Advanced Typography / Task 1
22.4.2024 - 17.5.2024 / Week 1- Week 4
Bong Sue Zhiun / 0366866
Advanced Typography / Bachelor of Design ( Hons ) in Creative Media
Task 1 / Exercises: Typographic Systems & Type and Play
.png)
TABLE OF CONTENTS
1. Lectures
- Typo_1_Typographic Systems
- Typo_2_Typographic Composition
- Typo_3_Context & Creativity
- Typo_4_Designing Type
- Typo_5_Perception & Organisation ( Task 2 )
2. Instructions
3. Task
4. Feedback
5. Reflection
LECTURES
Typo_1 _Typographic Systems ( Week 1 )
Typographic systems
- Similar to shape grammars ( architects term ).
- Has a set of rules that is unique and provides a sense of purpose that focuses and directs the decision making.
All design is based on a structural system. Elam (2007) categorises design into eight primary structural systems, each with its distinct characteristics:
1. Axial System
- All elements are organised to the left or right of a single axis ( single line ).
- Information is divided into groups and placed in different angles on different sides of the axis.
 |
| Fig.1.1. Examples of Axial System , Week 1, 22.4.2024 |
2. Radial System
- All elements are extended from a point of focus.
 |
| Fig.1.2. Examples of Radial System , Week 1, 22.4.2024 |
3. Dilatational System
- All elements expand from a central point in a circular manner.
- Can have multiple rings of circles with information on either sides or in line.
 |
| Fig.1.3. Examples of Dilatational System , Week 1, 22.4.2024 |
4. Random System
- Elements appear to have no specific pattern or relationship.
 |
| Fig.1.4. Examples of Random System , Week 1, 22.4.2024 |
5. Grid System
- A system of vertical and horizontal divisions.
 |
| Fig.1.5. Examples of Grid System , Week 1, 22.4.2024 |
6. Transitional System
- An informal system of layered banding ( separated information within certain bands ).
 |
| Fig.1.6. Examples of Transitional System , Week 1, 22.4.2024 |
- A series of non-objective elements that are constructed in as a standardised units.
 |
| Fig.1.7. Examples of Modular System , Week 1, 22.4.2024 |
8. Bilateral System
- All text is arranged symmetrically on a single axis.
 |
| Fig.1.8. Examples of Bilateral System , Week 1, 22.4.2024 |
Typo_2 _Typographic Composition ( Week 2 )
The two aspects of Typography:
- The creation of letters.
- The arrangement of large amounts of text within a given space.
Typography composition involves arranging textual information within a given space.
Principles of Design Composition
The principles of design composition, including emphasis, isolation, repetition, symmetry, and asymmetry, can be abstract and ambiguous when applied to typographic composition. These concepts are often more applicable to imagery than to the arrangement of complex units of textual information.
Applying these principles to real-life content, such as images, textual information, and colour, on a page or screen, can sometimes feel disconnected or disjointed. Certain principles, like emphasis & symmetry, are simpler to apply compared to others.
 |
| Fig.1.9. Emphasis is shown in 2d design & layout , Week 2, 29.4.2024 |
Rule of Thirds
It is a photographic guide to composition. It suggests dividing a frame into 3 columns and 3 rows, using the intersecting lines as guides to position points of interest within the space. The intersecting lines serve as points where we position important information within the layout. In reality, people might not use the rule of thirds when there are better options available.
 |
| Fig.1.10. Rule of Thirds in Typography , Week 2, 29.4.2024 |
Typographic Systems
Among the eight systems in typographic design, the grid system is the most practical and widely used. It's derived from the gridded compositional structure of letterpress printing.
With the grid system, we can observe the hierarchy of information and its placement within a larger grid structure. This system allows us to understand the layout planning, including how space is divided between body text and visuals, and how it can be manipulated in a modular manner.
 |
| Fig.1.11. The layout in grid system , Week 2, 29.4.2024 |
 |
| Fig.1.12. Left to Right: Paula Scher, Jonathan Bambrook & David Carson , Week 2, 29.4.2024 |
1. Environmental Grid
It is developed by examining an existing structure or a combination of structures. Essential curved and straight lines are extracted from this exploration. The designer arranges information around this super-structure, incorporating non-objective elements to produce a distinctive blend of texture and visual interest.
 |
| Fig.1.13. Example of Environmental Grid from Typographic Form & Communication ( Pg 211 ) , Week 2, 29.4.2024 |
This system explores existing grid systems to discover their various options. It challenges the seriousness of using grids and sees the turning of book pages as a slow animation. Placing images, text, and colour in specific ways creates movement across pages or screens.
Every page was meticulously crafted to include visual connections and surprises. The forms on each page could represent images, text, or colour.
 |
| Fig.1.14. Static versions of the form placed on spread , Week 2, 29.4.2024 |
 |
| Fig.1.15. Another example of Form & Movement , Week 2, 29.4.2024 |
Typo_3 _Context & Creativity ( Week 3 )
Handwriting
Handwriting serves as the foundation for form, spacing, and conventions that mechanical type aims to replicate. The first mechanically produced letterforms were designed to directly imitate handwriting.
Hand-drawn letterforms are shaped by the tools and materials used, including bones, brushes, and pens. The material on which they're written, like clay or paper, also affects their appearance.
 |
| Fig.1.16. Evolution of the Latin Alphabet , Week 3, 6.5.2024 |
Cuneiform ( c. 3000 B.C.E. )
- It is the earliest system of actual writing.
- Its distinctive wedge form was the result of pressing the blunt end of a reed stylus into wet clay tablets.
- Its characters involved from pictograms.
- It was written from left to right.
 | |
|
Hieroglyphics ( 2613-2160 B.C.E )
The Egyptian writing system was intricately linked with the art of relief carving. It combined rebus and phonetic characters, marking the first step toward an alphabetic system. Hieroglyphic images could be utilised in three distinct ways
- as ideograms to directly represent depicted objects.
- as determinatives to clarify preceding phonograms and convey the general idea of a word.
- as phonograms to symbolise sounds that form individual words.
 | |
|
- Early Greek writing was influenced by Egyptian and Phoenician systems, leading to a simple alphabet with 22 letters.
- Reading direction varied, sometimes switching from left to right and right to left.
- Initially drawn freehand, the letters later became thicker with serifs. Roman inscriptions, influenced by Greek forms, set the stage for calligraphy and typography.
 | |
|
Roman Uncials
- Popular in the 4th century, featured rounded letters that reduced the number of strokes required and enabled faster writing.
 | |
|
English Half Uncials ( 8th C. )
- Represent a shift in England towards a more slanted and condensed form compared to traditional Uncials.
- While English and Irish uncials continued to evolve, writing on the European continent experienced a decline, prompting the Carolingian Handwriting Reform to address the issue.
Emperor Charlemagne ( 8 C. C.E )
- Following the fall of the Roman Empire, widespread illiteracy and the absence of a central culture led to diverse regional handwriting styles.
- Writing knowledge survived mainly in remote religious outposts for about 300 years until Emperor Charlemagne implemented reforms.
 | |
|
Carolingian Minuscule
- Developed under Charlemagne's rule.
- Standardised writing across Europe with features like capitalisation, word spacing, and punctuation.
- This script became the basis for later handwriting styles and lowercase Roman type.
 | |
|
Black Letter ( 12-15 C. CE )
- Gothic is a medieval artistic style, influenced architecture and writing.
- Blackletter is a type of Gothic script, featured tight spacing, condensed lettering, and dominant vertical lines.
- This style reduced material costs in book production through condensed spacing.
 | |
|
- The Italian Renaissance saw a revival of ancient Greek and Roman culture, sparking creativity in art, architecture, literature, and letterform design.
- Humanist scholars admired the Carolingian script and developed the Antica letterforms for clearer and more open handwriting.
- This period focused on perfecting and rationalising letterforms, similar to the scrutiny applied to art and architecture.
 | |
|
Movable Type ( 11 C. - 14 C. )
- Movable type printing originated in China but was achieved in Korea in the late 14th century.
- While China attempted movable type earlier, it faced challenges due to the vast number of characters.
- Korea's introduction of Han gul script and bronze movable type allowed for successful printing.
- This innovation preceded Gutenberg's printing of the Bible in Europe by several decades.
| Fig.1.25 & 26. ( Left ) Korea 's Movable Type, ( Right ) China's Movable Type , Week 3, 6.5.2024 |
The Eastern Developments in handwriting
1. Evolution of Middle Eastern Alphabets
The Phoenician letter marks a significant shift in written language by representing sounds with letters. Its development may have been influenced by Egyptian scripts.
 | |
|
2. Evolution of the Chinese Script
From the Oracle bone to Seal Script to Clerical Script, Traditional & Simplified Scripts.
 | |
|
3. The ancient script of the Indus Valley Civilisation (IVC)
Dating back to 3500-2000 BCE, remains undeciphered. It appears to be logo-syllabic, combining symbols for both words and syllables.
 | |
|
4. Brahmi Script ( 450-350 BCE )
It is India's earliest developed writing system following the Indus script. It holds immense influence, serving as the foundation for all modern Indian scripts and influencing hundreds of scripts across Southeast and East Asia.
 | |
|
Programmers and Type Design
Software giants like Google are creating more vernacular scripts, employing numerous Asian programmers and designers. This trend is leading to the production of "multi-script" typefaces, a term coined by Muthu Nedumaran, to cater to situations where written content is communicated in vernacular or both vernacular and Latin scripts.
 | |
|
Typo_4_Designing Type
1. Adrian Frutiger
- A prominent Swiss graphic designer of the twentieth century, is renowned for his contribution to typography, particularly in digital typography. His notable typefaces include Univers and Frutiger.
- His purpose : The typeface was created to be clean, distinctive, and legible from both close up and far away, serving functional purposes.
- Considerations / Limitations : Considered for poor light conditions and fast-moving readers; letterforms tested for recognition even when unfocused.
 | |
|
Frutiger Arabic has been adapted for signage in airports, expanding its usage beyond its original Latin form.
 | |
|
2. Matthew Carter
- Trained as a punch cutter by Paul Rädisch at Enschedé, Carter worked for Crosfield and Mergenthaler Linotype.
- Many of Carter's fonts, like Verdana (1996) for Microsoft, aimed to address technical challenges, especially for early computers.
- Purpose : Verdana was designed to be highly legible, even at small sizes on screens, catering to the growing popularity of the internet and electronic devices.
- Considerations / Limitations : The font's design reflects characteristics derived from pixels rather than traditional tools like pens or chisels.Verdana was optimised to minimise confusion between commonly similar characters, such as lowercase "i", "j", and "l".
 | |
|
 | |
|
3. Edward Johnston
- He created the influential London Underground typeface, later known as Johnston Sans, in 1916.
- The typeface aimed for "bold simplicity" while blending classical Roman proportions with humanist warmth.
- Purpose : London's Underground railway sought a new typeface for its posters and signage.
- Consideration / Limitation : Johnston's design unified the different companies using the same rails and tunnels, replacing the cacophony of diverse lettering. Rooted in Roman capital letter proportions and traditional calligraphy, Johnston Sans embodied elegance and simplicity fitting the modern age.
| Fig.1.32 & 33. Example of Underground Typeface , Week 4, 13.5.2024 |
Eric Gill, a former student of Edward Johnston, admitted that his successful typeface, Gill Sans, was heavily based on Johnston's work. Gill expressed guilt over this, acknowledging that the quality of Gill Sans was indebted to Johnston's Underground letter. Gill's confession highlights the profound influence and contribution of Johnston's typeface on the development of Gill Sans.
 | |
|
General Process of Type Design
1. Research
- When creating typefaces, it's essential to understand type history, anatomy, and conventions, as well as terminology like side-bearing, metrics, and hinting.
- Determining the type's purpose and its intended applications, such as school buses or airport signage, is crucial.
- Examining existing fonts for inspiration, ideas, reference, context, and usage patterns is also important in the design process.
 | |
|
2. Sketching
- Some typeface designers prefer sketching with traditional tools like brushes, pens, ink, and paper before digitising their work. They feel more confident and have better control using these tools.
- Others opt for digital tools like Wacom tablets directly into font design software, which is quicker and more consistent but may impede the natural movement of hand strokes.
- Each method has its positives and negatives, catering to different preferences and workflows.
 | |
|
- Professional software like FontLab and Glyphs App are commonly used for digitising typefaces.
- Some designers also use Adobe Illustrator for design but purists may frown upon this.
- At this stage, attention should be given to both the overall form and counter form for readability.
 | |
|
- Testing is crucial in the design thinking process for typefaces, as it helps refine and correct aspects of the design.
- Prototyping is a key part of testing and provides valuable feedback.
- The readability and legibility of a typeface are particularly important considerations, especially for text typefaces, while display typefaces prioritise expressive form over readability.
 | |
|
- Even after a typeface is finished and deployed, unexpected issues can arise that were not caught during earlier testing. This means that the task of revising the typeface doesn't end with its deployment.
- Rigorous testing is important to ensure that any problems that do arise remain minor.
 | |
|
Typeface Construction
Using grids with circular forms can facilitate the construction of letterforms, as demonstrated in the design of Roman capitals. The grid consists of a square with a circle touching its lines in four places, and within the square, a smaller rectangle positioned centrally. This method provides a systematic approach to building, creating, and designing letterforms.
 | |
|
Construction & Considerations
 | |
|
When designing a new typeface, various forms and constructions must be considered.
- An important visual correction involves the extrusion of curved forms past the baseline and cap line, as well as achieving vertical alignment between curved and straight forms.
- Adjusting the distance between letters is crucial, as equal spacing may not result in uniform visual white space. This process, known as "fitting the type," ensures consistent appearance of white space between letters.
 | |
|
Typo_5_Perception & Organisation ( Refer to Task 2 )
INSTRUCTIONS
TASK
Exercise 1: 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 limitedly.
Week 1- Practical
In our first practical session, we were instructed to begin with the axial system as our first attempt. Before beginning, I reviewed a tutorial by Mr Vinod to refresh my memory on using InDesign.
 |
| Fig.3.1.1 Attempt #1 & 2 - Axial System, Week 1, 24.4.2024 |
1. Axial System
 |
| Fig.3.1.2 Attempt #3 & 4 - Axial System, Week 1, 27.4.2024 |
Font used
Left & Right : ITC Garamond Std ( Bold, Bold Narrow ), Janson Text LT Std ( 55
Roman ), Gill Sans Std ( Regular, Bold Italic, Light )
2. Radial system
 | |
|
Font used
Left : Gill Sans Std ( Regular, Italic, Light Italic, Bold italic )
Right : Futura Std ( Medium ), Gill Sans Std ( Regular, Light, Bold italic )
3. Dilatational System
 | |
|
Left : ITC Garamond Std ( Bold ), Gill Sans Std ( Regular, Bold italic, Light )
Right : ITC Garamond Std ( Bold ), Gill Sans Std ( Regular, Bold, Bold italic, Light )
4. Random System
 | |
|
Font used
Left: Univers Lt Std ( 73 Black Extended ), Serifa ( 55 Roman, 65 Bold, 75 Black ), Futura Std ( Heavy)
Right: Univers Lt Std ( 73 Black Extended ), Gill Sans Std ( Regular ), Serifa ( 55 Roman, 65 Bold, 75 Black ), Futura Std ( Heavy )
5. Grid System
 | |
|
Left : Gill Sans Std ( Regular, Light, Italic, Light Italic, Bold Italic )
Right : Gill Sans Std ( Regular, Light, Italic, Light Italic, Bold Italic, Bold )
6. Transitional System
 | |
|
Font used
Left : ITC Garamond Std ( Bold ), Gill Sans Std ( Regular, Bold Italic )
Right : Gill Sans Std ( Regular, Light, Italic, Light Italic, Bold Italic ) , Futura Std ( Medium )
7. Modular System
 | |
|
Font used
Left : Janson Text LT Std ( 55 Roman, 75 Bold )
Right : Serifa Std ( 46 Light Italic, 55 Roman, 65 Bold, 75 black )
8. Bilateral System
 | |
|
Font used
Left: ITC New Baskerville Std ( Bold ), ITC Garamond Std ( Light, Book, Book Italic, Bold )
Right: Adobe Caslon Pro ( Bold ), Bodoni Std ( Book, Poster, Roman )
Week 2 - Online feedback session
I shared my work in the Advanced Typography Facebook group with the intention of receiving feedback from Mr. Vinod.
 | |
|
While I didn't received any specific feedback, I've already identified some of the mistakes I made by listening to the feedback given to my classmates.
Revised layouts after feedback
1. Axial System
 | |
|
Hence, I reverted to my second attempt layout and added graphical elements to improve its visual appeal.
 | |
|
2. Transitional System
In addition to the axial system, I also realised that I don't fully understand the transitional system. It seems that the layout I chose from my attempts might not fit the transitional system definition, as this system involves organizing information into separate bands or layers, typically arranged in a stacked or layered manner. Each band serves as a visual division for different types of content or data.
 |
| Fig.3.1.13 The layout I chose from my attempts , Week 2, 1.5.2024 |
Therefore, I've opted for the layout from attempt #2 as my final outcome for this system. I made some minor adjustments, such as arranging the information closer within each band and refining the white space distribution.
 |
| Fig.3.1.14 ( Left ) Before, ( Right ) After , Week 2, 1.5.2024 |
3. Random System
I wanted to create a layout where all the text is stacked below. In my first attempt of this system, I noticed some negative space between the texts, which felt a bit odd. Therefore, I adjusted the negative space by repeating certain phrases to create a crowded effect underneath.
 |
| Fig.3.1.15 ( Left ) Before, ( Right ) After , Week 2, 1.5.2024 |
Besides discussing layouts, Mr. Vinod mentioned that dates should be written like "24 June 2021," not "June 24, 2021." Additionally, he mentioned that enlarging the date number in all layouts is unnecessary. Therefore, I ensured that the dates in all eight layouts were in the correct format and adjusted the font size of the date number to match the rest of the date in some layouts.
Final Task / Exercise 1 : Typographic Systems
 |
| Fig.3.1.16 Final Axial System ( JPEG ) , Week 2, 1.5.2024 |
 |
| Fig.3.1.17 Final Radial System( JPEG ) , Week 2, 1.5.2024 |
 |
| Fig.3.1.18 Final Dilatational System( JPEG ) , Week 2, 1.5.2024 |
 |
| Fig.3.1.19 Final Random System ( JPEG ) , Week 2, 1.5.2024 |
 |
| Fig.3.1.20 Final Grid System ( JPEG ) , Week 2, 1.5.2024 |
 |
| Fig.3.1.21 Final Transitional System( JPEG ) , Week 2, 1.5.2024 |
 |
| Fig.3.1.22 Final Modular System( JPEG ) , Week 2, 1.5.2024 |
 |
| Fig.3.1.23 Final Bilateral System( JPEG ) , Week 2, 1.5.2024 |
Fig.3.1.24 Final Typographic System ( PDF ) , Week 2, 1.5.2024
Fig.3.1.25 Final Typographic System with guides ( PDF ) , Week 2, 1.5.2024
Exercise 2: Type & play
In this exercise, we'll choose an image of either a man-made object, a natural structure, or something from nature. The image should be relatively simple, without too many elements.
Part 1: Finding Type
-Analyse the image.
-Dissect the image to identify potential letterforms.
-Refine these letterforms through adjustments while maintaining the essence of the original image.
-Dissect the image to identify potential letterforms.
-Refine these letterforms through adjustments while maintaining the essence of the original image.
Attempt 1
For my initial attempt, I chose a lightning image and extracted four letterforms: W, H, T, and S.
Since I didn't have much time to work on it, I only got a little feedback when I posted it on Facebook.
 |
Fig.3.2.1 Lightning image, Week 3, 6 .5.2024
|
Mr. Vinod commented that my work shows too little exploration. He advised me to examine a larger portion of the lightning image to find the letterforms, rather than focusing on just a small section.
 |
Fig.3.2.2 My process work on this lightning image, Week 3, 6.5.2024
|
I found it difficult to proceed with the lightning image, so I decided to start fresh with a different image for the redo.
I looked for images featuring shapes that are clear and easily identifiable. For this try, I decided to work with a close-up image of seashells.
 |
Fig.3.2.3 Seashells image, Week 3, 8 .5.2024
|
From the seashell image, I extracted four letterforms: B, E, C, and L.
 |
Fig.3.2.4 My process work on seashells image, Week 3, 8.5.2024
|
When I began refining the letterforms, they resembled rocks more than seashells. I found it challenging to refine the letterforms while retaining the characteristics of seashells. Therefore, I plan to search for another image that I can work with more effectively.
Attempt 3
I searched for the image where the object's characteristics are more distinct and obvious. Finally, I found an image of mushroom slices, and I think it could work well for this exercise.
 |
Fig.3.2.5 Mushroom image, Week 3, 9.5.2024
|
I used the pen tool to trace the shapes of mushroom slices that I identified could form letterforms. The extracted letterforms are T, X, E, and C.
 |
Fig.3.2.6 & 7 Letterform Extraction, Week 3, 9.5.2024
 |
Fig.3.2.8 Reference Font , Week 3, 9.5.2024
|
1. Angle Adjustment
2. Adjust the stroke weight and refine the stroke shapes to resemble mushroom slices.
3. Refine the details.
 |
Fig.3.2.9 Refining Process , Week 3, 9.5.2024
|
Final Outcome
 | ||
Fig.3.2.10 Final Letter T , Week 3, 9.5.2024
|
 |
| Fig.3.2.12 Final Letter E , Week 3, 9.5.2024 |
 |
Fig.3.2.14 Final Letterform , Week 3, 9.5.2024
|
Fig.3.2.15 Final Letterform ( PDF ) , Week 3, 9.5.2024
Final Task / Exercise 2A : Finding Type
|
Fig.3.2.16, Image , Week 3, 9.5.2024
|
 |
Fig.3.2.17, Extracted Letterform , Week 3, 9.5.2024
|
 |
Fig.3.2.18, Reference Font , Week 3, 9.5.2024
|
 |
Fig.3.2.19, Final Letterform , Week 3, 9.5.2024
|
 |
Fig.3.2.20, Original Extraction & Final Letterform , Week 3, 9.5.2024
|
Fig.3.2.21, Final Task / Exercise 2A ( PDF ), Week 3, 9.5.2024
Part 2 : Type & Play
- Integrate the completed letters with the inspiring image. ( movie poster )
- The goal is to ensure that the text and the image complement each other effectively, creating a harmonious composition.
Since the letterform I created has a cute style, I want to find an image that is more fantastical and vibrant in colour. Luckily, I discovered an image that matches my letterform well.
 |
Fig.3.2.22, Mushroom image, Week 3, 10.5.2024
|
1. Research
Before designing the movie poster, I researched real movie posters to see what they look like. Most movie posters include the billing block, the production logos, and a catchy phase to capture people's attention and encourage them to watch.
Fig.3.2.23&24, The Movie poster of ( Left ) Star Wars & ( Right ) Transformers, Week 3, 10.5.2024
Mr. Vinod taught us to find the production logos online and use the image trace tool in Illustrator to accurately crop out the logos. I discovered four production logos that I intend to incorporate into my poster. Since most of them already have the background removed, I only need to use the image trace tool to trace out one logo.
 |
Fig.3.2.25, My selected production logos, Week 3, 10.5.2024
|
Steps to use image trace:
Select the image > Object > Image Trace> Make and Expand > Ungroup > Select the desired object.> Done
 |
Fig.3.2.26, Steps to use image trace in Illustrator, Week 3, 10.5.2024
|
Process
 |
Fig.3.2.27, The process of figuring the layout, Week 3, 10.5.2024
|
Attempt #1
 |
Fig.3.2.28, Attempt #1 Outcome, Week 3, 10.5.2024
|
After the feedback session, Mr. Vinod suggested that I use a background image of mushroom slices instead of whole mushrooms. The background image should capture the essence of the extracted letterform. Although Mr. Vinod mentioned I could use the image from which I extracted the letterform, I decided to search for another image that is more aesthetic and better suits my letterform.
 |
Fig.3.2.29, Mushroom Slices image, Week 4, 15.5.2024
|
Since the feedback I received indicated that only the background needed to be changed and the rest of the arrangement was fine, I made only a few adjustments to my work.
 |
Fig.3.2.30, Change the background, Week 4, 15.5.2024
|
 |
Fig.3.2.31, Align the title to center, enlarge it & arrange the phase, Week 4, 15.5.2024
|
I noticed that the letterform became less clear after I changed the background image. To make the letterform stand out, I decided to add some shadow behind it. First, I changed the colour of the letterform to light brown to create a warmer tone. Then, I copied and pasted the letterform, changed the copy to dark brown, and placed it under the light brown letterform. To further enhance the visibility, I applied a drop shadow effect to the combination of the light and dark letterforms.
 |
Fig.3.2.32, Adjustment for Letterform, Week 4, 15.5.2024
|
To fit the background, I transformed 'The Tales from the Mushroom Kingdom' into 'The Ultimate Mushroom Delight'.
 |
Fig.3.2.33, Change the phase, Week 4, 15.5.2024
|
Final Task / Exercise 2B : Type & Play
 |
Fig.3.2.34 Image + Extraction , Week 4, 15.5.2024
|
 |
Fig.3.2.35 Reference Type , Week 4, 15.5.2024
|
 |
Fig.3.2.36 Process from Extraction to Reference to Refinement, Week 4, 15.5.2024
|
 |
Fig.3.2.37 Initial Extraction + Final Refinement , Week 4, 15.5.2024
|
 |
Fig.3.2.38, Final Poster ( JPEG ), Week 4, 15.5.2024
|
Fig.3.2.39, Final Task / Exercise 2B ( PDF ), Week 4, 15.5.2024
FEEDBACK
Week 2
General Feedback : Make sure everything line up properly, especially the cross alignment. Don't use condensed fonts too much in a layout because it may make it hard to read. Avoid enlarging date numbers unnecessarily and stick to the correct date format "24 June 2021" instead of "24 June, 2021". Using a 45-degree angle in the axial system might make things harder to read, so it's better to use angles less than 45 degrees.
Week 3
General Feedback : In the refinement stage, we don't need to stick exactly to the original extraction we can include any elements we see in the image that we think would improve the design. We need to understand the structure of the subject manner we're aiming, so we can make our letters similar to it.
Specific Feedback : Look at the whole lightning shape in the image, not just a small part of it, to extract letterforms. My work lacks exploration.
Week 4
General Feedback : The main elements of the poster are the title and the visual. The title should be integrated with the visual elements and should be the first thing people notice.The billing block, which lists the names and roles of those involved in the film, is not as important and doesn't need to be highly visible. However, a movie poster might look odd without it.
Specific Feedback : The letterform refinement process is effective. However, the poster image of the whole mushroom does not match the letterform created from mushroom slices, as the poster image should capture the essence of the extracted letterform. I need to rework it by changing the poster image to one featuring mushroom slices. It's okay to use the original image from which I extracted the letterform as the background for the poster, or I can find another better image. The rest of the arrangement is fine.
REFLECTION
Experience: In these four weeks, it was intense. I thought the first week would be more relaxed, just covering the briefing of the module. But unfortunately, we had a task that needed to be done in the very first week. The first exercise was about the 8 typographic systems, which took time to think about unique layouts and ensure that each layout correctly applied the systems. The second exercise involved finding an image, identifying interesting shapes within it, and turning those shapes into letters. Then, I used those custom letters to create a movie poster. I think exercise 2 was especially fun because it was more hands-on and creative compared to the more theoretical nature of the first exercise. However, I found it a bit rushed since I had other assignments to work on at the same time. Overall, it was an interesting and engaging exercise.
Observations: With the typographic systems, I noticed how each one changed the look and feel of the design. The Axial system’s symmetry, the dynamic flow of the Radial system, and the structured order of the Grid system all had distinct impacts. In the second exercise, I found it fascinating to see potential letters hidden in an image and then figure out how to turn them into something readable and visually appealing for the poster.
Findings: These exercises really showed me how important it is to be flexible and creative in design. The typographic systems highlighted how different structures can convey different messages, and the second exercise pushed me to get creative and look for inspiration in unexpected places. I realised that good design often comes from combining technical skills with a creative eye.
FURTHER READING
 |
Fig.6.1.1 Typographic Systems by Kimberly Elam , Week 1 , 24.4.2024 |
Week 1
Mr. Vinod suggested that we refer to this book for a deeper understanding of typographic systems. I looked at the examples of each system in this book to get an idea before starting my work.
1. Axial System - Design to the left and right of a single axis.
 |
| Fig.6.1.2 The three phase of Axial System ( Pg 22 ) , Week 1 , 24.4.2024 |
2. Radial System - Design from a central point of focus.
 |
| Fig.6.1.3 The three phase of Radial System ( Pg 40 ) , Week 1 , 24.4.2024 |
3. Dilatational System - Design along a circular path.
 |
| Fig.6.1.4 The three phase of Dilatational System ( Pg 58 ) , Week 1 , 24.4.2024 |
4. Random System - Spontaneous design.
 |
| Fig.6.1.5 The three phase of Random System ( Pg 76 ) , Week 1 , 24.4.2024 |
5. Grid System - Design with vertical and horizontal divisions.
 |
| Fig.6.1.6 The three phase of Grid System ( Pg 92 ) , Week 1 , 24.4.2024 |
6. Transitional System - Design with shifted bands and layers.
 |
| Fig.6.1.7 The three phase of Transitional System ( Pg 110 ) , Week 1 , 24.4.2024 |
7. Modular System - Design with standardised units.
 |
| Fig.6.1.8 The three phase of Modular System ( Pg 126 ) , Week 1 , 24.4.2024 |
8. Bilateral System - Design that is symmetrical to an axis.
 |
| Fig.6.1.9 The three phase of Bilateral System ( Pg 144 ) , Week 1 , 24.4.2024 |
I found that studying from the three phases, examining the initial, immediate, and advanced phases, might help me in picking up the basics of those systems better.
After the feedback session, I realised that I don't fully understand some systems, such as the Axial system and Transitional system. Therefore, I decided to delve into more detailed explanations of these systems.
Axial System
In "Typographic Systems" by Kimberly Elam, the axial system is explained as a basic way to arrange text and graphics. It focuses on organising elements along a central line, usually vertical, to create balance and structure in layouts.
The axial system revolves around a single axis, but it can take on various patterns to add a special touch. These patterns include implied shaped axis, explicit shaped axis, and diagonal axis. Each pattern offers unique possibilities for arranging elements in a layout, contributing to its visual appeal and effectiveness.
 |
| Fig.6.1.12 Diagonal axis ( Pg 33 ) , Week 2 , 1.5.2024 |
Transitional system
In "Typographic Systems" by Kimberly Elam, the transitional system is described as a flexible way to arrange text and graphics. Unlike other systems, it combines elements from both the grid and axial systems. This means we can align elements vertically and horizontally, creating dynamic layouts that are both structured and fluid.
Thumbnail variations for the transitional system include movement, change in direction, non-objective elements, and diagonal direction.
Movement: This variation adds a sense of motion to the layout, guiding the viewer's eye through the design.
Fig.6.1.13 Movement ( Pg 113 ) , Week 2 , 1.5.2024
Change in Direction: It involves shifting orientation or alignment to make the layout more visually interesting.
Fig.6.1.14 Change in Direction ( Pg 115 ) , Week 2 , 1.5.2024 Non-Objective Elements: Abstract elements are used to enhance the design's overall look and feel.
Fig.6.1.15 Non objective elements ( Pg 116 ) , Week 2 , 1.5.2024 Diagonal Direction: Elements are arranged along diagonal lines, adding energy and dynamism to the layout.
Fig.6.1.16 Diagonal Direction ( Pg 118 ) , Week 2 , 1.5.2024 Visual Language: This variation incorporates visual cues for communication.
Fig.6.1.17 Visual Language ( Pg 119 ) , Week 2 , 1.5.2024 QUICK LINKS
Comments
Post a Comment