Advanced Typography Task 1:Typographic Systems and Type and Play
23 September 2024-
WANG ZILONG(0361141)
Advanced Typography | Bachelor of Design in Creative Media | Taylor's University
Task 1: Typographic Systems & Type & Play
List
Lecture
Introduction
Progress
Submission
Feedback
Further Reading
Reflection
LECTURES
Week 1:
AdTypo_1_Typographic Systems
There are 8 major variations according to Elam, 2007:
- Axial
- Radial
- Dilatational
- Random
- Grid
- Modular
- Transitional
- Bilateral
Typographical oragnizaition is depends on communication in order to function. Criteria such as hierarchy, order of reading, legibility and contrast are important.
When we have guide it is more easier for us to learn and explore. When we have developed a certain of maturity, we are able to use our intuition more.
1. Axial System
-All elements are organised to the left or right of a single axis .
-Axial no need to be straight, can be bent.
Fig 1.1.1 Axial System, 22/9/2024
*Use single axis in the upcoming exercise.
2. Radial System
-All elements are extended from a point of focus.
-Can be either one or multiple points of focus.
Fig 1.1.2 Radial System, 22/9/2024
3. Dilatational System
-All elements from a central point in a circular fashion.
-Hierarchy can be shown by placing information on different rings or different clubs.
Fig 1.1.3 Dilatational System, 22/9/2024
4. Random System
-Elements appear to have no specific pattern or relationship.
-Even it is random, there is a method of chaos that is followed in the design.
Fig 1.1.4 Random System, 22/9/2024
5. Grid System
-A systrem of vertical and horizontal divisions.
Fig 1.1.5 Grid System, 22/9/2024
6. Transitional System
-A informal system of layered banding.
-Information is segregated into different bands.
Fig 1.1.6 Transitional System, 22/9/2024
7. Modular System
-A series of non-objective elements that are constructed in as a standardised units.
-Need to have proper guide and grid.
-Elements can be shifted in different spaces, the elements occipies a particular space only.
-Expansion of modular system: Single base unit & double base unit.
Fig 1.1.7 Modular System, 22/9/2024
Fig 1.1.8 Single & Double Base Unit, 22/9/2024
8. Bilateral System
-All text in arranged symmetrically on a single axis.
Fig 1.1.9 Bilateral System, 22/9/2024
By learning different typographic system, we are able to explore different potential that other systems hold. This allow desginers to use more fluid means to create typographic message. However, it is important it correctly to retain the readability of message.
Adobe InDesign:
-Soft-line break: Shift+Enter
-Presentation mode: Shift+W
Week 2:
AdTypo_2_Typographic Composition
There is 2 aspect of typography:
- The creation of letters
- The arrangement of large amount of text within a given space (Typographic composition)
Principle of Design Composition
Principles such as emphasis, isolation, repetition, symmetry & asymmetry, alignment, etc are the key concepts of composition.
While on the typographic aspect, it seems to be more abstract and more relevant to imagery rather than complex unit with different elements.
Thus, some principles might feel disparate sometimes and some might be more easily to translate. Principles like emphasis and symmetry are easily translatable. However, principle like repetition might be harder to translate.
Fig 1.2.1 Empahsis on typographic system (30/9/2024)
The Rule of Thirds
A photographic guide to composition. A frame can be divided into 3 columns and 3 rows. The intersecting lines are used as guide to place the point of interest. However, its not usually used if there is a better option.
Fig 1.2.2 The Rule of Thirds on design composition (30/9/2024)
Typographic Systems
Within the 8 systems, the most used system is the Grid System (Raster System). The Grid System has a storong versatility which make it the most popular system.
Fig 1.2.3 Grid System (30/9/2024)
In the modernist era, some younger designers such as David Carson, Paula Scher, Jonathan Barnbook and more are eager to explore typographical systemes. Although the legibility and readability were decreased in these systems, the best one combine the two seamlessly.
System like asymmetry, random, repetition, dilatational and radial began to take root in design.
Fig 1.2.4 Designs by Paula Scher, Jonathan Barnbook, David Carson (left to right) (30/9/2024)
Other modlees / Systems
Environmental Grid: A system that based on the exploration of an existing structure or numerous structure combined. An extraction of crucial lines, both curved and straight are formed. The designer will organize the information around the structure, which includes non objective element to create an exciting mixture of texture and visual.
Fig 1.2.5 Example of Environmental Grid (30/9/2024)
Form & Movement : A system based on exploring grid system, this is developed to get students to explore the multitude grid system has to offer - and to dispel the seriousness of grid system.
The placement of a form on a page creates movement, whether the page is paper or screen. The forms could be represent images, text and color.
Fig 1.2.6 Form & Movement (30/9/2024)
Week 3
AdTypo_3_Context & Creativity
Handwriting
Handwriting is the basis or standard for form, spacing. COnvention mechanical type would try and mimic. The shape and line of hand drawn letterforms are influenced by the tools and materials used to make them.
Fig 1.3.1 Evolution of the Latin Alphabet (6/10/2024)
Cuneiform, the earliest system of actual writing, was used in a number of languages between the 34C. B.C.E. through the 1st century C.E. Its form was the result of pressing the blunt end of a reed stylus into wet clay tablets.
The cuneiform characters evolved from pictograms. Cuneiform was written from left to right.
Fig 1.3.2 Ancient Egypt Hieroglyphics Chart (6/10/2024)
Movable Type
Fig 1.3.3 Movable Type (6/10/2024)
Woodblock printing was practiced in China, Korea, and Japan as early as AD 750, with the earliest known printed book being the "Diamond Sutra" in AD 868, which included the world’s first printed illustration. Although China attempted movable type using clay, it was not successful due to the complexity of characters. Korea succeeded in the late 14th century by casting movable type in bronze, allowing text to be dismantled and reset.
Korea achieve this success decades before Europe’s earliest printing advancements like the Gutenberg Bible.
Eastern developments in Handwriting
The type business now sells them as a result of the digital revolution in Western handwriting. The fact that historical handwriting is recognized all across the world was a contributing factor, but colonization of the East and West has cause the loss of artistic, literary, and cultural legacy.
Thus, we should look inward on ourself more in exploring the history and culture.
Fig 1.3.4 Evolution of Middle Eastern Alphabets (6/10/2024)
Fig 1.3.5 Evolution of Chinese Script (6/10/2024)
The majority of academics agree that Brahmi originated from, or was at least influenced by, one or more modern Semitic scripts. On the other hand, others prefer to believe that the script had an indigenous origin or some connection to the much older Indus script (still undeciphered) of the Indus Valley Civilization.
We need acknowledge that there is a lot of cross-cultural exchange happened in the past.
Fig 1.3.6 Oldest writing in "Indian" subcontinent (6/10/2024)
When we looking at the evolution of handwriting, Phoenicia (present day Syria, Lebanon and Israel) has developed various of languages and writings system that influence the modern world.
Fig 1.3.7 Phoenicia (6/10/2024)
Pallava, the oldest writing systems present in SEA. Pallava was highly influential, becoming the basis for writing systems across SEA.
Fig 1.3.8 Kedukan Bukit, from Sumantara,
written in Old Malay using Pallava script (6/10/2024)
But Pallava wasn't the only Indian script in use in the Malay Archipelago. Another was Pra-nagari, an early form of the Nagari script, used in India for writing Sanskrit.
However, Pre Nagari was used in Indian for writing Sanskrit and Kawi , one of Indonesia's most distinct and historical script is based on Nagari as well but indigenous to Java. Nagari has usage of contacting other kingdoms and even Indonesia and Philippines use it.
Fig 1.3.9 Laguna Copperplate Inscription,
written in Kawi (6/10/2024)
Incung from Kerinci, is one of the Indonesia historical writing systems.
Fig 1.3.10 Incung comes from a South Sumatran (6/10/2024)
Jawi, the Arabic-based alpabet were introduced along with Islam.
In modern Malaysia, Jawi is of greater importance because it's the script used for all our famous works of literature.
Fig 1.3.11 Record of sale for a female Batak slave to a British (6/10/2024)
We study handwriting because the first mechanically produced letterforms were designed to directly imitate handwriting. Handwriting would become the basis or standard that for form, spacing and conventions mechanical type would try and mimic.
Programmers and Type Design
More vernacular scripts are being produced by software giants (Google) in their employment a great many Asian programmers and designers.
Fig 1.3.12 Baloo, a multi-script typeface (6/10/2024)
Local Movements and Individuals
In Malaysia, murusu.com is lead by typographer Muthu Nedumaran and programmer , the programming language is cracked by Muthu and now the system is used both in mobile and tablets.
Huruf is a local group of designers interested in localizing Latin and vernacular letters painted or inscribed on walls.
Elk type and Indian Type Foundry are organizations that did ground breaking work with the development of vernacular typefaces in India.
Week 4
AdTypo_4_Designing Type
Why we need to design typeface ?
- Type design carries a social responsibility so one must continue to improves its legibility
- Type design is a form of artistic expression
In any type design, a purpose and objective is important.
Frutiger
Fig 1.4.1 Furtiger (13/10/2024)
It is a sans serif typeface being designed by Adrian Frutiger who is a renowned 20th century Swiss designer. The purpose of Frutiger was create a clean, distinctive and legible typeface that is easy to see from both close up and far away. It is extremely functional.
Considerations/Limitations: letterforms neded to be recognized even in poor light conditions or when the reader was moving quickly past the sign. He tested with unfocused letters to see which letterforms could still be identified.
Verdana
Fig 1.4.2 Verdana (13/10/2024)
The purpose is to be extremely legible even at very small sizes on the screen due in part to the popurlarity of the internet and electronic devices.
The limitation is Verdena font exhibit characteristic derived from pixel rather than pen and brush. Thus, it has some commonly confused characters like lowercase i, j, l.
Johnston Sans
Fig 1.4.3 Johnston Sans (13/10/2024)
Johnston Sans is created by Edward Johnsatsn. He was asked to create a typeface with “bold simplicity”. It is used in the posters and signage of London's Underground railway.
General Process of Type Design
- Research
- Sketching
- Digitization
- Testing
- Deploy
1) Research
We should understand type history, type anatomy and type conventions before designing a type.
It is then important to determine the type’s purpose or what it would be used for and what is the difference in application. Besides, we should examine and take reference from the existing fonts.
2) Sketching
Some designer sketch the typeface using the traditional tool set (brushes/ pens, ink and paper) then scan them for the purpose of digitization.
On the other hand, some designers sketch their typeface using digital tool sets, but this can sometimes impede the natural movement of hand strokes.
3) Digitazation
Leading software tools like FontLab and Glyphs App are commonly employed by professionals for typeface digitization. Some designers resort to Adobe Illustrator for crafting letterforms, which is often criticized by purists who prefer specialized font apps.
At this stage, attention should not only be directed towards the overall form but also to the counter form, as readability heavily relies on it.
4) Testing
Testing is integral to the design thinking process, providing crucial feedback for refining and correcting aspects of the typeface. Prototyping plays an important role in this phase, generating valuable insights.
The readability and legibility of a typeface are paramount considerations, particularly in text types. However, for display types, where form expression holds more precedence, readability and legibility are comparatively less critical.
4) 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 rigour of the testing is important in so that the teething issue remain minor.
Typeface Construction
Fig 1.4.4 Letters "C" and "E" (13/10/2024)
When designing a new typeface, various forms and constructions require careful consideration. For example, grid, classification of letters and visual correction.
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. It 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.
INSTRUCTIONS
This is the Module Information Booklet for this module:
Task 1:
Exercise 1_Typographic System
In this exercise, we are instructed to come up with 8 layout designs using different typographic systems that are taught inside the lecture.
The text that I choose for the exercise as below:
The Design School,
Taylor’s University
All Ripped Up: Punk Influences on Design
Open Public Lectures:
June 24, 2021
Lew Pik Svonn, 9AM-10AM
Ezrena Mohd., 10AM-11AM
Suzy Sulaiman, 11AM-12PM
June 25, 2021
Lim Whay Yin, 9AM-10AM
Fahmi Reza, 10AM-11AM
Manish Acharia, 11AM-12PM
Lecture Theatre 12
Fig 2.1.1 8 typographic systems_First Attempt
Research
While reviewing the course content and looking up materials, it stimulated my thoughts.
1.Axial System
3.Dilatational System
4.Random System
5.Grid System
6.Transitional System
7.Modular System
8.Bilateral System
Exercise 2 Type&play
We were asked to draw an image of a man-made object or structure or an object from nature. It would be best to choose a subject that was repetitive and did not contain many different elements. So I chose to trace the selected image.
Vinod sir said that the criteria of the extracted letter forms needed to be separated from the reference. We needed to extract the features from the reference and retain the core features of the letters. We needed to extract at least 5 letters.
For the letters, I arranged them into the word "KAYAK".
Kayaking has a reputation for being "unafraid of nature". I referenced these extracted letter forms to the font, blending these features with tree branches to reflect the power of nature.
The final work for the word "KAYAK"
I decided to use a double exposure of human hands and tree branches as the background to show the greatness of human victory over nature and life.
I will deeply integrate these two elements.
Feedback
Week 2 Feedback
The focus of the second week was font selection and matching. Through learning the characteristics of different fonts, I began to understand how to choose the right font according to the atmosphere of the project. In the assignment, I tried to combine different fonts together to explore their interactions and visual effects. In the class discussion, I benefited a lot from the experience shared by the teacher and classmates, especially how to avoid common misunderstandings in font matching. This week made me feel the importance of font selection to the overall design and also inspired my creativity in this regard.
Special feedback:
I tried to use uncommon fonts and found that their uniqueness can enhance the appeal of the design. This experiment made me more bold to explore different design styles and also strengthened my self-confidence.
Week 3 Feedback
In the third week, I began to get involved in more complex typography layouts and design applications. By learning grid systems and alignment techniques, my design ideas became more systematic. The analysis of different project cases in class made me understand how to flexibly apply these techniques in actual work. In the homework, I tried to create my own typography layout, focusing on visual hierarchy and information flow. This week's study made me more confident and made me realize the importance of details in typography, which promoted my design level to further improve.
Special feedback:
This week I paid special attention to the establishment of visual hierarchy, and successfully guided the audience's attention by comparing the size and color of different elements. This made me better understand the composition techniques and their importance in design.
Week 4 Feedback
In the fourth week, I began to integrate the knowledge I learned before and make more creative typography designs. By controlling the overall design, I tried to effectively combine different elements to form a harmonious visual effect. At this stage, the feedback link is particularly important. The suggestions from teachers and classmates made me realize the shortcomings and improvement directions in my design. The final homework presentation also made me realize that typography is not only about beauty, but also an effective tool for conveying information. This week's study gave me a great sense of accomplishment in practice and consolidated my typography skills.
Special feedback:
I tried to add personalized elements to my work to reflect my own design style. In this way, I not only demonstrated the skills I learned, but also incorporated my personal creativity into the design, enhancing the uniqueness of the work.
Further reading
In the first chapter of Typographic Systems by Kimberly Elam, the focus is on the foundational principles of typographic organization and the importance of visual structure in design.
Elam introduces the concept of systems as a method to bring order and consistency to typography. She emphasizes that while typography is often seen as a creative, fluid discipline, there are underlying systems that guide the arrangement of text to create clarity and coherence. The chapter explains the axial system in detail, where text and design elements are aligned along a central axis. This method creates balance and symmetry, helping the viewer easily follow the flow of information. Through examples and diagrams, Elam shows how this system can be applied in both traditional and experimental layouts. The chapter sets the tone for the rest of the book, establishing that while creative freedom is essential, structure and order provide the backbone for effective typographic communication.
Reflection
In the process of learning Advanced Typography, I have a deeper understanding of the depth and details of text design. Typography is not just the arrangement of text. It involves many considerations such as font selection, font shape adjustment, line spacing, and kerning. Every subtle adjustment can greatly affect the reader's reading experience and visual perception.
First, I learned how to choose the right font according to the nature of the content and the target reader group. For example, a formal report may require a rigorous serif font, while a creative advertisement may choose a modern sans serif font. Typography should not only convey information, but also match the tone and emotion of the content.
In addition, typographical details such as kerning, line spacing, and alignment are equally important. Proper kerning can improve the readability of text, while improper line spacing may make reading difficult. I learned how to optimize the layout by adjusting these elements to make the text easier to digest and understand.
Through this course, I have become more aware that typography is not only a technical job, but also an art. It requires designers to find a balance between aesthetics and functionality to achieve a design effect that is both beautiful and practical.
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