The typographical organization is complex because the elements depend on communication to function. Addition criteria such as hierarchy, reading order, legibility, and contrast also come into play.

Axial System: All elements are organized to the left or right of a single line

Figure 1.1 Extract from "Type 365 by " on Axial Systems

Radial System: All elements are extended from a point of focus

Figure 1.2 Extract from "Type 365 by " on Radial Systems

Dilatational System: All elements expanded from a central point in a circular fashion

Figure 1.3 Extract from "Type 365 by " on Dilatational Systems

Random System: Elements appear to have no specific pattern or relationship

Figure 1.4 Example of Random Typographic System by "Jayne, on Flickr"

Grid System: A system of vertical and horizontal divisions

Figure 1.5 Grid System shown visually.

Transitional System: An informal system of layered banding

Figure 1.6 Extract from "Type 365 by " on Transitional Systems

Modular System: A series of non-objective elements that are constructed as a standardized units

Figure 1.7 Typographic Modular System shown visually.

Bilateral System: All text is arranged symmetrically on a single axis (ie, for invitations)

Figure 1.8 Typographic Bilateral System shown visually.

❗takeaways:

- Although some may feel this imposition removes intuition, from a teaching point of view, it provides a solid framework that allows learners to be guided in their exploration while their intuition develops and matures

- As work develops an understanding of the systems emerges, its creative potential is realized

- Many designers focus primarily on the grid system for design and need to be made aware of the potential that the other systems hold.

- These systems allow designers to use more fluid means to create typographic messages

Week 2: Typographic Composition

(AdTypo_2_Typographic Composition)

Typographic Composition: the arrangement of textual information in a given space.

Principles of Design Composition:

- Emphasis

- Isolation

- Repetition

- Symmetry

- Alignment

- Perspective

However, certain principled may be harder to apply than others.

The Rule of Thirds: a photographic guide to composition which basically suggests that a frame can be divided into 3 columns and 3 rows. The intersecting lines are used as a guide to place the points of interest, within the given space.

Figure 1.9 Rule of Thirds

Environmental Grid: based on the exploration of an existing structure or numerous structures combined. An extraction of crucial lines both curved and straight are formed. The designer then organizes his information around this super-structure, which includes non-objective elements to create a unique and exciting mixture of textual and visual stimuli.

Figure 2.0 Environmental Grid

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. The forms could represent images, text or colour.

Figure 2.1 Form and Movement

❗takeaways:

- Principles of Design Composition seem ambiguous when it comes to translating into typographic layouts/ compositions. They seem more relevant to imagery than units of information that consist of different elements.

- From the 8 Typographic systems learned in the previous lecture, the most commonly used one is the "Grid System" which is derived from the grided compositional structure.

Week 3: Context and Creativity

(AdTypo_3_Context&Creativity)

Handwriting: a person's particular style of writing. The first mechanically produced letter forms were designed to directly imitate handwriting. Handwriting would become the basis or standard for form spacing and conventions mechanical type would try and mimic conventions.

the shape in line of hand drawn letter forms are influenced by the tools and materials used to make them. Sharpened bones, charcoal sticks, plants, stems, brushes, feather, and steel pens have all contributed to the unique characteristics of our letter forms.

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

Figure 2.2 Evolution of the Latin Alphabet

Cuneiform: a logo-syllabic writing system that was used to write several languages of the Ancient Near East.

Figure 2.3 Cuneiform

Hieroglyphics: a writing system invented in Egypt around 5000 years ago.

Figure 2.5 Ancient Egypt Hieroglyphics Chart

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 letter.

Figure 2.5 Evolution of letterforms

Local Movements and Individuals

In SEA, the movement has not organized & coordinated itself well, unlike India with their large talent pool & resources.

Creativity and originality are properties that are most often intertwined, making it important that new designers look to their own histories, civilization, culture, & communities to bring past developments into the future; develop them without blindly appropriating cultures and developments bare with context, relatability, or relevance.

Creativity and inspiration should begin by observing our surroundings and exploration of our collective histories.

Week 4: Designing Type

(AdTypo_4_Designing Type)

Why design a Typeface?

carries a social responsibility so one must continue to improve its legibility
a form of artistic expression

General Process of Type Design:

Research: Understand type history, type anatomy, type conventions and terminologies. Determines 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.

Sketching: Some designers sketch traditionally (brushes, pens, ink and paper) and proceed to digitization by scanning. Some designers sketch using digital tool sets, however this can sometimes impede the natural movement of hand strokes.

Digitization: Softwares like Fontlab and Glyphs are used in digitization in most time. Not only attention should be given to the whole form but also to the counter form in this stage as the readability of the typeface is heavily dependent on it.

Testing: Testing is an important component in the design thinking process. The results of the testing are part of the process of refining and correcting, prototyping is one of them. Readability and legibility of the typeface become an important consideration depending on the typeface category (display type / text type)

Deploy: 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.

INSTRUCTIONS

Figure 2.6 Instructions (PDF)

TASK

Task 1 - Exercise 1: Typographic Systems

Explore the 8 typographic systems: Axial, Radial, Dilatational, Random, Grid, Modular, Transitional, and Bilateral, and create a 200 x 200mm typographic design on Adobe InDesign, using the content provided:

The 8 systems mentioned above are to be explored using the following content:

The Design School,

Taylor’s University

All Ripped Up: Punk Influences on Design or The ABCs of Bauhaus Design Theory or Russian Constructivism and Graphic 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

Some color and minor graphical elements are allowed but not encouraged to be used.

: research

I started by watching an InDesign run-through by Mr. Vinod to remind us of what we learned last semester, plus a small guide on starting Task 1 with setting up the guides and canvas sizing.

InDesign Refresher - https://www.youtube.com/watch?si=xhBTkemPZUTM5w2n&v=0BLK2xX2E_s&feature=youtu.be

Figure 2.7 Screenshot of InDesign Refresher video Week 1, (23/09/24)

Before starting my work, I made a Pinterest mood board to gather inspiration from unique works. It also sets the standard for what I like to try to achieve in my work. I started off with axial and built it up from there.

Figure 2.9 Screenshot 2 of Inspo Board

Figure 2.8 Screenshot of Inspo Board

: week 1 drafts

I had to make 8 drafts by Week 2 to be reviewed in class. I did them loosely section by section to make things easier, and used my own original ideas and understanding of each typographic system to do so.

: axial

I dived straight into InDesign and started on my axial work. I started out with concepts that I believed captured the essence of axial styles. I struggled with understanding the overall concept, as shown in my revised work, as I believed the axis should exist primarily as a guide, rather than to align the text on it.

Typeface: Garamond

Figure 3.0 Axial system attempt 1, Week 1 (24/09/24)

Figure 3.1 Axial system attempt 1, Week 1 (24/09/24)

These were my designs plus the grid layout for both designs. I used a 3-column with 4-row guidelines for the first and a simple 3-column guide for the second. I ensured the axis was at a 45-degree angle and 90-degree angle accordingly, which I fix later on.

: radial

I referred online to differentiate between radial and dilatational before working on this system. I kept the design minimal as the central visual point were the circles which i used the same green for axial to keep the palette limited and cohesive. I did struggle with this one as each text box had to be layered around the circles to give the radial effect.

Typeface: New Baskerville

Figure 3.2 Radial System attempt 1, Week 1(24/09/24)

After some consideration, I decided the designs could be a bit more interesting. I also wasn't sure if some information was allowed to be on a straight radius such as the subheadings of the second design.

: dilatational

I found this one to be the most difficult and took the longest time understanding how to create a natural flow of information/hierarchy. This is because a list of timings causes a stack of information, which does not flow smoothly with a dilatational system. I reviewed a lot of external resources, videos, and guides on how to execute this and concluded that i needed to play around with various circles, and occasional arcs, to compose a piece with natural harmony and flow.

Typeface: Univers

Figure 3.3 Dilatational System
attempt 1, Week 1(24/09/24)

Figure 3.4 Dilatational System #2
attempt 1, Week 1(24/09/24)

I wasn't very satisfied with my first attempt and put a lot more time/ effort with the second, which had better formatting. I used a combination of typing along the pen tool arc, and the circle tool to achieve this.

: random

With random, it was tough to figure out whether my design was working or not, due to the fact that it was, well, random. I started by making a lot of repeated lines of text with no flow or rhythm and built it on from there. I wanted the text to sort of get cut of from the top corner to give it a screen-printing vibe. The numbers, I felt, should be highlighted, so i used green to help it stick out against the lines of information.

Typeface(s): multiple used

Figure 3.5 Random System attempt 1, Week 1(24/09/24)

All in all, it felt good, but not strong enough. It was almost too readable and I wasn't sure if I liked the grunge aesthetic it was giving off. Although relevant to the word "Punk" and the design niche, I wasn't sure if it was reflective of what I wanted. The lines also needed to be fixed, as it was still continuing off the page spread.

: grid

Grid was by far the easiest, however, I had to ensure that the grid was suitable and followed a good format. It felt a bit boring, so I added the green as a pop of colour. I used a 4 by 3 gird and ensured that lines were set across the baseline. Hierarchy is key in this layout, so I used Italics and Bold when necessary.

Typeface: Univers

Figure 3.6 Grid System attempt 1, Week 1(24/09/24)

I felt that I could explore ways to make it more visually interesting. However, this was the most accurate work I had done so far.

: modular

Modular was something new and unfamiliar so Mr Vinod posted a video tutorial breaking down the basic concept of modular typograph systems and how to apply it to our work.

Video Tutorial - https://www.youtube.com/watch?v=oBMMl5K_pGA&feature=youtu.be

Understanding the overall concept took a while and di decided to focus on the information being in boxes and paid little to no attention to the headings. I paid attention to the box sizing in relation to the grid.

Typeface: Gill Sans

Figure 3.7 Modular System attempt 1, Week 1(24/09/24)

Figure 3.8 Modular System attempt 1, Week 1(24/09/24)

I felt there was some lack of colour and I didn't keep the modular boxes consistent throughout the work.

: transitional

Transitional included using a "banding" of information to create a free flowing yet understandable layout. I found this one a bit tough as well, because it was something new to me and I wasn't fully familiar with the concepts. I made the letters "In" and the number "12" in colour to make it stand out and it reads "In 12" which gives an almost double meaning of it being in lecture theatre 12 and it highlights the important information to the reader. It also helps the readers eyes direct from the top of the page to the bottom.

Typeface: Serifa

Figure 3.9 Transitional system attempt 1, Week 1(24/09/24)

I wasn't sure if I followed the typographic system correctly and it felt a bit random and plain.

: bilateral

I didn't fully grasp the concept of bilateral, apart from the comparison to wedding cards/ invitations. I tried my hardest to keep it unique, yet along the same axis. This was a concept work I made for axial and scratched off. It felt more suitable for bilateral, with the right adjustments.

Typeface: Bodoni

Figure 4.0 Bilateral system attempt 1, Week 1(24/09/24)

The structure felt off, especially with the text being at different angles along the line. I wasn't sure if it felt symmetrical.

: compilation

Here's all the work I did for week 1:

Figure 4.1 First Drafts Compiled, Week 1(24/09/24)

: week 2 revised

During week 2, I focused on reworking all the mistakes I had made through Mr Vinod's feedback. I also rewatched the InDesign refresher to perfect my formatting. I fixed the numerical values to small capitals and used the correct dash for the timings. I also ensured that all paragraph and line spacing were consistent and that text was flushed along the correct axis.

I used the same fonts for each, but focused on the accuracy, by using my further readings as a guide on how to do so.

Through this, I made several new additions to my current designs as a few of the old designs needed improving, and I wanted to experiment with more choices. These are the new designs:

: axial

Figure 4.2 Axial system redesign, Week 2(01/10/24)

Figure 4.3 Axial system redesign #2, Week 2(01/10/24)

: radial

Figure 4.4 Radial system redesign, Week 2(01/10/24)

: dilatational

Figure 4.5 Dilatational system redesign, Week 2(01/10/24)

Figure 4.6 Dilatational system redesign #2, Week 2(01/10/24)

: random

Figure 4.7 Random system redesign, Week 2(01/10/24)

Figure 4.8 Random system redesign #2, Week 2(01/10/24)

: grid

Figure 4.9 Grid system redesign, Week 2(01/10/24)

: modular

Figure 5.0 Modular system redesign, Week 2(01/10/24)

Figure 5.1 Modular system redesign #2, Week 2(01/10/24)

: transitional

Figure 5.2 Transitional system redesign, Week 2(01/10/24)

Figure 5.3 Transitional system redesign #2, Week 2(01/10/24)

: bilateral

Figure 5.4 Bilateral system redesign, Week 2(01/10/24)

: final text formatting layout

It was a tough call, but finally shortlisted my favorite designs which I believe fully represented each typographic system in an interesting yet simplistic manner, as shown below:

Figure 5.5 Final Axial System, Week 3(08/10/24)

Figure 5.6 Final Radial System, Week 3(08/10/24)

Figure 5.7 Final Dilatational System, Week 3(08/10/24)

Figure 5.8 Final Random System, Week 3(08/10/24)

Figure 5.9 Final Grid System, Week 3(08/10/24)

Figure 6.0 Final Modular System, Week 3(08/10/24)

Figure 6.1 Final Transitional System, Week 3(08/10/24)

Figure 6.2 Final Bilateral System, Week 3(08/10/24)

Figure 6.3 Final Typographic System (PDF), Week 3(08/10/24)

Figure 6.4 Final Typographic System, with grids (PDF), Week 3(08/10/24)

Task 1 - Exercise 2: Type & Play / Finding Type

Select an image which is man-made, nature, or structure based to analyze, dissect and identify potential letterforms. The forms would be explored and ultimately digitized. Ensure that the image does not contain many elements. Extracted letterforms go from crude representation to a more refined expression but yet maintaining core features of its origin.

Figure 6.5 Example of font extraction and refinement

Upon completing the letterforms, students will combine the letterforms with an image that is he ithe basis of the extracted letters. The objective is to enhance/support the interplay between the letterforms and the selected visual. The text must be woven into a symbiotic relationship with the image.

Figure 6.6 Poster artwork and type by Chong Hui Yi

Part 1: Finding Type

: research

I started off by gathering as many natural pictures as I can with a lot of textures and elements to extract from. I liked the spontaneousness from nature, and how it had a more free flowing form, with little to no artificial structure. I wanted my letterforms to reflect that raw, unrefined movements.

I used Pinterest to find my images, and took inspiration from a variety of close up objects.

Figure 6.7 Pinterest mood board "Finding Type", Week 2(01/10/24)

Figure 6.8 Pinterest mood board "Finding Type", Week 2(01/10/24)

This acted as a "mood board" where I could study each of their shapes and forms before selecting my chosen picture.

: extraction

I decided to go for a seashell shape, as I liked the irregular form and lines. I felt that the shape was interesting and many letters can be extracted from it.

Figure 6.9 Font extraction. First attempt, Week 3(8/10/24)

These were my first sketches with this shell design. However, I didn't like the font extraction as I felt that it was impossible to see. It didn't capture the texture or feeling of what a shell felt like. I decided the picture I chose possibly didn't have enough form or texture, and i could not easily extract letterforms from it.

Figure 7.0 Image Selected #2 Week 3(8/10/24)

I changed the image to a different shell with sharper and obvious edges. I was able to extract more obvious letterforms and adopt the physical features of the seashell. My first attempt was somewhat weak, and with the feedback, I was able to grasp a better understanding of what was needed to capture in my letterforms. I decided to use the same skeleton but expand further with including the shell's spikes and lines as it truly encapsulates the visuals of the original image.

Figure 7.1 Font extraction. Second attempt,
Week 3(12/10/24)

Figure 7.2 Font extraction. Third attempt,
Week 3(12/10/24)

: letterforms refined

I sketched out a concept of a blueprint of what my final font could potentially look like, paying little to no attention to its current form, I focused on getting as realistic to a real working font, keeping its baseline and form straight and consistent with each letter.

Figure 7.3 Font Sketch #1, Week 3(12/10/24)

Figure 7.4 Font Sketch #2, Week 3(12/10/24)

I kept alternating between a font with no white spaces, and one where the the letters reflect the lines the shells have. I felt that no lines felt more finished but I kept the others as a visual reference as well.

Afterwards, I opened up Illustrator to refine the letterforms. This was my first attempt with the first set of letters that i scratched out.

Figure 7.5 Font Refinement #1, Week 3(09/10/24)

After my redesign, I worked on creating my final letterforms. The reference font I used was ITC Garamond Std, and I referenced its base height, cap height etc. to create a skeleton for my font.

Figure 7.6 Screenshot of Illustrator Interface "Finding Type" , Week 3(12/10/24)

I copy pasted the extraction elements and resized them to a workable scale, then after simplifying the points, I started making modifications to the typeface into the desired letterform. I kept simplifying and adding certain sharp points until it looked polished.

Figure 7.7 Final Font Refinement, Week 4(14/10/24)

This was what my final refinement process looked like. I felt that it replicated that of a shell, yet had a structured form and consistency between each letter.

:final product

Figure 7.8 Final Font Extraction, Week 4(14/10/24)

Figure 7.9 Final Font Refinement, Week 4(14/10/24)

Figure 8.0 Comparison between reference font, initial extraction, and final extracted font, Week 4(14/10/24)

Figure 8.1 Task 1 Exercise 2 Font extraction and Refinement submission, Week 4(14/10/24)

Part 2: Type and Play

: finding pictures + first draft

After finalizing my letterforms, we had to create a legible movie poster, capturing the look and feel of our letterforms in the visuals, whilst using our created letterforms as the title of the movie. Since my letterforms represented a shell, I wanted my movie poster to give a beachy vibe.

I looked through pinterest to find suitable candidates. These were some I saved:

Figure 8.3 Mood board "Type and Play", Week 4(14/10/24)

I decided I liked the direct connection between the font and the shell, and wanted to image to make that specific connection, whilst establishing its setting along the beach. I opened illustrator and worked on my first draft:

Figure 8.4 Movie Poster Design. First attempt, Week 4(15/10/24)

I wasn't happy with the design as it felt unfinished and unprofessional, I decided to look up movie posters to gain inspiration of what I wanted mine to look like.

Figure 8.5 Screenshot of movie poster references, Week 4(15/10/24)

I even downloaded a photoshop template to help guide me with the text formatting, and used some of their text to add to my movie poster.

Figure 8.6 Screenshot of Adobe Photoshop Template, Week 4(15/10/24)

I paired the main title font with Univers LT Std unlike the first draft where i used Garamond again. This added some contrast and help distinguish the hierarchies between text. I used a "divide" effect for the main title to give it a grainy finished and I loved the black and white elements giving it a more serious look.

:final movie poster

Figure 8.7 Final Movie Poster, Week 4(15/10/24)

Figure 8.8 Final Movie Poster (PDF), Week 4(15/10/24)

FEEDBACK

Week 1

General Feedback: Watch required lectures and make notes on the e-portfolio. Research on typographic systems and document findings on further reading. Start on task 1. Come up with 8 designs, one for each typographic system for review next class.

Week 2

General Feedback: Document exercise 2 onto e-portfolio and submit according to set standards. Look through previous student’s e-portfolio work to get a better understanding of exercise 2: Finding Type and Play. Evaluate the typeface appropriately, paying attention to stroke weight, style, relevance etc.

Specific Feedback: For axial typographic systems, a 45 degree angle is too strong for the work, and the axis can only be slanted slightly. The lines should also be flushed to the centre or side of the axis, along the same line. The random typography has text overflooding the corners and should be cut off. The cell size is inconsistent and should be measured accordingly for modular.

Week 3

General feedback: Finish up typography poster and update e-portfolio fully for submission on week 4. Refine, rework, reload, redo whenever needed for both exercise 1&2.

Specific Feedback : Make the font extraction more obvious. Maybe add spiked of the seashells to add some visual resemblance and change the reference font to something more suitable.

Week 4

General Feedback: Begin Task 2 by making a mind-map (of who you are or like to be), create a mood-board or an inspiration. for direction and produce explorations of possible wordmark/lettering of your name (first name or pet name or pseudonym) with a minimum of at least 4-5 characters. Document said process in Task 2 e-portfolio. Showcase your sketches leading to digitised artworks.

Specific Feedback: Pick your own best work for exercise 1. For exercise 2, if doing lines to represent the shell scales, make sure they have a direction instead of simply being lines. the lines are not necessarily needed for this work.

REFLECTIONS

Experience: Task 1 was very enjoyable. I didn't depend on feedback as much for this task, however based the quality of my work through reference, further reading, and other examples. Classes were much more productive than home, and after each class, I left with a clear head on what I had to improve on. This was my first task with Mr Vinod, who proved to be quick yet effective with his critic, allowing me to keep an open mind whilst making the relevant changes.

Observations: I observed that a lot of my work had to be redone to be improved, and here was nothing wrong with keeping the first drafts on hold. Whilst working on my movie poster, Photoshop proved to be a slight challenge, as I am more experienced with Adobe Illustrator and this could be observed by the time spent on each application.

Findings: I found that whenever my work felt weak or inaccurate, turning to further reading and outside reference, especially visual representations, help improve the quality of my work drastically. I learnt the concept of typographic systems and how it can be applied to work outside of my advanced typography class. I found that doing the lecture notes week by week, as instructed, made the work feel much less heavy than completing them in one go.

Advanced Typography - Task 1 Exercises

CONTENTS

LECTURES

Week 1: Typographic Systems

Week 2: Typographic Composition

Week 3: Context and Creativity

Week 4: Designing Type

INSTRUCTIONS

TASK

Task 1 - Exercise 1: Typographic Systems

: research

: week 1 drafts

: axial

: radial

: dilatational

: random

: grid

: modular

: transitional

: bilateral

: compilation

: week 2 revised

: axial

: radial

: dilatational

: random

: grid

: modular

: transitional

: bilateral

: final text formatting layout

Task 1 - Exercise 2: Type & Play / Finding Type

Part 1: Finding Type

: research

: extraction

: letterforms refined

:final product

Part 2: Type and Play

: finding pictures + first draft

:final movie poster

FEEDBACK

Week 1

Week 2

Week 3

Week 4

REFLECTIONS

FURTHER READING

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