ADVANCED TYPOGRAPHY - TASK 1

Advanced Typography - Exercises
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30/08/2023 - 13/09/2023
Safanah Aulia Asep (0337752)
Bachelors of Design (Hons) in Creative Media
Advanced Typography
Task 1 Exercises

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LECTURE NOTES

Week 1 (30/08): Typographic Systems

"All design is based on a structural system" and according to Elam, 2007, there are eight major variations with an infinite number of permutations. These eight major variations are as follows:

1. Axial 
2. Radial
3. Dilatational
4. Random
5. Grid
6. Modular
7. Transitional
8. Bilateral

Axial System: all elements are organized to the left or right of a single axis.

fig.1.1. Example of axial system

Radial System: all elements are extended from a point of focus.

fig.1.2. radial system

fig.1.3. Radial system

Dilatational System: all elements expand from a central point in a circular fashion.

fig.1.4. dilatational system example

fig.1.5. dilatational system

Random System: elements appear to have no specific pattern/relationship.

fig.1.6. random system

fig.1.7. random system

Grid System: a system of vertical and horizontal division.

fig.1.8. example of grid system

fig.1.9. grid system

Transitional System: an informal system of layered banding.

fig.1.10. transitional system example

fig.1.11. transitional system

Modular System: a series of non-objective elements that are constructed in a standardized units.

fig.1.12. modular system

Bilateral System: all text is arranged symmetrically on a single axis.

fig.1.13. bilateral system example

Week 2 (06/09): Typographic Compositions

There are two different aspects in typography; typography pertains to the creation of letters and typography pertains to the arrangement of large amount of text within a given space. In this case, it is the latter.

The various ways to approach typographic compositions are:

• Principles of Design: compositions usually consists of emphasis, isolation, repetition, symmetry, asymmetry, alignment, perspective, and so on. However, these abstract notions are ambiguous when applied into typographic layouts. Thus, some of these principles are easier to translate than the others. Eg: emphasis.
• The Rule of Thirds: it is a photographic guide for composition. It suggests that a frame (space) can be divided into 3 columns and rows, where the intersected lines are the guides to place the points of interest within a given space. 
• Typographic Systems: Among the 8 systems, the most pragmatic and used system is the grid system, which was derived from the grided compositional structure of letter press printing. IT has been further enhanced to a modern term as the Swiss style of typography. Another system that's not been covered is called Environmental grid and form and movement.  

Week 3 (13/09): Context & Creativity

    Handwriting

They are important because the first mechanically produced letterforms were designed to imitate a handwriting. It has become the basis for form, spacing, and conventions mechanical type would try and mimic. The unique characteristics of hand-drawn letterforms were influenced by tools and materials used to make them, such as charcoal, sticks, plant stems, brushes, etc. Additional factors were the materials on which the forms were written, i.e., clay, papyrus, animal skin, palm leaf, and paper. 

    

    Development of Writing Systems

• The Phoenicians developed a phonetic alphabet consisting of 22 letters
• The Greeks adopted the Phoenician system and added vowels
• Early Greek letters were written between two guidelines in horizontal rows
• The direction of reading was not fixed, Greeks read from left to right and right to left
• Greek letters were drawn freehand and had no serifs

    Evolution of Letterforms

Greek letter forms became thicker, with lessened apertures and the appearance of serifs. Roman inscriptional letters served as models for calligraphic and type design for the past 2,000 years and it then became more rounded and allowed for faster writing. 

English and Irishman seals evolved into a more slanted and condensed form. The Carolinian handwriting reform standardized writing conventions and language and their minuscule script emerged as a new script. Emperor Charlemagne established the Carolingian minuscule script. The Carolingian minuscule became the pattern for humanistic writing in the 15th century. Humanistic writing later became the basis for lowercase Roman type.

    Development of Printing

Printing on woodblock was practiced in China, Korea, and Japan. The Diamond Sutra was the world's first printed book with an illustration. The Buddhist had significant achievements in printing, including the the first printed illustration. 

Moveable type was introduced in the 11th century. It pioneered in China, and later achieved in Korea in the late 1300s. However, printing in Europe came later and western books often overlook printing in China and Korea. 

China attempted to use moveable type for printing but it was unsuccessful due to large number of characters. Material they used was clay, which was brittle to reuse. The unwieldy number of characters made it impossible to manage. 

Koreans established a foundry to cast moveable type in bronze which allowed dismantling and resettling of text, and the types or typefaces were useable. Then came the introduction to a new script called "Hangeul", which were based on phonetics and departed from the Chinese script.

    Western Recognition of Historical Letterforms

Typographers in the west recognized the importance of historical letterforms. Books were written and published recreating hand-written styles in mechanical forms. The digital revolution led to the digitization of historical creations. Type foundries created, marketed, and sold licensed historical typefaces. The westerners understood the importance of history and saw opportunity in it, where they revitalize and recreate historical typefaces for different eras and uses. 

    Indus Valley Civilization

The oldest writing was found in the Indian subcontinent. It was used from 3500 BC to 2000 BC, and it had not yet been deciphered. They're logo-symbolic nature, debated over linguistic representation. 

• The Brahmi script
• This script is a later developed script in India, also known as the parent script of most Indian subcontinent scripts. All modern Indian scripts and several hundred scripts in Southeast Asia were derived from the Brahmi script. The origin of the script is still debated, though some scholars believed it was derived from or influenced by Semitic scripts meanwhile others believe it has an indigenous origin or connection to the Indus scripts. 
• Development of Scripts in India
• The Brahmi script gave birth to various scripts in India, including Kashmiri, Gurmukhi, Devanagari, Telugu, Kannada, Tamil, and Malayalam. These scripts have historical and cultural significance. 
• Indian Scripts in Southeast Asia
• The oldest writing systems in Southeast Asia were Indian scripts. The Pavalla script which was originally used for writing Sanskrit in Tamil and Tangut, was highly influential. The Grantha script, an early form of the Nagari script was also used in the Malay Archipelago. Examples of Indian scripts in Southeast Asia include the Paducah and Buki inscription in Sumatra and the Plungeon inscription in Bali.

Week 4 (20/09): Designing Type

    Adrian Frutiger's challenge in designing a typeface based on an unfamiliar script. Matthew Carter's lineage as the son of Harry Carter, a royal designer for industries. Carter's experienced in punch cutting, phototype setting, and digital type setting. His fonts are created to address technical challenges, such as legibility on screens. The creation of Verdana font was specifically for screen usage and small sizes, though there are considerations and limitations of the font. Matthew Carter's design of Bell Centennial typeface with ink traps to address printing issues. 

    The Purpose: London Underground railway ordered a new typeface for its posters and signage. Calligrapher Edwardo Johnson was commissioned for this purpose. He provided details and examples of letter shapes. Johnson drew his inspiration from the Trajan columns. The said column is a beautifully carved column with inscriptions. His aim was for a typeface with bold simplicity and modern yet with traditional elements. Then came to existence the typeface Johnston Sans. London Underground wanted to standardize the typefaces used across different entities.

Johnson's remit was to unite the London Underground group, as he aimed to ensure a unified identity for the different companies. The proportions of Roman capitals were applied to the typeface due to their openness and humanist in nature. The typeface had historical roots and simplicity suitable for the modern age. The "W" in the earlier version had an interesting look, similar to Volkswagen's "w". Gill Sans, a typeface made by Johnson's former student, was heavily based on Johnson's work. 

    Designing a Typeface

• Professional software used in digitization and generation of typefaces
• Leading software: FontLab and Glyphs app
• Some designers use Adobe Illustrator to design letterforms
• Introduce designs into specialized font apps
• Importance of considering the counter form
• Reliability and readability of typeface depend on it
• Comparison of Verdana and MS Font
• Engineers found similar thickness or weight in the letterforms
• Counter form also important for readability
• Testing and refining the typeface
• Testing is crucial in the design thinking process
• testing helps refine and correct aspects of the typeface
• prototyping is part of the testing process
• important feedback from testing and prototyping
• rigorous testing reduces problems in the future

    Typeface Construction: Roman capitals are constructed on a grid of a square and circles. A circle within the square touches the lines of the square in four places. A rectangle within the square is three quarters the size of the square and positioned in the center. Grids with circular forms facilitate the construction of letterforms. Black letter also uses squares in its construction.

Alphabet characters can be grouped based on their form. Similar construction aspects can be applied to different letterforms. This speeds up the design process. Extrusion of curved and protruding forms past the baseline or cap line requires visual correction, as well as the vertical alignment between curved and straight forms. Distance between letters requires visual correction for uniform white space. It is also important to create a rhythm and uniformity in the white spaces. 

Designing a typeface involves many forms and constructions. Extrusion and spacing of letters require high attention and there are many approaches and considerations in typeface designs. Individual typeface designers may have their own methodologies.

    Conclusion

Most typefaces come about due to the need or demand. Designing typefaces requires understanding intrinsic and extrinsic motivations

• Intrinsic motivation:
• designer has an inexplicable need or interest to design a typeface
• designer seeks out a form that fulfills their desires
• designer identifies a gap or problem and aims to solve it through typeface design
• Extrinsic motivation:
• designer has been commissioned or tasked to design a typeface
• some designers require extrinsic motivations due to the labor of love involved in typeface design.

For a design to be successful, the designer needs to be invested in the idea. Understanding the requirements, limitations, use, and stakeholders is crucial. Investment in the idea leads to spending countless hours and obsessing over the details of the typeface construction.

Designing a typeface is not easy and takes a lot of time. It is considered a labor of love where only the brave and foolish choose this path. The mindset of a type designer would be obsessed with details, wherein detail-oriented approach leads to more nuanced and connected typefaces. And detail is very important when designing letterforms. 

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INSTRUCTIONS

Fig.2.1. Module information booklet pdf

EXERCISES

Week 1: 

For this week, we were given the task to make a design based on each of the 8 typographic systems. We also had an in-class exercise to try out doing the first typography system which was axial, just to understand how we were supposed to do it. And before that we had to watch the tutorials given by Mr Vinod for clear instructions. 

I start my exploration by using both the ABCs of Bauhaus design as well as the All Ripped Up punk influences titles. I managed to make about 3-4 designs for each systems as me experimenting. 

fig.3.1. typographic system compilation

Shown above is the image I submitted for the feedback session in class.

Here are my results for axial system:

fig.3.2. Axial System Compilation

I experimented with different angles and made sure to only use one axis throughout the design. As seen in the image, I incorporated a colour for the bauhaus title and left the punk influences in monotone to see if my colour placement is suitable, and I was being too careful with this one I would say. 

fig.3.3. Radial System Compilation

Next is the radial system. I actually did the bauhaus design first in all of the systems I honestly don't know why I placed them in the bottom (pls excuse it hehe). Anyway, after doing the first two, I decided to be increase the title size for the next two designs and use less of the lines as it looked too boring and I wanted to make it more eye-catching by adding a hint of pink. I guess it helped a bit.  

fig.3.4. Dilatational System Compilation

Here are my dilatational designs. Yes the first two were inspired by just the lecture slides but after going to other platforms for inspirations, I can see an improvement in my designs and it looks more fresh than the first designs I did. I honestly like the one with the "pinkified" dates most, though its simple it still brings an emphasis towards something. 

fig.3.5. Random System Compilation

These are the random system. I started with going too safe that it doesn't look like its random. However, after more research I came up with the bottom left design, and its better than the first two. Though that satisfied me, I wanted to see how it'd look if I use a coloured background. Not gonna lie I almost ran out of ideas on how to make it as random as possible, keeping in mind that it should be readable. And I realized that I tend to use lines leaning towards the left (I don't have any specific reasons for it..it just happened). 

fig.3.6. Grid System Compilation

Next up are the grid system. Honestly for this system, I find it a bit challenging as I wanted to make it look unique but putting it within grids made it kind of limited. But I still tried to experiment with it and these are what I came up with. 

fig.3.7. Modular System Compilation

For modular system, I could only come up with 3 designs as my brain juice dried up and I couldn't think of more designs. And this one also took awhile, from learning and familiarizing myself with the rules of modular system and then executing them. I also had to make sure what I did wasn't a grid system and vise versa. 

fig.3.8. Transitional System Compilation

This is the transitional system, they all look pretty similar because I couldn't come up with another approach. I honestly don't like any of the designs I have here and is the system I like the least just because my creativity wasn't working :3

fig.3.9. Bilateral System Compilation

Lastly, the bilateral system is here. I initially came up with 3 designs at first but after showing the top left to Mr Vinod, he said that it wasn't quite right to be bilateral. Hence, I made the one on top right as the correction. Honestly I like the one on bottom left but when showing the works, most of the ones I chose were with the punk influences title so I thought it would look weird if I insert a different title among the 8 systems, and if I just switched them, I didn't have enough time to edit the fonts as well to match the vibe of the title (I did the system compilation in class that's why).

Here is also the typographic systems but with the guides visible:

fig.3.10. axial system with guides

fig.3.11. radial system with guides

fig.3.12. dilatational system with guides

fig.3.13. random system with guides

fig.3.14. grid system with guides

fig.3.15. modular system with guides

fig.3.16. transitional system with guides

fig.3.17. bilateral system with guides

These are the final outcomes from each systems:

fig. 3.18. axial system final

fig. 3.19. bilateral system final

fig. 3.20. dilatational system final

fig. 3.21. grid system final

fig. 3.22. modular system final

fig. 3.23. radial system final

fig. 3.24. random system final

fig. 3.25. transitional system final

fig. 3.26. final typographic systems pdf

fig. 3.27. final typographic systems with grid pdf

Week 2:

Mr Vinod had briefed us of the next task we have which is type & play part 1. Basically we were to use a man-made image or of nature and with it, we are to extract 5 letterforms from the chosen image and refine them in multiple steps with reference to an existing font.

I decided to use an image of a pile of bread clips. I should be having a back up image as well in case that doesn't work but so far I couldn't find a suitable image to use :(

fig.3.28. bread clip image

Upon inspecting the image, I found the letters C, U, L, B, and M. I decided to refer to the typeface Gill Sans bold.

fig.3.29. reference font

I then began the refining process and tried to make them still have the look of a bread clip yet subtly. While doing this, I first had difficulty with figuring out how to refine the letter B. After solving that, the next challenging problem is with letter M. Which is why it looks kind of too close to the referenced font, but I tried my best T^T. 

fig.3.30. refining letterform process

It took me a couple days to complete refining (procrastination), and I decided to keep the square-ish shape from the bread clips and the small strokes so it doesn't loose its origin. Whereas for the letter U, I added the stokes to it as the initial extraction was a smooth surface, and honestly that made it look so much better. 

fig.3.31. comparison of first extraction & final outcome

And that's how the type&play part 1 exercise went for me. For the part 2, we did the exercise in class. Mr Vinod told us to find an image that's similar to the image we used for the extraction, and make a poster including the final letterforms. 

fig.3.32. image for poster

The figure above is the image that I chose for this exercise. He also showed some examples of how the poster is supposed to look. We were required to turn the image into grayscale and add a tint if we want to. We also need to use the canvas size of 1024px by 1024px.

fig.3.33. poster outcome

I added a little bit of red tint to the grayscale and it made it look like a vintage poster after putting them together. I also added random cinema production logo, and I used a generator for the "movie description" because I couldn't come up with my own sentences at that moment (sir gave us a time limit). I decided to layer the letterforms as I think if I used one colour it looked too plain and there's no emphasis. As for the background image, I decided to use radial blur on it to give it some contrast from the texts. I initially used gaussian blur but that didn't look nice to me. 

fig. 3.34. final letterforms pdf

fig. 3.35. individual letterforms pdf

fig. 3.36. task1-B poster pdf

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FEEDBACK

Week 2: 

All systems are good except bilateral; needs to be reworked. 

General feedback: 

• numbers needs to be downsized. 
• Bilateral system has to be symmetrical. 
• When using a line as a path for text, leave space above the line for better readability. 

Week 3: 

General feedback: when extracting letterforms from an image that has cracks in between them, instead use from the original object.

No specific feedback was given.

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REFLECTION

My experience through the first two weeks of this class was hectic not gonna lie. It has only been 3 weeks so far and it feels like I've already done so much. Starting with the typographical systems where there's 8 of them and we were to explore the designs of each systems as well; I was barely alive. However, after receiving feedback on week 2, I'm glad my hard work paid off.

Moving to the second exercise Type&Play, the first part was kind of challenging to do. I decided to use an image of bread clips and refined them into letterforms while also maintaining the original form of the clip. Through this exercise, I realized that literally any object can be made into letters. And although I didn't receive a specific feedback on my work, I still learned a lot from the ones that was given feedback by Mr Vinod. Hopefully my refined letterforms aren't bad.