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ADVANCED TYPOGRAPHY TASK 1:TYPOGRAPHIC SYSTEM & TYPE & PLAY


||  24/09/24-24/12/24
||  Sun Jia Yi / 0370449
||  Typography / Bachelor of Design (Hons) in Creative Media
||  Task 1: Typographic Systems & Type & Play

TABLE OF CONTENTS

1. Lectures 

LECTURES 

Week 1: 

Typographic Systems

Here is 8 major variations according to Elam, 2007: 
  • Axial 
  • Radial 
  • Dilatational 
  • Random 
  • Grid 
  • Modular 
  • Transitional 
  • Bilateral 
For typographical organisation to work, communication is essential. Important criteria include contrast, hierarchy, reading order, and readability. 

Figure 1.1: Typographic Systems, Week 2 (09 Oct)

Axial System
 -Every element is orientated to either side of a single axis.
-The axis does not have to be straight; in other words, can be curved. 

Radial System 
-Every component extends from a central idea.
-Might have a single focal point or many.

Dilatational System 
-Each component originating from a central point in a circular pattern.
-Information can be displayed hierarchically by labeling several clubs or rings.

Random System
-There seems to be no clear pattern or connection between the elements. 
-Even though it's random, the design employs a chaotic approach.

Grid System
-A system with both horizontal and vertical divisions.

Transitional  System
-An unofficial, tiered banding system.
-Data is divided into many bands.

Modular System
-A group of subjective components assembled into standardized units.
-Requires an appropriate grid and guide.
-Elements are able to be moved about, taking up just a specific amount of space.
-The modular system has been expanded to include single and double base units.

Bilateral System
-Every word is positioned uniformly along one axis.

Week 2: 

AdTypo_2_Typographic Composition 

Two aspects of typography are:
-The process of writing a letter
-A big volume of text arranged in a certain place (Typographic composition)

Design Composition Principle

The fundamental ideas of composition include principles like emphasis, isolation, repetition, symmetry and asymmetry, alignment, etc.

Regarding typography, it appears to be simpler and more suited to pictures than a complicated piece with several components. 

As a result, certain ideas may occasionally seem contradictory, while others may be simpler to understand. Translation of concepts like focus and symmetry is simple. Repetition is a principle, albeit it may be more difficult to convey.

The Thirds Rule

A composition guide for photographers. Three rows and three columns make up a frame. The location of interest is located using the crossing lines as a reference. That being said, if there is a superior choice, it is rarely utilized.

Figure 1.2: Evolution of Alphabet, Week 2 (09 Oct)
Week 3: 

AdTypo_3_Context & Creativity 

Writing by hand In order to directly mimic handwriting, the first letterforms were created mechanically. The equipment and materials used to create hand-drawn letterforms affect their shape and line.
Figure 1.3: Evolution of Alphabet  , Week 3 (11 Oct)

Week 4: 

AdTypo_4_Designing Type 

Why is font design necessary?
  • There is a societal duty associated with type design, thus it is imperative to keep improving legibility.
  • An artistic form of expression is typography.
  • An aim and goal are crucial in any type design.
General Process of Type Design
  • Research
  • Sketching
  • Digitization
  • Testing
  • Deploy
1) Research
Designing a type requires an understanding of type history, anatomy, and norms.

The type's purpose or intended usage, as well as the variations in application, must next be ascertained. In addition, we have to study and study the current typefaces.

2) Sketching 
Some designers use conventional tools (brushes, pens, ink, and paper) to draw the typeface, then scan them in order to digitize them. 

3) Digitization 
Professionals frequently use cutting-edge software solutions like FontLab and Glyphs App for typeface digitization. When creating letterforms, some designers use Adobe Illustrator, a practice that is sometimes condemned by font aficionados who use specialist applications.

Readability is strongly dependent on the counter form at this point, thus it should be given equal attention to the overall form.

4) Testing 
Testing is a vital part of the design thinking process since it offers valuable feedback on how to improve and adjust the typeface. Prototyping is crucial at this stage since it produces insightful results.

Particularly for text kinds, a typeface's readability and legibility are crucial factors. Readability and legibility are less important for display kinds, though, as form expression is more important.

4) Deploy
There are often teething issues that stay hidden during the prototype and testing stages, even after a font has been released. As a result, the process of review never ends with deployment.

The testing's rigor is crucial to keeping the teething problem at a minimal. 

INSTRUCTIONS

There is the Module Information Booklet for this Module: 

Task 1: 

Exercise 1_ Typographic System 
  • Process & Feedback 
  • Final Submission 
Exercise2_ Type & Play 


Exercise 1_ Typographic System 

We are to create eight layout designs utilizing various typographic systems for this lesson. 

This is the text I choose for the exercise 

The Design School, 
Taylor’s University 

All Ripped Up: Punk Influences on 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

1. Axial System 

 Axial System first attempt , Week 4 (13 Oct)

2. Radial system 
 Radial System first attempt , Week 4 (13 Oct)

3. Dilatational system 

 Dilatational System first attempt , Week 4 (13 Oct)


4. Random system 

 Random System first attempt , Week 4 (13 Oct)

5. Grid System

Grid System first attempt , Week 4 (13 Oct)


6. Transitional  System

 Transitional System first attempt , Week 4 (13 Oct)

7. Modular System

Modular System first attempt , Week 4 (13 Oct)

8. Bilateral System

 Bilateral System first attempt , Week 4 (13 Oct)


Final Submission Exercise _1_Typographic System 

 Final Axial System (JPEG) , Week 4 (13 Oct)

 Final Radial System (JPEG) , Week 4 (13 Oct)

 Final Dilatational System (JPEG) , Week 4 (13 Oct)

 Final Random System (JPEG) , Week 4 (13 Oct)

 Final Grid System (JPEG) , Week 4 (13 Oct)

 Final Grid System (JPEG) , Week 4 (13 Oct)

 Final Modular System (JPEG) , Week 4 (13 Oct)

 Final Bilateral System (JPEG) , Week 4 (13 Oct)

Final Submission_Exercise 1_Typographic System (PDF) (13 Oct)

Final Submission_Exercise 1_Typographic System with Grid(PDF) (13 Oct)

Exercise2_ Type & Play 

Finding an Image
We are asked to see a building, an object created by humans, or a natural phenomenon. It is best to choose a topic that is straightforward and doesn't include a lot of various parts. It is advised that we trace the chosen image as best we can.

According to Mr. Vinod, the extended letterform revolution has to be dissembled from the source. Though not the final destination, the reference is a target. The essential quality of letters must be preserved when we extract the characteristic from the reference. We must extract at least five letters. 

Figure 2.1: Nerve Cell by Ralwel, Week 4(14 Oct)


Reference work: 


For the letters, I will choose the word " NEXUS ". 

Letterform extraction 

Figure 2.2: Letter extraction(N, E, X, U, S), Week 4(14 Oct)


Figure 2.3: Letter extraction 2, Week 4(14 Oct)

Refinement Process

Figure 2.4: Reference Font(New Baskerville), Week 4(14 Oct)

"Continuous copying and pasting" and coming together without separating are characteristics of Neural Communication Synapse and Neuron Cells. I felt it would be a nice idea to combine this feature with the new Baskerville typeface, so I compared these extracted letterforms to it.

Figure 2.5: Before and After font reference, Week 4(14 Oct)

I concentrated on the typeface's characteristics when referencing pre-existing typefaces, attempting to preserve the removed filigree contour while adhering as closely as possible to their flaring new baskerville structure. In order to improve each glyph's uniformity, I additionally straightened the outside lines.

Figure 2.6: Letterform Adjustment, Week 4(14 Oct)

Final Outcome of Part 1 
 
Figure 2.7: Image and Extraction, Week 4(14 Oct)

Figure 2.8: Overall Process, Week 4(14 Oct)
Figure 2.9: Extracted Letterforms(baseline), Week 4(14 Oct)
                                  
Figure 2.10: Reference Font, Week 4(14 Oct)

Figure 2.11: Final Letterform, Week 4(14 Oct)

Figure 2.12: Original extraction(top) and final letterform(bottom) comparison, Week 4(14 Oct)

Figure 2.13: Exercise 2 Part 1 PDF Compilation, Week 4(14 Oct)


Exercise 3: Poster Design

We have to use the letters to create a 1024 by 1024 movie poster. It is necessary to utilize the same or a similar photo for the letter extraction.

There is the image I will use for the poster: 

Figure 3.1:Neural Communication Synapse and Neuron Cells image , Week 4(14 Oct)

I decided to make the poster's primary colours red, grey, and black. I believed it would provide a sense of medicine while maintaining the natural hues of the pictures of neuron cells and neurocommunication synapses. I applied two colour processing to the picture.

Figure 3.2:Movie Credit and Logo , Week 4(14 Oct)
Figure 3.3:Poster Design_Task 1.2: Type & Play , Week 4(14 Oct)

Final Outcome of Part 2

                                      
Figure 3.4: Finalized.Poster , Week 4(14 Oct)

Figure 3.5: Finalized Poster(PDF) , Week 4(14 Oct)

FEEDBACK

Week 1: (No feedback)

Week 2:

General Feedback:
  • Form follows function: A form must have meaning and function when it is designed. Making meaning of the design is crucial.
  • When outlining text, effort should be given to ensure that the material is expressed clearly.
  • Reading rhythm is crucial; if there isn't a particular meaning or purpose, don't break it.
  • Avoid lighting huge angles (less than 45 degrees is suggested) while creating an axial system.
  • In the grid system, alignment is crucial.
Specific Feedback:
  • Axial:  Avoid seperate the pages with 2 colours. 
  • Radial: Good
  • Dilatational: Good
  • Random: Too Simple. Can add some more elements. 
  • Grid: Be careful about the alignment. 
  • Modular: ok.
  • Transitional: ok.
  • Bilateral: Accepted.
Week 3:

General Feedback:
  • Make the shape more uniform by refining it.
  • We no longer need to map out the trait once we grasp it.
  • Observation on the issue is lacking.
Specific Feedback:

Make Sure the typeface is more characteristic. 

Week 4:

General Feedback:
  • Start by creating a mind map. If you were the brand, how would the mindmap look? 
  • Combine the ideas from your mind map and choose the most powerful and advantageous elements to use as your branding mask. 
  • Make them aware of your strengths by selecting terms that best capture them and then building them around them.
  • To improve legibility, enhance uniformity.
  • To improve contrast with the backdrop, use primary colours for markings; pastels are not advised. The background's lightest colour is the form's strongest colour.
  • Make a mood board by gathering your favorite wordmarks and establishing the style, colour, and visual direction, among other things.
Specific Feedback:

Increase the interaction between the letterforms and the backdrop picture.
REFLECTIONS

Experience: 

All things considered, I believe this assignment is a solid continuation of the lessons I learned in the Typography module. However, there is a lot more freedom and room for expression in the Advance Typography module than in the prior one. This change inspires me to test the limits of my abilities, which is both refreshing and difficult. I'm more comfortable making choices that improve my designs' usability and appearance.

I believe I still have a lot to work on in the Type & Play exercise. Having conflicting thoughts has been one of my toughest problems, which has left me feeling overwhelmed and unable to make wise decisions.  However, this is a nice attempt on my part to try out a different strategy.

Observation: 

When I review my work from the previous semester, I can see how my typographic sensibility and expertise have improved. I now have a far deeper grasp of components like grid structure, layout design, typeface selection, and white space utilization.The exercise on the eight typographic systems is a nice way to confirm this. 

Regarding the design work and the mindset toward learning, Mr. Vinod provided a wealth of insightful criticism. Every criticism has helped me grow as a person.

Findings: 

At the Type & Play event, I discovered how interesting fonts are and how you can be inspired to create fonts by discovering wherever you are in life.

FURTHER READING

Figure 2.8:Grid System in Typography , Week 4(14 Oct)

Author: Josef Muller-Brockmann

The type area's construction

Small dimensions should be sketched as precisely as possible by the designer. Unrealistic text line sketches, typically with lines labeled too weakly, are a highly common error. The text might not display at the appropriate size when converting to 1:1 format. Drawing the type as near to size as feasible is the ideal course of action for the designer.

The font area's size is determined by the page's shape and the margins' width.

When sketching at 1:1 scale, make sure your small-scale designs are correct to prevent fit issues.
  • Don't create text lines too thinly; try to keep typefaces as near to scale as you can.
  • Every design grid needs to be specifically created to satisfy the needs of a certain project.
  • Analyze every new design issue objectively and with an open mind.
  • Consider every design problem as a fresh one that needs a customized answer.
  • The print format dictates the type area when the visual information is mostly text.
  • Take into account the font size, the quantity of text, the width and depth of the type area, and the number of pages that are accessible.

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