Advanced Typography: Task 1 Exercises
23/9/2024--14/10/2024 (W1-W4)
LIU CHENG RUI (0370930)
Advanced Typography / Bachelor of Design (Hons) in Creative Media / Taylor's University
Exercise
INSTRUCTURE
LECTURE
week1
AdTypo_1_Typographic Systems
In the first week, we looked at eight different typesetting systems, which
are：
1.Axial System
2.Radial System
3. Dilatational System4. Random System
5. Grid System
6.Transitional System
7. Modular System
8.Biateral System
Then Mr. Viond explained the characteristics of these typesetting systems to
us one by one and how to use the relevant knowledge, as follows：
1.Axial System：There is only one axis, and all elements are placed on the left and
right sides of the axis.
2.Radial System：All elements start from a central focus.
3. Dilatational System：The system will have a center, from which multiple circles
emanate.4. Random System：All elements appear to have no patterns or relationships; each element is an individual.
5. Grid System：A system divided vertically and horizontally.
6.Transitional System：An informal system with layers.
7. Modular System：Turn many elements into standardized units and structure them.
8.Bilateral System：All elements are aligned on an axis.
Week2
AdTypo_2_Typographic Composition
Principles of Design Composition
It mainly describes some methods, such as repetition, symmetry or asymmetry.
Focus on how to apply these principles to typographic layout.
The Rule of Thirds
Example of the rule of third
Typographic Systems
Eight typesetting systems are described, with special emphasis on the importance of grid systems.
Environmental Grids
The system is based on the exploration of existing structures or combinations of many structures.
Form and Movement
The system removes the seriousness surrounding the application of grid systems.
The placement of a form (whatever it is) on a page, and the creation of motion on multiple pages, it does not matter whether this page is on paper or screen.
Week3 AdTypo_3_Context&Creativity
Evolution of the Latin Alphabet
Ancient Egypt Hieroglyphics Chart
The inheritance of typeface design and handwriting style: Early typeface designers, through research and respect for history, worked to preserve and recreate historical handwriting styles that were later used in book printing, allowing the handwriting style to be transformed into a mechanized printed font.
The impact of the Digital Revolution: With the advent of the digital Revolution, the West began to digitize many historical typefaces. Font foundries further the legacy of historic glyphs by creating, marketing and selling these digital fonts. This importance to historical typefaces was recognized and became an object worthy of study and respect.
Colonial impact: The colonial expansion of the West into the East led to the disruption or stagnation of many Eastern cultures and traditional practices, including literature, arts, crafts, languages, and writing systems.
The connection between handwriting and early mechanical type: The first mechanically produced letterforms were designed to directly imitate handwriting. Studying handwriting helps to understand the form, spacing, and conventions that mechanical type aimed to replicate. Handwriting became the foundation or standard for mechanical type design.
Neglect of Asian/Eastern written heritage: For decades, much of Asia and the East neglected their written heritage, partly because they adopted Western printing technologies (such as letterpress, linotype, and Unicode). Due to the complexity of these technologies, it required significant know-how, time, effort, and money to recreate many of the traditional texts in printed form, which made the process difficult.
A mild renaissance in Eastern typography: With the rise of computer programmers in large numbers, the East is experiencing a mild revival in typography. There is now a proliferation of indigenous scripts on phones, tablets, and computers, bringing renewed attention to traditional Eastern writing systems.
In summary, handwriting plays a crucial role in the history of type design, and the East is currently undergoing a revival of its indigenous scripts through digital means.
murasu.com in Malaysia: Led by programmer and typeface designer Muthu Nedumaran, murasu.com has successfully cracked the programming languages needed to code different native writing systems. The system is now widely used in mobile phones and desktop devices.
Huruf: This is a local group of graphic designers that focuses on localized typeface design, especially the artistic expression of the Latin alphabet and local characters drawn or carved on walls and signs. Huruf is one of the most influential organisations in Malaysia dedicated to digitisation and revitalising typeface design.
Ek Type and Indian Type Foundry: These two organizations have made pioneering contributions to the field of indigenous typeface design in India, driving the development of local writing systems.
EXERCISE
Task 1: Exercise 1 - Typographic Systems
attempt
axial typographic system attempt
radial typographic system attempt
Dilatation typographic system attempt
grid typographic system attempt
Bilateral typographic system attempt
Random typographic system attempt
Transitional typographic system attempt
This is my first attempt at a typesetting system
In the feedback. Mr. vinod approved of my expansion system, but I had some problems with my grid system, and Mr. vinod pointed out that my subheadings were too close to the text, which was not comfortable. Also, the most important thing was that my radial system did not extend to the same central point, which was incorrect and I modified it.
In addition, the black border of my Modular typographic system is too thick, and Mr. vinod suggested that I make it slightly thinner.
Final axial typographic system
Final Dilatation typographic system
Final Bilateral typographic system
Final Random typographic system
Final Transitional typographic system
Task 1 - Exercise 1: Typographic Systems - PDF, Week 2
Task 1 - Exercise 1: Typographic Systems Grids and Guides - PDF, Week 2
Task 1: Exercise 2 - Type and Play
we were asked to find type from a picture that we choose, it can be nature, manmade things or the structure of the building. We need to create 5 letter form.
I first found some images on Pinterest and tried to find some useful information to use as my original letters.
Photo reference2
I then tried to find some useful information from the two pictures and tried to
outline the lines of the letters.
Attempt 1
In the first attempt, I extracted two different forms of A, and eventually I chose the A on the right as my extraction letter.
Eventually, I chose to try 1 as my initial letter.
Extracted letter
The letters on the baseline
Reference font
Since my extracted letters are derived from the rough lines of trees, my typeface design is more of a pothole feel.Because it gives more of a tree-like texture.
First evolution
Third evolution
Final font
The final font on the baseline
In the class, Mr. Vinod thought that my font design was correct, but it lacked some representativeness and could not properly extract the features of the pictures. Mr. Vinod suggested that I increase the inner lines of the font like cracks in trees, which might be better.
Image and Extraction
Extracted Letterforms on baseline
For the exercise of the poster, Mr. Vinod told us that it is not necessary to use the original picture to extract letters, as long as the object extracted from the original picture is the same, so I chose the following picture.
I chose to make my font red because it looks more striking.
Font color change
In addition to this, I also made the image as the background of the poster a black and white tone, which helps the visual center stay on top of the font and not scatter.
Background color change
The process of making posters
Finally, I chose the Bilateral typographic system in Exercise 1 as the reference for my poster layout and got the final poster.
final poster
FEEDBACK
week1
General feedback:
In the first week of the course, Mr. Vinod introduced to us the matters that
need to be paid attention to and some requirements in the advanced layout
course, such as we should update our task progress and feedback in time, which
is very necessary.
In addition, it also introduces the relevant knowledge about the composition
system exercise.
Specific feedback:
After class, use InDesign to design the sketches of the eight typesetting
systems discussed in class and upload them.
week2
General feedback:
We got an important briefing for the next exercise 2.
We will be asked to choose images of man-made objects (chairs, glass, etc.) or structures (buildings) or things in nature.The font modification process should be provided at the time of submission.
In addition to this, Mr. VINOD also asked us to have no less than five fonts, which is very important.
Specific feedback:
In class, Mr. vinod gave me feedback on last week's work, in which Mr. vinod approved of my Dilatation typographic system, but there were some problems with my grid system. Mr. Vinod pointed out that my subheadings were too close to the text, which was not comfortable.
In addition, the most important thing is that my radial system does not extend to the same central point, which is incorrect.
week3
General feedback:
In this lesson, Mr. Vinod evaluates our font extraction and evolution work for the second week and explains the tasks for the next week.
Specific feedback:
In the class, Mr. Vinod thought that my font design was correct, but it lacked some representativeness and could not properly extract the features of the pictures. Mr. Vinod suggested that I increase the inner lines of the font like cracks in trees, which might be better.
REFLECTION
Experiences
In the two exercises of Task 1, I think I gained a lot of new knowledge about typography. For example, in Exercise 1, each of the eight typesetting systems has its own unique usage and expression, among which the Grid system structure is more inclined to a neat arrangement, while Random is more inclined to a random layout.
In Exercise 2, I experienced the evolution process from the initial extraction of letters to the final one. In this process, I think the most important final letter should reflect the features of the original picture, that is, the representation. In my design, for example, it is necessary to observe more small gaps in trees.
Observations
In these two exercises, I observed that in order to design a good typesetting format, it is not only necessary to have an excellent layout, but more importantly, to pay attention to the in-depth level of typesetting. For example, the random layout system in Exercise 1, although it is a random arrangement, if you do not deal with the deeper structure, the end result will only look very simple, more like a clueless pile.
In exercise 2, the problem of hierarchy is manifested in the extraction of small letters, because in the extraction process, it is necessary to find the objects that look like letters, but also pay attention to the hierarchical relationship with the surrounding pictures, and do not deliberately destroy their inherent hierarchy in order to extract letters.
Findings
In Exercise 1, I discovered that each system has its own unique representation, and the Bilateral system needs a neat arrangement. The Dilational system allows us to exert the ability of independent innovation to explore and create new layouts to a certain extent. But we also need to be careful not to forget the requirements of each system while innovating.
In exercise 2, I found that it seems that the extraction of letters does not need to adhere to the rigid idea, that is, the appearance of letters must be exactly the same or very regular. On the contrary, we can independently depict their shapes, and their shapes can also be very distorted. These differences enrich the form of typesetting to some extent.
FURTHER READING
week1
About introduction
Vignelli on Design is divided into the following chapters:
Philosophy of design
Design and function
Visual language
Color and typography
Cross-domain design
Classic case study
Designer's responsibility
Business and Design
The future of design
In this chapter, Vignelli articulates the core principles of design,
such as simplicity, functionality, and visual clarity. He emphasized
that design is not only the expression of form, but also the process of
solving problems. After reading, I have a deeper understanding of the
concept of "simple is beautiful". This kind of thinking encourages me to
always think clearly when facing complex projects and remove superfluous
elements in order to convey the most core message.
week2
In the second chapter of Vignelli on Design, "Design and Function", Vignelli emphasized that the core of design is function, not just beauty. His point got me thinking about a few key points:
Function first: Design should be centered on user needs to ensure practicality.
Simplicity matters: Simplifying your design improves the user experience and avoids confusion.
User experience: Design needs to focus on the convenience of user operation.
Emotional connection: The design should also consider the user's emotional response.
Practical application: Always balance function and beauty in future design.
Overall, this chapter deepens my understanding of the value of design and emphasizes the art of problem solving.
week3
The third chapter, "Visual Language", explores how visual elements in design construct and convey information. In Vignelli's design philosophy, visual language is not just for aesthetics, but as a tool to convey information.
1.According to Vignelli, the designer's task is not just to "decorate" a message, but to make it easier to convey in a rational, intentional way.
2. Systematization and sense of order Vignelli places great emphasis on the sense of order in the design. He believes that visual languages have structure and rules, and these rules help design become more effective.
The third chapter makes me more deeply understand that the "visual language" in design is not only about form, but also about function and communication.
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