Advanced Typography - Task 1: Exercises
05 Apr 2023 - 03 May 2023 (Week 1 - Week 5)
As per Mr. Vinod's instructions, we were asked to analyze and discuss the layout
outcomes of two of our peers with him. Follow by that, our next task is to work
together as few small groups and identify the principles and rules that were
followed in each other layouts, and determine if they were adhered to or not.
This exercise not only allows us to understand the principles that make a good
layout but also helps us learn from our peers' experiences and develop our own
layout skills. Before the class ended, we were briefed on Exercise 2: Type and
Play. This task is basically to identify letterforms from any object or subject
and deconstruct them to identify the strokes then refine them with the 10
typefaces provided.
This system is based on the exploration of an existing structure or
numerous structures combined. The designer organize this information
around this super-structure, which includes non-objective elements to
create a unique and exciting mixture of texture and visual stimuli.
This system is based on the exploration of an existing Grid Systems.
This system is 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
colour.
Cuneiform
It's important to note that the Phoenician alphabet was a crucial
development in written communication, as it allowed for the
representation of sounds using letters. However, it's worth considering
that the Phoenician script may have been influenced by Egyptian
Hieroglyphics and Hieratic Scripts.
From the Oracle bone to Seal Script to Clerical Script, Traditional and
Simplified scripts.
The oldest writing found in the ‘Indian’ subcontinent. It is as yet
undeciphered and seems to have been somewhat logo-syllabic in nature.
“Some believe that these symbols are non-linguistic, while others argue
that they represent a Dravidian language.”
AdTypo_4_Designing Type
In the first half of today lecture, we were given basic understanding on
the history/ origins of each typeface, moreover the purpose and
limitations of these well-known typefaces such as,
1. Research
Typeface Construction
Construction and Considerations
Size
Weight
Form
Structure
Texture
Vincent Lee // 0359386
Advanced Typography // Bachelor of Design (Hons) in Creative Media // Taylor's
University
INSTRUCTIONS
Lectures
Week 1
Class Summary
Mr. Vinod brief us on the module information booklet to inform what are
expected to do throughout the following 14 weeks. Then, Mr. Vinod also
provided pre-recorded lecture materials, reference/ notes for further reading
and some senior's works for us to have better understanding for the each
tasks. Later, we started our Exercise 1: Typography Systems
(need to submit on the next class) after watching the pre-recorded
lecture and tutorial videos.
AdTypo_1_Typographic Systems
According to Elam, 2007, there are
Eight Major Variations with an
infinite number of permutations.
|
| Fig 1.1 - Typography Layout Systems by Kimberly Elam, image from Pascal Wong |
1. Axial System
- all elements are organised to be the left or right of a single axis, it was
not necessary to be straight, it can be bent as long designers can connect the
line
2. Radial
- all elements are extended from a/ or more point of focus and spread out from
the point of focus, can have multiple focuses
3. Dilatational
- all elements expand from a central point in a circular manner, and we can
place it in a hierarchical manner where the most important probably takes
precedence on the outer or inner rings of the circle and subsequently the
lesser important information is in the outer ring
4. Random
- elements appear to have no specific pattern or relationship
5. Grid
- A system of vertical and horizontal divisions
6. Modular
- this systems allow designer to move the individual units to different
portions of the page, then each portion can be related by one another because
the units are standardised, each portion occupies a particular unit of space
only
7. Transitional
- An informal system of layered banding, banding = segregating information
within certain bands
8. Bilateral
- all text is arranged symmetrically on a single axis
Week 2
Class Summary
AdTypo_2_Typographic Composition
Typographic composition refers to the arrangement of textual information
in a given space (screen, paper, print and etc).
Principles of Design Composition
- Emphasis, Isolation, Repetition, Balance (symmetry, asymmetry), Alignment , Perspective, Rhythm, Contrast
|
| Principles of Design Composition - emphasis |
- Rule of Thirds
|
| The Rule of Thirds |
- Environment Grid
|
| An example from lecturer Brenda McMannus, of Pratt Inst. from the book: Typographic Form and Communication, pp211. |
- Form and Movement
|
| Form and Movement |
Post-Modernist Era
- Post-modernist typography rejected the ordered approach of modernism and instead explored chaos, randomness, and asymmetry.
- While legibility and readability were not prioritized, some designers found ways to seamlessly combine the two.
- Below shows the proponents of post-modernist typography includes:
|
| Paula Scher (left), Jonathan Barnbrook (middle), and David Carson (right). |
Week 3
Class Summary
Online class due to upcoming Hari Raya Aidilfitri. Mr. Vinod reviews
our attempts on Exercise 2: Finding Type. He has mentioned that we
shouldn't have abandon the characteristics of our selected object
until we have clear knowledge of it. Besides, I had observed that some
of us did not study well on the task description because we did not
depict the object accurately (crude extraction). For instance, when
extracting letterforms from a leaf, we trace the vein by guessing it.
AdTypo_3_Context & Creativity
Handwriting
- The shape and line of hand drawn letterforms are influenced by the tools and materials used to make them.
- Sharpened bones, charcoal sticks, plant stems, brushes, feather and steel pens all contributed to the unique characteristics of the letterform.
- Additional factors included the material upon which the forms were written: clay, papyrus, palm leaf, animal skins (vellum and parchment) and paper.
|
| Evolution of the Latin Alphabet |
- The earliest system of actual writing, was used in a number of languages between the 34C. B.C.E.
- The cuneiform characters evolved from pictograms.
- Cuneiform was written from left to right
|
| Cuneiform |
Hieroglyphics
- The Egyptian writing system is fused with the art of relief carving.
- The system was a mixture of both rebus and phonetic characters—the first link to a future alphabetic system.
- Hieroglyphic images have the potential to be used in three different ways:
- As ideograms, to represent the things they actually depict.
- As determinatives to show that the signs preceding are meant as phonograms and to indicate the general idea of the word.
- As phonograms to represent sounds that "spell out" individual words.
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|
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Other handwriting styles
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| Letterforms of different periods |
- Early Greek, Phoenicians System (Boustrophedon)
- Roman Unicials
- English Half Unicials
- Emperor Charlemagne, Carolingian Handwriting Reform - Carolingian Minuscule
- Black Letter
- The Italian Renaissance, Antica
- Movable Type, Printing (wood block)
Eastern Developments in Handwriting
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| Evolution of Middle Eastern Alphabets |
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| The Evolution of the Chinese script |
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| Indus Valley Civilization (IVC) Script |
|
|
The Brahmi script
|
It is the earliest writing system developed in India after the Indus
script. It is one of the most influential writing systems; all modern
Indian scripts and several hundred scripts found in Southeast and East
Asia are derived from Brahmi.
Week 4
AdTypo_4_Designing Type
|
| Typefaces and The Designers |
- Univers and Frutiger by Adrian Frutiger,
- Georgia and Verdana by Carter's,
- Bell Centennial by Matthew Carter,
- Johnston Sans (previously known as Underground) by Edward Johnston, lastly
- Gill Sans by Eric Gill. Move on,
Then, we were lectured on the general process of type design and typeface
construction and considerations.
General Process of Type Design:
- When creating type, we should understand type history, type anatomy and type conventions. We should also know terminologies, side-bearing, metrics, hinting…
- It is then important to determine the type’s purpose or what it would be used for, what different applications it will be used in such as whether the typeface is for school busses or airport signages, etc.
- We should also examine existing fonts that are presently being used for inspiration/ideas/reference/context/usage pattern/etc.
- Some designers sketch their typeface using the traditional tool set (brushes/ pens, ink and paper) then scan them for the purpose of digitization. They are more confident with their hands and have better control using it.
- Some designers sketch their typeface using digital tool sets, such as Wacom directly into a font design software (much quicker, persistent, and consistent) but this can sometimes impede the natural movement of hand strokes.
- Both methods have their positives and negatives.
- There are professional software that are used in the digitization of typefaces, amongst the leading software are: FontLab and Glyphs App.
- There are designers that also use Adobe Illustrator to design or craft the letterforms and then introduce it into the specialized font apps. This however is frowned upon by the purist.
- Attention should not only be given to the whole form at this stage but also to the counter form. The readability of the typeface is heavily dependent on it.
- Testing is an important component in the design thinking process. The results of the testing is part of the process of refining and correcting aspects of the typeface. Prototyping is also part of the testing process and leads to important feedback.
- Depending on the typeface category (display type/text typ) the readability and legibility of the the typeface becomes an important consideration. However it is not as crucial if the typeface is a display type, where expression of the form takes a little more precedence.
- Even after deploying a completed typeface there are always teething problems that did not come to the fore during the prototyping and testing phases. Thus, the task of revision doesn’t end upon deployment.
- The rigour of the testing is important in so that the teething issue remain minor.
- Using grids (with circular forms) can facilitate the construction of a letterforms and is a possible method to build/create/design your letterform.
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| Construction grid for the Roman Capitals using 8 x 8 cells |
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| Classification to the 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 lowercase letters.
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| visual correction to achieve uniform white space |
- Many different forms and constructions must be taken into account when designing a new type. An important visual correction is the extrusion of curved (and protruding) forms past the baseline and cap line. This also applies to vertical alignment between curved and straight forms.
- A visual correction is also needed for the distance between letters. It is not possible to simply place letters next to each other with equal spacing between them. The letters must be altered to a uniform ‘visual’ white space. This means that the white space between the letters should appear the same. This is called ‘fitting’ the type.
Week 5
AdTypo_5_Perception and Organisation
Perception in typography deals with the visual navigation and
interpretation of the reader via contact, form and organisation of the
content. Content can be textual, visual, graphical or in the form of
colour.
Contrast
There are several methods in Typography to create contrast the one on
the top is devised by Rudi Ruegg. They are self-explanatory. 7 kinds of
contrast:
1) size, 2) weight, 3) contrast of form, 4) contrast of
structure, 5) contrast of texture, 6) contrast of colour and 7)
contrast of direction.
- A contrast of size provides a point to which the reader’s attention is drawn.
- The most common use of size is in making a title or heading noticeably bigger than the body text.
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| Size |
- Weight describes how bold type can stand out in the middle of lighter type of the same style.
- Other than then using bold, using rules, spot, squares is also provide a “heavy area” for a powerful point of visual attraction or emphasis, therefore not only types of varying weight.
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| Weight |
- Contrast of form is the distinction between a capital letter and its lowercase equivalent, or a roman letter and its italic variant, condensed and expanded versions of typeface are also included under the contrast of form.
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| Form |
- Structure means the different letterforms of different kinds of typefaces.
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| Structure |
- Texture refers to the way the lines of type look as a whole up close and from a distance.
- This depends partly on the letterforms themselves and partly on how they’re arranged.
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| Texture |
Direction
Colour
Form
Originating from the Greek words “typos” (form) and “graphis” (writing), typography means to write in accordance with form. Typography can be seen as having two functions:
Displaying type as a form provides a sense of letterforms’ unique
characteristics and abstract presentation.
The interplay of meaning and form brings a balanced harmony both in terms of function and expression.
When a typeface is perceived as a form, it no longer reads as a letter because it has been manipulated by distortion, texture, enlargement, and has been extruded into a space.
- Contrast of direction is the opposition between vertical and horizontal, and the angles in between.
- Turning one word on its side can have a dramatic effect on a layout.
- Text blocks also have their vertical or horizontal aspects of direction.
- Mixing wide blocks of long lines with tall columns of short line can also create a contrast.
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| Direction |
- The use of color is suggested that a second color is often less emphatic in values than plain black on white.
- Therefore it is important to give thought to which element needs to be emphasized and to pay attention to the tonal values of the colours that are used.
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| Colour |
Originating from the Greek words “typos” (form) and “graphis” (writing), typography means to write in accordance with form. Typography can be seen as having two functions:
- to represent a concept
- to do so in a visual form.
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| Form |
The interplay of meaning and form brings a balanced harmony both in terms of function and expression.
When a typeface is perceived as a form, it no longer reads as a letter because it has been manipulated by distortion, texture, enlargement, and has been extruded into a space.
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|
The letters was distorted |
Organization / Gestalt
This is the first system that I approached, as it requires the
information to be aligned with an axis. I attempted three times to
see which approach created the most dynamic result. However, after a
few months of a semester break, I found myself unfamiliar with the
tools, which resulted in inconsistent and unsatisfactory outcomes in
my first attempt
(on the left). In my second attempt (on the middle), I
tried placing the information diagonally and changed the typeface to
enhance the visual, while avoiding creating imbalance.
In these attempts, I tried to place the information based on what I
had learned in week 2 of the lecture. As can be seen in my week 1
attempts, I utilised a graphic element - a semi-circle - to help me
achieve the curvature. However, it occurred to me that increasing the
font size was the only way to inform about the event, as I found no
dynamic or creativity behind it.
Radial attempt #3, shows my refined on layout in
Fig 1.2 - radial attempt #1, by grouping lectures on the
same date closer together, to show that they belong to the same group.
Additionally, I applied what I had learned in week 2 class - I changed
the typeface and increased the font size to an extremely large size,
and on the other side, I added a graphic element, a semi-circle, to
balance the visual and draw the reader's attention to that side.
I found this system fun as it kind of resembled the golden ratio. In
my first attempt (on the left), I placed the information in a
way that resembled the exoskeleton of a snail. In my second and third
attempts (on the middle and right), I created a layout that was
inspired by a teleportation machine, envisioning it moving around as a
motion video.
On the left, it was my fourth attempt, I was inspired by the action of
surfing and how the wave would look like. In the middle, I tried to
place the content like a wifi icon but found it plain, so I drew
inspiration from the tail of a peacock, imagining standing on a
mountain with the tail close by. On the right, I further refined the
placement of content by bringing it closer and inverting the text, so
the readers won't have to turn the paper around while reading the
information.
I initially thought that my attempts on the random system would be awful, but they turned out to be the best compared to my other explorations of different systems. To create this layout, I justified the text and overlaid it several times. Then, I chose to fill two with colors and leave the other two with just strokes.
On my first attempt (on the left), I carelessly used the wrong color for Taylor's University, which is pink instead of red. Therefore, in my second attempt (on the right), I made amendments based on the mistakes I made in my first attempt.
In my second attempt, I adjusted my guides and columns to four guides
and three columns. I further enhanced the impact by highlighting the
context with red. For example, in my third attempt
(on the left), the title and the date were heavy on the bottom
section of the canvas, so to balance and direct the viewer's
attention, the red box was added to draw the attention to that area.
On the right, I refined the first attempt in
Fig 1.7 - grids attempt #1.
At first, I thought this system was like playing puzzle, as long as
the size of the text box is similar with one another, then it can be
called modular system. But then after clarified by Mr. Vinod, I had
learned that modular system was to placed the context within the
guides and columns so each portion able to occupy one another. Thus on
my first and second attempt (on the left and middle), we can
see that the context are not placing orderly. While in my third
attempts (on the right), readers are able to identify the
guides and columns based on the space occupying by the
context.
For my second attempt, I decided to keep the thickness of the horizontal
bar from the first attempt, but made some slight adjustments to the stem
by adopting the stem from a different T that I had extracted.
To achieve greater consistency with the other letterforms, I reduced the size of the diagonal stroke and aperture in the letter Y, as the extracted letter Y had a large gap and looked weaker in comparison. In my first refinement attempt, I reduced the width of the diagonal stroke (width on the left was 6mm, after alteration, it was 4mm), resulting in a smoother intersection point that was refined to a curve.
During this iteration attempt, I had some irrational thoughts and
plans that may have led me astray. I was afraid that if I made the
letter too thick, it would lose its sharpness and identity, so I kept
trying to make it thin and sharp. However, I now realize that it's
important to have visible differences in stroke thickness and other
minor nuances within the letterforms to create contrast. If all the
letterforms are too thin, it may be difficult to identify where my
letterforms came from, and people may struggle to see the sharpness
that makes it unique.
As I mentioned earlier, the refinement process didn't go as planned, so I decided to start over and redo the entire iteration. For the letter L, I made slight adjustments to the thickness of the protrusion with each attempt. I wanted to ensure overall consistency while still maintaining the unique characteristics of the letter, as I believe the protrusion represents the intersecting section of thorns.
Additionally, I shortened the length of the leg since it was the same length as the stem. This decision was based on the fact that we were instructed to use the reference font, which in this case is still Futura Std Light.
As seen above, I took a more cautious approach to the refinement process, making slight changes with each attempt to maintain the thorn-like characteristics of the letter. Firstly, I resized the vertical stroke on the right side of the letter A, and also increased the gap in between. Additionally, I made minor adjustments to the apex to ensure it didn't lose its defining characteristics.
Furthermore, I made the right leg of the letter A slightly thicker than the left, as this is typically how it's meant to be.
Once I had straightened and placed the extracted letterform F on the guides, I used a rectangle tool to replicate the stem and added anchor points to give it a crooked appearance rather than a rigid one. However, on my second attempt, I referred back to the original image and noticed that the arm in the middle of the letter F didn't have a protrusion. As a result, I refined the slated stem of the letter F further and removed the protrusion.
After straightening the bar, I noticed that the intersecting point of
the bar and stem didn't match that of the other letterforms.
Therefore, I made several attempts to reduce the thickness of the
intersecting point. Eventually, I decided to reduce the thickness of
the bar even further to achieve the desired result.
In the initial attempt at refinement, I had also reduced the thickness of the intersecting point slightly. Additionally, based on feedback from my peers, I reduced the gap of the crotch/aperture only slightly, as they reminded me that the protrusion was an important characteristic of thorns and should not be made invisible.
After this, I smoothed out the protrusion to create a more curved surface. Finally, to ensure consistency among the letterforms, I reduced the thickness of the diagonal stroke.
Observation
- Gestalt theory emphasizes that the whole of anything is greater than its parts—this is based on the idea that we experience things as unified whole: Instead of breaking down thoughts and behavior to their smallest elements, the gestalt psychologists believed that you must look at the whole of experience.
- Therefore in design (read: typographic layouts), the components/ elements that make up the design is only as good as its overall visual form. While each component may be functional at an elemental level, the sum of its parts is not greater than the whole or the overall form.
- Law of Similarity
- Law of Proximity
- Law of Closure
- Law of Continuation
- Law of Symetry
- Law of Simplicity (Praganz)
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| Gestalt Principles of Grouping |
End of lecture.
Instructions
MIB
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src="https://drive.google.com/file/d/1-P2VE3RJqBsojEbhURD8r1ojRT46JPGY/preview"
width="640" height="480" allow="autoplay"></iframe>
Task 1 - Exercise 1:
Typographic Systems
In this task, we are require to be explored the 8 systems mentioned
above (which are Axial, Radial, Dilatational, Random, Grid, Modular,
Transitional and Bilateral) using the given content (MIB, pg.17-pg18).
Task Requirements
- Use Adobe InDesign only
- Size 200 x 200 mm
- in addition to black, we are allowed to use one other colour.
- Graphical elements (line, dot, etc.) can be used but limitedly.
Layout Explorations
*attempts/ progressions of layouts are categorised by systems
itself
1. Axial
|
| Figure 1.1 - axial system attempts, Week 1 (05 Apr 2023) |
Fonts Used:
Left: ITC Garamond Std (Bold, Book, Light, Book Narrow)
Middle: Bodoni Std (Poster, Book, Bold Condensed)
Right: ITC New Baskerville Std (Bold, Bold Italic, Roman)
2. Radial
|
| Figure 1.2 - radial system attempts, Week 1 (05 Apr 2023) |
Fonts Used
Left: Adobe Caslon Pro (Bold, Semibold, Semibold Italic, Regular)
Right: Adobe Caslon Pro (Bold, Semibold, Regular)
|
| Figure 1.3 - radial system attempts, Week 2 (12 Apr 2023) |
Fonts Used:
Left: Adobe Caslon Pro (Bold, Semibold, Semibold Italic, Regular)
Right: Bodoni Std (Poster, Book) and Adobe Caslon Pro (Bold)
3. Dilatational
|
| Figure 1.4 - dilatational system attempts, Week 1 (05 Apr 2023) |
Font Used
Left: Janson Text LT Std (75 Bold, 56 Italic, 55 Roman) and Adobe
Caslon Pro (Bold)
Middle & Right: Bembo Std (Extra Bold, Bold), ITC New Baskerville
Std (Roman) and ITC Garamond Std (Light)
|
| Figure 1.5 - dilatational system attempts, Week 2 (12 Apr 2023) |
Font Used
Left: ITC Garamond Std (Ultra, Book, Light, Light Condensed)
Middle: ITC New Baskerville Std (Bold Italic, Bold, Italic,
Roman)
Right: Bembo Std (Ultra Bold, Regular) and ITC New Baskerville
Std (Roman)
4. Random
|
| Figure 1.6 - random attempts, Week 2 (12 Apr 2023) |
I initially thought that my attempts on the random system would be awful, but they turned out to be the best compared to my other explorations of different systems. To create this layout, I justified the text and overlaid it several times. Then, I chose to fill two with colors and leave the other two with just strokes.
On my first attempt (on the left), I carelessly used the wrong color for Taylor's University, which is pink instead of red. Therefore, in my second attempt (on the right), I made amendments based on the mistakes I made in my first attempt.
Font Used
Bembo Std (Semibold), ITC New Baskerville Std (Bold, Bold Italic)
and Bodoni Std (Bold, Roman)
5. Grids
|
| Figure 1.7 - grids system attempts, Week 1 (05 Apr 2023) |
Initially, in my first attempt (on the left), I thought that
placing the context on the side of the canvas would show the
rigidity of the grids system. However, during our second class with
Mr. Vinod, he clarified the differences between the characteristics
of grids system and modular system.
Font Used
Left: ITC New Baskerville Std (Roman), Bembo Std (Semibold, Regular)
and Bodoni Std (Poster Compressed)
Right: ITC New Baskerville Std (Bold) and Bembo Std (Semibold,
Regular)
|
| Figure 1.8 - grids system attempts, Week 2 (12 Apr 2023) |
Font Used
Left: Bembo Std (Extra Bold, Semibold Italic, Italic, Regular)
Right: Bodoni Std (Poster Compressed), ITC New Baskerville Std (Roman)
and Bembo Std (Semibold, Italic, Regular)
6. Modular
|
| Figure 1.9 - modular system attempts, Week 2 (12 Apr 2023) |
Font Used
Left: ITC Garamond Std (Bold Condensed, Light Condensed, Book
Narrow, Book)
Middle: ITC New Baskerville Std (Bold, Bold Italic, Italic, Roman)
Right: ITC New Baskerville Std (Bold, Italic, Roman)
7. Transitional
|
| Figure 1.10 - transitional system attempts, Week 1 (04 Apr 2023) |
Initially, I thought that the transitional system was similar to
PowerPoint slides, where we have many choices on how to make each slide
look different from the others. On the left side of my attempt, I
created the context at 90-degree angles from each other. However, Mr.
Vinod refined my thinking by mentioning that if the context is at a
different angle, it does not adhere to the rules of this system.
Thus, on the right side, shows my other attempt during week 1 because I
was unsure if my first attempt was correct. This time, I created an
illusion of motion, where the text appeared to be swimming on the
canvas, resembling water.
Font Used
Left: Bodoni Std (Bold Condensed, Book)
Right: ITC New Baskerville Std (Bold, Roman)
8. Bilateral
|
| Figure 1.11 - bilateral system attempts, Week 2 (12 Apr 2023) |
In this system, I followed the principles of placing the context on a
single axis. However, minor mistakes affected the layout, such as the
alignment of the date, speechmaker, event, and location context. They
should have aligned to the right for the context on the left side and to
the left for the context on the right.
To address this, on my third attempt (on the right), I placed the
date and speechmaker context in the middle and added the sub-title and
other information to each side, adhering to the principles of the
system. Additionally, I added a graphic element, circle on both sides
(at the bottom of the canvas) to balance the layout and draw
attention to the corners where the font size was small.
Font Used
Left: Janson Text LT Std (75 Bold, Bembo Std (Semibold, Regular)
Middle: Bembo Std (Bold, Semibold, Regular)
Right: Bodoni Std (Poster, Italic, Roman, Book)
Final Task 1 - Exercise 1: Typographic Systems
Font Used: Bodoni Std (Poster, Book) and Adobe Caslon Pro (Bold)
Font Used: ITC New Baskerville Std (Bold, Roman)
Font Used: Bodoni Std (Poster, Italic, Roman, Book)
I used brush tool to extract letterforms from tree branches. Then in
attempt #1, I further refine the letterforms to have even thickness.
However, I did not manage to inherit the core characteristics of the
tree branches. In attempt #2, I have further refine it with Futura
font (light), which turns the structure of my letterforms to lose it
identity.
I extracted letter L and made some modifications, such as removing the
protrusion and reducing the weight of the vertical stroke. This
resulted in a slight variation of thickness and thinness on the right
side of the letter.
For this attempt, I made some significant changes. Firstly, I reduced
the thickness of the apex in the middle, as it was too heavy and
didn't match the consistency of the other letterforms. Additionally, I
increased the thickness of the leg (or stroke) of the letter A.
However, these alterations had the unintended consequence of reducing
the sharpness and identity of the letter.
To ensure uniformity with other letters, the width of the T's
horizontal line was decreased by making it thinner. When I initially
tried to make this change, I made the mistake of thinning out the stem
as well. Unfortunately, this had the unintended consequence of
compromising the sharpness of the thorn-like elements that give the
letter its distinctive look.
- JPEG, w/o grids and guides
Font Used: ITC New Baskerville Std (Bold, Bold Italic,
Roman)
|
| Figure 1.12 - Final "Axial" Layout, Week 2 (12 Apr 2023) |
|
|
Figure 1.13 - Final "Radial" Layout, Week 2 (12 Apr
2023) |
Font Used: Bodoni Std (Poster, Book) and Adobe Caslon Pro (Bold)
|
| Figure 1.14 - Final "Dilatational" Layout, Week 2 (12 Apr 2023) |
Font Used: ITC New Baskerville Std (Bold Italic, Bold, Italic,
Roman)
|
| Figure 1.15 - Final "Random" Layout, Week 2 (12 Apr 2023) |
Font Used: Bembo Std (Semibold), ITC New Baskerville Std (Bold,
Bold Italic) and Bodoni Std (Bold, Roman)
|
| Figure 1.16 - Final "Grids" Layout, Week 2 (12 Apr 2023) |
Font Used: Bembo Std (Extra Bold, Semibold Italic, Italic,
Regular)
|
| Figure 1.17 - Final "Modular" Layout, Week 2 (12 Apr 2023) |
Font Used: ITC New Baskerville Std (Bold, Italic, Roman)
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| Figure 1.18 - Final "Transitional" Layout, Week 2 (12 Apr 2023) |
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| Figure 1.19 - Final "Bilateral" Layout, Week 2 (12 Apr 2023) |
- PDF, w/o grids and guides
Figure 1.20 - Final Task 1 - Exercise 1: Typographic
Systems, Week 2 (12 Apr 2023)
<iframe
src="https://drive.google.com/file/d/1xKNd4Pa_B5fVR27BW8ou3SGJvwZp9EOB/preview"
width="640" height="480"
allow="autoplay"></iframe>
- PDF, with grids and guides
Figure 1.21 - Final Task 1 - Exercise 1: Typographic Systems,
Week 2 (12 Apr 2023)
<iframe
src="https://drive.google.com/file/d/1V5C-OblZhb_jfirKyE17l7xvbSHpNbWl/preview"
width="640" height="480"
allow="autoplay"></iframe>
Task 1 - Exercise 2: Type &
Play
Part 1: Finding Type
We are to select an object or subject that contains potential
letterforms (5 letters needed only). Then analyse, dissect and
identify the potential letterforms within the selected image. We
are require to digitise the identified letterforms, refining them
through a process of iteration.
Task Requirements
- choose reference typeface from the 10 typefaces provided
Week 2 Progressions (failed attempt)
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| Figure 1.22 - attempts on extracting letterforms from tree branches, Week 2 (18 Apr 2023) |
Week 3 Progressions (failed attempt)
- Extraction and Resize
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| Figure 1.23 - Extraction of letterforms, Week 3 (19 Apr 2023) |
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| Figure 1.24 - Letterforms on guides, Week 3 (19 Apr 2023) |
In Fig 1.23, shows the extracted letterforms. They are
uppercase letters L, A, T, F and Y. Then, in Fig 1.24, I resize those letterforms and placed them on guides to ensure they
have the same ascender height.
- Reference Font
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| Figure 1. 25 Reference font and extracted letterforms overlapped, Week 3 (19 Apr 2023) |
- Refinement of Letterforms
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| Figure 1.26 - letter L iteration, Week 3 (19 Apr 2023) |
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| Figure 1.27 - letter A iteration, Week 3 (19 Apr 2023) |
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| Figure 1.28 - letter T iteration, Week 3 (19 Apr 2023) |
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| Figure 1.29 - letter Y iteration, Week 3 (19 Apr 2023) |
To achieve greater consistency with the other letterforms, I reduced the size of the diagonal stroke and aperture in the letter Y, as the extracted letter Y had a large gap and looked weaker in comparison. In my first refinement attempt, I reduced the width of the diagonal stroke (width on the left was 6mm, after alteration, it was 4mm), resulting in a smoother intersection point that was refined to a curve.
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| Figure 1.30 - Overall progression and refinement (failed attempt), Week 3 (19 Apr 2023) |
Week 4 Progressions
- Refinement of Letterforms
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| Figure 1.32 - letter L iteration, Week 4 (26 Apr 2023) |
As I mentioned earlier, the refinement process didn't go as planned, so I decided to start over and redo the entire iteration. For the letter L, I made slight adjustments to the thickness of the protrusion with each attempt. I wanted to ensure overall consistency while still maintaining the unique characteristics of the letter, as I believe the protrusion represents the intersecting section of thorns.
Additionally, I shortened the length of the leg since it was the same length as the stem. This decision was based on the fact that we were instructed to use the reference font, which in this case is still Futura Std Light.
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| Figure 1.33 - letter A iteration, Week 4 (26 Apr 2023) |
As seen above, I took a more cautious approach to the refinement process, making slight changes with each attempt to maintain the thorn-like characteristics of the letter. Firstly, I resized the vertical stroke on the right side of the letter A, and also increased the gap in between. Additionally, I made minor adjustments to the apex to ensure it didn't lose its defining characteristics.
Furthermore, I made the right leg of the letter A slightly thicker than the left, as this is typically how it's meant to be.
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| Figure 1.33 - letter F iteration, Week 4 (26 Apr 2023) |
Once I had straightened and placed the extracted letterform F on the guides, I used a rectangle tool to replicate the stem and added anchor points to give it a crooked appearance rather than a rigid one. However, on my second attempt, I referred back to the original image and noticed that the arm in the middle of the letter F didn't have a protrusion. As a result, I refined the slated stem of the letter F further and removed the protrusion.
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| Figure 1.33 - letter T iteration, Week 4 (26 Apr 2023) |
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| Figure 1.33 - letter Y iteration, Week 4 (26 Apr 2023) |
In the initial attempt at refinement, I had also reduced the thickness of the intersecting point slightly. Additionally, based on feedback from my peers, I reduced the gap of the crotch/aperture only slightly, as they reminded me that the protrusion was an important characteristic of thorns and should not be made invisible.
After this, I smoothed out the protrusion to create a more curved surface. Finally, to ensure consistency among the letterforms, I reduced the thickness of the diagonal stroke.
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| Figure 1.34 - Overall progression and refinement attempt #2, Week 4 (26 Apr 2023) |
Final Task 1 - Exercise 2: Type & Play | Finding Type
- JPEG, w/o guides
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| Figure 1.35 - Final Extracted Letterforms, Week 5 (03 May 2023) |
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| Figure 1.36 - Final Letter L, Week 5 (03 May 2023) |
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Figure 1.37 - Final Letter A, Week 5 (03 May 2023) |
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| Figure 1.38 - Final Letter T, Week 5 (03 May 2023) |
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| Figure 1.39 - Final Letter F, Week 5 (03 May 2023) |
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| Figure 1.40 - Final Letter Y, Week 5 (03 May 2023) |
- PDF, w/o guides
Figure 1.45 - Final Task 1 - Exercise 2: Type & Play (Finding
Type), Week 5 (03 May 2023)
Part 2: Type &
Image
For this task, we are to combine the letterforms with a visual of our choosing to enhance/support the interplay between the letterforms and the selected visual. The text must be woven into a symbiotic relationship with the image.
After selecting the image, to incorporate the letters into the
image, I carefully examined the structure of the thorns and
strategically placed each letter in a location that would be
visually appealing and complementary to the overall design.
For this task, we are to combine the letterforms with a visual of our choosing to enhance/support the interplay between the letterforms and the selected visual. The text must be woven into a symbiotic relationship with the image.
Week 5 Progressions
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| Figure 1.46 - Chosen Image (source: Flickr), Week 5 (03 May 2023) |
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| Figure 1.47 - Adobe Photoshop workspace, Week 5 (03 May 2023) |
After importing the image to Adobe Photoshop, I have resize the
image size to 1024 px.
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| Figure 1.48 - Placing of refined letterforms, Week 5 (03 May 2023) |
I decide to placed the refined letterforms randomly and I have
used eyedropper to help me choose colors that complemented the
thorns' hues. Additionally, I experimented with different sizes
and rotations of each letter until I found a composition that
worked well.
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| Figure 1.49 - first attempt of placing the letterforms, Week 5 (03 May 2023) |
Final Task 1 - Exercise 1: Typographic Systems
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| Figure 1.50 - Final Task 1 - Exercise 2: Type & Play (Type and Image)_jpeg, Week 7 (17 May 2023) |
Figure 1.51 - Final Task 1 - Exercise 2: Type & Play (Type and Image)_pdf, Week 7 (17 May 2023)
Feedback
Week 1
General Feedback
Although the concept may seem plain, there is always room for
improvement through a diligent approach and keen attention to
detail. By taking the time to carefully observe and analyze the
finer points, we can create dynamic layout that captures
attention.
Week 2
General Feedback
The closer of the words to the border create tension and drag
attention from the centre of the layout. We need to check the
circular of our artwork retain in our canvas
Specific Feedback
- Fig 1.2 - radial systems attempts
Attempt #1, the speechmakers can group closely to show that they
are under the same category. Attempt #2, the layout does not show
any interaction with each other, a lot of white space.
- Fig 1.4 - dilatational systems attempts
Attempt #2 and #3 have a lot of wide gap, advice to narrow it
using graphic element of narrow the circle.
- Fig 1.7 - grids systems attempts
both attempts does not adhere to the guidelines, advise to
reconsider the amount of the columns
- Fig 1.9 - modular attempts
both attempts does not adhere to the guidelines, advise to
reconsider the amount of the columns
- Fig 1.10 - transitional attempts
Attempt #1, if the texts are from an angle to another angle
(0-degree to 90-degree) then it was not transitional
- Fig 1.11 - bilateral attempts
both attempts are adhere to the guidelines but is boring.
Week 3
General Feedback
We should understanding the core characteristics of our object/
subject then through several refinement create a letterforms that
have both our own creativity and the characteristics of the
object/ subject or even can be different from the raw
extraction.
Specific Feedback
- Fig. 1.22 - attempts on extracting letterforms from tree branches
Crude extractions, boring and flavourless. Need to rework.
Week 4
General Feedback
Final letterform should be representative of our original image.
The letterforms should integrated/ interplay with the chosen image
not just placing it on top of it. Mr. Vinod further define that
refining process requires of refine the extraction of letterforms
to the same baseline, x-height, ascender/ descender line, cap
height and etc.
Specific Feedback
Refine the existing letterforms and consider how it could be
interplay well in the image. It is important to think ahead of how
we want the final outcome to be so it would be helpful and
accelerating in both process of refining and integrating.
Week 5
Peers Feedback (Sarah, Rui Ying, Xinyi)
The vertical and horizontal strokes are inconsistent. It was so
awkward that the letterforms does not perfectly relates to each
other.
Week 6
Level: Developing - Mastering
Week 7
General Feedback
Find suitable logos and optional to have a sub-text for our
poster. The image size is 1024 px x 1024 px.
Specific Feedback
To enhance the visibility of the artwork, a technique can be
employed where a red layer is duplicated on the original image.
Additionally, the letterforms can be arranged in an up-and-down
pattern to fill any empty spaces. Since the letterforms appear too
simple, it is suggested to apply subtle gradient effects using
Photoshop to give them more depth and complexity. By doing so, the
letterforms will be elevated and stand out more effectively.
Reflection
Experience
It was an intense experience as we hadn't touched this module for
several months. So when given this task, I felt quite nervous
because I had forgotten the skills required in Adobe InDesign. After
the holiday had just ended, it was tough to manage my emotions.
However, when I saw my peers working hard on it, I was influenced by
them and took control of my time and emotions.Observation
I observed that time management was crucial in completing this task
as it required us to conduct visual references, be observant of our
surroundings, and spend time exploring and attempting various
layouts, concepts, details of our letterforms, and integrating them
with images.
Findings
Reading and being observant of our surroundings were crucial to completing these exercises. From this task, we gained back our basic knowledge and skills in Typography and Adobe InDesign. In the meantime, we also learned to break the rules, which gave us the freedom to not focus solely on the readability and legibility of our text. Nonetheless, while conducting these exercises, I realized that it required a lot of passion and patience to complete them.
1) Methodology
Findings
Reading and being observant of our surroundings were crucial to completing these exercises. From this task, we gained back our basic knowledge and skills in Typography and Adobe InDesign. In the meantime, we also learned to break the rules, which gave us the freedom to not focus solely on the readability and legibility of our text. Nonetheless, while conducting these exercises, I realized that it required a lot of passion and patience to complete them.
Further Reading
Reference:
Noble, I., & Bestley, R. (2005). Visual Research: An Introduction to Research
Methodologies in Graphic Design. Bloomsbury Academic.
Chapter 1: The Role of Research in Graphic Design.
The further reading for this task, I had chosen to study on the
definitions of terms used in main text.
- The science of method, or a body of methods, employed in a particular activity such as the research aspects of a project.
- A logical, predefined and systematic strategy by which to undertake a graphic design project, to include methods of evaluation of experimental outcomes, a schedule for each stage of the project and a stated intention or purpose in relation to anticipated outcomes.
- It could also be employed to describe an approach to graphic design in general: a particular manner of working or a procedure used in the production of graphic design.
- Sometimes used in reference to organisation or a technique of organising and analysing, or a scheme of classification.
2) Method
A way of proceeding or doing something, especially in a systematic or regular manner.
3) Semiotics
The study of signs and symbols, especially the relationship between written or spoken signs and their referents in the physical world or the world of ideas. A core strategic method by which graphic marks, texts and images can be deconstructed and interpreted to determine their underlying meanings.
4) Semantics
The branch of linguistics that deals with the study of meaning. The study of the relationships between signs and symbols and the meaning that they represent.
5) Communication Theory
The body of work that relates to the study of communication and the ways in which meaning is transferred between individuals and groups through language or media.
6) Rhetoric
The study of the technique of the effective use of language. Written or spoken discourse used to persuade, influence or affect an audience.
7) Discourse
A body of verbal or written communication, especially between two or more participants. The act of discussion between parties, often in a formal manner.
8) Linguistics
The scientific study of language and its underlying structure.
9) Epistemology
The organisation of a whole that is more than the sum of its parts.
The implication of meaning communicated through the use of a part of
an image or object, rather than the whole.
The raw materials which a designer directly works with in relation to research. Primary research approaches might include marketing strategies such as audience surveys or interviews, or the direct testing of potential visual solutions within a ‘real world’ context.
Established or existing research already undertaken in the field and used to support the designer’s own research. This might include published surveys and/or interviews with potential audience groups, together with the analysis of a range of successful visual communication strategies within a similar context.
Research based on secondary sources and the research of others synthesised to simply restate what others have undertaken. A summary of the existing body of knowledge and accepted methodologies relating to the range of intentions, audience and context of the project.
A way of proceeding or doing something, especially in a systematic or regular manner.
3) Semiotics
The study of signs and symbols, especially the relationship between written or spoken signs and their referents in the physical world or the world of ideas. A core strategic method by which graphic marks, texts and images can be deconstructed and interpreted to determine their underlying meanings.
4) Semantics
The branch of linguistics that deals with the study of meaning. The study of the relationships between signs and symbols and the meaning that they represent.
5) Communication Theory
The body of work that relates to the study of communication and the ways in which meaning is transferred between individuals and groups through language or media.
The study of the technique of the effective use of language. Written or spoken discourse used to persuade, influence or affect an audience.
7) Discourse
A body of verbal or written communication, especially between two or more participants. The act of discussion between parties, often in a formal manner.
8) Linguistics
The scientific study of language and its underlying structure.
- The theory of the underlying methods or grounds of knowledge, and the critical study of the validity, methods and scope of an established body of knowledge.
- In relation to graphic design, this indicates the body of widely accepted knowledge that defines the discipline, including those theories surrounding legibility, written language and typography, as well as those drawn from outside of the profession.
- Theories such as gestalt, for example, have been drawn from the disicpline of psychology and employed by designers in their working methods and practices. These ideas have influenced the everyday discussion of graphic design practice and the language used by designers to explain their working methods
10) Gestalt
11) Primary Research
The raw materials which a designer directly works with in relation to research. Primary research approaches might include marketing strategies such as audience surveys or interviews, or the direct testing of potential visual solutions within a ‘real world’ context.
12) Secondary Research
Established or existing research already undertaken in the field and used to support the designer’s own research. This might include published surveys and/or interviews with potential audience groups, together with the analysis of a range of successful visual communication strategies within a similar context.
13) Tertiary Research
Research based on secondary sources and the research of others synthesised to simply restate what others have undertaken. A summary of the existing body of knowledge and accepted methodologies relating to the range of intentions, audience and context of the project.
Quick Links
Task 2(A) &(B):
Key Artwork & Collateral
Task 3: Type Exploration and Application
