Advanced Typography / Task 1: Exercises

03.28.2022 - 05.02.2022 (Week 1 - Week 5)

Audrey Gracia Djohari / 0348120
Advanced Typography
Bachelor of Design (Hons) in Creative Media / Taylor’s University
Task 1: Exercises Typographic Systems & Type & Play

JUMP LINKS

LECTURES

WEEK 1:

Today is the first day of Semester 2 and I have my first class of Advanced Typography. I feel so thrilled to see most of my classmates are attending the class face-to-face. I really can't wait to join them as soon as possible when I'm able to fly to Malaysia. As an opening of the semester, Mr. Vinod briefed us about the MIB and he also explained our first task, which consists of 3 typography exercises.

PERSONAL NOTE:

Featured section (in Facebook) is a place where you can collect information, files, and links.
Watch "Indesign Formatting" to refresh your knowledge in Indesign.
Watch and complete the lectures throughout the week.
Download the Typographic System book first for further reading.
Attendance will be done via CAMS (Taylor's App)
Arrange your Google Drive

- AdTypo_1_Typographic Systems

"All design is based on a structural system" and according to Kimberly Elam, 2007, there are 8 major variations with an infinite number of permutations.

Axial
Radial
Dilatational
Random
Grid
Modular
Transitional
Bilateral

Typographical organization system is complex because the elements are dependent on communication in order to function. As a designer, when giving form to content, remember to put communication first.

Additional criteria that come into play in typographical systems:

hierarchy
order of reading
leligibility
contrast

The typographic systems are similar that the systems has a set of rules that is unique and provides a sense of purpose that focuses and directs the desicion making. (Elam, 2007)

Understanding these rules and concepts help designers to understand the nuances of typographic layout making and composition.

1) Axial System

All elements are organized to the left or right of a single axis (the red line). The information is divided into groups and is placed in different angles or sides of the axis.

NOTE: Use only a single line for your exercise.

Figure 1.0: Axial System Example

2) Radial System

All elements are extended from a point of focus.

Figure 1.1: Radial System Example

3) Dilatational System

All elements expand from a central point in a circular fashion. There's a circular nature in this system. You can place the information in line or on the sides of the circle in a hierarchical manner.

Figure 1.2: Dilatational System Example

4) Random System

Elements appear to have no specific pattern or relationship. It does take a certain level of effort to eventually understand this design system.

Examples of random system artists:

David Carson
Ed Fella

Figure 1.3: Random System Example

5) Grid System

A system of vertical and horizontal divisions.

Figure 1.4: Grid System Example

6) Modular System

A series of non-objective elements that are constructed as a standardized unit.

All of the units (red squares) must be the same size. You can move the individual elements around as long as it occupies a particular unit of space.

Figure 1.5, 1.6, 1.7: Modular System Example

7) Transitional System

An informal system of layered banding.

Ways to achieve hierarchical manner in the transitional system:

1. Positioning of the information.

2. Size of the information.

3. Different weights (bold, thin, uppercase, lowercase) of the information.

Essentially, the information must flow.

Figure 1.8: Transitional System Example

8) Bilateral System

All text is arranged symmetrically on a single axis.

Figure 1.9: Bilateral System Example

Conclusion

Student designers may initially find the system awkward but as work develops an understanding of the systems emerges whereby its creative potential (in terms of its permutations or combined uses) is realized.

Many designers focus primarily on the grid system for design and are unaware of the potential that other systems hold. This here system is one of many possibilities that affords some level of distinctiveness from the grid systems in certain situations

An understanding of the systems organization process allows the designer to break free from "the rigid horizontal and vertical grid systems of letterpress* (Elam, 2007), it allows designers to use more fluid means to create typographic messages

WEEK 2:

- AdTypo_Ex_Typographic Composition

Principles of Design Composition

When we think about composition, we think about the dominant principles underpinning design composition, which are emphasis, isolation, repetition, symmetry and asymmetry, alignment, perspective to name a few.

However these abstract notions seem ambiguous when it comes to translating it into typographic layouts or composition. They seem more relevant to imagery than complex units of information that consist different elements.

The ideas mentioned above and the application of these ideas into real-life content (images, textual information and color) on a page or screen can sometimes feel disparate. That said, Some of these principles are a little more easily translatable than the others.

Figure 2.0: Typographic Composition

However, these abstract notions seem ambiguous when it comes to translating them into typographic layouts or compositions. They seem more relevant to imagery than complex units of information that consist of different elements.

The ideas mentioned above and the application of these ideas into real-life content (images, textual information, and color) on a page or screen can sometimes feel disparate. That said, Some of these principles are a little more easily translatable than others.

The Rule of Thirds

The rule of thirds is a photographic guide to composition, it basically suggests that a frame (space) can be divided into 3 columns and 3 rows. The intersecting lines are used as a guide to place the points of interest, within the given space.

Figure 2.1: Rule of third

Typographic Systems

These 8 systems we have covered in-depth in theory and practical. Of the 8 systems, the most pragmatic and the most used system is the Grid System (or Raster Systeme), which is derived from the grided compositional structure of Letter Press printing.

It was further enhanced by what is now come to be termed the Swiss (Modernist) style of Typography, with its foremost proponents being Josef Muller Brockmann, Jan Tschichold, Max Bill, and such.

Figure 2.2: Typographic System

In reaction to this very ordered approach to Typography of the modernist era, a group of younger designers began to question and challenge this notion of order. Thus was born the post-modernist era in Typographical systems where chaos, randomness, and asymmetry were explored. Legibility and readability were relegated to the back seat however the bests examples seem to combine the two seamlessly.

Its proponents include David Carson, Paula Scher, and Jonathan Barnbrook, to name a few.

There was a method to their madness. Order was replaced with apparent chaos but this chaos was exciting and 'new' for a generation that was being exposed to Punk anti-establishment thought and music. As such the asymmetry, random, repetition, dilatational, and radial systems began to take root in the lexicon of designers.

Other Models/Systems

1) Environmental Grid

This system is based on the exploration of an existing structure or numerous structures combined. An extraction of crucial lines both curved and straight is formed. The designer then organizes his information around this super-structure, which includes non-objective elements to create a unique and exciting mixture of texture and visual stimuli.

It is an interesting manner of exploration and provides context to the forms developed in the context of the design. Why? Due to the fact that the system/structures were developed around key features of an environment associated with the communicators of the message.

Figure 2.3: Environmental Grid

2) Form & Movement

This system is based on the exploration of existing Grid Systems. I developed this system to get students to explore; the multitude of options the grid offer; to dispel the seriousness surrounding the application of the grid system; and to see the turning of pages in a book as a slowed-down animation in the form that constitutes the placement of image, text, and color.

The placement of a form (irrespective of what it is) on a page, over many pages creates movement. Whether the page is paper or screen is irrelevant

Figure 2.4: Form & Movement

INSTRUCTION

TASK 1

- Exercise 1: Typographic Systems

Instruction

Create 1 final design for every system (total: 8 designs)
Use one color aside from black and white (white is for the background)
Start with sketching.
Don't get easily content with your first result.
Record your progressions and results in the e-portfolio. Update everything with description and date.
Formats: JPEG (white backrgound) & PDF.
Export 2 PDF files: without the grids and with the grids
To save the grids, select 'show guides and grids' /or 'make guides and grids visible'.

Visual Research

Throughout my design process, I gathered some references from Pinterest. These are some of the designs that inspired me.

Figure 3.0: Radial System Reference, Pinterest

Figure 3.1-3.4: References, Pinterest

Figure 3.5, 3.6: References, Pinterest

I also did some research on David Carson and Ed Fella's works. This peace in particular inspired me and gave me a deeper understanding of the random system.

Figure 3.7: Artwork by David Carson, Random System

Process

I chose blue as the complementary color for my type systems design. The reason why is because blue (this shade in particular) stands out. Actually, red is usually the first color that I pick, however, I want to experiment with blue since I never used it before in typography design.

Figure 3.8: Chosen Color Palette

It took me a while to recover all my memories of how to use inDesign. I went back to watch some lecture videos and youtube videos. Here are some important notes which might be useful for future me so I won't keep forgetting:

Create Guide Lines: Layout < Create Guides
Creat Margins & Columns: Layout < Margins & Columns
Activating Baseline Grids: View < Grids & Guides < Show Baseline Grid
Editing the Baseline Grids size: Indesign < Preferences < Grids & Guides < Increment every (set the same as leading)

Figure 3.9: Using Indesign

Idea Exploration & Attempts

Axial

Axial System was the first system that I design for this task, so it took me the longest as I was still figuring out all the tools (yes, I forgot some things from last semester). But Mr. Vinod's lecture videos helped a lot.

I create Attempt #1 using baseline grids, however, I didn't find a way to tilt the grids, so I just tilted the whole type elements after I finished making the all aligned. I quite like the idea and outcome of my Attempt #1.

Attempt #2 is more simple and I experimented with lines as a complementary element. The axial system turns out to be pretty simple. I will definitely use this systems again in the future because it easily makes the whole information looks neat.

Figure 3.10: Attempt #1, Axial System, 01.04.2022

Figure 3.11: Attempt #2, Axial System, 01.04.2022

Radial

Radial System was pretty tricky. It took time to place every word until they shape a circle. The idea was fun but the execution was not easy for me.

My #1 attempt was not the most balanced one. I managed to create 5 cyclical elements. I think they look cute and unique. My second attempt looks more formal in a way, and I think it has a better hierarchy so I chose the #2 as my final outcome.

Figure 3.12: Attempt #1, Radial System, 01.04.2022

Figure 3.13: Attempt #2, Radial System, 01.04.2022

Dilatational

For this system, I used Illustrator to make the words follow the shape of the circle. Because that's what the dilatational system concept has to look like. The design must expand from a central point in a circular fashion.

I used Wrap Text for all of these circular words:

- Wrap Text: Choose Type Tool < Type on a Path Tool < Click the circle

- Flip The Position: Type < Type on a path < Type on a path option < Flip

Figure 3.14: Attempt #1, Dilatational System, 01.04.2022

Figure 3.15: Attempt #1, Dilatational System, 03.04.2022

Random

Surprisingly, I did not find the random system as difficult as the rest of the systems even though Mr. Vinod said it can be the hardest one. After I saw David Carson's work, I kind of understand the concept. I didn't think much and just enjoyed placing the words in abstracted order. I used different kinds of typefaces (from the 10 typefaces) and I really liked the outcomes.

Figure 3.16: Attempt #1, Random System, 01.04.2022

Figure 3.17: Attempt #2, Random System, 01.04.2022

Grid

The grid system reminded me of the exercises from semester 1 (Typographic Exploration & Communication). Once I set the grids and baseline guides, I immediately came up with these designs. They were not as complicated as the rest.

For my #1 attempt, I kept it simple and neat. I used different sizes for the font to indicate hierarchy. I also used the staircase method that Mr. Vinod taught in semester 1.

For attempt #2, I used 2 rectangular elements to add some volume and weight to the design. It looks bolder and less boring. However, I still like the #1 one better though.

Figure 3.18: Attempt #1, Grid System, 01.04.2022

Figure 3.19: Attempt #2, Grid System, 01.04.2022

Modular

To be honest, the modular system might be the hardest one for me. I just hope my outcomes reach Mr. Vinod's expectations and I hope they follow the modular rules correctly. I experimented with the unit of space. I used rectangles for the #1, and circles for the #2 attempt. They are all in the are in the same unit.

Figure 3.20 Attempt #1, Modular System, 01.04.2022

Figure 3.21: Attempt #2, Modular System, 03.04.2022

Transitional

I remember the keyword for this system is FLOW. The information has to flow so I choose to apply the wavy structure which I really think is interesting. I also add a circle in attempt #1 to balance things and direct the viewer's attention upwards.

Figure 3.22: Attempt #1, Transitional System, 03.04.2022

Figure 3.23: Attempt #2, Transitional System, 03.04.2022

Bilateral

I like my #1 attempt more than my #2 attempt because it will be easier for the viewers to understand its hierarchy.

Figure 3.24: Attempt #1, Bilateral System, 01.04.2022

Figure 3.25: Attempt #2, Bilateral System, 01.04.2022

Figure 3.26: Attempts, 03.04.2022

Figure 3.27: Attempts (With Grids), 03.04.2022

Revision

Mr. Vinod liked my dilatational system, he also said my bilateral system was well done. The rest of the work were okay. However, there were 3 changes that Mr. Vinod suggested

Modular System: For my modular system (attempt #1) he said it would be better if I make some of the elements left-aligned.
Axial System: For the axial system (attempt #1) he said the dates caused a bit of congestion, so better to make the numbers simpler and aligned with the month and year.
Random System: Lastly, he said my random system was interesting, however, the lower part could be better, so I made it more abstract than before.

Figure 3.28-3.30: Revised Version, 04.04.2022

Final Works (Submission)

Figure 3.31: Final Axial System, 01.04.2022 (Revised)

Figure 3.32: Final Radial System, 01.04.2022

Figure 3.33: Final Dilatational System, 03.04.2022

Figure 3.34: Final Random System, 01.04.2022 (Revised)

Figure 3.35: Final Grid System, 01.04.2022

Figure 3.36: Final Modular System, 01.04.2022

Figure 3.37: Final Transitional System, 03.04.2022

Figure 3.38: Attempt #1, Bilateral System, 01.04.2022

Figure 3.39: Final Outcome, Type Systems (with grids), 04.04.2022

Figure 3.40: Final Outcome, Type Systems, 04.04.2022

- Exercise 2 Part 1 : Finding Type

Visual Research

I gathered some Indian & Maroccoan architecture photos from Pinterest which I found interesting.

Figure 4.0: Images I gathered, Pinterest

Found Letters

To be honest, I was looking for an Indian Architectural building because I have always been amused by it. However, I finally chose this picture which turned out to be a Moroccan architecture in Putrajaya Malaysia (from Pinterest). I never really noticed that Moroccan design is pretty similar to Indian. They are both beautiful.

The various design elements of traditional Moroccan architecture all have a strong Islamic influence. Whether it’s elaborate geometric patterns that convey symmetry, ornamental calligraphy showcasing Quranic verses, or the stunning and colorful ceramic tile mosaics called zellij.

Letters found: Y, W, A, L

Figure 4.1: Letters found in this image, 10.04.2022

Figure 4.2: Finding the letters, 11.04.2022

Figure 4.3: Extracted Letters, 10.04.2022

Reference

We need to have a reference from the 10 typefaces Mr. Vinod provided. I chose Bodoni Bold because I could use its consistency in thickness and thinness as a reference for my letterforms.

Figure 4.4: Reference, Bodoni Bold 24.04.2022

Refining Process

Figure 4.5: First Refinement, 11.04.2022

The above image is my first refining process. It's still premature and quite elaborate. Mr. Vinod sai I needed to drop certain characteristics that were prevalent in the design. He said to take the characters (from the 10 typefaces) in consideration when refining my typefaces. So basically, this refinement is a process of retaining certain characteristics of the original shape but at the same time making it lean more towards the typeface reference.

Figure 4.6: Overall Refinement Process, 24.04.2022

1) Simplifying #1

I refine the size and length of th extracted letterforms.

2) Adding Curves

I added curvy shapes so the letterforms look more flowy and not stiff. I also used W's curves to make letter L. I like the L form very much.

3) Adding Edges & Consistent Serif

I made all the serifs more consistent by making them flat. I also decided to make some of the curves flat as it will look more like the reference.

4) Simplifying #2

I noticed the W is still very elaborate. I decided to use the same elements from A for W. I also make the Y to be more similar to the other letterforms' elemet and curves. I find Y the most challenging.

5) Eliminating The Holes

I erased the holes so it looks more solid.

Final Outcome

Figure 4.7: Original Letterforms vs Refined Letterforms, 24.04.2022

Figure 4.8: Letter W, 24.04.2022

Figure 4.9: Letter A, 24.04.2022

Figure 4.10: Letter L, 24.04.2022

Figure 4.11: Letter Y, 24.04.2022

Figure 4.12: Final Letterforms, 24.04.2022

Figure 4.13: Type Showcase #1, 24.04.2022

Figure 4.14: Type Showcase #2, 24.04.2022

Figure 4.15: Type Showcase #3, 24.04.2022

Figure 4.16: Final Finding Typee, 24.04.2022

- Exercise 2 Part 2: Type & Image

Instruction

Students will combine a visual with a letter/word/sentence of their choosing. The objective is to enhance/support the interplay between the letter/word/sentence and the selected visual. The text must be woven into a symbiotic relationship with the image.

Process

I found this photograph in Lightroom's Instagram post. This photo was taken by John Chacon who is a Los Angeles-based professional photographer. I find this image very interesting as it has a creamy texture as a foreground. I'd like to try applying the text under this texture.

Figure 5.0: Original Image, Photographed by John Chacon

Word: BLUR

Font: Futura Bold

Tools that I used:

Gaussian Blur
Filter < Liquify
Soft Brush (for highlights)
Kyle's Spatter Brush (for spots)
Blending Option
Blend Mode: Multiply
Curves & Masking (for shadows & highlights)

Figure 5.1: Blending Option

Figure 5.2-5.4: Process in Photoshop

Final Outcome

These are my final outcomes.

Figure 5.5: Final Type & Image, 01.05.2022

Figure 5.6: Final Type & Image, PDF, 01.05.2022

FEEDBACK

WEEK 2:

Specific Feedback

Mr. Vinod liked my dilatational system, he also said my bilateral system was well done. And for my modular system (attempt #1) he said it would be better if I make some of the elements left-aligned. For the axial system (attempt #1) he said the dates caused a bit of congestion, so better to make the numbers simpler and aligned with the month and year. Lastly, he said my random system was interesting, however, the lower part could be better, so I made it more abstract than before. The rest of the work was okay.

General Feedback

When designing a layout, make sure the chunks of information connect with each other. Don’t let the layout design causes disconnection of information.
Do not use too many graphic elements, it is not needed if the placement of the type elements are good already.
Study alignments, it is very important in creating a layout and creating balance.
Pay attention to the leading (if the font size is 9, the leading should be between 11.5 - 12)

WEEK 3:

Specific Feedback

(The first refinement) "Quite elaborate," said Mr. Vinod. He said it would be interesting to see how my work turned out. he said I could continue my work. Keep continuing because refinement is a long way to go. He said I need to drop certain characteristics that are prevalent in the design. He said to take the characters (from the 10 typefaces) in consideration when refining my typefaces. So basically, this refinement is a process of retaining certain characteristics of the original shape but at the same time making it lean more towards the typeface reference.

General Feedback
Don't just follow the outlines of the shape, but see the whole characteristics of the original image and bring that uniqueness into the typeface design.

WEEK 4:

*Absent with Permission*

WEEK 5:

Specific Feedback

(Finding Type Final Outcome) Mr. Vinod didn't say much which is very relieving, he said, "Nice, quite an eclectic-looking letterform. Go with it." I'll take that as approval for submission. Thank you sir!

General Feedback
(Type & Image) Try to layer the words between some parts of the image, so they blend in together and relate with the objects in the image.

REFLECTION

Experience

These exercises were pretty fun because they gave me a lot more freedom in designing typefaces compared to semester 1. I really enjoyed doing the 'Finding Type' exercise, I never thought by tracing a random letter from an image could create an expressive typeface. I had a bit of difficulty in doing the 'Type & Image' though. Because there were no tutorial videos on how to do it (because everybody works on a different image) so I had to find out how to do it myself.

Observation

"If your mind was a judge, it would win every case that comes in your life". Don't feel content too fast with your work, because our mind tends to manipulate us to feel that our first outcome is the best. If we follow this feeling, we will be satisfied easily with our work and most likely would not explore more. In design, it's very important to keep trying new things, and I see that as the reason why Mr. Vinod always pushed us to create several outcomes and not stick with just one.

Findings

The first exercise (typographic systems) was a very good exploration, I found myself getting even more familiar with grids, layouts and hierarchy. Also, I found the Type & Play exercises very helpful in sharpening my sensitivity to making an expressive typeface. It also helps me to recall Photoshop and Illustrator techniques that I learned in past semesters.

Audrey Gracia Djohari (0348120)

Search This Blog