Advanced Typography - Task 1: Exercises 1 & 2

22/04/2024 - 13/05/2024 (Week01 - Week 04)
CHIN TZE WEI / 0357423
Advanced Typography / Bachelor (Honours) in Creative Media
Task 01 : Exercise 1 & 2

LIST

TABLE OF CONTENT

1. Lectures

1.1 Class Summary

2. Instructions

2.1 Task 01: Exercise 01 - Typographic Systems

2.1.1 Axial system

2.1.2 Radial system

2.1.3 Dilatation system

2.1.4 Random system

2.1.5 Grid system

2.1.6 Transitional system

2.1.7 Modular system

2.1.8 Bilateral system

2.2 Final submission of Task 01: Exercise 01 - Typographic system

2.2.1 PDF, with Grid

2.2.2 PDF, without Grid

2.2.3 JPEG

2.3 Task 01: Exercise 02 - Type and Play

2.3.1 Extraction of letterforms

2.3.2 Reference Font

2.3.3 Refinement of letterforms

2.4 Final submission of Task 01: Exercise 02 - Type and Play

2.4.1 JPEG

2.4.2 PDF

2.4.3 Poster (JPEG)

2.4.4 Poster (PDF)

3. Feedback

3.1 Task 01: Exercise 01 - Typographic Systems

3.2 Task 01: Exercise 02 - Type and Play

4. Reflection

4.1 Experience

4.2 Observation

4.3 Findings

5. Further Reading

1. LECTURES

PRE-RECORDED LECTURE NOTE LISTS

Lecture 01: AdTypo_1_Typographic System
Lecture 02: AdTypo_2_Typographic Composition

Lecture 03: AdTypo_3_Context&Creativity

Lecture 04: AdTypo_4_Designing Type

Lecture 05: AdTypo_5_Perception and Organisation

Lecture 01: AdTypo_1_Typographic Systems

Figure 1.1 Lecture video AdTypo_1_Typographic Systems

On this lecture, Mr Vinod will be talking about Typographic Systems.

"All design is based on a structural system".
There are 8 major variations
1. Axial
2. Radial
3. Dilatation
4. Random
5. Grid
6. Transitional
7. Modular
8. Bilateral
It is important to remember as designers when you are giving form to content, it is important that communication is right in the forefont of that form. (Ex: Hierarchy/Order of reading/legibility and contrast)
Typographic Systems has a set of rules that is unique and provide a sense of purpose tha focuses and directs the decisions making.

Shape grammar (Architect term) is a set of shape rules that apply in a step-by-step way to generate a set, or language, of designs.

1. Axial System

All elements are organised to the left or right of a single axis (or more).
Axis can be straight or bent.

Figure 1.2 (Left) & 1.3 (Right) Examples of Axial System

2. Radial System

All elements are extended from a point of focus.

Figure 1.4 (Left) & 1.5 (Right) Examples of Radial System

3. Dilatation System

All elements expand from a central point in a circular fashion.
✓ Multiple rings with information.
✓ More immportant information (Inside the ring), less important information (Outer ring)

Figure 1.6 (Left) & 1.7 (Right) Examples of Dilatation System

4. Random System

Elements appear to have no specific pattern or relationship. There is a method in the chaos is created within the page.

Figure 1.8 (Left) & 1.9 (Right) Example of Random System

5. Grid System

A system of vertical and horizontaal system.

Figure 1.10 Examples of Grid System

6. Transitional System

An informal system of layered banding.

Figure 1.11 Example of Transitional System

7. Modular System

A series of non-objectives elements that are constructed in as a standardised units.
★ Non-objective element should be in same size.
★ The unit should be able to move around to ddifferent spaces.

Figure 1.12 Example of Modular System

8. Bilateral System

All text is arranged symmetrically on a single axis (or more).

Figure 1.13 (Left) & 1.14 (Right) Example of Bilateral System

Lecture 02: AdTypo_2_Typographic Composition

Figure 1.15 Lecture video AdTypo_2_Typographic Composition

In this video, Mr Vinod will discuss about typographic composition in typography, exploring different principles and approaches to arranging textual information within a given space. He introduces the concepts such as the rule of thirds, grid systems, and creating movement in typographic layouts. The goal is to find a balance between visual appeal, engagement, and readability in typographic composition.

Typographic composition: Arrangement of textual information in a given space.

Principle of Design Composition

The principles of composition entail the combination and organization of elements to produce a visual impact. These principles encompass emphasis, isolation, repetition, symmetry, asymmetry, alignment, and perspective. However, when utilized in typographic layouts or compositions, these principles may seem unclear and more applicable to visual imagery.

Implementing these principles into actual content like text or images on a page or screen may seem disconnected. It's easy to apply emphasis, symmetry, and asymmetry, but translating principles like repetition and perspective into typographic composition can be more difficult.

Figure 1.16 Emphasis in Typographic Composition

The Rule of Thirds

The Rule of Thirds serves as a composition guideline in photography, proposing that a frame can be divided into 3 columns and 3 rows. The intersecting lines are then used to position points of interest within the frame. Despite its usefulness, this composition element is not commonly utilized.

Figure 1.17 Rule of Thirds

Typographic Systems

The typographic composition utilizes 8 different systems, with the Grid System (or Raster Systeme) being the most practical and commonly employed. This system was developed further by the Swiss (Modernist) style of Typography, which was championed by influential figures such as Josef Muller Brockmann, Jan Tschichold, Max Bill, and others.

The grid system remains popular due to its versatility and modular nature, allowing for countless adaptations. We prioritize ordered and organized compositions over chaotic ones.

Figure 1.18 Grid System

During the modernist era of Typography, young designers challenged traditional methods and embraced chaos, randomness, and asymmetry in typographic systems. Here are some artworks from the advocates of this approach.

Figure 1.19 Paula Scher (Left); Jonathan Barnbook (Middle); David Carson (Right)

Other models/systems

Environmental Grid

This system is based on exploring an existing structure or combining numerous structures. It involves extracting crucial curved and straight lines to form a super-structure. The designer then organizes information around this super-structure, incorporating non-objective elements to create a unique and visually stimulating mixture of texture.

Figure 1.20 Environmental Grid

Form and Movement

This system explores an existing Grid System, encouraging students to experiment with compositions and explore their connections, while also viewing the layout as a dynamic composition with movement.

Figure 1.21 Form and Movement

Lecture 03: AdTypo_3_Context&Creativity

Figure 1.22 Lecture video AdTypo_3_Context&Creativity

This lecture discusses the development of ancient scripts into modern languages and emphasizes the importance of understanding the context of handwritten scripts in order to learn about a civilization.

Handwriting
The reason for studying handwriting is because the initial mechanically created letterforms were intended to closely resemble handwritten forms. Handwriting served as the foundation for form, spacing, and conventions that mechanical typewriters aimed to replicate.

Development of Western handwriting

Cuneiform evolved into Hieroglyphics, which then transitioned into Early Greek using Phoenician letters. This further developed into Roman Uncials, followed by English Half Uncials. Emperor Charlemagne standardized the handwriting style with Carolingian Minuscule, which later evolved into Blackletter. The Italian Renaissance then influenced the transition to Movable Type.

Movable type was introduced in 1000-1100 CE, pioneered in China and achieved in Korea with the Diamond Sutra. The Koreans established a foundry to cast movable type in bronze several decades before the earliest printing in Europe with Guttenberg’s bible in 1439.

Figure 1.23 Movable Type

Development of Eastern Handwriting

The rise of digital technology prompted the Western world to digitize and commercialize historical works through type foundries. While it is commendable that there is a growing appreciation for historical letterforms, the West's colonization of the East has had a detrimental impact on its heritage, cultural traditions, literature, arts, languages, and scripts, often leading to their suppression or stagnation.

Southern Asia
The Indus Valley Civilization (IVC) script, dating back to 3500-2000 BCE, is the oldest writing found in the Indian subcontinent.

Figure 1.24 Indus Valley Civillization script

The Brahmi script, developed in India around 450–350 BCE, is the earliest writing system in India after the Indus script. It has been highly influential, serving as the basis for all modern Indian scripts and several hundred scripts in Southeast and East Asia.

Figure 1.25 Brahmi script

Southeast Asia
The oldest writing systems in Southeast Asia were Indian scripts, with the most important being Pallava (or Pallawa in Malay), a South Indian script used for writing Sanskrit and Tamil.

Pra-nagari, an ancient version of the Nagari script, was employed in India to record Sanskrit texts. Kawi, the significant historical script of Indonesia, was derived from Nagari but was native to Java. Kawi was utilized for communication with other kingdoms and had a wide influence, serving as the foundation for other scripts in Indonesia and the Philippines.

Incung, the original script from Kerinci, is derived from a group of scripts called Rencong, which originated in South Sumatra.

Figure 1.26 Incung

Assimilated scripts from Indonesian communities into Peninsula Malay Communities: Rajang, Batak, Bugis (Lontara), and Javanese scripts.

Jawi, an alphabet based on Arabic, was introduced alongside Islam. Traders who were involved in spreading the religion also taught Jawi to the illiterate, leading to its adoption by the upper and middle classes in trading ports. However, it was not immediate and took time for Jawi to supplant other writing systems.

Jawi holds greater significance in modern Malaysia as it is the script utilized for all the renowned literary works. In contrast to Indonesia, Malaysia lacks a substantial number of pre-Jawi inscriptions, which has led to some erroneous claims that Jawi is the original Malay script.

Programmers and Type Design

Google and other software giants are hiring many Asian programmers and designers to create more vernacular and multi-script typefaces, as coined by Muthu Nedumaran. These typefaces are designed to facilitate communication in both vernacular and Latin scripts.

Figure 1.27 Baloo

Local Movements and Individuals

Murasu.com in Malaysia is led by programmer and typographer Muthu Nedumaran. He cracked the programming language needed to encode various vernacular writing systems, which is now used in mobile phones and desktops.

Huruf is a group of graphic designers in Malaysia who are focused on preserving and modernizing typefaces found in local Latin and vernacular lettering on walls and signages. They are actively working to digitize and revitalize these unique letterforms.

Ek Type and Indian Type Foundry are two organizations that have made significant contributions to the development of vernacular typefaces in India.

Lecture 04: AdTypo_4_Design Type

Figure 1.28 Lecture video AdTypo_4_Design Type

On this lecture, Mr Vinod taught us about the process of designing type. The process of Adrian Frutiger, Matthew Carter, Edward Johnstan creating their typefaces.

Type Design Process

1. Research

Understand type history, type anatomy, type conventions and terminologies.
Determine the type's purpose or what it would be used for and what different applications it will be used in.
Study existing fonts for inspiration, reference, and usage patterns.

2. Sketching: Traditional/digital

3. Digitisation

Professional softwares: FontLab and Glyphs App.
Some designers use Adobe Illustrator and specialized font apps, but this is frowned upon by purists.

4. Testing

Testing results refine and correct typefaces aspects. Prototyping provides important feedback. Readability and legibility are crucial considerations based on typeface category. Display type prioritizes form expression.

5. Depoy

After deploying a completed typeface, there are always unforeseen teething problems that were not apparent during prototyping and testing. Therefore, the task of revision continues even after deployment. Rigorous testing is important to ensure that any teething issues remain minor.

Typeface Construction

Figure 1.29 Construction grid for roman capitals (8 x 8 cells) - Week 04 (13/05/2024)

Grids with circular forms can be used to help construct letterforms and are a potential method for developing and designing your letterform.

Cnstruction and considerations

Figure 1.30 Classification according to form and construction - Week 04 (13/05/2024)

When designing a new type, consider different forms and constructions. An important visual correction is the extrusion of curved forms past the baseline and cap line (overshoot), as well as vertical alignment between curved and straight forms.

Fitting the type: Visual correction is needed for letter spacing. The letters need to be adjusted to have consistent white space between them.

Figure 1.31 Ink traps

Ink traps are used for fast and imprecise printing on cheap absorbent paper. They help prevent excess ink from gathering at the corners while keeping them visible.

Lecture 05: AdTypo_5_Perception and Organisation

Figure 1.32 Lecture video AdTypo_5_Perception and Organisation

In this lecture, Mr Vinod talked about Percetion and Organisation.

Perception

The visual presentation and understanding of the reader through the use of contrast, shape, and structure of the material.

It is important to create distinction and differentiate between information by using contrast in typography.

Figure 1.33 Contrast in Typography

Carl Dair says that using texture and direction can also add contrast to type.
Got 7 ways to create contrast, which are contrast of size, contrast of weight, contrast of form, contraast of structure, contrast of texture, contrast of colour and contrast of direction.

Figure 1.34 Examples of Carl Dair's method to create contrast
Form is the overall look and feel of the elements in a typographic composition.
Good form in typography tends to be visually appealing to the eye.

Figure 1.35 Form in Typography

Organization and Gestalt

In German, Gestalt refers to the arrangement or composition of things.
The Gestalt theory suggests that perceiving things as a cohesive whole is more significant than perceiving them as individual parts. This concept can also be applied to designing layouts.
Some of the principles of Gestalt psychology include proximity, similarity, continuity, closure, area, and symmetry.

The Law of Similarity asserts that elements with similar characteristics are likely to be perceived as belonging to the same group.

Figure 1.36 Law of Similarity

The Law of Proximity suggests that elements that are close to each other are perceived as a single group.

Figure 1.37 Law of Proximity

The Law of Closure pertains to the way our minds perceive whole images even when they are partially incomplete.

Figure 1.38 Law of Closure

The Law of Good Continuation states that humans perceive two or more objects as distinct, singular, and uninterrupted even when they intersect.

Figure 1.39 Law of Good Continuation

1.1 Class Summary

Week 00

Watch Lecture Video 01, Tutorial Video: InDesign Formatting and additional explaination video: Modular system.
Read instructions for Task 01, Exercise 01 in MIB.
Read Typographic Systems by Kimberly Elam for Further Reading session.
Setup E-portfolio for module, Advanced Typography.
Update E-portfolio with Lectures and process work (research + proccess) followed by final outcomes for Task 01, Exercise 01. Ensure to label final submissions. Update reflection and furher reading.
Export final outocmes as JPEG @300ppi; PDF with and without guides (turn on/off guides when saving PDF; turn off spreads when exporting).
Compile all 8 systems together.

Week 01

Watch Lecture 1 and then the video tutorials: InDesgin Formatting & Additional explanation on the Modular System.
Read / Research (optional) the topic further by reading the book: Typographic Systems by Kimberly Elam (see TEAMS: General > Files > Books)
Refer to sample student eportfolios should you wish to analyse and evaluate exemplary work (see Rules-Advice-Instructions-AdTypography.pdf)
Update your eportfolio with the necessary Lectures. Update Task process work (research + process) followed by final outcomes. Ensure to segregate the final outcomes clearly. Update your reflection and further reading. Refer to best practices in exemplary works (see Rules-Advice-Instructions-AdTypography.pdf).
Export final outocmes as JPEG @300ppi (1024 px); PDF with guides and without guides (turn on/off guides when saving PDF). Compile all 8 systems together for PDF presentation (turn off spreads).

Week 02

Watch 2nd lecture and document summary in your eportfolio.
View previous student eportfolio examples to see how documentation was carried out for Ex.2: Finding Type (Type & Play).
Document Ex.2: "Finding Type" process work in eportfolio
Final Submission should consist of:
- Image
- Extracted Letterforms on baseline (illustrator)
- Reference font
- Final letterforms on baseline
- Original extraction and final letterforms next to each other
For Further Reading you may read this article related to the exercise (or any other book) https://kreatifbeats.com/2023/08/06/finding-type-a-novel-typographic-exercise/

Week 03

Watch and document summary of 3rd lecture in your eportfolio.
Complete Exercise 1 and 2; rework, refine, review, re-look, re-do whatever is needed in the two exercise and complete it before week 4's class. Use the time judiciously.
Update and complete your Task 1 Exercises: lecture, (process & final), feedback, reflection & further reading before week 4's class.
Update the Google Feedback Sheet with Week 3's feedback (general/specific)

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2. INSTRUCTIONS

Module Information Booklet (MIB)

2.1 Task 01: Exercises 01 - Typographic Systems

We were tasked to create a layout for each typographic system with the given content. The EIGHT typographic systems are as follows: Axial, Radial, Dilatational, Random, Grid, Modular and Transitional.

      | Content to be used:

            The Design School, Taylor’s University
           All Ripped Up: Punk Influences on Design
           or
           The ABCs of Bauhaus Design Theory
           or
           Russian Constructivism and Graphic 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

Task requirement:

📢 Use Adobe InDesign only

📢 Size: 200mm ✖ 200mm

📢 Colour use: Black and one other colour

📢 Limited graphical elements (Line, dots, etc)

2.1.1 Axial System

As Axial System is all element aligned to the left or right of a single axis.

To begin with this system, I tried to arranged all the information to the left or right of a single axis which is Figure 2.1 and Figure 2.2 .

Figure 2.1&2.2 Axial System Attempt #1 : Layout 01 (Left) and Layout 02 (Right) - Week 01 (22/04/2024)

Changes after Feedback session on Week 02 - 29/04/2024

Figure 2.3 Axial System Attempt #2 - Week 02 (29/04/2024)

2.1.2 Radial System

In Radial system, all elements are all extended from a point of focus, it can consists of multiple points of focus.

To begin this system, I have draw sketches for this to have an idea before start up digitalize it using InDesign.

Figure 2.4&2.5 Sketch for Axial System

From the first sketch, I imagine the system as being like the rays of the sun, and draw it as there were tw suns shining on the left and right. Later on, I use Adobe InDesign to digitalize it, which result on Figure 2.6 . Next, following the previous design scheme, I re-typeset the information inside and put the "Date and Time" on the right side, this is because people are used to read things from the left to the right. Because of the lack of space, I had to turned the "Theme" 90 degrees up and barely placed it on the left, which result of Figure 2.7 .

Figure 2.6&2.7 Radial System Attempt #01 : Layout 01 (Left) and Layout 02 (Right) - Week 01 (22/04/2024)

2.1.3 Dilatation System

All element in Dilatation System will expand from a central point of focus in a cicular fashion.

For my first layout, which is Figure 2.8, there will be three central point, one will be the main tittle and the location, the content (Date and Time) will be placed equally around the remain central point. For the second layout, Figure 2.9, I also do the same thing, but I change typesetting, I combine the "Date and Time" together and seperate the location from the main tittle.

Figure 2.8&2.9 Dilatation System Attempt #01 : Layout 01 (Left) and Layout 02 (Right) - Week 01 (22/04/2024)

2.1.4 Random System

Elements in Random System will have no specific pattern or relationship.

Since the system will have no specific pattern or relationship, I tried to mixed up several system I have learned into the layout, which are Layout 1 (Figure 2.10) and Layout 2 (Figure 2.11).

Figure 2.10&2.11 Random System Attempt #01 : Layout 01 (Left) and Layout 02 (Right) - Week 01 (22/04/2024)

Changes after Feedback session on Week 02 - 29/04/2024

After finnish the feedback session, I have made changes regarding to the 1st and 2nd layout.

Figure 2.12&2.13 Random System Attempt #02 - Layout 01 (Left) and Layout 02 (Right) - Week 02 (29/04/2024)

2.1.5 Grid System

As Grid System, elements will be arranged in a system of horizontal and vertical divisions.

To begin this system, I have draw sketches for this to have an idea before start up digitalize it using InDesign.

Figure 2.14 Sketch for Grid System

From the sketches that I have draw, I have seperate the pages in a system of horizontal and vertical divisions using grids and start to digitalize.

Figure 2.15&2.16 Grid System Attempt #01 : Layout 01 (Left) and Layout 02 (Right) - Week 01 (22/04/2024)

2.1.6 Transitional System

Transitional System, informal system of layered branding.

To begin this system, I have draw sketches for this to have an idea before start up digitalize it using InDesign.

Figure 2.17 Sketch for Transitional System

From the sketches that I have draw, I have created 2 layout for Transitional System.

Figure 2.18&2.19 Transitional System Attempt #01 : Layout 01 (Left) and Layout 02 (Right) - Week 01 (22/04/2024)

2.1.7 Modular System

As Modular System, is a series of non objective elements that are constructed n standardised units.

To begin this system, I have draw sketches for this to have an idea before start up digitalize it using InDesign.

Figure 2.20 Sketch for Modular System

From the sketches that I have draw, I have created 2 layout for Modular System.

Figure 2.21&2.22 Modular System Attempt #01 : Layout 01 (Left) and Layout 02 (Right) - Week 01 (22/04/2024)

2.1.8 Bilateral System

In Bilateral System, all texts will be arranged symmetrically on a single axis.

To begin this system, I have draw sketches for this to have an idea before start up digitalize it using InDesign.

Figure 2.23 Sketch for Bilateral System

From the sketches that I have draw, I have created 2 layout for Modular System.

Figure 2.24&2.25 Bilateral System Attempt #01 : Layout 01 (Left) and Layout 02 (Right) - Week 01 (22/04/2024)

2.2 Final Submission of Task 01: Exercises 01 - Typographic Systems

2.2.1 PDF, With Grid

2.2.2 PDF, Without Grid

2.2.3 JPEG

Figure 2.26 Final Submission - Week 03 (06/05/2024)

2.3 Task 01: Exercises 02 - Type and Play

During Week 2, we are tasked to select an image of a man-made object (chair, glass, etc.) or structure (buildings), or something from nature (Human, landscape, leaf, plant, bush, clouds, hill, river, etc). Avoid selecting an image that contains too many different elements. Extract at least 5 letterforms from the image and form a word if it is possible.

While browsing throught pinterest to find ideas and picture reference, I found a green plants with many texture and paterns, therefore I decided to use this as my picture reference (Figure 2.27).

Figure 2.27 Reference Picture - Week 02 (29/04/2024)

2.3.1 Extraction of letterforms

To obtain the letterforms that I had recognised, I used the application, IbisPaint in my tablet to trace the outline of the shapes. The extracted letters include uppercase letters, E, M, C and F.

Figure 2.28 Traced outline - Week 02 (29/04/2024)

Figure 2.29 Extracted letters - Week 02 (29/04/2024)

Figure 2.30 Extracted letters - Week 02 (29/04/2024)

2.3.2 Reference Font

I selected Gill Sans MT Condensed as my reference font. I intended to create a narrow font with wide to thin arm.

Figure 2.31 Reference font and extractedletterforms overlapped - Week 02 (29/04/2024)

2.3.3 Refinement of Letterforms

First Attempt of refinement of Letterforms

Figure 2.32 First Attempt: Refinement of Letterforms - Week 02 (29/04/2024)

Changes after Feedback session on Week 03 - 06/05/2024

Figure 2.33 Second Attempt: Refinement of Letterforms - Week 03 (06/05/2024)

2.3.3 Poster

For the second part of the assginment, we are to combine the final extracted letterforms with a relevant image to create a 1024px x 1024px poster.

Image Searching

Figure 2.34&2.35 Choosen Images for creating the poster - Week 03 (06/05/2024)

Adobe Photoshop progress

Figure 2.36 Working Progress in Adobe Photoshop - Week 03 (06/05/2024)

Results in Adobe Photoshop

Figure 2.37 Layout 01 - Week 03 (06/05/2024)

Figure 2.38 Layout 02 - Week 03 (06/05/2024)

Adobe Illustrator Progress

Figure 2.39 Working Progress in Adobe Illustrator - Week 03 (06/05/2024)

Resuslt in Adobe Illustrator

Figure 2.40 Layout 01 - Week 03 (06/05/204)

Figure 2.41 Layout 02 - Week 03 (06/05/2024)

Changes after Feedback session on Week 03 - 13/05/2024

After the feedback seesion on 13 May 2024, Mr Vinod said that I need to make some changes on the letterfont and make the background not that stand out, the topic should be the main character. And the background should be more contrast with the type design.

Figure 2.42 Working Progress after feedback session - Week 4 (13/05/204)

Figure 2.43 Poster layout 03 - Week 04 (13/05/2024)

2.4 Final Submission of Task 01: Exercises 02 - Type and Play

2.4.1 JPEG

Figure 2.44 Final Submission of Task 01: Exercise 02 (Part 01) - Type and Play (JPEG) - Week 04 (13/05/2024)

2.4.2 PDF

2.4.3 Poster (JPEG)

Figure 2.45 Final Submission of Task 01: Exercise 02 (Part 02) - Type and Play Poser (JPEG) - Week 04 (13/05/2024)

2.4.4 Poster (PDF)

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3. FEEDBACK

3.1 Task 01: Exercise 01 - Typographic Systems

Week 01

General Feedback:

Turn off facing pages in Adobe InDesign.

Start doing Task 01 - Exercise 01.

Week 02

General Feedback:

Combine all image into a single post to avoid a long e-portfolio blog.

Make sure update blog regularly (Further Reading, Feedback & progress).

Specific Feedback:

While combine all image into a single picture, make sure that they are all aranged well and have borders.

Contents should never be placed in corners.

3.2 Task 01: Exercise 02 - Type and Play

Week 03

General Feedback:

Find a make sense reference fonts.

Specific Feedback:

Change the referenece letter (Make it more similar to the selected picture).

Extracted letters lack of similarity.

Let the font go from thick to thin.

Week 04

General Feedback:

The Type Design should be the main character but not the background image. Should focus on the "Type Design".

Aware of the funcctionality and readability of the letters.

Increase the font size (Main character should be the type design).

Specific Feedback:

Need to adjust the font size of the Type Design.

Adjust the type design to make it more readable.

Increase the functionality and readability of the letters.

Make the background more contrast with the type design.

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4. REFLECTION

4.1 Experience

Exercise 01 preesented challenges for me, particularly in finding creative layouts while adhering strictly to the systems. I was very concerned about my work looking too similar to the exmaples that I found on websites and pinterest, and felt pressure to come up with unique layouts. However, I have since decided that there is nothing wrong with imitation. Imitation good work and improve ourselves from it. In it, we can also learn how they made this things, and occassionally find inspiration. Therefore, I would look at my senior's eportfolios before I started to do my assignment.

4.2 Observations

During exercise 01, not only focused on traditional typography elements like leading, point size, and alignment, but also need to implement the conditions specified for the typographic systems and achieve balance. It is hard for me to ensure all informations are equal distribution in a layout. The Finding Type exercise was interesting and enjoyable, using what I found in the picture to create several fonts. However, in this exercises, I realized again how unskilled I was at Font Creation on the computer, I even start to worry about my Final Assignment.

4.3 Findings

Before attempting Exercise 01, I found that typographic systems was very interesting, it was actually fun to come up with different layouts and the ways to distributes and arrange informations on the layout. Lastly, when doing the Type and Image exercise, I found that the ability to observe is very important.

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5. FURTHER READING

Based on the list of books given, I have chosen "Typographic Systems" by Kimberly Elam to begin my further reading on Week 00 to Week 01.

Figure 5.0 Typographic Systems by Kimberly Elam

"Typographic Systems" by Kimberly Elam is a comprehensive guide that explores the principles and techniques of typographic design. Through clear explanations and visual examples, Elam demonstrates how typography can be structured and organized to create effective communication systems. The book delves into various typographic elements such as grids, hierarchy, contrast, scale, and rhythm, illustrating how these elements can be manipulated to convey meaning and enhance readability. By examining real-world examples and case studies, Elam offers valuable insights into the design process and demonstrates how typographic systems can be applied across different mediums, from print to digital platforms. Overall, "Typographic Systems" serves as a practical resource for designers seeking to master the art of typographic design and create visually compelling compositions.

Week 00
Chapter 01: Introduction
In this chapter it talks about how all design relies on structures, which can be grouped into eight main types. Understanding these systems helps designers arrange content effectively. Typographic design adds complexity because it depends on clear communication and considerations like hierarchy and readability. These typographic systems are like rules for creating styles, guiding designers' decisions. They encourage creativity by providing focus and direction. At first, we might find these systems strange, but as they work with them, they uncover their creative potential. While many designers focus on the grid system, there are other typographic systems to explore. Visual examples in the book show different design solutions, helping designers and students understand various approaches to typography beyond the grid.

Week 01
Chapter 02: Project Elements and Process
This chapter introduce the 8 types of the Typographic systems and explain their characteristics.

Figure 5.1 Types of Typographic systems

Axial: All elements are organized either to the left or right of a single axis.
Radial: All element extend from a point of focus.
Dilatation: All elements expand from a cenral point in a circular fashion.
Random: Elements appear to have no specific pattern or relationship.
Grid: A system of vertical and horizontal divisions.
Transitional: An informal system of layered bending.
Modular: A series of non-objective elements that are constructed as standardized units.
Bilateral: All text is arranged symmetrically on a single axis.

Week 02

During Week 02, Mr Vinod suggest that we can read an article wrote by him, it is useful to proceed our Exercise 02.

Website link🔗: https://kreatifbeats.com/2023/08/06/finding-type-a-novel-typographic-exercise/

In this article, "Finding Type: A Novel Typographic Exercise,"I learned the steps use to complete the exercises.

Steps in following:

Finding an image (with strong characteristic, repetitive nature, can be natural or manmade).
Deconstructing an image.
Identifying letterforms.
Extracting letterforms
Identify a reference.
Refining letterforms
- Introduce consistency in height, width and contrast.
- Deliberate on retaining or removing characteristics.
- Decide what areas require simplification.

Week 03

Continue with the book, Typographic Systems by Kimberly Elam.

Chapter 03: Constrains and Options

The limitations and choices can vary in terms of line breaks, indentation, and spacing between words and letters.

Line Breaks

The text can be divided into multiple lines, which can change the grouping and the way the text is read.

One way to handle long line lengths in a small format is to break the lines. This results in grouping lines of text that are related, which is important for making the composition easier and improving readability.

Leading

Leading can vary to create changes in position and texture, ranging from tight and overlapping to wide and airy.

Word and Letter Space

Adjusting word spacing and letter spacing alters the texture and tone of the text. Increasing letter spacing requires a simultaneous increase in word spacing to prevent confusion.

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QUICK LINK

Task 01: Advanced Typography - Task 01: Exercise 1 & 2

Task 02: Advanced Typography - Task 02: (A) Key Artwork & (B) Collateral

Task 03: Advanced Typography - Task 03: Type Exploration and Application

Final Compilation and Reflection