29.08.2022 - 09.10.2022 / Week 1- 6
Yung Siew Weng / 0339847
Advanced Typography / Bachelor of Design (Hons) in Creative Media
Task 1 / Exercise 1 & 2
LECTURES
AdTypo #1: Typographic Systems
The typographic systems are a set of rules that is unique and provides a sense of purpose that focuses and directs the decision making.
According to Elam (2007), there are eight major variations with a infinite number of permutations. The eight major variations :
- Axial
- Radial
- Rational
- Random
- Grid
- Transitional
- Modular
- Bilateral
Typographic systems provide a solid framework for us to understand the nuances of typographic composition and guide our exploration while our intuition develops and matures.
1. Axial System
Fig 1.1 Axial System (source: type 365)
all elements are organised to the left or right of a single axis.
2. Radial System
Fig 1.2 Radial System (source: type 365)
Fig 1.3 Samples of Radial System
All elements are extended from a point of focus. All the sentences basically are pointing towards the point of focus so that constitutes radial.
For example, dilational system might having multiple circles with information on either sides or in the line with those circles and can place it in a hierarchical manner where the most important takes precedence (outer rings / inner) to the lesser important informations.
4. Random System
Fig 1.6 Random System (source: type 365)
Fig 1.7 Samples of Random System
All elements appear to have no specific pattern or relationship.
5. Grid System
Fig 1.8 Grid System (source: type 365)
Fig 1.9 Samples of Grid System (sample student designer, Tamara Audrey)
6. Transitional System: an informal system of layered banding.
Fig 1.10 Transitional System (source: type 365)
Fig 1.11 Samples of Transitional System
7. Modular System: a series of non-objective elements that are constructed in as a standardised units.
Fig 1.12 Modular System (source: type 365)
Fig 1.13 Sample of Modular System
8. Bilateral System
Fig 1.14 Bilateral System (source: type 365)
Fig 1.15 Samples of Bilateral System
All text is arranged symmetrically on a single axis (centre of the axis).
AdTypo #2: Typographic Composition
The dominant principles design composition : emphasis, isolation, repetition, symmetry and asymmetry, alignment, perspective, rhythm and contrast.
Fig 2.1 Emphasis
The Rule of Thirds
Fig 2.2 The Rule of Thirds
The Rule of Thirds is a photographic guide to composition, it basically suggest that a frame (space) can be divided into 3 columns and 3 rows. The intersecting lines are used as guide to place the point of interest, within the given space.
Typographic Systems
From the 8 typographic system, the most used system is the Grid System (or Raster System) which is derived from the guided compositional structure of Letter Press printing.
Fig 2.3 The Grid System
The Grid system seem to be old or rigid, the versatility of the system and its modular nature tends to allow an infinite number of adaptations.
Other system
#Environmental Grid
Fig 2.4 Environmental Grid
Environmental Grid is based on the exploration of an existing structure or numerous structures combined.
#Form and Movement
Fig 2.5 Form and Movement
Form and movement is based on the exploration of an existing Grid Systems. The placement of a form on a page, over many pages creates movement. The form can represent as a placement of image, text and colour.
AdTypo #3: Context and Creativity
Handwriting
#why is handwriting important in the study of type/typography ?
- the first mechanically produced letterforms were designed to directly imitate handwriting.
- the basis or standard for form, spacing and conventions 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 3.1 Evolution of the Latin alphabet
Cuneiform ( c. 3000 B.C.E. )
Fig 3.2 Cuneiform
Cuneiform is the earliest system of actual writing, was used in a number of languages between the 34 C. B.C.E. through the 1st century C.E. It was written from left to right.
Hieroglyphics ( 2613 - 2160 B.C.E.)
Fig 3.3 Hieroglyphics
The Egyptian writing system is fused with the art of relied carving. The system was a mixture of both rebus and phonetic characters. Hieroglyphic images are used in :
- Ideograms, represent the things they actually depict.
- As determinatives to show that the signs preceding are meant as phonograms and to indicate the general idea of the word.
- Phonograms, represent sounds that "spell out" individual words.
Fig 3.4 The evolution of handwriting
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 amount 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 letterform — resulting in a more perfect or rationalised lette
Movable Type: Printing. The earliest known printed book (AD 868) is the Diamond Sutra: 16' scroll with the world's first printed illustration.
Evolution of Middle Eastern
Fig 3.5 The evolution of Middle Eastern
It is also important to note that while the Phoenician letter marks a turning point in written language, the use of sound represented in letters, the script itself has been possibly influenced by the Egyptian Hieroglyphics and Hieratic Scripts.
Evolution of the Chinese Script
Fig 3.6 The evolution of the Chinese Script
From the Oracle bine to Seal Script to Clerical Script, Traditional and Simplified Script.
Indus Valley Civilisation (IVC) script (3500 - 2000 BCE)
Fig 3.7 Indus Valley Civilisation (IVC) script (3500 - 2000 BCE)
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.
The Brahmi Script (450 - 350 BCE)
Fig 3.8 The Brahmi Script (450 - 350 BCE)
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.
Pallava
Fig 3.9 Pallava (or Pallawa in Malay)
The oldest writing systems present in Southeast Asia were Indian scripts. But, the most important would be Pallava (or Pallawa in Malay), a South Indian script originally used for writing Sanskrit and Tamil.
Pra-nagari
Fig 3.10 Pra-nagari
an early got of the Nagari script, used in India for writing Sanskrit. It can be seen today in the Blanjong inscription in Bali.
Jawi
Fig 3.11 Jawi
Jawi, the Arabic-based alphabet. Jawi was introduced along with Islam.
AdTypo #4: Designing Type
Process of Type Design
Generally, the process of type design consists of 5 stages: research, sketching, digitalisation, testing and deploy.
1. Research
- Understand type history, type anatomy, type conventions, terminologies, side-bearing, metrics, hinting...
- Determine the type’s purpose or what it would be used for and what different applications will be used in.
- Examine existing fonts that are presently being used for inspiration, ideas, reference, context, usage pattern and etc.
2. Sketching
- Traditional: sketch typefaces using the traditional tool set (brushes, pens, ink and paper) then scan for the purpose of digitalisation
- Digital: sketch typefaces using digital tool sets, such as Wacom directly into a font design software (much quicker, persistent, and consistent).
3. Digitization
- Professional softwares such as FontLab and Glyphs are used in the digitalisation of typefaces.
- Some designers also use Adobe Illustrator then only the specialised font apps. This however is frowned upon by the purist.
4. Testing
Testing is an important component in the design thinking process
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 becomes an important consideration. However, it is not as crucial if the typeface is a display type, where 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 rigour of the testing is important so that the teething issues remain minor.
Typeface Construction
Fig 4.1 Construction grid for the Roman Capital using 8x8 cells
Using grids (with circular forms) can facilitate the construction of a letterforms and is a possible method to build/create/design letterforms.
Construction and considerations
Fig 4.2 Classification according to form and construction
Different forms and constructions must be taken into account when designing a new type. An important visual correction is the 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.
AdTypo #5: Perception & Organisation
Perception
"the way in which something is regarded, understood, or interpreted."
Perception in Typography
deals with the visual navigation and interpretation of the reader via contrast, form and organisation of the content. Content can be textual, visual, graphical or in the form of colour.
#Contrast
There are several methods in typography to create contrast.
Fig 5.1 Contrast
Based on the fig 5.1, different use of text create contrasts. It is importance to create contrast as to create distinction or differentiation between information.
Contrast / Size
Fig 5.2 Contrast of Size
A contrast of size provides a point to which the reader's attention is drawn. For example if you have a big letter and a small letter you will obviously see the big letter first before the small. The most common use of size is in making a title or heading noticeably bigger than the body text.
Contrast / Weight
Fig 5.3 Contrast of Weight
Weight describes how bold type can stand out in the middle of lighter type of the same style. Other than then using bold, using rules, spot, squares is also provide a "heavy area" for a powerful point of visual attraction or emphasis, therefore not only types of varying weight.
Contrast / Form
Fig 5.4 Contrast of Form
Contrast of form is the distinction between a capital letter and its lowercase equivalent, or a roman letter and its italic variant.
Contrast / Structure
Fig 5.5 Contrast of Structure
Structure means the different letterforms of different kinds of typefaces. For example, a moonlike sans serif and a traditional serif, or an italic and a blackletter.
Contrast / Texture
Fig 5.6 Contrast of Texture
By putting together the contrasts of size, weight, form and structure, and applying them to a block of text on page, the contrast of texture formed. Texture refers to the way the lines of type look as a whole up close and from a distance.
Contrast / Direction
Fig 5.7 Contrast of Direction
Contrast of direction is the opposition between vertical and horizontal and the angles in between. Turning one word on its side can have a dramatic effect on a layout. Text blocks also have their vertical and horizontal aspects of direction.
Contrast / Colour
Fig 5.8 Contrast of Colour
The use of color is suggested that a second color is often less emphatic in values than plain back on white.
#Form
Fig 5.9 Form
Form refers to the overall look and feel of the elements that make up the typographic composition. It is the part that plays a role in visual impact and first impressions. Displaying type as a form provides a sense of letterforms' unique characteristics and abstract presentation.
The interplay of meaning and form brings a balanced harmony both in terms of function and expression. When a typeface is perceived as a form, it no longer reads as a letter because it has been manipulated by distortion, texture, enlargement, and has been extruded into a space.
#Organisation / Gestalt
Gestalt is a German word meaning the way a thing has been "placed" or "put together". Gestalt Psychology is an attempt to understand the laws behind the ability to acquire and maintain meaning perceptions.
Gestalt theory emphasises that the whole of anything is greater than its parts.
Organisation / Gestalt: Perceptual Organisation / Groupings
Fig 5.10 Gestalt Principles
1. Law of Similarity
Gestalt grouping law that states that elements are similar to each other tend to be perceived as unified group. Similarity can refer to any number of features, including color, orientation, size, or indeed motion.
2. Law of Proximity
Gestalt grouping law that states elements that are close together thend to be perceived as a unified group. This straightforward law states that items close to each other tend to be grouped together.
3. Law of Closure
Mind's tendency to see complete figures or forms even if a picture is incomplete, partially hidden by other objects.
4. Law of Continuation
Law of good continuation holds that humans tend to perceive each of two or more objects as different, singular, and uninterrupted object even when they intersect.
5. Others: Law of Symetry & Law of Simplicity (Praganz)
The idea is to ensure awareness and inform the work process.
Task 1 / Exercises : Typographic Systems & Type & Play
MODULE INFORMATION
AD Typography Exercise 1 - Typographic Systems
INSTRUCTION
For exercise 1, we are instructed to explore 8 typographic systems which are Axial, Radial, Dilatational, Random, Grid, Modular, Transitional and Bilateral. Size 200 x 200mm, addition one other colour than black, graphical elements (line, dot, etc) are allowed.
This exercise task is to be done using Adobe InDesign and using the content given.
The content given :
The Design School,
Taylor’s UniversityAll Ripped Up: Punk Influences on Design
or
The ABCs of Bauhaus Design Theory
or
Russian Constructivism and Graphic Design
Open Public Lectures:
November 24, 2020
Lew Pik Svonn, 9AM-10AM
Ezrena Mohd., 10AM-11AM
Suzy Sulaiman, 11AM-12PM
November 25, 2020
Muthu Neduraman, 9AM-10AM
Fahmi Reza, 10AM-11AM
Fahmi Fadzil, 11AM-12PM
Lecture Theatre 12
EXPLORATION
At the very first of the task, we are required to to watch the recordings before start the attempts.
#AdTypo : InDesign Formatting
This video recording had demonstrated the steps on how to start our task 1.
1. Create a page [200x200mm, 2 page, turn off the facing page]
2. Right-click on both pages and [turn off "Allow Selected Spreads to Shuffle > drag the second page to the right next to the first page]
Fig 6.1 Samples of Bilateral System (week 1/ 04.09.2022)
3. Create a text box and paste the information given, reconstruct the paragraph (outcome figure 6.1)
4. Start to construct the layout (Example given are based on Axial System)
5. Track or Kerning the text, to adjust the kerning/tracking [Preferences > Units & increments > Keyboard Increments]
6. Complete with the other 8 typographic systems.
Fig 6.2 outcome, Axial system, followed by tutorial (week 1/ 04.09.2022)
After the recordings, I start to attempt the 8 typographic system. I even discovered and explored about the system from other sources online. Below are the 8 typographic system outcomes with descriptions for the first attempt.
I used an additional colour, Red to design the layout.
#AXIAL SYSTEM
Fig 6.3 Axial - attempt#1 (week 1/ 04.09.2022)
Fig 6.4 Axial - attempt#1, grids and guidelines (week 1/ 04.09.2022)
For Axial System, although this seems the easiest and the basic of the typographic system, it took me lots of time to figure the best composition. Instead of creating something complex, I used to form axial system in the most simplest form to show the balance between the text.
The font used:
Left - Univers LT Std (Roman, Bold)
Right - Univers LT Std (Roman, Bold)
#RADIAL SYSTEM
Fig 6.5 Radial - attempt#1 (week 2/ 05.09.2022)
Fig 6.6 Radial - attempt#1, grids and guidelines (week 2/ 05.09.2022)
As Punk epitomised a D.I.Y attitude, I designed the radial system layout by adding some concepts of collages, but in a minimalist style (not to show a random system instead).
The font used:
Left - Univers LT Std (Roman, Bold, Black)
Right - Univers LT Std (Roman, Bold, Black, Extra Black)
#DILATATIONAL SYSTEM
Fig 6.7 Dilatational - attempt#1 (week 2/ 05.09.2022)
Fig 6.8 Dilatational - attempt#1, grids and guidelines (week 2/ 05.09.2022)
In fact, punk considered as a messy, or random work in which anyone can fix with it. So, I constructed the system by multiple of circles, showing a sense of "smile face" on the left, whereas an idea of "camera lens" for the right.
The font used:
Left - Univers LT Std (Roman, Black)
Right - Univers LT Std (Roman, Bold, Black)
#RANDOM SYSTEM
Fig 6.9 Random - attempt#1 (week 2/ 06.09.2022)
Fig 6.10 Random - attempt#1, grids and guidelines (week 2/ 06.09.2022)
For the Random system, I constructed it with a random and messy concepts. I mix and match the other 7 system to form it.
The font used:
Left - Adobe Caslon Pro (Bold, Semibold) , Univers LT Std (Roman, Bold, Bold Condensed) , ITC New Baskerville Std (Bold)
Right - Univers LT Std (Bold, Bold Condensed, Black), ITC New Baskerville Std (Roman, Bold)
#GRID SYSTEM
Fig 6.11 Grid - attempt#1 (week 2/ 06.09.2022)
Fig 6.12 Grid - attempt#1, grids and guidelines (week 2/ 06.09.2022)
The font used:
Left - Univers LT Std (Roman, Bold)
Right - Futura Std (Medium, Bold)
#MODULAR SYSTEM
Fig 6.13 Modular - attempt#1 (week 2/ 06.09.2022)
Fig 6.14 Modular - attempt#1, grids and guidelines (week 2/ 06.09.2022)
For Modular System, each of the content/ group of texts takes a specific column(s). I added the idea of "sticker" by having the square (graphical elements) to create the layout.
The font used:
Left - Futura Std (Regular, Medium, Bold)
Right - ITC New Baskerville Std (Roman, Bold)
#TRANSITIONAL SYSTEM
Fig 6.15 Transitional - attempt#1 (week 2/ 07.09.2022)
Fig 6.16 Transitional - attempt#1, grids and guidelines (week 2/ 06.09.2022)
For transitional system, I played around with the text. For the left, I attempt with the brush, drawing a random curve line and insert the text on it. On the other hand, I construct the transitional system at the right to form a more connected and sticky feeling.
The font used:
Left - Unviers LT Std (Roman, Bold, Black, Black Oblique)
Right - Unviers LT Std (Roman, Condensed, Bold Condensed, Light Condensed)
#BILATERAL SYSTEM
Fig 6.17 Bilateral - attempt#1 (week 2/ 07.09.2022)
Fig 6.18 Bilateral - attempt#1, grids and guidelines (week 2/ 06.09.2022)
For Bilateral #attempt 1, I tried on create one simple, minimalist layout whereas one more active layout. Both of the layout considered as centralised.
The font used:
Left - Unviers LT Std (Roman), ITC Garamond Std (Book, Bold)
Right - ITC Garamond Std (Ultra, Light, Book, Bold)
FEEDBACK (WEEK 2/ 07.09.2022)
As I being absent for the week. I take the feedback given to others as a references ;
General Feedback : Although the exercise means you are following the system as prescribed, but in design, you have to focus on the arrangement such as point size, line length, leading and paragraph spacing. Within the given space, keep your body text in alignment, 8-12pt and keep it consistent.
Specific Feedback :
- For random system, maintain the readability but chaotic
- Skewing / italics is no needed in the text
- The non-objective elements (graphics) should be enhancer, not the main point of focus.
- Take consistently for the paragraph spacing
- Downsizing of the capital letters and number is important
After reviewing the progress of other course-mates, I started make amendments and finalise the final outcome of the typographic system. The final outcome :
-01.png)
Fig 6.19 Final outcome, 8 Typographic System (week 3/ 18.09.2022)
For axial system, instead forming a punky, messy outcome, I used to produce a most simplest form to differentiate axial system with the others. As axial means divide everything by an imaginary line (an axis), I divided the text to two side; heading at the left whereas the body text at the right.
Following by the dilatational system, rather than design it out from a point, I constructed the text forms curves around a point. As I felt that dark background would be more interesting and contrast in this case, so I picked black instead red or white.
For the other typographic system such as radial, bilateral, transitional, grid and modular, I did some minor adjustments from my #attempt. I reconstructed the grids and lines, to form a balance and consistency within each of the text.
Last, for the random system. From my perspective, my random system in #attempt 1 is not such random, but having the readability and yet not interesting and memorable. So, I spent some time on figuring on how to do a great "random" but in a "non-random" way. I tried several attempts and finally finalised when I take the transitional system as reference, drag and duplicate the text, using red colour texts to create the randomness.
#FINAL OUTCOME , AD Typography Exercise 1 - Typographic Systems
Fig 6.20 Final outcome, Axial System (week 3/ 18.09.2022)
Fig 6.21 Final outcome, Radial System (week 3/ 18.09.2022)
Fig 6.22 Final outcome, Dilatational System (week 3/ 18.09.2022)
Fig 6.23 Final outcome, Grid System (week 3/ 18.09.2022)
Fig 6.24 Final outcome, Bilateral System (week 3/ 18.09.2022)
Fig 6.25 Final outcome, Transitional System (week 3/ 18.09.2022)
Fig 6.26 Final outcome, Modular System (week 3/ 18.09.2022)
Fig 6.27 Final outcome, Random System (week 3/ 18.09.2022)
Fig 6.28 Final outcome, Exercise 1- Typographic System, PDF (week 3/ 18.09.2022)
Fig 6.29 Final outcome, Exercise 1- Typographic System,
with baseline guide PDF (week 3/ 18.09.2022)
AD Typography Exercise 2 - Type and Play Part I (Finding Type)
INSTRUCTION
For this particular exercise, we are instructed to find a type by an image between man-made objects ( chair, glass, etc) or structures (buildings), and nature (Human, landscape, leaf, plant, bush, clouds, hill, river or etc). Potential letterforms within the dissected image should be analysed, dissected and identified. The forms would be explored and ultimately digitised.
EXPLORATION
At the very first of the assignments, we are instructed to explore an image as reference to develop the possible type. I used an online website, Unsplash to figure and search for the image.
After having the referenced image, I start to find the potential letterforms within the images. At first, I traced the image into lines by using Adobe Illustrator in order to better find the letterforms.
Fig 7.2 Trace + extraction (week 3/ 12.09.2022)
The letterforms that selected from the referenced image are D, J, Y, F , K in caps letter.
Fig 7.3 the finalised letterforms (week 3/ 12.09.2022)
After finalise the selected letterforms, I selected a typeface for reference. For the referenced typefaces, we are required to use the 10 font family that provided.
Fig 7.4 Place on Baseline (week 3/ 12.09.2022)
The referenced text that I selected was Bodoni book.
Fig 7.6 Potential letterforms vs. Bodoni Book (week 3/ 12.09.2022)
Taking Bodoni book as reference, I refine the letterforms to be similar to fit.
Fig 7.7 progress of reconstruction #attempt 1 (week 3/ 13.09.2022)
Fig 7.8 progress of reconstruction #attempt 1, outline (week 3/ 13.09.2022)
Fig 7.9 Outcome, #attempt 1(week 3/ 12.09.2022)
To compared the changes between them, I place the original / referenced font in red to compare with the latest reconstruction.
Fig 7.10 Reconstruction outcome #attempt 1 (black)
vs. original potential letterforms (week 3/ 12.09.2022)
Fig 7.11 Reconstruction outcome #attempt 1 (black)
vs. Bodoni book (red) (week 3/ 13.09.2022)
vs. Bodoni book (red) (week 3/ 13.09.2022)
I felt that if the letter D and J having a thinner stroke will be more having a possibility and creativity as my intention is not creating something horror (the construction of thick stroke for letter D and J gave me a sense of horror, terrifying). So, I tried the #attempt 2 to adjust and construct the stroke of the letter D and J.
During the development of the letterforms, I used the letter K to construct the letter J and after, I decided to reconstruct the letter K, making the arm and leg to be more balanced. Also, using the anatomy of letter K to create the letter D.
Fig 7.12 the development of letter J, K, D, #attempt 2 (week 3/ 13.09.2022)
Fig 7.13 the development of letter J, K, D, #attempt 2, outline (week 3/ 13.09.2022)
For the letter D, I decided to choose the one without the stem, forming the possible creativity of the letterforms.
Fig 7.14 Outcome #attempt 2 (week 3/ 13.09.2022)
Fig 7.15 Outcome #attempt 1(red)
vs. Outcome #attempt 2 (black) (week 3/ 13.09.2022)
vs. Outcome #attempt 2 (black) (week 3/ 13.09.2022)
After construct all the letterforms to a similar stroke size, I observed that the letter are not strutted on 'lines', so I make the amendments on the letter, forming a draft outcome #3.
Fig 7.16 development of letter #attempt 3 (week 3/ 13.09.2022)
Fig 7.17 development of letter #attempt 3, outline (week 3/ 13.09.2022)
Fig 7.18 outcome #attempt 3 (week 3/ 13.09.2022)
Fig 7.19 Outcome #attempt 2(red)
vs. Outcome #attempt 3 (black) (week 3/ 13.09.2022)
vs. Outcome #attempt 3 (black) (week 3/ 13.09.2022)
After the #attempt 3, I continued the progress on finding the best construction of letterforms. By this moments, I observed that there are similarity between the 5 letterforms (Fig 7.21: drawn with circle in red).
Fig 7.20 the similarity (week 3/ 13.09.2022)
I felt that the letter K having a less similarity between the others. And, I added on a "characteristics" on the leg of the letter.
Fig 7.21 the add-on (week 3/ 13.09.2022)
Fig 7.22 draft outcome #attempt 4 (week 3/ 13.09.2022)
After the add-on, I felt the outcome was so better than the original. I documented the start to the end on Fig 7.24 and showed the the draft outcome #attempt 4 (Fig 7.23) to Mr. Vinod for clarification and feedbacks during the class session.
Fig 7.23 The first extraction to the latest refinement #attempt 4 (week 3/ 14.09.2022)
FEEDBACK (WEEK 3/ 14.09.2022)
General Feedback : The referenced image consisted a shape that you can't put a name to it, a bit difficult but not a particularly good. The process of refine the letterforms is fairly good, you are retaining some level of consistency in the stroke but still needs to move a little bit further.
Specific Feedback : The letter #J is excellent, letter #D is almost there. The reason that the letter #J is good is because it has the thick and thin strokes and the n has the core motif in the beginning of the stem stroke and you have that going down, tapering towards the end with a little bit of curve. So, you need to be replicated the structure in the other letter as well.
After receiving the feedback from Mr. Vinod, I continued to make amendments on the refining the letterforms. As Mr. Vinod commented on the greatness of the letter J, I used the letter J as the anatomy references to reform the structures of the other letter.
Fig 7.24 Development of reconstruction #attempt 5 (week 3/ 14.09.2022)
Fig 7.25 Development of reconstruction #attempt 5, outline (week 3/ 14.09.2022)
Fig 7.26 draft outcome #attempt 5 (week 3/ 14.09.2022)
Fig 7.27 draft outcome #attempt 5 (black)
vs. Bodoni book (week 3/ 14.09.2022)
vs. Bodoni book (week 3/ 14.09.2022)
Fig 7.28 Development of reconstruction #attempt 5 (week 3/ 14.09.2022)
Fig 7.29 Development of reconstruction #attempt 5, outline (week 3/ 14.09.2022)
After the adjustment, I finally formed the final outcome. I compile the letter by using pathfinder tools, full. (Above - before ; Below - after)
Fig 7.30 before and after the pathfinder full (week 3/ 14.09.2022)
Fig 7.31 before and after the pathfinder full, outline (week 3/ 14.09.2022)
During the Week 4 class, Mr. Vinod gave us the final feedbacks towards this particular exercise. The image showed for feedback :
Fig 7.32 the first extraction and refinement #attempt 6 (week 3/ 14.09.2022)
FEEDBACK (WEEK 4/ 21.09.2022)
General Feedback : Overall, great.
Specific Feedback : The letter D, J, Y, F are great, but for the capital K, the stroke on the top should hit the top of ascender, in order to create a great consistency.
After receiving the final feedbacks, I make the final amendments to finalise the outcome. As taking the initial structure #attempt 6 of arm as reference, then I reconstruct it to build a more longer arm to "hit" the baseline, in order to represent a Caps letter.
Fig 7.33 Reconstruction of letter 'K' (week 4/ 21.09.2022)
Fig 7.34 Reconstruction of letter 'K', outline (week 4/ 21.09.2022)
The Final Outcome (Fig 7.35) and the overall progress (Fig 7.36) :
Fig 7.35 Final Outcome, Task 1 Exercise 2, Part II (week 4/ 21.09.2022)
Fig 7.36 Overall progression,
from first extraction to final refinement (week 4/ 21.09.2022)
from first extraction to final refinement (week 4/ 21.09.2022)
Fig 7.37 Final refinement 'D' (week 4/ 21.09.2022)
Fig 7.38 Final refinement 'J' (week 4/ 21.09.2022)
Fig 7.39 Final refinement 'Y' (week 4/ 21.09.2022)
Fig 7.40 Final refinement 'F' (week 4/ 21.09.2022)
Fig 7.41 Final refinement 'K' (week 4/ 21.09.2022)
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Fig 7.42 Final refinement 'D, J, Y, F, K' (week 4/ 21.09.2022)
Fig 7.43 Type Showcase (week 4/ 21.09.2022)
Fig 7.44 Final Outcome, PDF (week 4/ 21.09.2022)
AD Typography Exercise 2 - Type and Play Part II (Type & Image)
INSTRUCTION
We are required to combine a visual with a letter/word/sentence of their choosing. The objective is to enhance/support the interplay between the letter/word/sentence and the selected visual. The text must be woven into a symbiotic relationship with the image.
For this semester, we are extra instructed on attending the 2022 Honor Talents Global Design Awards. Based on the competition requirements, we had required to create a wallpaper for desktop in 3000 x 6000px.
EXPLORATION
For this task, we are required to take our own photos (either illustration or photography) to complete the task as photos online might having copyright for competition. So, at the very first of the task, I tried on finding potential photos from my gallery. There are somewhat of the photos might worked, and I continued brainstorming on how should I go with it.
I did some research on the character "renewal"
Some common synonyms of renew are refresh, rejuvenate, renovate, and restore. While all these words mean "to make like new," renew implies a restoration of what had become faded or disintegrated so that it seems like new.
Renewal of life . Return ; from my standpoint, the meaning of renewal was “returning or restoring for a renewal life”. It might be somewhat facing difficulties or struggle on the way, yet failed for the outcome, then “renew” a new self to reattempt again. Or, it might be a new character to be, a renewal, a new position to stay at.
The full exploration was done through Adobe Illustrator. I did it randomly as I not having ideas on how to create a good layout of wallpaper. At first, I sketched a "imagination" and formed it by using mesh tools. To create a sense of wallpaper, I believed that gradient colour is more interesting than static colour.
Fig 8.1 idea illustration (week 5/ 26.09.2022)
After having the outcome of the idea exploration, I picked a font for the type and play exercise. I chose the Gill Sans Bold for the artworks.
Fig 8.2 Outcome + selected typefaces (week 5/ 26.09.2022)
Fig 8.3 attempt outcome #1 (week 5/ 26.09.2022)
Fig 8.4 attempt outcome #2 (week 5/ 26.09.2022)
Fig 8.5 attempt outcome #3 (week 5/ 27.09.2022)
The illustration #attempt outcome 3 is stand on the perspective whereas a human, Johnny had go through ups and downs (mountains) along the way. He even give up something to reach the outcome but when he arrived at somewhat halfway, the signal board showed “go or return”. The illustration indicated the idea of everyone as a human having the opportunity to choose for future. Either go forward or return means for a renewal life, is a mystery, should be figured by us. So, "Are you ready to return for renewal life?"
FEEDBACK (WEEK 5/ 28.09.2022)
General Feedback : Interesting, but not the wordings on the top.
Specific Feedback :
1. The wordings on the top is too strong compared to the illustration or the main.
2. You should have the word 'renewal' full on the left and right or even all the layers but make it lighter when it comes closer.
3. Also, you can have the textures of the word to form the landscape.
4. Take off the black points, path and the signboard.
5. Instead of doing it on flat, you can do the same thing like make the gradient for the mountain range.
After receiving the feedbacks from Mr. Vinod, I make some amendments on it. To make the illustration more realistic, I take a image of mountain as reference and reconstruct the line :
Fig 8.6 progress of amendments (week 5/ 28.09.2022)
Fig 8.7 attempt outcome #4 (week 5/ 28.09.2022)
Feeling the background can be more interesting, I added the word "return" behind of the mountain, creating somewhat the "return" is raising out, means "somewhat returns, the Renewal life is coming."
Fig 8.8 attempt outcome #5 (week 5/ 28.09.2022)
Fig 8.9 attempt outcome #6 (week 5/ 28.09.2022)
During the week 6, I did received feedback from Mr. Vinod regarding on my progress for this task.
FEEDBACK (WEEK 6/ 05.10.2022)
Specific Feedback :
You can make the type display in the form of mountain range, somewhat a same text but displayed in different layers.
#HONOR TALENTS, FINAL OUTCOME
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Fig 8.10 Screenshot of Honor Submission (week 6/ 07.10.2022)
Fig 8.11 Main visual image, submission on Honor Talents (week 6/ 07.10.2022)
Fig 8.12 Wallpaper, submission on Honor Talents (week 6/ 07.10.2022)
Fig 8.13 Personalised card, submission on Honor Talents (week 6/ 07.10.2022
#Design Elaboration
"Every return defines a renewal."
When it comes to renewal, it typically seems like rebirth, growth, and fresh opportunities. But in this instance, my ideas, renewal seemed somewhat like a return after a failure, a return means to rebirth, return might not be terrible, is a very pleased start again.
For me, renewal entails rebuilding, starting over, and returning. "Reverse the life," Despite the world's high-tech advancement, many products or even design "return" to the past, such as the foldable phone design, for example.
The purpose behind using mountains as wallpaper is to demonstrate that no matter how high, far, and beautiful the mountains are, there is always a way to descend to the sea. Similarly, no matter how far and dark the future is, even though there are failures, the one who returns is on the other side. And, every return defines a renewal.
Submission upload link : https://www.hihonor.com/honor-talents/my/mydetail/?imgId=3166
#FINAL OUTCOME, AD Typography Exercise 2 Part II
Fig 8.14 Final outcome, AD typo exercise 2 Part II (week 6/ 07.10.2022)
Fig 8.15 Final outcome, AD typo exercise 2 Part II, PDF (week 6/ 07.10.2022)
FEEDBACK
WEEK 2 / 14.09.2022 @ AD TYPO EXERCISE 1
As I being absent for the week. I take the feedback given to others as a references ;
General Feedback : Although the exercise means you are following the system as prescribed, but in design, you have to focus on the arrangement such as point size, line length, leading and paragraph spacing. Within the given space, keep your body text in alignment, 8-12pt and keep it consistent.
Specific Feedback :
1. For random system, maintain the readability but chaotic2. Skewing / italics is no needed in the text
3. The non-objective elements (graphics) should be enhancer, not the main point of focus.
4. Take consistently for the paragraph spacing
5. Downsizing of the capital letters and number is important
WEEK 3 / 14.09.2022 @ AD TYPO EXERCISE 2 PART I
General Feedback : The referenced image consisted a shape that you can't put a name to it, a bit difficult but not a particularly good. The process of refine the letterforms is fairly good, you are retaining some level of consistency in the stroke but still needs to move a little bit further.
Specific Feedback : The letter #J is excellent, letter #D is almost there. The reason that the letter #J is good is because it has the thick and thin strokes and the n has the core motif in the beginning of the stem stroke and you have that going down, tapering towards the end with a little bit of curve. So, you need to be replicated the structure in the other letter as well.
WEEK 4 / 21.09.2022 @ AD TYPO EXERCISE 2 PART I
General Feedback : Overall, great.
Specific Feedback : The letter D, J, Y, F are great, but for the capital K, the stroke on the top should hit the top of ascender, in order to create a great consistency.
WEEK 5 / 28.09.2022 @ AD TYPO EXERCISE 2 PART II
General Feedback : Interesting, but not the wordings on the top.
Specific Feedback :
1. The wordings on the top is too strong compared to the illustration or the main.
2. You should have the word 'renewal' full on the left and right or even all the layers but make it lighter when it comes closer.
3. Also, you can have the textures of the word to form the landscape.
4. Take off the black points, path and the signboard.
5. Instead of doing it on flat, you can do the same thing like make the gradient for the mountain range.
WEEK 6 / 05.10.2022 @ AD TYPO EXERCISE 2 PART II
Specific Feedback :
You can make the type display in the form of mountain range, somewhat a same text but displayed in different layers.
WEEK 7 / 12.10.2022 @ SUBMISSION
Specific Feedback :
Good work on Finding type. Task 1 Complete. Competency level: Developing strongly.
#Portfolio : Task 1 Complete. V Good.
REFLECTION
EXPERIENCE
Due to past learning and cognition, advanced typographic activities appear to be more liberating and simpler to master. I have a lot of fun, especially in Exercise 2 Part 1, Finding Fonts. This is because experience does not confine the imagination, as it did previously, when concepts were confined to a limited box. In the second practise session, we even had the opportunity to compete in the Honor Talents 2022 competition. Although it took a lot of brain cells and effort to figure it out according to the competition's criteria, it was still undoubtedly an enjoyable experience.
#Honor Submission experience
It can be said that as kind of irritating as many situation occurs on the few days before the submission; depression, deadlines, amendments, late traffics, personal issue etc, leading me on submitting the submission ETA 11.00 PM on the submission date and my submission is successful been uploaded on 11.57 PM. It can be said that "LUCKY" and putting myself in "RISK". But overall, thanks god and the poor WIFI yet giving me the opportunity to participate in the Honor Talents. It can be recorded as my "trembling" 2 hours in my whole life.
OBESERVATIONS
Throughout the work, I noticed that each letter in the typeface was identical to the others. And even if the fonts had different kinds or angles, there was still a "typography rule" to grid them. For instance, to produce a capital "K," the top stroke should land on the ascender, in order to create a great consistency.
FINDINGS
Typographic design is more complicated than it appears. In order to generate a satisfactory layout, progress requires concept exploration, composition, experimentation, and more. In fact, there are typographic knowledge that never ends. There are more and more knowledge of creating a good typeface in the world which still had to been figured out in the future.
FURTHER READING
To enhance more knowledge about typography, I did some further readings through Taylor's Online Library.
1. Design School: Type: A Practical Guide for Students and Designers (2017)
Fig 9.1 Design school: Type: A Practical Guide for Students and Designer, 2017
Type of source : e-book
Name : Design School: Type : A Practical Guide for Students and Designers
Author : Richard Poulin
Year of publication : 2017
#Section 4 Typographic Principles (p.159-174)
Typographic principles such as measurement, tracking, kerning, word spacing, alignment, readability, legibility, emphasis, and hierarchy are all a graphic designer's vocabulary and grammar for giving voice and meaning to type in any visual communication.
- Measurement
Fig 9.2 The type of measurements
There are three primary measurement systems in use today for measuring type; two are based on traditional printer's points and the other is based on the metric system.
- Spacing
Spacing is an essential and critical consideration when designing with type. Proper and appropriate spacing not only affects the legibility and readability of type, but, more importantly, the overall meaning of any visual communication that uses type as its primary communicative element.
Letter Spacing
Fig 9.3 Letter Spacing
As known as tracking, is adjustable space located between letters, which is adjusted unilaterally rather than individually to achieve an even density to a type setting.
Kerning
Fig 9.4 Kerning
Kerning is the adjustment of horizontal space located between one or more pairs of individual characters. Kerning allows for an individual reduction or incremental increase to letter spacing; tracking increases or reduces spaces between words.
Line Spacing
Fig 9.5 Line Spacing
An ident or a line space indicates the start of a new paragraph in most columnar text setting.
- Alignment
Alignment formats provide you with options for the organisation and positioning of typographic lines of continuous text in relation to a fixed margin or axis.
Fig 9.6 alignment
There are four basic compositional alignment formats: Flush left, Justified, Flush Right, Centered.
- Readability and Legibility
In typographic terms, readability and legibility are interdependent but distinct measures of a reader's interaction and engagement with any type setting.
Readability
Fig 9.7 Readability
Readability is defined as the measure of how easy or difficult it is for a reader to understand a written text setting. There are four critical factors that need to take into account when designing type for optimum readability: line length or measure, character count per line, spacing and case.
Legibility
Fig 9.8 Legibility
Legibility is defined as the measure of how easy or difficult it is to distinguish one letterform of a typeface from another through the physical characteristics inherent in a particular typeface.
REFERENCE
Richard Poulin. (2017). Design School: Type : A Practical Guide for Students and Designers. Rockport Publishers.
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