Advanced Typography--Task 1 Exercises

16 / 10 / 2024 — 23 / 09 / 2024 (Week 01 — Week 04

QIULIHUA/0365036

GCD 61004/Advanced Typography/Bachelor of Design (Honours)in Creative Media/Taylor's University

Task 1 / Exercises: Typographic Systems & Type & Play 

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LIST

LECTURES

INSTRUCTIONS 

EXERCISE

FEEDBACK

Reflection

Further Reading

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LECTURES 

AdTypo_1_Typographic Systems

All design is based on a structural system. There are eight major variations with an infinite number of permutations:  

• Axial
• Radial 
• Dilatational
• Random
• Grid 
• Modular
• Transitional 
• Bilateral

Typographic organisation is complex because elements are dependent on communication to function. Hierarchy, reading order, readability and contrast are additional criteria. Typographic systems are similar to what architects call shape grammars. They are similar but not identical. The system has a unique set of rules that provide a sense of purpose that focuses and guides decision making. It provides a solid framework for learners.

• Axial system: All elements are organized to the left or right of a single axis.

 FIG 1.0 Axial system (source: type 365)

• Radial system:All elements are extended from a point of focus. 

FIG 1.1 Radial system (source: type 365)

• Dilatational system:All elements expand from a central point in a circular fashion.

FIG 1.2 Dilatational system (source: type 365)

• Random system: elements appear to have no specific pattern or relationship. 

FIG 1.3Random system

• Grid system: A system of vertical and horizontal divisions. 

FIG 1.4 Grid system

• Transition system: An informal system of layered banding. The differences of the size and the width is also important to create hierarchy. 

FIG 1.5 Transition system

• Modular system:A series of non- objective elements that are constructed in as a standardized units. 

FIG 1.6 Modular system

• Bilateral system: All text is arranged symmetrically on a single axis. 

FIG 1.7 Bilateral system

AdTypo_2_Typographic Composition

Principles of Design Composition

• When designing compositions, elements such as dominance, isolation, repetition, symmetry and alignment need to be considered, while attention is also paid to spatiality, perspective and a number of other factors. 

• The challenges faced in translating abstract concepts, such as typography or colour, into concrete information highlight the importance of applying these concepts on the page to promote understanding and present information clearly.

The Rule of Thirds

 This is a photographic guide to composition, it basically suggest that a frame (space) can be divided into 3 columns and 3 rows. In fact, no one would choose to use the three-pointed method when others are more favourable.

FIG 1.8 the rule of thirds

Typographic Systems

From the 8 systems the most pragmatic and the most used system is the Grid System (or Raster Systeme), which is derived from the grided compositional structure of Letter Press printing.

Whilst the grid system may seem archaic or rigid, the versatility and (to some extent) modular nature of the system often allows for an infinite number of adaptations.

FIG 1.9 grid system  

In the new typographic system, chaos, randomness and asymmetry became the main focus, and although readability and legibility took a backseat, successful designs were still able to combine the two effectively

David Carson and Paula Scher, among others, argue that this apparent chaos appealed to a generation influenced by punk anti-establishment ideology, leading to the gradual incorporation of asymmetry, randomness, repetition and radial systems into the language of design.

FIG 2.0Left to right: Paula Scher, Jonathan Barnbrook and David Carson

Environmental Grid

This system is based on the exploration of an existing structure ornumerous structures combined. An extraction of crucial lines bothcurved and straight are formed. The designer then organizes hisinformation around this super-structure, which includes non-objectiveelements to create a unique and exciting mixture of texture and visualstimuli.

AdTypo_3_Context&Creativity

Context and Creativity

Handwriting

Handwritingwould become the basis or standard for form, spacing andconventions mechanical type would try and mimic.

The shape and line of hand drawn letterforms are influenced by thetools and materials used to make them. Sharpened bones, charcoalsticks, plant stems, brushes, feather and steel pens all contributed tothe unique characteristics of the letterform.

Additional factors included the material upon which the forms werewritten: clay,papyrus, palm leaf, animal skins(vellum andparchment) and paper.

FIG 2.1 Handwriting

Cuneiform

C.3000 B.O.E.

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 distinctive wedge form was the result of pressing the blunt end of a reed stylus into wet clay tablets.

FIG 2.2 Cuneiform

Hieroglyphics

2613-2160 B.C.E.

The Egyptian writing system is fused with the art of relief carving. The system was a mixture of both rebus and

phonetic characters--the first link to a future alphabetic

system. Hieroglyphic images have the potential to be used in three different ways:

1. As ideograms, to represent the things they actually depict.

2. As determinatives to show that the signs preceding are meant as phonograms and to indicate the general idea of the word.

3. As phonograms to represent sounds that "spell out" individual words.

Fig 2.3 Hieroglyphics

Early Greek (5th Century B.C.E.):

• Developed from the Phoenician phonetic alphabet, which originated from the Egyptian logoconsonantal system.
• Greeks added vowels to the Phoenician letters, forming an alphabet of 22 letters.
• Early Greek writing was read in a “boustrophedon” style, where one line read left to right, and the next line read right to left. The letters were drawn freely without fixed directions, no serifs, and had informal strokes.

Fig 2.4 Early Greek

Roman Uncials:

• By the 4th century, Roman lettering became more rounded, allowing for fewer strokes and faster writing.
• These letters, initially written with a flat brush and carved into stone, were influential and served as models for later calligraphers and type designers.

Fig 2.5 Roman Uncials

English Half Uncials (8th Century):

• In England, uncials evolved into a more slanted and condensed form.
• While this form evolved, writing across the European continent regressed, requiring reform.
• The Carolingian Handwriting Reform helped standardize and improve this writing style.

Fig 2.6 English Half Uncials

Background:

After the fall of the Roman Empire, there was a decline in literacy and a fragmentation of handwriting styles across regions. For 300 years, writing skills were mainly preserved in religious outposts.

Carolingian Minuscule:

• To address the fragmentation, a court school was set up under the direction of Alcuin of York. Under Charlemagne’s patronage, efforts were made to standardize language and book production.
• This standardization included spelling, pronunciation, and new conventions like capitalizing the start of sentences, adding spaces between words, and punctuation.
• The result was the creation of the Carolingian minuscule, a clear and uniform script that was used for all legal and literary texts. It helped unify communication across the European regions.

Significance:

The Carolingian minuscule was as significant as the standard Roman capitals, as it became the foundation for Humanistic writing in the 15th century, which later served as the basis for modern lowercase Roman type.

Blackletter (12th-15th Century CE):

• Originating in the Gothic period, Blackletter was a key artistic expression from around 1200 to 1500.
• The term “Gothic” was used by Italians to describe the cultures north of the Alps, which they considered barbaric.
• Blackletter features tightly spaced, condensed vertical lines, which reflected the Gothic architectural style (emphasizing verticality and pointed arches). This lettering style was practical, as condensing lines and letter spacing helped save costly materials in book production.

Italian Renaissance:

• As the Gothic era peaked in northern Europe, scholars in Italy began to revive elements of ancient Greek and Roman culture, marking the Renaissance.
• The Renaissance brought a focus on classical aesthetics, influencing not only art and architecture but also the design of letterforms. The period saw a move towards more refined, rationalized letter shapes.
• Humanist scholars embraced and admired the Carolingian script for its clarity and legibility, and this led to the creation of Antica letterforms, which were more regular and balanced, laying the groundwork for modern typography.

Movable Type Printing

Movable type printing began in East Asia, with China, Korea, and Japan practicing block printing by the 8th century. The earliest known printed book is the Diamond Sutra (868 CE). While China attempted movable type, it was hindered by the complexity of its characters. In the late 14th century, Korea successfully developed bronze movable type, aided by their creation of the simpler Hangul script. This advancement came several decades before Gutenberg’s printing in Europe (1439). Though pioneered by China, movable type was perfected in Korea.

Fig 2.7 Movable Type Printing

Evolution of Middle Easter Alphabets: it is also important to note that while the Phoenician letter marks a turning point in written language-use of sound represented in letters--the script itself has been possibly influenced by the Egyptian Hieroglyphics and Hieratic Scripts.

Fig 2.8  Middle Easter Alphabets

The Evolution of the Chinese script: From the Oracle bone to Seal Script to Clerical Script, Traditional and Simplifed scripts.

Fig 2.9 Chinese script

The oldest writing found in the 'indian' subcontinent the Indus Valley Civilization(IVC) script (3500-2000 BCE).is as yet undeciphered and seems to have been somewhat logo-syllabic in nature.

Fig 3.0 IVC script

The Brahmi script (450-350 BCE) is the earliest writing system developed in India after the indus script. it is one of the most influential writing systems; all modern Indian scripts and several hundred scripts found in Southeast and East Asia are derived from Brahmi.

Fig 3.1  Brahmi script

The oldest writing systems present in Southeast Asia were Indian scripts.There were a few, but the most important would be Pallava (or Pallawa in Malay),a South Indian script originally used for writing Sanskrit and Tamil.

Pallava was the basis for writing systems across Southeast Asia.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.

Fig 3.2   Indian scripts

This is lndonesia's most important historical script: Kawi. Based on Nagari, but indigenous to Java.

It was the script used for contact with other kingdoms. Because it was so widespread, Kawi became the basis of other scripts in both lndonesia and the Philippines.This means that ancient kingdoms in of the Malay Peninsula would have been using both Indian scripts and Kawi to write old Malay language

Fig 3.3 Kawi

Jawi, the Arabic-based alphabet.Jawi was introduced with Islam, but its spread was more gradual. In class-based Hindu societies, literacy was limited to the upper classes. Muslim traders, teaching Jawi for religious purposes, helped it spread among the middle and upper classes. However, it didn’t fully replace other scripts in all areas.

Fig 3.4 Jawi

AdTypo_4_Designing Type

Designing tpye:

• type design carries a social responsibility so one must continue toimprove its legibility.
• type design is a form of artistic expression.

 type designers ：

• Adrian Frutiger is known for creating the “Frutiger” typeface, which was designed for readability in various lighting conditions and from different distances, particularly for use in airport signage. His work focused on ensuring clarity and legibility, crucial for fast-paced environments.

• Matthew Carter designed “Verdana,” a typeface commissioned by Microsoft, which was optimized for legibility on digital screens, especially at smaller sizes. This reflects.

•  Edward Johnston created the iconic “Johnston Sans” for the London Underground, which has been recognized for its modern yet timeless appeal, combining classical proportions with a humanist touch.

 General Process of Type Design:

• Research: Understanding the history and anatomy of type, along with technical considerations like metrics and hinting.

• Sketching: Initial designs may be created by hand or directly through digital tools, depending on the designer’s preference.

• Digitalization: Specialized software is used to convert sketches into digital formats, where attention to form and counter form is essential.

• Testing: Rigorous testing ensures readability and legibility, especially for functional text designs.

• Deployment: Even after launch, typefaces may undergo further refinement based on feedback and real-world usage.

Typeface Construction:

Roman Capital: The grid consists of a square, and inside it a circlethat just touches the lines of the square in four places. Within thesquare, there is also a rectangle. This rectangle is three quarters thesize of the square and is positioned in the centre of the square. 

Fig 3.5 Construction grid for the RomanCapital using 8 x 8 cells

Construction and considerations:

Depending on their form andconstruction, the 26 characters of thealphabet can be arranged intogroups, whereby a distinction ismade between a group for thecapitals and a group for lowercaseletters.

Fig 3.6  Classification according to form and construction

Construction and considerations：

Many different forms and constructions must be taken into accountwhen designing a new type. An important visual correction is theextrusion of curved (and protruding) forms past the baseline and capline. This also applies to vertical alignment between curved andstraight forms.

Fig3.7 Example of fitting

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INSTRUCTIONS 

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EXERCISE

Task 1:exercise

Exercise 1 — Typographic System

 Export final artworks as JPEG @300ppi; PDF with and without guides (turn on/off guides when saving PDF; turn off spreads when exporting). Compile all 8 systems together for presentation. See sample submissions below.

 For the poster ,i decided to use this as a poster "All RippedUp:PunkInfluences onDesign"

1. Axial

ITC New Baskerville Std(Bold,Roman)

Fig3.5 Axial  system

For the axial system, I tried a left-right arrangement, and in the second one I changed the colour of the squares to get the image out of the black and white monotone.

2. Radial

 

ITC New Baskerville Std（Bold，Roman）

Fig 3.6 Radial system

For the Rodial system, I used the centre of the circle as the centre point, I changed the transparency of some of the fonts in order to show the hierarchy, and I added a red graphic at the bottom in order to show ‘All RippedUp: PunkInfluences onDesign’ as the title.

3. Dilatational

ITC New Baskerville Std（Bold）

Fig 3.7  Dilatational system

For the Random system, I used the red circle in the centre as the centrepiece, with all the text content surrounding the centrepiece to give the visual impression of a swirling vortex

4. Random

ITC New Baskerville Std（Bold Italic）

Fig 3.8 Random system

For Random stystem, when I put the text content layout design, I use the misplaced design method to create a sense of chaos, so that the whole shows a sense of freedom and randomness, and I designed a small red square in the upper left corner to retain the visual impact.

5. Grid

ITC New Baskerville Std （Bold）

Fig 3.9 Grid system

For the Grid system, I used a combination of horizontal text and vertical text to create a visual order.

6.Transition system

ITC New Baskerville Std（Bold，Roman）

Fig 4.0 Transition system

For the Transition system, in order to emphasize the fluidity and consistency of the interface, I've tilted the fonts and lines downward and enlarged the "" to contrast it with the content text.

7.Modular system

ITC New Baskerville Std（Bold，Roman）

Fig 4.1 Modular system

For the Modular system, I designed 9 identical circles in the interface and entered the content in the circles.

8.Bilateral system:

ITC New Baskerville Std（Roman）

Fig 4.2  Bilateral system

For the Bilateral system, I designed a red square underneath the symmetrical content in order to make the picture more symmetrical, which better emphasizes the symmetry of the picture.

Final typographic system:

Fig 4.3 Axial  system

Fig 4.4 Axial  system

Fig 4.5 Dilatational system

Fig 4.6 Random system

Fig 4.7 Grid system

Fig 4.7 Transition system

Fig 4.8 Modular system

Fig 4.9 Bilateral system

Final typographic system (pdf)

Fig 5.0 Typographic System Final Grid / Baseline （PDF）

Fig 5.1 Typographic System Final JPEG （PDF）

Exercise 2：Finding Type (Type & Play)

Final Submission should consist of:

• Image
• Extracted Letterforms on baseline (illustrator)
• Final letterforms on baseline
•  Original extraction and final letterforms next to each other

For the Exercise 2, we were first asked to choose a picture that contained a potential letter form. I chose a photo of leaf veins as the photo from which to extract the letterforms at a later stage.

Fig 5.2 choose image 

I extracted the letters ‘A, B, C, D, E’ from this image.

Fig 5.3alphabetic process

Version 1 :

Fig 5.4 Version 1

Version 2 :

Mr. vinod suggested that I add some veins to the final font and that it fit the theme I chose

Fig 5.5 change final font

Evolutionary process :

Fig 5.6 Evolutionary process 

Extracted letterforms:

Fig 5.7 Extracted letterforms (baseline)

 Reference font:

Fig 5.8 Reference font

Final letterforms :

Fig 5.9 Final letterforms

Original extraction (top) and final letterform (bottom) comparison:

Fig 6.0 Original extraction (top) and final letterform (bottom) comparison

Final Finding Type (Type & Play)【PDF】

Fig 6.1 Exercise 2：Final Finding Type (Type & Play)【PDF】

Exercise 2 — Type & Play Part 2

Final Poster ：

1.Complete Exercise 1 and 2; rework, refine, review, re-look, re-do whatever is needed in the two exercise and complete it before week 4's class. 

2. Size of poster is 1024px x 1024px (Export JPG 300ppi)

My letter forms were taken from leaf veins, so I looked for images with similar expressions. 

Fig 6.2 Collected images

But I ended up choosing three images from among them that I thought were better for my work.

Fig 6.3 Final choose images

poster process：

Fig 6.4 poster process

SO  i make three poster

Fig 6.5 #layout 1 (left) #layout 2 (middle) #layout 3(right)

Mr.viond suggested that I narrowed down the words next to the leaves and enlarged the main letters.

Fig 6.6 poster change process

Final poster :

Fig 6.6 Final poster (JPE)

Final poster (pdf)

Fig 6.7 final poster (PDF)

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FEEDBACK

WEEK 1

General feedback: In the first lesson, Mr Vinod explained the rules of the Advanced Typography class.

Specific feedback: Sketching in Adobe In Design based on the eight typesetting systems.

WEEK 2

General feedback: We're going to start the second task, keying out the font from the image

Specific feedback: for the Modular system, Mr viond suggested that I remove the half circle and replace it with the same circle. for the Bilateral system, the circle could be placed underneath to better demonstrate symmetry. for the Axial system, change the formatting of the text on the right hand side of the layout to align it with the left hand side. The Axial system design changes the formatting of the text on the right to align with the left.

WEEK 3

General feedback: This week I finished extracting, evolving and finalising the typeface design. Next I will be creating a poster using the extracted fonts

Specific feedback: Mr. vinod suggested that I add some veins to the final font and that it fit the theme I chose.

Week 4

General Feedback:We completed Task 1 of this lesson this week and began working on the next task: key artefacts and collateral

Specific feedback:Mr.viond suggested that I narrowed down the words next to the leaves and enlarged the main letters.

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Reflection

Experiences

After learning about the eight typographic systems in the first exercise, I was able to gain a deeper understanding of how to organise and present information in different layout styles to enhance the visual impact of a design and the efficiency of information delivery. It allows me to create more It allows me to create more designs and also to give the reader a deeper understanding of my designs.

In the second exercise, I learned how to extract letters from a picture, which I think was the most interesting and inspired me to create more and discover more.

Observations

I am proficient in how to use Adobellustrator to produce my work, I have increased my efficiency compared to last semester's, and I also found the class feedback to be very helpful in the assignment instructions to allow me to make timely changes to my work

Findings

I have found that typography is more than just arranging words and pictures, it is an effective way of expressing information. Understanding the characteristics, advantages and disadvantages of each typographic element allows for better selection of the appropriate design approach to ensure clear delivery of information while enhancing visual appeal. It can help designers to better create works that are both functional and creative.

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Further Reading

I choose the 《Typographic-Systems-Book-Kimberly-Elam》 books.It is convenient for me to better understand the eight elements typesetting will help me design the following eignt element.

《Typographic-Systems-Book-Kimberly-Elam》 by Kimberly Elam explores eight fundamental typographic systems, providing insights into how these structures can be used to create dynamic, effective, and visually engaging designs. The book is a guide to understanding and applying different typographic layouts, helping designers create well-organized and aesthetically pleasing compositions.

《Typographic-Systems-Book-Kimberly-Elam》

Axial System:

All elements are organized either tothe left or right of a single axis.

Axial System

Radial System:

All elements extend from a pointof focus.

Axial System

Dilatational System:

All elements expand from a centralpoint in a circular fashion.

Dilatational System

Random System:

Elements appear to have no specific pattern or relationship.

Random System

Grid System:

A system of vertical and horizontal divisions.

Grid System

Transitional System

An informal system of layered banding

Transitional System

Modular System :

a series of non-objective elementstare constructed as standard-ced units.

Modular System 

Bilateral system:

All text is arranged symmetrically on a single axis.

Bilateral system

Visual Examples and Analysis

• Each system is explained with visual examples, which help readers understand how these layouts can be applied in practice. The book analyzes designs by well-known typographers and graphic designers, breaking down how they use these systems to create successful compositions.

 

• These examples include posters, book covers, brochures, and more, illustrating how each system brings a unique visual characteristic to the design.

Principles of Design and Composition

The book dives into the principles of design, such as balance, contrast, rhythm, and hierarchy. Understanding these principles is essential to effectively using typographic systems. 

While this book showcases how to use typography not only as a tool for communication but also as a visual element that adds to the aesthetics of the design.

In conclusion ,This book Through examples, theory, and exercises, the book provides a comprehensive guide to understanding the power of typography and how to manipulate it to create compelling designs.