. Thus, using grids (+ circular forms)
can facilitate the construction and designing of letterforms.
Construction & Considerations
Characters with the same case can be categorized using their
forms.
|
| Fig 4.5 Classification according to form ad construction |
Some types of letterforms need aesthetic adjustments to look good.
One of these includes the extrusion of curving and projecting shapes
past the baseline and cap line. This holds true for the vertical
alignment of curved and straight objects as well. The spacing
between the letters must also be adjusted because it would not
appear properly if they are all the same size. "Type fitting" is the
term used to describe this change in character spacing.
Type Creation Motivation
In order for a design to be successful, the designer must be
inspired and invested in the project while also being aware of the
needs, constraints, intended users, and stakeholders.
- Intrinsic
- The designer has an inexplicable need driven by interest to design a typeface, and seeks out a form that comes close to fulfilling a desire.
- Extrinsic
- The designer has been commissioned or the student-designer has a task to complete that involves designing a typeface.
INSTRUCTIONS
Task 1: Exercise 1 - Typographic Systems
During the first week of Advanced Typography, Mr. Vinod assigned us
to create a layout for each of the typographic systems and will be
done using Adobe InDesign. There are eight typographic systems, which
include
Axial, Radial, Dilatational, Random, Grid, Modular, Transitional
and Bilateral. The eight systems mentioned above are going to be explored using
the given content:
The Design School,
Taylor's University
Russian Constructivism and Graphic Design
Open Public Lectures:
June 24, 2021
Lew Pik Svonn, 9AM-10AM
Ezrena Mohd., 10AM-11AM
Suzy Sulaiman, 11AM-12AM
June 25, 2021
Lim Whay Yin, 9Am-10AM
Fahmi Reza, 10AM-11AM
Manish Acharia, 11AM-12AM
Lecture Theatre 12
Process
Before directly using InDesign to design the layout, I sketched them
out in order to get a better understanding of which position of the
text is suitable for each of the typographic systems.
|
| Fig 6.1 Sketches of the Typographic Systems | 30/08/2023 |
Axial: Since this was the first system that I am exploring with,
I tried to play safe with the sketch.
|
|
Fig 6.2 1st Axial attempt | 01/09/2023 |
|
| Fig 6.3 2nd Axial attempt | 01/09/2023 |
Despite the apparent simplicity of the typographic approach, it took me
a long time to determine a suitable layout. After receiving some
feedback, I continue on revising on my axial system and make it look
more appealing.
- Font used: Bodoni Std (Poster, Bold, Book)
|
| Fig 6.4 Final Axial attempt | 06/09/2023 |
Radial: For this system, I tried to create a ray
pattern.
|
| Fig 6.5 1st Radial attempt | 01/09/2023 |
|
| Fig 6.6 2nd Radial attempt | 01/09/2023 |
- Font used: Futura Std (Bold Condensed, Book Oblique, Medium Oblique, Heavy, Book)
|
| Fig 6.7 Final Radial attempt | 06/09/2023 |
Dilatational: I had a hard time dealing with this system as it
was a struggle to maintain the information hierarchy while
simultaneously producing an appealing layout.
|
| Fig 6.8 1st Dilatational attempt | 01/09/2023 |
|
| Fig 6.9 2nd Dilatational attempt | 01/09/2023 |
I tried my best to come up with a more eye-catching design, however it was still a challenge for me. Overall, the layout looks to be deficient in some way. These patterns don't appeal to me much.
- Font used: ITC Garamond Std (Bold Narrow, Ultra Narrow, Book Narrow, Light Narrow)
|
| Fig 6.10 Final Dilatational attempt | 06/09/2023 |
Random: Since the typographic system is random, I stacked the texts at
arbitrary, using varying point sizes to accentuate numbers and reflect
some text. It is less readable and more expressive.
|
| Fig 6.11 1st Random attempt | 01/09/2023 |
|
| Fig 6.12 2nd Random attempt | 01/09/2023 |
Actually, I made it in a rage and a state of aggravation. But it
ended up being my favorite part of the assignment because it resembled
"abstract" art.
- Font used: Bodoni Std (Poster, Bold, Book)
|
| Fig 6.13 Final Random attempt | 06/09/2023 |
Grid: I really enjoyed creating this system's layout as it is
a pretty direct system.
|
| Fig 6.14 1st Grid attempt | 01/09/2023 |
|
| Fig 6.15 2nd Random attempt | 01/09/2023 |
After receiving some feedback and looking at my peers'
work, I decided to create a new layout and tried to make it look
neat and clean while filling the white space with color as I feel it
looks better and more apparent.
- Font used: Bodoni Std (Poster, Poster Italic, Bold, Book)
|
| Fig 6.16 Final Grid attempt | 06/09/2023 |
|
| Fig 6.17 1st Modular attempt | 01/09/2023 |
|
| Fig 6.18 2nd Modular attempt | 01/09/2023 |
I was satisfied with how my final design came out, as it was similar
to what I had in mind.
- Font used: Bodoni Std (Poster, Bold, Book)
|
| Fig 6.19 Final Modular attempt | 06/09/2023 |
|
| Fig 6.20 1st Transitional attempt | 01/09/2023 |
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| Fig 6.21 2nd Transitional attempt | 01/09/2023 |
Contrasted with the earlier Modular system designs, this one appears the most usual, but I kind of like its special appeal. I decided to design it as if it was flowing in one direction.
- Font used: ITC Garamond Std (Ultra Narrow, Book Narrow, Book Narrow Italic, Book, Light Narrow)
|
| Fig 6.22 Final Transitional attempt | 06/09/2023 |
Bilateral: The goal for this system
was to create something in a centralized direction.
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| Fig 6.23 1st Bilateral attempt | 01/09/2023 |
|
| Fig 6.24 2nd Bilateral attempt | 01/09/2023 |
The bilateral system was one of the more difficult ones because
everything is centralized, it is simple to create a monotonous
pattern. By layering them and making them the focal focus of the
canvas, I attempted to create an intriguing typographic title to
counteract the dullness.
- Font used: Gill Sans Std (Bold Extra Condensed, Ultra Bold, Bold, Regular, Condensed, Light Shadowed)
|
| Fig 6.25 Final Bilateral attempt | 06/09/2023 |
Final:
Fig 6.26 Final Layout [PDF Format] | 06/09/2023
Fig 6.27 Final Layout with Grids and Guides [PDF Format] |
06/09/2023
Task 1: Exercise 2 - Type & Play
For this second exercise, we are asked to select an image which is
going to be analyze, dissect and identify its potential letterforms
(5 letters). Then we also need to refine those letterforms:
- get equal weights between all letters
- simplify the letters and add typography elements
- try to maintain the 'elements' of the original tracing, while looking typographically correct
Finding an Image
Initially, I wanted to trace an image of melting candles as I found
them to have an interesting texture that I can make utilize it for
this exercise. However, I come across the idea of choosing cereals
as I really like the texture and abstract shapes which can make an
interesting exploration.
|
| Fig 7.1 Melting Candles [source: Pinterest] |
.jpeg)
|
| Fig 7.2 Cheerios Cereals [source: Pinterest] |
|
| Fig 7.3 Mixed Cereals |
Identifying Letterform
After observing the image for any potential five letters, I found
L, I, O, V, X.
|
| Fig 7.4 Process of Identifying Letterforms | 09/09/2023 |
|
| Fig 7.5 Traced Letters | 09/09/2023 |
I traced the letterforms from the cereals using Adobe
Illustrator's pen tool. I tried my best to maintain the cereal's
characteristics, such as the small textures that they have.
Extracting Letterform
I started to extracted the letterform from the tracing that I had
made previously. The images below show the design outcome from the
extracted letterform. It can be seen that there are some round-curvy
texture around the edges which resembles the texture of the cereal
that I tried to maintain.
|
| Fig 7.6 Cereal Extraction Outline | 10/09/2023 |
|
| Fig 7.7 Cereal Extraction | 10/09/2023 |
Refining Letterform
The reference font that I used was known as "Univers Lt Std". I
firstly extracted the letterforms, then I placed the reference font
behind the extraction and started my letterforms refining from
there.
|
| Fig 7.8 Process of Refining the Letterform | 11/09/2023 |
Honestly, this process took the most time and it did drained me
out. But I managed to push through and add details into my
letterform and made them more to showcase the cereal's texture.
Poster
At first, I was debating on which background image to choose that
could highlight my letterforms. After comparing the two background
pictures, I decided to go with the second one as I feel it
portrayed a more lively atmosphere.
|
| Fig 7.9 1st Choice of Cereal Background Image |
|
| Fig 7.10 2nd Choice of Cereal Background Image |
Then, I proceed to edit the chosen image in Adobe Photoshop and
turned it into a black and white image. After that, I continue my
editing in Adobe Illustrator and arranged the letterforms in a way
that they can shine through and become the main focus of the
poster.
|
| Fig 7.11 Designing Process of Poster | 13/09/2023 |
Final:
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| Fig 7.12 Letterform Evolution | 12/09/2023 |
|
| Fig 7.13 Final Letterforms [Outline] | 12/09/2023 |
|
| Fig 7.14 Final Letterforms with Grids | 12/09/2023 |
|
| Fig 7.15 Final Letterforms | 12/09/2023 |
Fig 7.16 Original Extraction and Final Letterforms [PDF Format] | 12/09/2023
|
| Fig 7.17 Final Poster | 13/09/2023 |
HONOR TALENTS | Wallpaper Design
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| Fig 8.1 Final HONOR Wallpaper Design Mockup | 07/10/2023 |
|
| Fig 8.2 Final HONOR Wallpaper Design | 07/10/2023 |
Fig 8.3 Final HONOR Wallpaper Design Elaboration | 07/10/2023
FEEDBACK
Week 1 | General Feedback
Blog is set up nicely and the link provided is linked to
Advanced Typography landing page. Mr. Vinod discussed on this
year MIB.
Week 2 | General Feedback
Always pay attention to the white space and leading when
exploring typographic systems. Remember that the recommended
text size is from 8 to 12 pts.
Week 3 | General Feedback
Understand the structure and texture. Portray them in
your text design.
+ Specific Feedback
Pay more attention to the details of the elements of your
image and letterforms. Maintain balance in every
letters.
REFLECTION
Experience
Throughout doing the task, my main challenges were trying to
create interesting layouts for the first exercise while also
sticking with the rules of the typographic systems. I also
tend to pressurize myself on not to come up with layouts that
are common in order not to resemble the works of my
classmates. Surprisingly, I did enjoy the finding-type
exercise as the method of creating the type design was derived
from original image. However, I did struggle when it comes to
the type and image exercise as maintaining the legibility of
the poster was quite a hassle.
Observation
My primary insight was somewhat introspective, as
I realized that my tendency to play it safe and not to come
outside of the box would often led me to outcomes that were
less fulfilling. On the other hand, through fully embracing
the challenges, seemed to be a path for my personal growth.
During this task, it mostly focused on the creative process.
It became apparent that adjusting margins could create a sense
of tension in the design.
Findings
Prior to tackling exercise 1, I held a somewhat rigid
perspective regarding typographic systems. I used to believe
that the term 'systems' implied limited creative freedom.
However, my perspective evolved as I delved into various
methods to enhance layout designs. I discovered that once I
grasped the nuances of these systems, it become more enjoyable
to design and creating with diverse layouts. Nonetheless, I
recognized that achieving fluidity and movement in the text
played a pivotal role in creating dynamic interplay between
text and imagery.
FURTHER READING
KREATIFBEATS | Finding Type: A Novel Typographic Exercise
|
| Fig 8.1 (1927) Movie Poster for "Metropolis" in art-deco style | (1958) Small Film Movie Poster for "Vertigo" using customized letterforms | (2019) TV Series "What We Do In The Shadows" using letterforms influenced by the Blackletter |
Mr. Vinod noticed a growing trend in the utilization of unique
typefaces in animation, films, and video game designs. These
typefaces are purposefully crafted for applications such as game
interfaces, movie credits and many more. Some of these
distinctive word marks have gained insane amount of followings,
inspiring the development of unconventional, fully-fledged font
styles. While these trends are not entirely new, they have
become increasingly important in an era marked by prolific
content creation, emphasizing the need for differentiation and
customization in typography.
Typographic Systems | Kimberly Elam (2007)
|
| Fig 8.2 Typographic Systems Book by Kimberly Elam |
This book helped me acquire a deeper comprehension of
typographic systems. It also served as a reminder of
the significance of design principles like repetition,
emphasis, and contrast, underscoring their role in
strengthening typographic systems.
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| Fig 8.3 Project Elements and Process [page 7-8] |
The approach to a process-oriented exploration of systems
of visual organization is focused and simple. The designer
is challenged to use each system in the development of a
type message. In turn, systems are visually investigated
in two ways:
- 1) a series of compositions constrained to one size and one weight of type which is an exercise to truly experiment with the system beyond the obvious solutions
- 2) a series of compositions with the option to use nonobjective elements and changes in tone to enhance the communication of the message
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