Advanced Typography - Exercises: Typographic Systems & Type & Play

05/04/2023 - 25/04/2023 / Week 1 - Week 4

Hayato Saito / 0350466

Typography / Bachelor of Design in Creative Media

Exercises: Typographic Systems & Type & Play

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LECTURES

・Week 1 - Lecture 1: Typographic Systems

Fig.1.1 Axial System

- Axial System

All the elements are organized on either the left or right of a single line or axis.

The axis can exist anywhere in any format to create a symmetrical or asymmetrical composition.

The axis doesn't always have to be a straight line.

Multiple axes can be used.

Fig.1.2 Radial System

- Radial System

All the elements are organized to extend from a central point of focus.

Multiple points can be used.

Fig.1.3 Dilatational System

- Dilatational System

All elements are organized to expand from a central point in a circular fashion.

Multiple circles can be used.

Fig.1.4 Random System

- Random System

All elements are organized to have no specific pattern or relationship.

Fig.1.5 Grid System

- Grid System

All elements are organized according to the grids.

Fig.1.6 Transitional System

- Transitional System

All elements are organized informally according to layered banding.

Fig.1.7 Modular System

- Modular System

All elements are organized according to standardized units.

Fig.1.8 Bilateral System

- Bilateral System

All elements are organized symmetrically on a single axis.

・Week 2 - Lecture 2: Typographic Composition

Fig.2.1  Principles of Design Example - emphasis

- Principles of Design Composition 

the emphasis, isolation, repetition, balance (symmetry/asymmetry), alignment, perspective, rhythm, and contrast.

Fig.2.2 The Rule of Thirds

- The Rule of Thirds

The Rule of Thirds is a photographic guide to composition. The intersecting lines are used as a guide to place the points of interest, within the given space.

Fig.2.3 Environmental grid from Typographic Foam and Communication, pp211

- Environmental grid

It's based on the exploration of an existing structure or numerous structures combined.

Fig.2.4 Form and Movement

- Form and Movement

Based on the exploration of an existing Grid System. The placement of a form on a page, over many pages, creates movement. Whether the page is paper or screen is irrelevant.

・Week 3 - Lecture 3: Context & Creativity

The first mechanically produced letterforms were designed to directly imitate handwriting. Handwriting would become the basis or standard for form, spacing, and conventions mechanical type would try and mimic.

The earliest system of actual writing, written from left to right and evolved from pictograms.

Early Greek (5th C. B.C.E.): Drawn freehand, not constructed with compasses and rules, and they had no serifs. In time the strokes of these letters grew thicker, the aperture lessened, and serifs appeared.

Roman Uncials: By the 4th century Roman letters were becoming more rounded, the curved form allowed for fewer strokes and could be written faster.

English Half Uncials (8th C.): In England, the uncial evolved into a more slanted and condensed form.

Carolingian Minuscule: Capitals at the start of a sentence, spaces between words, and punctuation. It was this style that became the pattern for the Humanistic writing of the fifteenth century; this latter, in turn, was the basis of our lower-case Roman type.

Black Letter (12-15 C. CE): Characterised by tight spacing and condensed lettering. Evenly spaced verticals dominated the letterform. Condensing line spacing and letter spacing reduced the number of costly materials in book production.

The Italian Renaissance: Newly rediscovered letterforms Antica. The Renaissance analysis of form that was being applied to art and architecture was directed toward letterforms — resulting in a more perfect or rationalized letter.

・Week 4 - Lecture 4: Designing Type 

Type Design Process

1. Research
- Understand type history, type anatomy, type conventions, and terminologies.
- Determine the type’s purpose or what it would be used for and what different applications it will be used in.
- Study existing fonts that are presently being used for inspiration/ideas/reference/context/usage pattern/etc.

2. Sketching Traditional/Digital

3. Digitisation
Professional softwares: FontLab and Glyphs App. Some designers also use Adobe Illustrator then only the specialised font apps. This however is frowned upon by the purist.

4. Testing
The results of testing are 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 type) the readability and legibility of the typeface become an important consideration. However, it is not as crucial if the typeface is a display type, where the expression of the form takes a little more precedence.

5. Deploy
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 rigor of the testing is important so that the teething issues remain minor.

Typeface Construction

Using grids (with circular forms) can facilitate the construction of letterforms and is a possible method to build/create/design your letterform.

Construction and considerations

Different forms and constructions must be taken into account when designing a new type. An important visual correction is an extrusion of curved (and protruding) forms past the baseline and cap line (overshoot). This also applies to vertical alignment between curved and straight forms.

Fitting the type: A visual correction is also needed for the distance between letters. The letters must be altered to a uniform visual white space - the white space between the letters should appear the same.

Ink traps were generally used when printing on cheap absorbent paper and when printing is fast and not very precise. Excess ink gathers at the corners, but with ink traps, the corners remain visible.  

 ・Week 5 - Lecture 5: Perception and Organisation

Fig.3.1 Contrast

Contrast (Size): The reader's attention is directed to a point by contrast in size. For instance, if there is a huge letter and a little letter, the big letter will be seen before the small one. Making a title or header substantially larger than the body content is the most typical usage of size.

Contrast (Form): Contrast of form refers to the difference between a capital letter and its lowercase counterpart, or between a Roman letter and its italic variation. Condensed and enlarged variants of the typeface are also included in the contrast of form.

Contrast (Structure): Structure refers to the many letterforms seen in various fonts. For instance, an italic and a blackletter, or a monoline sans serif and a conventional serif.

Contrast (Texture): The contrast of texture is reached by combining the contrasts of size, weight, shape, and structure and applying them to a block of text on a page. Texture describes how the typeface appears as a whole, both up close and at a distance. This is dependent on both the letterforms themselves and their arrangement. 

Contrast (Direction): The opposition between vertical and horizontal, as well as the angles in between, is known as a direction contrast. The arrangement can change dramatically by flipping one word. Additionally, text blocks can be oriented vertically or horizontally. Adding towering columns of small lines and large blocks of long lines together can also produce contrast.

Contrast (Colour): According to the usage of color, a second color is frequently less dramatic in values than only black on white. As a result, it's crucial to consider which component should be highlighted and to pay attention to the tonal values of the colors that are employed.

The Law of similarity is the gestalt grouping law that states that elements that are similar to each other tend to be perceived as a unified group.

 
The Law of Proximity is the gestalt grouping law that states elements that are close together tend to be perceived as a unified group.

The Law of Closure refers to the mind's tendency to see complete figures or forms.

 
The law of (Good) Continuation holds that humans tend to perceive each of two or more objects as different, singular, and uninterrupted abject even when they intersect.

The Law of Symmetry/Law of Praganz: You can find out more about these laws by viewing the links provided or simply Googling them. However, keep in mind that you will find variation in the interpretation and you will have to weigh them all to come to a consensus. of your own.

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INSTRUCTION

Task 1: Exercise 1 - Typographic Systems

For this exercise, we were told to explore the 8 typographic systems which are Axial, Radial, Dilatational, Random, Grid, Modular, Transitional, and Bilateral with the context that was provided in the MIB. We were required to use Adobe InDesign only to do this exercise.

- Size 200 x 200 mm
- Colours: Black and additional color
- Minor graphical elements

Week 1 Practical

Fig.4.1 Week 1 Practical - Axial System (05/04/02023)

In the week 1 practical class, we were asked to try to make the design using the axial system in Indesign. The image above is what I did. I tried to make a balance by putting the axis on the left and the heaviest and aligning the biggest texts on the right side of the axis. I tilted the contexts on the bottom to play with and get used to this system since it was the first attempt. I got feedback that the contexts don't have connectivity because I put too much space between contexts. 

Fig.4.2 Axial - attempt #2 (11/04/2023)

Font used: 

Left: ITC Garamond Std (Bold Condensed), Futura (Condensed ExtraBold, Condensed Medium)

Middle: ITC Garamond Std (Bold Condensed), Gill Sans (Light)

Right: ITC Garamond Std (Bold Condensed), Gill Sans (Regular)

In the right one, I just tried to make the simple axial system to understand and practice how this system works. In the middle one, I used the black element to create contrast and I aligned the text to the black element to make it look interesting I also used a bold font for the title and light font for the contexts on the left to make a good balance. In the left one, I attempted with the color and after I finished the middle one, I felt like the black elements are too angled that which makes the contexts less readable so I reduced the angle of the elements.

Fig.4.3 Radial - attempt #1 (11/04/2023)

Font used: 

Left: ITC Garamond Std (Bold Condensed, Book)

Right: Univers LT Std (67 Bold Condensed, 59 Ultra Condensed)

In the left one, I wanted to make a smooth transition when texts of the focus point changes but I ended up making an awkward space between texts. It was harder than I expected. In the right one, I tried to put texts to be point symmetry to create a good balance.

Fig.4.4 Dilatational - attempt #1 (11/04/2023)

Font used: 

Left: Univers LT Std (59 Ultra Condensed, 49 Light Ultra Condensed)

Right: Univers LT Std (59 Ultra Condensed)

In the left one, I tried to make an interesting design that looks like a smiley face. In the right one, I tried to make a neat but still interesting and unique shape.

Fig.4.5 Bilateral - attempt #1 (11/04/2023)

Font used: 

Left: Univers LT Std (67 Bold Condensed, 49 Light Ultra Condensed, 47 Light Condensed, 57 Condensed, 59 Ultra Condensed)

Font used: (right one): Futura (Condensed ExtraBold), Janson Text LT Std (55 Roman), Gill Sans (Regular), Serifa Std (65 Bold), Bodoni 72 (Bold), Univers LT Std (59 Ultra Condensed, 49 Light Ultra Condensed, 47 Light Condensed, 57 Condensed)

In the left one, I used colored bold fonts to put emphasis, and also in order to make it neat and balanced, I tried to make the same size of fonts as well as negative spaces. In the right one, I explored different fonts to make it look unique and interesting.

Fig.4.6 Grid - attempt #1 (11/04/2023)

Font used:

Left: Univers LT Std (47 Light Condensed, 57 Condensed, 49 Light Ultra Condensed, 67 Bold Condensed), Gill Sans (Light)

Right: Univers LT Std (47 Light Condensed, 57 Condensed, 49 Light Ultra Condensed), Gill Sans (Light)

In the left one, I put a black background on the right side to make a contrast and put most of the text on the left side to make a good balance. In the right one, I put a black square to make a focal point. In both designs, I turned the title 90° to make the design not boring.

Fig.4.7 Transitional - attempt #1 (11/04/2023)

Font used:

Left: Univers LT Std (57 Condensed, 67 Bold Condensed)

Right: Univers LT Std (47 Light Condensed, 59 Ultra Condensed, 49 Light Ultra Condensed)

I tried to make the movement with a different approach in both designs, but It doesn't look like a good design and doesn't have good movement either.

Fig.4.8 Modular - attempt #1 (11/04/2023)

 

Font used: Univers LT Std (57 Condensed, 47 Light Condensed), Gill Sans (Light)

I made the same size of text boxes because first I thought that's how the module system works. In both designs, I used the exact same fonts and sizes I just explored to find a better balance. I made the design point symmetry to make it a good balance.

Fig.4.9 Random - attempt #1 (11/04/2023)

Font used:

Left: Univers LT Std (57 Condensed, 67 Bold Condensed, 39 Thin Ultra Condensed), Janson Text LT Std (55 Roman), Gill Sans (Light), Futura (Condensed Medium), ITC Garamond Std (Ultra Condensed)

Right: Univers LT Std (57 Condensed, 67 Bold Condensed) Janson Text LT Std (55 Roman), ITC Garamond Std (Ultra Condensed)

To be honest, I didn't know what to do with this system because there are no rules so I found it really difficult. In both designs, I tried to make it looks messy but not too messy that viewers still can read some of the texts by using different fonts and colors, and sizes.

Week 2 Revised

Fig.4.10  Improvements from Week 1 (14/04/2023)

Based on my peer's feedback, I made some changes.

Axial - I changed the font and color for the texts on the left.

Radial - I made the circles the same size and moved the position of the texts and circles to make a better balance.

Bilateral - I changed the black color in the background and changed the font size and moved the texts a bit to make a better balance.

Grid - I changed the black color in the background on the right and moved the texts in the middle a little bit.

Transitional - I redid the design to create a better movement because I wasn't satisfied with my first attempt and my peers said there is no movement.

Modular - I redid by using units this time and changed the size of the texts and changed fonts to put more emphasis on the title and also changed the background color.

Random - I redid the design to make it random enough because my peers said my first attempt wasn't random enough.

Final Task 1 - Exercise 1: Typographic Systems

Fig.4.11  Final Axial System - JPEG (14/04/2023)

Fig.4.12  Final Radial System - JPEG (14/04/2023)

Fig.4.13  Final Dilatational System - JPEG (14/04/2023)

Fig.4.14  Final Bilateral System - JPEG (14/04/2023)

Fig.4.15  Final Grid System - JPEG (14/04/2023)

Fig.4.16  Final Transitional System - JPEG (14/04/2023)

Fig.4.17  Final modular System - JPEG (14/04/2023)

Fig.4.18  Final Random System - JPEG (14/04/2023)

Fig.4.19 Final Task 1 - Exercise 1: Typographic Systems - PDF, (14/04/2023)

Fig.4.20 Final Task 1 - Exercise 1: Typographic Systems - PDF with guides and grids, (14/04/2023)

Task 1: Exercise 2 - Type and Play

Part 1: Finding Type

For exercise 2 part 1, we are tasked to analyze, dissect and identify potential letterforms (4 letters only) within a chosen image of a subject - organic or man-made.
- Uppercase or lowercase only
- Choose a reference typeface from the 10 typefaces

Chosen picture

Fig.5.1 Chosen picture - butterfly (18/04/2021)

I wanted to choose an insect picture that has an interesting shape or pattern so I decided to go with the butterfly because I found it really interesting to do with.

Fig.5.2 Traced letters - A, B, D, P, Y (18/04/2021)

I used Procreate to trace the letters but the line was too rough since I used too thin a brush.

Fig.5.3 New traced letters - B, R, E, A, D (21/04/2021)

I redid the extraction because I wanted to make the words from them.

Fig.5.4 Extracted letterforms - B, R, E, A, D (21/04/2021)

What I notice from this was there are so many half-circle-ish shapes and the letters are mostly thick. 

Reference

Fig.5.5 Typeface reference - Impact (Regular)

I chose this typeface because the letters I extracted were mostly thick so I thought it would be suitable.

Process

Fig.5.6 Iteration Process Outlines (25/04/2023)

Fig.5.7 Iteration Process Fill (25/04/2023)

Fig.5.8 Adobe Illustrator Workspace (25/04/2023)

First, I made the height of each letter equal to the height of the grid, and from there it was gradually molded while overlapping with the reference font.

Fig.5.9 Original extracted letterforms compared to the final type design (25/04/2023)

Mr. Vinod liked my final letterforms so I was satisfied with my work.

Poster attempts

Fig.5.10 Poster attempt #1 (25/04/2023)

I tried to make it looks interesting and creative by using my letters as a butterfly's body and using a sky background to make it looks like it's flying but Mr. Vinod didn't like it at all.

Final Part 1: Finding Type

Fig.5.11 Final B JPEG (27/04/2023)

Fig.5.12 Final R JPEG (27/04/2023)

Fig.5.13 Final E JPEG (27/04/2023)

Fig.5.14 Final A JPEG (27/04/2023)

Fig.5.15 Final D JPEG (27/04/2023)

Fig.5.16 Final Spread (27/04/2023)

Fig.5.17 Final Movie Poster JPEG (27/04/2023)

Fig.5.18 Final Finding Type - PDF (27/04/2023)

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FEEDBACKS

Week 1 

General Feedback: it is important to take a break when you work for so long time and check if what you've done is good or not. 

Specific Feedback: the contents don't have connectivity because I put too much space between contents.

Week 2 

General Feedback: The elements have to be functional if It's just for decorations, we can't use them.

Specific Feedback: They told me to use 1d1d1f black instead of 00000 black.

Week 3 

General Feedback: The core characteristics need to be reflected

Specific Feedback: The picture I chose was difficult to do with but it can work.

Week 4

General Feedback: add information to make it looks like a movie poster

Specific Feedback: I did a good job with defining the letters but I still need to improve my poster as he said hell no to my poster.

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REFLECTION

Experience: I really enjoyed this exercises. At first, I was overwhelmed by the amount of works and how fast we were doing things but I got used to it and was be able to start enjoying. I think it was very beneficial for me to learn typographical systems, to learn this system, to understand it, and to actually use it to create designs. Through this process, I feel that I have a deeper understanding of the system, and I feel that my design range has expanded.

Observations: I have observed that typographical systems play a critical role in the design and presentation of written content. Effective use of typography can greatly enhance the readability and visual appeal of written content, making it more engaging and easier to understand.

Findings: I have found that I am not very good at creating designs for systems that have no rules such as random system and transitional  system. Because there are no rules, I don't know where to start, and even if I do finish it, I don't know if it is good or bad. So this time I did more research than usual so I could create a design.

 

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FURTHER READING

Fig.6.1 - Typographic System by Kimberly Elam

Elam, K. (2007). Typographic Systems: Understanding Hierarchical Relationships. Princeton Architectural Press.

I chose this book because I thought it is the most relative to what we were learning and I decided to read about the random and transitional system since I struggle to understand the system and complete my random system work.

Fig.6.2 - Typographic System - Random System (Nonobjective Elements)

Nonobjective elements can improve random compositions by adding a variety of shapes.

Sometimes, a non-objective factor can change a word or line to enhance communication in a chaotic situation.

Fig.6.3 - Typographic System - Transitional System (Movement)

A sense of movement is among the transitional system's strongest characteristics. The lack of strong vertical alignments gives the typography the appearance of being in motion, which is heightened when rules or text leak off the left or right margins of the format.