Advanced Typography / Task 1 Exercises (Typographic System & Type and Play)
April 5, 2023 - April 26, 2023 (Week 1 - 4 )
Anandya Dewi Saputra / 0354651
Advanced Typography / Bachelor of Design (Hons) in Creative Media
Task 1 / Exercises (Typographic System & Type and Play)
LECTURES
TYPOGRAPHIC SYSTEM
Typographic systems are an accumulation of distinctive patterns that are used throughout the project. Shape grammar is a set of rules for creating spatial language composition.
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Fig 1.0 Axial and Radial Attempt https://www.behance.net/gallery/24413377/Typography-Axial-Systems https://www.deviantart.com/ihtaver/art/Typographic-System-Radial-273882256 |
Axial system means that every component is positioned to the left or right on a singular line.
Radial system means all of the components spread from a single point
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Fig 1.1 Dilatational and Random System https://id.pinterest.com/pin/572097958917213396 https://hoon82.files.wordpress.com/2015/04/transitional.jpg |
Random system means the letters or characters are strewn about in an almost random sequence.
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Fig 1.2 Grid system www.behance.net/gallery/124814643/Swiss-Style-A0-Poster-Grid-System-for-InDesign/modules/70904838 |
Grid system means the arrangement uses invisible vertical or horizontal lines that divide a page into sections.
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Fig 1.3 Transitional System https://id.pinterest.com/pin/131026670392306673 |
Transitional system means an experimental multilayer banding scheme.
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Fig 1.4 Modular system https://type365.com/2017/02/21/7-typographic-layout-systems |
Modular system means using a collection of non-objective components assembled into a standardized unit.
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Fig 1.5 Bilateral System https://type365.com/2017/02/21/7-typographic-layout-systems |
Bilateral system means the text is entirely symmetrically placed on a single axis.
TYPOGRAPHIC COMPOSITION
Principle of Design Composition
Contrast, balance, emphasis, proportion, hierarchy, repetition, rhythm, pattern, white space, movement, diversity, and unity are the twelve basic design concepts.
The Rule of Third
The rule of thirds is a compositional guideline that divides a picture into thirds (horizontally and vertically), resulting in nine parts and four gridlines. According to the guideline, placing crucial parts along the gridlines results in superior compositions.
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Fig 1.6 Rule of Third https://simplified.com/blog/design/rule-of-thirds |
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Fig 1.7 Rule of Third in Typography Example |
Environmental Grid
Environmental Grid is made based on the examination of an existing structure or a combination of structures.
Form and Movement
Form and movement are Influenced by the investigation of existent Grid Systems. The positioning of a form on a page, spread across many pages, produces movement. Images, text, or colour might be represented by the shapes.
CONTEXT AND CREATIVITY
Handwriting
Handwriting would become the foundation or standard for shape, space, and traditions that mechanical type would attempt to emulate. The techniques and materials used to create hand-drawn letterforms impact their shape and line. Sharpened bones, charcoal sticks, plant stems, brushes, feathers, and steel pens all contributed to the letterform's distinct qualities.
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Fig 1.8 Evolution of the Latin Alphabet https://usefulcharts.com/blogs/charts/evolution-of-the-english-alphabet |
Cuneiform, the first genuine writing system, was written from left to right and derived from pictograms.
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Fig 1.9 Cuneiform https://taxologyaccountants.com.au/accountants/about-us/choosing-an-accountant-for-your-business |
The system was a hybrid of rebus and phonetic symbols, and it served as the initial connection to a future alphabetic system. Hieroglyphic pictures can be utilized in three different ways:
1. As ideograms, to symbolize the objects they show.
2. As determinants to demonstrate that the preceding signs are phonograms and to express the basic notion of the word.
3. As phonograms to represent individual sounds that "spell out" particular words.
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Fig 1.10 Hieroglyphics https://www.egyptabout.com/2016/12/hieroglyphics-chart |
Early Greek is drawn freehand, without compasses or guidelines, and with no serifs. The strokes of these letters became thicker over time, the aperture shrank, and serifs formed.
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Fig 1.11 http://www.designhistory.org/Handwriting_pages/Evolution.html |
By the 4th century, Roman letters were becoming more rounded; the curved form required fewer strokes and allowed for speedier writing.
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Fig 1.12 Roman Uncials http://www.designhistory.org/Handwriting_pages/Uncials.html |
English Half Uncials developed into a more slanted and condensed form in England.
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Fig 1.13 English Half Uncials https://www.pauljamisondesign.com/calligraphy-blog |
Carolingian Minuscule made with capital letters at the beginning of sentences, spaces between words, and punctuation. This form established the template for Humanistic writing in the fourteenth century, which became the foundation for the current lower-case roman type.
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Fig 1.14 Carolingian Minuscule http://www.designhistory.org/Handwriting_pages/Carolingian.html |
Black Letter style is distinguished by tight spacing and condensed letters. The letterform was dominated by verticals that were evenly spaced.
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Fig 1.15 Black Letter http://www.designhistory.org/Handwriting_pages/Blackletter.html |
The Renaissance form analysis applied to art and architecture was focused on letterforms, resulting in a more perfect or rationalized letter.
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Fig 1.16 Italian Renaissance http://www.designhistory.org/Type_milestones_pages/Renaissance.html |
DESIGNING TYPE
Research
Examine existing typefaces that are being utilized for inspiration/ideas/reference/context/usage pattern/etc. The type's purpose or what it will be used for, what different applications it will be used in, such as whether the typeface is for school buses or airport signs, etc.
Sketching
A sketch can be used for a variety of purposes, including recording something that the artist observes, recording or developing an idea for later use, or visually presenting an image, idea, or principle.
Digitalization
Transforming hard/paper files and papers into digital files and documents.
Testing
One of the most crucial steps in the Design Thinking process is testing to see if your idea(s) solves the user problem identified during the Empathise stage.
Deploy
Even when a finalized font is deployed, there are often teething difficulties that did not emerge during the development and testing phases. As a result, the work of revision does not cease with deployment.
PERCEPTION AND ORGANIZATION
Contrast
A size difference draws the reader's attention to a certain spot. For example, if you have a huge letter and a little letter, the big letter will undoubtedly be seen first, followed by the small one. The most typical application of size is to make a title or header appear larger than the body content. Weight defines how a bold typeface might stand out among lighter typefaces of the same design. The contrast of form is the distinction between a capital letter and its lowercase equivalent, or between a Roman letter and its italic variant; the contrast of form also includes condensed and extended variants of font. Structure refers to the various letterforms of various types of fonts. A monoline sans serif and a classic serif, for example, or an italic and a blackletter. Texture contrast is created by combining the contrasts of size, weight, shape, and structure and applying them to a block of text on a page. Texture relates to how to type lines seem as a whole, both up close and from a distance. This is determined by the letterforms themselves as well as how they are ordered. The opposition between vertical and horizontal, as well as the angles in between, is referred to as direction contrast. A layout can be dramatically altered by flipping one word on its side. Text blocks can also be oriented vertically or horizontally. Contrast can also be created by combining large blocks of long lines with tall columns of short lines. It is argued that the usage of color is less forceful in values than simple black on white. As a result, it is important to consider which elements should be highlighted and to pay attention to the tonal values of the colors employed.
Form
The overall appearance and feel of the typographic composition's parts. To represent a concept in a visual manner. The interaction of meaning and form creates a harmonious balance in terms of function and expression. When a font is viewed as a shape, it no longer reads like a letter because it has been distorted, textured, enlarged, and extruded into a space.
INSTRUCTIONS
TASK 1 | EXERCISE 1 (Typographic System & Type and Play)
Week 1:
We began our first week with a briefing of our assignments and modules as well as a reminder to keep track of everything on our blog. After two hours of breeding, we began the two hours of practice and began to create our example for the typographic system.
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Fig 2.0 Axial System First Attempt (Incorrect) |
After looking at it for some time, I realized I wasn't actually employing the axial system, so I revised my design after obtaining feedback.
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Fig 2.1 Axial System Second Attempt |
I then attempted to create an example for the radial system
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Fig 2.2 Radial System Attempt |
Then I continue to design utilizing a dilatational system.
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2.3 Dilatational System Attempt (Incorrect) |
I zoned out and realized I had done it incorrectly, instead of using the dilatational system, I used the radial system to I tried another attempt.
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Fig 2.4 Dilatational System Second Attempt |
I then moved on to the next system which is the modular system and made two attempts.
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Fig 2.5 Modular System Attempts |
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Fig 2.6 Transitional System Attempt |
I made the grid system for the next category.
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Fig 2.7 Grid System Attempt |
Next, I attempted to use the random system.
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Fig 2.8 Random System Attempt |
Lastly, I attempted the bilateral system.
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Fig 2.9 Bilateral System Attempt |
I then choose one from each system and attempt a layout as the final result and compile them in a pdf.
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Fig 2.10 Axial system final attempt |
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Fig 2.11 Radial final attempt |
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Fig 2.12 Dilatational final attempt |
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Fig 2.13 Modular final attempt |
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Fig 2.14 Transitional final attempt |
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Fig 2.15 Grid final attempt |
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Fig 2.16 Random final attempt |
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Fig 2.17 Bilateral final attempt |
I compiled it for submission.
Fig 2.18 Final Submission
Fig 2.19 Final Submission with Grid
For the second assignment, we must select an object from an image and attempt to extract an alphabet. I got a lot of leftover chillis from making curry, so I snapped a photo and extracted the alphabet I found.
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Fig 3.0 Red Chillis |
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Fig 3.1 Green Chillis |
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Fig 3.3 Red Chillis Alphabet Traced |
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Fig 3.4 Green Chillis alphabet traced |
I then proceed to refine it 3 times.
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| Fig 3.5 First refinement |
After receiving feedback from Mr. Vinod, I tried to redo the last extraction since I lose the characteristic and also I didn't use a font as a reference.
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| Fig 3.6 Second refinement |
I refined the last one and I think it looks better but still holds a characteristic at the same time. I then proceed with the poster.
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Fig 3.7 Poster first attempt |
I feel like this poster doesn't really mimic a movie, so I tried another attempt.
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Fig 3.8 Poster Second Attempt |
misunderstood the assignment; I assumed that as long as we understood how to create/refine the font, we could use any alphabet we wanted, however, we were supposed to utilize the alphabet found on the refined image. My lecturer informed me that I had made that error and that the final refinement of the letters "a," "k," and "v" was not beautiful since the chili's stem was still present, so I removed it and created another poster, as well as fixed the assignments. He also commented that I lacked cohesion, making it appear as though I merely copied the typeface onto a poster.
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Fig 3.9 Poster Third Attempt |
My poster is still not operating correctly after receiving criticism from Mr. Vinod; it still lacks integration, the size must be in square format 1024x1024, and I need to work on it further. I made a lot of attempts but I think all of them just doesn't work.
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Fig 3.10 Type and Play Poster Attempt |
After trial and error, I think one of it came out working
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Fig 3.11 Final Poster |
FEEDBACK
Week 1:
General Feedback:
Adjust the font size since it plays a huge part in highlighting words.
Specific Feedback:
Research more about the system especially axial since I did it wrong.
Week 2:
I did not attend class due to unhealthy conditions.
Week 3:
General Feedback:
Try to experience more on the refining and not be held by the first extraction.
Specific Feedback:
Try to refine better for the last one while also keeping the characteristics of the object we chose.
Week 4:
General Feedback:
Don't lack integrations, refine more on the alphabets.
Specific Feedback:
The "a" "v" and "k" was not elegant since the stem is still there and it makes it look half refined. Remove that and please use the refined letters from the object u found only.
REFLECTIONS
Experience:
I find that refining the letters I find from the object is quite enjoyable, but utilizing it on a poster is quite hard for me since we have to understand what components go well with our font and that it has to relate to which objects we refine our font from.
Observations:
In exercise one, the typographic system really plays a huge part of design especially how it can look really different from one and another system.
Findings:
I find that small things like unconnected line on our alphabet can make a huge differences like giving it "unelegant" look at our font, and that we can experience to make such different fonts just by choosing an object and refining it to a font.
FURTHER READINGS
Type 360
Lucas Czarnecki
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https://type365.com/2017/02/21/7-typographic-layout-systems |
This web gave me a lot of understanding about the typographic system especially since I was a little lost at the beginning. I like how it gave me a lot of examples and ways to create using the typographic system.
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