Advanced Typography: Task 1 Exercises

· Radial System: All elements are extended from a point of focus. (Even though it is random, there is a method in the chaos of creation in the page.)

· Dilatational System: All elements expand from a central pointina circular fashion
· Random System: Elements appear to have no specific patter or relationship.

· Grid System: A system olvertical and horizontal divisions.

· Transitional System: An informalsystem of layered banding.

· Modular System:A series ofnon-obiective elements that areconstructed in as a standardised units.

· Biateral System: All lext isaranged symmetricaly on asingle axis.

AdTypo_2_Typographic Composition

· Principles of Design Composition

Emphasis, isolation, repetition, symmetry/asymmetry, alignment, and perspective are explored, with a focus on how these principles apply to typographic layouts.

Fig.1.1 Example of the rule of third

· The Rule of Thirds

A photographic guide to composition, dividing space into three columns and rows, with intersecting points as focal areas.

· Typographic Systems

Discusses eight typographic systems, with a particular emphasis on the Grid System.

Fig.1.2 Example of Form and Movement

· Environmental Grid and Form & Movement

These alternative systems organize typographic design based on environmental elements and use grid systems to create dynamic compositions across multiple pages or screens.

AdTypo_3_Context&Creativity

· Handwriting's Influence on Typography

The document explains how the first mechanically produced letterforms mimicked handwriting, which served as a foundation for type design, spacing, and conventions. Tools and materials such as bones, brushes, and reeds influenced the forms of early handwritten scripts.

Fig 1.3 Evolution of the Latin Alphabet

Fig 1.4 Ancient Egypt Hieroglyphics Chart

· Historical Writing Systems

It traces the development of writing systems such as:

Cuneiform (3000 BCE): Early pictogram-based script.

Hieroglyphics (Egypt): A mix of rebus and phonetic characters that contributed to later alphabetic systems.

Greek and Roman Letterforms: The evolution from freehand Greek scripts to the Roman inscriptional letters, which greatly influenced later Western typography.

· Key Scripts Through Time

Roman Uncials: A rounded script that became faster to write.

Carolingian Minuscule: Standardized writing used across Europe, serving as the basis for modern lowercase Roman type.

Blackletter (Gothic era): A dense, vertical script reflecting Gothic aesthetics.

· Movable Type

Discusses how movable type originated in Asia, with notable advancements in Korea before being introduced to Europe (Gutenberg).

· Cultural Influence

The document highlights how Western colonization and academic biases often erased or ignored the contributions of African and Asian civilizations to writing and typography. It emphasizes the importance of acknowledging these influences.

· Eastern Typography and Scripts

A significant portion focuses on the history and evolution of scripts in Southeast Asia, India, and the Middle East, detailing the development of writing systems like Brahmi, Pallava, and Jawi. It notes how modern technology, through digitalization, has helped revive and preserve these scripts.

· Modern Vernacular Movements

The document concludes by discussing current efforts to digitize and promote vernacular scripts through initiatives like Muthu Nedumaran’s work in Malaysia and organizations in India. It stresses the importance of creativity grounded in local history and culture.

AdTypo_4_Designing Type

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

Designing typefaces because type design carries a social responsibility so one must continue to improve it's legibility. Type design is a form of artistic expression.

· General Process of Type Design:

1.Research

When creating type, we should understand type history, type anatomyand type conventions. We should also know terminologies, side-bearing, metrics, hinting.

2. Sketching

Some designers sketch their typeface using the traditional tool set(brushes/ pens, ink and paper) then scan them for the purpose ofdigitization. Some desiqners sketch their typeface using digital tool sets, such asWacom directly into a font design software.

3.Digitization

There are professional software that are used in the digitization oftypefaces, amongst the leading software are: FontLab and GlyphsApp.

Attention should not only be given to the whole form at this stage butalso to the counter form. The readability of the typeface is heavilydependent on it.

4. Testing

Depending on the typeface category (display type/text typ) thereadability and legibility of the the typeface becomes an importantconsideration.However it is not as crucial if the typeface is a displaytype, where expression of the form takes a little more precedence.

5.Deploy

Even after deploying a completed typeface there are always teethingproblems that did not come to the fore during the prototyping andtesting phases. Thus, the task of revision doesn't end upondeployment.

· Typeface Construction:

Fig 1.5 Top: Construction grid for the Roman

Capital using 8 x 8 cells.

Using grids (with circular forms) can facilitate the constructionof a letterforms and is a possible method to build/create/designyour letterform.

· Construction and considerations:

Fig 1.6 Classification according to form and construction

Depending on their form and construction, the 26 characters of the alphabet can be arranged into groups, whereby a distinction is made between a group for the capitals and a group for lowercaseletters.

· Construction and considerations

Fig 1.7 Example of fitting

Many different forms and constructions must be taken into accountwhen designing a new type. An important visual correction is theextrusion of curved (and protruding) forms past the baseline and capline. This also applies to vertical alignment between curved andstraight forms.

EXERCISE

Exercise1 Typographic Systems

In this task, we'll design eight different layouts, each representing one of the eight typographic systems. This task should be completed exclusively using Adobe InDesign, with a page size of 200 x 200mm. We are allowed to use one more colour in addition to black. Graphical elements like lines and dots can be included but should be used.

Layout Version 1:

Below was the first version of the layout design with the 8 typographic system applied.

Fig.2.0 Bilateral System, Week 1 (Version 1)

Fig.2.1 Radial System1,2, Week 1 (Version 1)

Fig.2.2 Radial System3, Week 1 (Version 1)

Fig.2.3 Dilatational System, Week 1 (Version 1)

Fig.2.4 Modular System, Week 1 (Version 1)

Fig.2.5 Grid System, Week 1 (Version 1)

Fig.2.6 Axial System, Week 1 (Version 1)

Fig.2.7 Transitional System, Week 1 (Version 1)

Fig.2.8 Random System, Week 1 (Version 1)

After feedback I need to improve the design of the Dilatational System, my design didn't quite fit the definition. For a Grid System, you need to make sure it's in the grid.

After modification, I decided to use the following layouts as the final layout version.

Fig.2.9 Radial System, Week 2 (Final Version)

Fig.2.10 Module System, Week 2 (Final Version)

Fig.2.11 Grid System, Week 2 (Final Version)

Fig.2.12 Axial System, Week 2 (Final Version)

Fig.2.13 Bilateral System, Week 2 (Final Version)

Fig.2.14 Random System, Week 2 (Final Version)

Fig.2.15 Transition System, Week 2 (Final Version)

Fig.2.16 Dilatational System, Week 2 (Final Version)

Typographic System Layout Design without grid, Week 2 (Final Version PDF)

Typographic System Layout Design with grid, Week 2 (Final Version PDF)

Exercise 2 — Finding Type

The second task is about font design, we need to search for some images with artificial or natural objects. Based on the image we find, we need to extract the underlying form from the image for font design.

I thought the texture of the glass window and the shape of the clouds were very interesting, so I searched for both images at the same time.

Fig.2.17 The image found on Pinterest, Week 2

Fig.2.18 The image found on Pinterest, Week 2

Layout Version 1:

Fig.2.19 Refinement Process 1, Week 3

Fig.2.20 Refinement Process 2, Week 3

In the class, Mr. Vinod thought that my design as a whole was OK, but some small improvements could be made, which he demonstrated.

· For cloud fonts, if you add some lines and retain some of the original outline can make it look more cloudy.

Fig.2.21 Adjustment 1, Week 3

· For the window font, Mr. Vinod suggested that I add some detail lines inside the font to make it look more like a glass window.

Fig.2.22 Adjustment 2, Week 3

Final Outcome of Part 1

Image and Extraction, Week 3

Overall Process, Week 3

Reference font（Bodoni MT Regular, Week 3

Extracted Letterforms on baseline, Week 3

Final letterforms on baseline, Week 3

Original extraction (top) and final letterform (bottom) comparison, Week 3

Exercise 2 — Type & Play Part 2

In part 2 of this exercise, Mr Vinod instructed us to create a movie poster using the type designs we had made in the previous part.

My font comes from the glass window, so I wanted to find a similar picture to use as my poster background.

Fig 2.23 Collected images, Week 4

In order to make the font look like glass, I textured it and added glass texture.

Fig.2.24 texturing, Week 4

For the other image I wanted to add glass texture and 3D processing to make it look more three-dimensional.

Fig.2.25 Poster Layout 1,2, Week 4

After Mr. Vinod's feedback, in order to make it more authentic, I added the logo of Universal and the list of the production team. But TAYLOR's DESIGN PRODUCER and LIU YITONG DIRECTION at the top don't look so good. TAYLOR's DESIGN PRODUCER is the same word that should go together, so I made some improvements to make it look better.

Final Outcome of Part 2

Fig.2.26 Finalized Poster, Week 4

Fig.2.27 Finalized Poster (PDF), Week 4

FEEDBACK

Week 1 - Exercise 1: Typographic Systems

General feedback: In the first class, Mr. Vinod explained the rules of the advanced typesetting class and gave us a briefing for the first exercise.

· We should update Task process work (research + process).The feedback needs to be completed during class time, and further reading and reflection should be updated weekly.

Specific feedback: Sketch In Adobe In Design according to eight typesetting systems, put in the same image and upload.

Week 2 - Exercise 1: Typographic Systems

General feedback: We were given an important brief for the next exercise 2.

We will be asked to select an image of a man-made object (chair, glass, etc.) or structures (buildings), or something from nature.

The process of font modification should be provided at the time of submission.

Specific feedback: For Exercise1 to need to improve the design of the Dilatational System, my design didn't quite fit the definition. For a Grid System, you need to make sure it's in the grid.

Week 3 - Exercise 2：Finding Type part1

General feedback: In this lesson, Mr. Vinod guides us through the progress of the Exercise2 and gives a brief description of the tasks that need to be completed in the coming week.

Specific feedback: 1. For cloud fonts, if you add some lines and retain some of the original outline can make it look more cloudy.

2. For the window font, Mr. Vinod suggested that I add some detail lines inside the font to make it look more like a glass window.（Note that the width of the letter strokes should be consistent.）

Week 4 - Exercise 2：Finding Type part2

General feedback: In week 4, we were given an important brief for the next task 2.

We need to create a logo with our own name, and it needs to be consistent and legible enough. Pay attention to the white space, do not appear empty or crowded. To get started, I need to create a mood board, collect my favorite word markers, and set the direction of color style and so on.

Specific feedback: 1. TAYLOR's DESIGN PRODUCER and LIU YITONG DIRECTION at the top don't look so good. TAYLOR's DESIGN PRODUCER is the same word that should go together.

2.At the bottom of the list do not take up too much area of the poster.

REFLECTION

Experiences

Both exercises provide an exciting challenge in different ways. In Exercise 1: Typesetting Systems, I explored eight different typesetting structures, and this exercise prompted me to think critically about how typesetting for the same content can be communicated in different ways. Some systems, such as Axial and Grid, are more structured and easy to manage, while others, such as Random and Dilational, are more abstract and difficult to control. but for me, this part of the design is a little too conservative.

In Exercise 2:Finding Type, I was asked to extract letters from a real object. I chose clouds and glass Windows, which were fun and prompted me to look at everyday objects as potential sources of typography and exercise my typography skills.

Observations

In both of these exercises, I noticed that typographic design relies heavily on layers and balance, even when using the smallest elements or abstract shapes. The Nonobiective Elements in Exercise 1 are essential for guiding the viewer's eye and creating focus, but it must also be used sparingly to maintain visual consistency.

In Exercise 2, the texture of the glass window adds an extra layer of beauty to the font, as I can extract usable shapes from the image itself. Both of these exercises taught me that typography is not only about the fonts themselves, but also about the context, environment, and composition in which they are placed.

Findings

From Exercise 1, I learned that each typesetting system has its own unique logic. Some systems (like Bilateral and Grid) require precise alignment and sequencing, while others (like Random and Dilational) offer more freedom for creative exploration .I've also found that Nonobiective Elements play a vital role in highlighting certain parts of a design and creating contrast, but it needs to be applied thoughtfully to avoid missing the point.

In Exercise 2, I found that abstract letter forms can emerge from unexpected sources, and textures and deformations can enhance rather than hinder typographic design. This exercise made me understand that fonts contain object elements, which can convey their meaning more effectively.

FURTHER READING

Fig.5.0 Typographic Systems by Kimberly Elam (2007)

Nonobiective Elements

Using nonobjective elements sharpens and articulates thecomposition. Just as typography is functional in the communication of a message, the nonobjective elements enhance thefunctions ofemphasis, organization, and balance.

Fig.5.1 Three Nonobiective Elements

· Rule Series

Alteringthe length of the rules creates astrong diagonal. Changes in rule weight create a hierarchy by guiding the eye to the largest volumeof black.

· Circle Series

The circle can act as a nonobjective point or as an element thatcreates hierarchy.The examplesshow ways in which the circledraws the eye to a single word,making that word the first read in the composition.

· Tone Series

The simple use of tone can dramatically alter the hierarchy of a message. The eye is drawn to the largest volume of black on a white background or the largest volumeof white on a black background.

Random System

When lines of text are on the horizontal it is almost impossible to achieve a random effect. Any single directionhorizontal, vertical, or diagonal-indicates a sense of order andintention.

Fig.5.2 Examples

· Type only

· Nonobiective Elements

The introduction of nonobjective elements can enhance random compositions through diversity of shape.These elements need to appear asuncons trained as the text in their formand placement.Occasionally, a nonobjective element can modify a word orline and improve communication in achaotic environment.

· Shaped background

These backgrounds employ the same random angles as the type and become a counterpoint to the lines of text.

· Repetition

One of the traits of the random systemis repetition, and excessive repetitionof type elements in pursuit of an in.

（Another strategy that preserves communication, employed in the composition opposite on the bottom, is the enlarged repetition of the message,enhanced with color change and theuse of uppercase text.）

Transitional system

The transitional system of visual organization is an informal system of layered and shifted banding. The lines of type are free flowing and the textures they create assist in ordering the message.

Fig.5.3 Examples

· Movement

· Change in Directiom

· Diagonal Direction

· Nonobiective Elements

· Visual language

LIUYITONG(0370907)

Search This Blog

Advanced Typography: Task 1 Exercises

Comments

Post a Comment