Advanced Typography/ Task 1: Exerscise 1 & 2

24/04/2024 - 06/06/2024 / Week 1 - Week 7

Lim En Yu / 0354452

Advanced Typography / Bachelor of Design (Hons) in Creative Media / Taylor’s University 

Task 1: Execises 1&2 - Typographic Systems & Type & Play

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TABLE OF CONTENTS

1. Lectures

2. Instructions

3. Task 1:  Execise 1

4. Task 1:  Execise 2

5. Feedback

6. Reflection

7. Further Reading

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Lectures

Week 1/ Typographic Systems

During the first class of lectures, we have learnt about variations of typographic systems. According to Kimberly Elam, "All design is based on structural system". 

There are 8 major variations of typographic systems:

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

Fig 1.1.1 Typographic systems, Week 1 (24/4/2024)

1. Axial System: All elements are aligned to the left or right of a single axis. The axis does not necessarily need to be straight, it can also be bent. 

Fig 1.1.2 Axial System, Week 1 (24/4/2024)

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

Fig 1.1.3 Radial system, Week 1 (24/4/2024)

3. Dilational System: All elements expand from a central point in a circular fashion.

Fig 1.1.4 Dilational system, Week 1 (24/4/2024)

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

Fig 1.1.5 Random system, Week 1 (24/4/2024)

5. Grid System: A system of vertical and horizontal divisions.

Fig 1.1.6 Random system, Week 1 (24/4/2024)

6. Modular System: A series of non-objective elements that are constructed as a standardised unit.

Fig 1.1.7 Modular system, Week 1 (24/4/2024)

7. Transitional System: An informal system of layered banding.

Fig 1.1.8 Transitional system, Week 1 (24/4/2024)

8. Bilateral System: All text is arranged symmetrically on a single axis.

  

Fig 1.1.9 Bilateral system, Week 1 (24/4/2024)

Week 2/ Typographic Composition

This week of lecture talked about typographic composition where typography pertains to creation of letters and arrangement of textual info within a given space. This lecture will be talking about the letter which is arrangement of textual information in a given space. There are several ways to approach typographic composition, including the following:

1. Principles of Design Composition: Composition principles involve combining and arranging elements to create a visual impact. Abstract notions like isolation, repetition, symmetry, and perspective are typically more relevant in visual representations compared to textual information.

Fig 1.2.1 Example of "Emphasis" principle of design composition, Week 2 (3/5/2024)

2. The Rule of Thirds: A photographic guide to composition that suggests a frame can divided into 3 columns and 3 rows. The intersections are a guide to place points of interest within a given space.

Fig 1.2.2 The rule of thirds, Week 2 (3/5/2024)

3. Typographic Systems: The 8 systems used in the typographic composition include the Grid System (or German Raster System), which is the most pragmatic and widely used. It was further enhanced by the Swiss (Modernist) style of Typography, led by Josef Muller Brockmann, Jan Tschichold, Max Bill and others. 

The grid system remains popular because of its versatility and modular structure allows countless adaptations. Our readability tends to favor structured and organized layouts rather than chaotic ones.

Fig 1.2.3 Composition using Grid Systems, Week 2 (3/5/2024)

Other models/systems:

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

Fig 1.2.4 Example of the environmental grid by Brenda McMannus,

from the book Typographic Form and Communication, pp211, Week 2 (3/5/2024)

2. Form and Movement: This system is based on the exploration of an existing Grid System. It encourages students to experiment with different compositions and explore the connection between each composition, while also viewing the layout as a dynamic composition with a sense of movement. 

Fig 1.2.5  Sequential compositions using the Grid System, Week 2 (3/5/2024)

Week 3/ Context & Creativity

This lecture will cover how this particular modern language evolved from ancient scripts and why understanding the background of handwritten scripts is crucial. We can gain insight into a specific civilization's background by comprehending the evolution of handwritten scripts.

Handwritting

The first mechanically produced letterforms were designed to directly imitate handwriting. Handwriting would become the basis or standard for form, spacing and conventions mechanical type would try and mimic.

Fig 1.2.6  Evolution of the Latin Alphabet, Week 3 (12/5/2024)

Cuneiform (c. 3000 B.C.E.)

• Earliest system of writing, used in a number of languages
• Distinctive wedge form
• Characters evolved from pictograms
• Written from left to right.

Fig 1.2.7 Cuneiform, Week 3 (12/5/2024)

Hieroglyphics (2613–2160 B.C.E.)

The Egyptian writing system is fused with the art of relief carving and a mix of rebus and phonetic characters. 

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

Fig 1.2.8  Hieroglyphics Chart, Week 3 (12/5/2024)

Early Greek / 5th C. B.C.E.

Phoenicians develop a phonetic alphabet consist of 22 letters. Greeks adopted the Phoenicians system and added necessary vowels. The words were in rows, however the reading rhythm followed the boustrophedon format.

• Early forms were drawn freehand and had no serifs. 
• Over time, strokes grew thicker and serifs appeared. New forms were used for inscriptions throughout Greek empire (model for formal lettering in imperial Rome). 
• Roman inscriptional letters: written with a flat brush held at an angle, then carved into stone with mallet and chisel. Calligraphers and type designers mimic these model forms.  

Fig 1.2.9  Early Greek, Week 3 (12/5/2024)

Roman Uncials (4th c. C.E.)

By the 4th century Roman letters were becoming more rounded, the curved form allowed for fewer strokes and could be written faster.

Fig 1.2.10 Roman Unicals, Week 3 (12/5/2024)

English Half Uncials (8th C.)

• Uncials evolved into a more slanted and condensed form. 
• Carolingian Handwriting Reform help the writing from devolving.

Fig 1.2.11 English Half Unicals, Week 3 (12/5/2024)

Emperor Charlemagne (8 C. CE)

The end of a central advanced culture resulted in general illiteracy and a breakdown of handwriting into diverse regional styles.

Carolingian Minuscule

• Language was standardised during Emperor Charlamagne's reign.
• Used for all legal and literary works - unified communication across European empire.
• 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. C.E.)

• Gothic: Culminating artistic expression of the middle ages.
• Blackletter characterised by tight spacing and condensed lettering. 
• Condensing line spacing and letter spacing reduced the amount of costly materials in book production. 

Fig 1.2.12 Black Letter, Week 3 (12/5/2024)

Italian Renaissance

• Newly rediscovered letterforms Antica.
• At the peak of Gothic spirit in medieval Europe, Humanist scholars revived round forms. 

Movable Type (11th c. – 14 c. )

China attempted to use moveable type for printing but failed due to number of characters. The Koreans established a foundry to cast moveable type in bronze.

Eastern developments in handwriting

 Southern Asia 

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 1.2.13 Brahmi Script, Week 3 (12/5/2024)

Southeast Asia 

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.

Kawi. Based on Nagari, but indigenous to Java.The word Kawi comes from the Sanskrit term kavya meaning poet. The

interesting thing about Kawi is that it was the script used for contact with other kingdoms. Because it was so widespread, Kawi became the basis of other scripts in both Indonesia and the Philippines.

Incung, the original writing system from Kerinci, comes from a South Sumatran grouping of scripts known as Rencong. 

Fig 1.2.14 Incung, Week 3 (12/5/2024)

Jawi, the Arabic-based alphabet. We all know Jawi was introduced along with Islam. But how this happened is more interesting than "we converted and adopted the Arabic alphabet”.

Programmers and Type Design

Software behemoths like Google are producing more colloquial scripts since they employ a large number of Asian engineers and designers. An increasing number of "multi-script" typefaces, a term introduced by Muthu Nedumaran, and vernacular fonts are being created to accommodate scenarios in which written content is conveyed in both Latin and vernacular scripts.

Fig 1.2.15 Baloo, anaffable display typeface by Ek Type, Week 3 (12/5/2024)

 

Local Movements and Individuals

In Malaysia, murasu.com is spear-headed by programmer and typographer Muthu Nedumaran. The programming language needed to encode the different types of vernacular writing systems was cracked by Muthu. The system is now used in mobile phones and desktops. 

Huruf, a local group of graphic designers interested in the localized lettering of Latin and vernacular letters painted or inscribed on walls and signages are among the more prominent organizations digitizing and revitalizing typefaces in Malaysia.

Ek Type and Indian Type Foundry are organizations that have done groundbreaking work with the development of vernacular typefaces in India. 

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Instructions

Fig 1.1 Module Information

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Task 1 :Execise 1- Typographic Systems

For the first exercise, we are required to explore 8 typographic systems which are axial, radial, dilational, random, grid, modular, transitional and bilateral using the content provided.

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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

Lecture Theatre 12

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Requirements:

• Using Adobe InDesign only
• Size 200mm x 200mm
• Black and 1 additional colour
• Minor graphic elements (lines, dots, etc.)

Process 

First, I started with axial system. I have tried out 6 different layouts with the same fonts just to test out which one looks good for me. I have utilised lines and the dark blue circle throughout the design to make it more interesting. I have used 6 fonts in these design such as ITC Garamond Std, Gill Sans Std, Futura Std, Bodoni MT, Janson Text Lt Std, ITC NewBaskerville Std. Preferably, I like the first design as it is simple at the same time but also can convey the information clearly.

Fig 2.1 Axial system attempts, Week 1 (25/4/2024)

For radial system, I find it easier to design compared to other systems. I used circle as central point and enhanced with straight and curved lines. For the fonts in radial system, I have applied 3 fonts only which are Futura Std, Univers LT Std and Gill Sans Std. I prefer the fourth design as I like the impact of the half circle and also all informations are in a row.

Fig 2.2 Progression of radial system in Adobe InDesign, Week 1 (25/4/2024)

Fig 2.3 Radial system attempts, Week 1 (26/4/2024)

Actually for dilational system, I was a bit unsure of the direction and lack of idea. Based on the 4 designs, the characteristic of my first design was the 3 circles shape which I think it looked interesting but also like what Mr Vinod mentioned afterward, it's a bit weird therefore I decided to change my design to the second one which is the top right. In these 4 designs, all of them I have used 2 fonts only which are Futura Std and Gill Sans Std.

Fig 2.4 Progression of dilational system in Adobe InDesign, Week 1 (26/4/2024)

Fig 2.5 Dilational system attempts, Week 1 (26/4/2024)

I think that among these 8 systems, random system is the one that I have most freedom to handle with as I can do anything I wanted to do. However, I still unsure if my direction was correct but after I shown Mr Vinod my second design, he said it looks okay and fine. I have nothing much to change with it. I have mixed the text with a lot of different fonts to create variety.

Fig 2.6 Randon system attempts, Week 1 (27/4/2024)

I decided to design simple layout only for Grid system and I did not utilised a lot of graphic element. In order for consistency, I have used 3 Sans serif fonts which are Futura Std, Gill Sans Std and Univers LT Std. The first design was my favourite as I think it shows the best balance among all and the rotation of title also stands out the title itself.

Fig 2.7 Grid system attempts, Week 1 (27/4/2024)

For  modular system, I have applied a bit more graphic elemetns such as coloured circle, coloured box, circle, square and lines. Due to the reason that I have separated the columns and rows into 6x6, I have made smaller boxes so it is easier for me to create different sizes of text boxes. My favourite design was the fourth as I like balance between the boxes and shapes. Also, the circle mentionning The Design School, Taylor's University is big and coloured so it can attract the audiences' attention and balance the weight of the tile at the same time.

Fig 2.8 Progression of modular system in Adobe InDesign, Week 1 (2874/2024)

Fig 2.9 Modular system attempts, Week 1 (27/4/2024)

Transitional system is not very challenging for me, I think it just arrange the texts accordingly from up to down. For this system I have applied Sans serif fonts only as well. The fourth one was my favourite as it looks a bit minimalist and neat. I have added two lines which indicating the starting and ending point of the informations.

Fig 2.10 Progression of dilational system in Adobe InDesign, Week 1 (28/4/2024)

Fig 2.11 Transitional system attempts, Week 1 (28/4/2024)

In my mindset, bilateral system is just arranging the informations in the middle based on the central line. If the intention is to align it with the central straight line, why not simply arrange it in a straight line form? Therefore, in the first design, I adjust the letterspacing of each texts and make them align to achieve a perfectly straight appearance.

Fig 2.12 Progression of Bilateral system in Adobe InDesign, Week 2 (29/4/2024)

Fig 2.13 Bilateral system attempts, Week 2 (29/4/2024)

Here is the compilation of all the 8 systems which I have chosen one from each system and to show Mr Vinod for feedback. 

Fig 2.14 Compilation of all 8 systems, Week 2 (30/4/2024)

Adjustments after feedback session:

Here are the feedbacks that I have received from Mr Vinod:

Axial system- Looks okay but can reduce the lines.

Radial system- The graphic element is too strong, may be can change the colour or size.

Dilational system- Looks a bit weird because of the symmetrical arrangement.

Random system- ✔

Grid system- ✔, but can add leading to the texts at the left side.

Modular system- ✔ Interesting, the graphic elements function well.

Transitional system- ✔

Bilateral system- Can increase the leading of the text.

Adjustment on Axial System:

Fig 2.15 Adjustment on Axial System, Week 2 (1/5/2024)

Adjustment on Radial System:

Fig 2.16 Adjustment on Radial System, Week 2 (1/5/2024)

Adjustment on Dilational System:

Fig 2.17 Adjustment on Dilational System, Week 2 (1/5/2024)

Adjustment on Grid System:

Fig 2.18 Adjustment on Grid System, Week 2 (1/5/2024)

Adjustment on Bilateral System:

Fig 2.19 Adjustment on Bilateral System, Week 2 (1/5/2024)

Final Outcome for Task 1: Exercise 1

Fig 2.20 Final Axial System (JPEG), Week 4 (15/5/2024)

Fig 2.21 Final Radial System (JPEG), Week 4 (15/5/2024)

Fig 2.22 Final Dilational System (JPEG), Week 4 (15/5/2024)

Fig 2.23 Final Random System (JPEG), Week 4 (15/5/2024)

Fig 2.24 Final Grid System (JPEG), Week 4 (15/5/2024)

Fig 2.25 Final Modular System (JPEG), Week 4 (15/5/2024)

Fig 2.26 Final Transitional System (JPEG), Week 4 (15/5/2024)

Fig 2.27 Final Bilateral System (JPEG), Week 4 (15/5/2024)

Fig 2.28 Final Task 1 - Exercise 1: Typographic Systems (PDF), Week 4 (15/5/2024)

Fig 2.29 Final Task 1 - Exercise 1: Typographic Systems with grids and guides (PDF), Week 4 (15/5/2024)

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Task 1 :Execise 2- Type & Play

For this task, we are required to select an image from man-made objects or structures or nature. We are to dissect and identify potential letterforms within the image. The forms would be explored and ultimately digitized. It is expected that through a process of iteration the forms would go from crude representation to a more refined celebration that would reflect to a degree its origins.

1. Finding an image

First, I have browsed through the Internet to look for images that have strong and consistent character, preferably a subject matter that is similar or repetitive in nature. This is the image that I found it interesting as it is repetitive at the same time but also has variation.

Image link: https://www.pinterest.com/pin/851180398352618199/

Fig 3.1 Reference image from Pinterest, Week 2 (4/5/2024)

2. Identifying letterforms

I used the pen tool in Adobe Illustrator to trace out the letterforms that I have identified. I have remained the minor details of lettuce on the letterforms.

Fig 3.2 Progress in Adobe Illustrator, Week 2 (4/5/2024)

Fig 3.3 Traced letters (C,O,M,E,S) , Week 2 (4/5/2024)

3. Extracting letterforms

The letterforms are then extracted from the image and placed together on the baseline to be studied as a whole and in comparison to each other.

Fig 3.4 Extracted letterforms, Week 2 (4/5/2024)

Fig 3.5 Extracted letterforms with guides, Week 2 (4/5/2024)

4. Identify a reference

Proceeding to the next stage, we were required to choose a reference typeface from the 10 typefaces to get an idea of the direction we want in developing the extraction. I have selected the typaface "Bodoni MT Bold" as my reference typeface.

Fig 3.6 Reference typeface "Bodoni MT Bold", Week 2 (4/5/2024)

Fig 3.7 Extracted letterforms placed against a reference typeface (Bodoni MT Bold), Week 2 (4/5/2024)

5. Refining letterforms

During the first stage of refinement of letterforms, I started to adjust the font width, thickness, and angle by referring to the reference font Bodoni MT.

Fig 3.8 Adjustment of letterform "C" on first stage, Week 3 (6/5/2024)

Fig 3.9 Adjustment of letterform "O" on first stage, Week 3 (6/5/2024)

Fig 3.10 Adjustment of letterform "M" on first stage, Week 3 (6/5/2024)

Fig 3.11 Adjustment of letterform "E" on first stage, Week 3 (6/5/2024)

Fig 3.12 Adjustment of letterform "S" on first stage, Week 3 (6/5/2024)

Below are the development of all the letters C,O,M,E,S throughout the process. For letter C, there is not much big difference just that I have added more texture of lettuce around the outercurve and also refine the edges so that it looked more delicate.

Fig 3.13 Development of letterform C, Week 3 (8/5/2024)

At first, I wanted to keep the orignical shape of counter of letter "O" but I have changed it according to Mr Vinod's feedback. Also, in order to make the letter "'O" intergrated with other letters, I have improved the strength of texture of it.

Fig 3.14 Development of letterform O, Week 3 (8/5/2024)

The biggest changes of letter "M" would be the width of it. After I have reshaped it, I adjusted on the leg of it by creating sharp curving shape and also minor curves.

Fig 3.15 Development of letterform M, Week 3 (8/5/2024)

For letter "E", I have increase it stroke size and also th elower part with around the leg which I wanted to make it consistent with letter "C" and "M" so I have added the sharp curve.

Fig 3.16 Development of letterform E, Week 3 (8/5/2024)

I have changed letter "S" the most where I transfered the pattern to the spine part instead of the edges as what Mr Vinod recommended as it looked more natural. Also, refining the letter "S" is quite challenging for me as it is hard to get a perfect curve.

Fig 3.17 Development of letterform S, Week 3 (8/5/2024)

I have pointed out the differences of changes on certain letters after Mr Vinod's feedback.

There is lack of detailed patterns on "C" which makes it almost integrate with other letters but still not enough. To eliminate away the sharp edges, I changed it with some lettuce patterns.

Fig 3.18 Final adjustment of "C" based on feedback, Week 3 (8/5/2024)

Also, the same problem on letter "O" which is lack of the patterns of lettuce. Thus, I decided to add on both side and bottom part of it. Another problem is the compound need to be changed to round shape.

Fig 3.19 Final adjustment of "O" based on feedback, Week 3 (8/5/2024)

The patterns on top and bottom are eliminated and left only a little which the main focus will be on the spine part.

Fig 3.20 Final adjustment of "S" based on feedback, Week 3 (8/5/2024)

Process of refined letterforms

Fig 3.21 Compilation of the process of refined letteforms, Week 3 (8/5/2024)

Final Outcome of Type Design

Fig 3.22 Final outcome of Type Design (JPEG), Week 3 (8/5/2024)

Fig 3.23 Final outcome for letter "C" (JPEG), Week 3 (8/5/2024)

Fig 3.24 Final outcome for letter "O" (JPEG), Week 3 (8/5/2024)

Fig 3.25 Final outcome for letter "M" (JPEG), Week 3 (8/5/2024)

Fig 3.26 Final outcome for letter "E" (JPEG), Week 3 (8/5/2024)

Fig 3.27 Final outcome for letter "S" (JPEG), Week 3 (8/5/2024)

Fig 3.28 Final outcome of Type Design (PDF), Week 3 (8/5/2024)

Finding Type Poster

Here is the another image of lettuce that I decided to set as my poster background. After I have crop it to 1024px x 1024px, I have adjusted on the brightness, saturation, colour balance of the picture on Adobe Photoshop in order to match it with my font.

Fig 3.29 Original background image, Week 3 (13/5/2024)

Fig 3.30 Image after adjusted, Week 3 (13/5/2024)

Also, a movie poster will contain movie logos, here are the logos I have found and I have included some of it in. 

Link: https://adobe.ly/2sAaJEE

Fig 3.31 Movies logo, Week 3 (13/5/2024)

First, after I have imported my background picture, I have added the type and play design on top and enlarge it until suitable size and aligned with the page. Also, I have added another line of text which is the movie slogan at the bottom part of the movie titke so that it would not looked so empty. 

Fig 3.32 Progression in Adobe Illustrator, Week 3 (13/5/2024)

In order to make the movie title stands out, I have duplicated another layer of my title and change it into black colour. After that, I have applied the effect motion blur so that it created a shadow underneath it. Same goes to the movie slogan and the text on top which is "A film by Lim En Yu".

Fig 3.33 Added shadow underneath title, Week 3 (13/5/2024)

This is the first version of finding type poster with all the movie's titles, information and logos. Mr Vinod given me the feedback that the movie title need to be enlarged more and the coming soon and the movie crew team credits should be smaller so that it won't take much attention away. Therefore, I have made some improvements on it according to the feedbacks.

Fig 3.34 First version of Finding Type Poster, Week 3 (15/5/2024)

The image below is all the compiled progression starting from dissection and improvements and lastly it shows up as a movie poster in the end.

Fig 3.35 Final Poster with process, Week 3 (15/5/2024)

Final Outcome of Finding Type Poster:

Fig 3.36 Final Outcome of Finding Type Poster (JPEG), Week 3 (15/5/2024)

Fig 3.37 Final Outcome of Finding Type Poster (PDF), Week 3 (15/5/2024)

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Feedback

Week 2 

General feedback: Grpahic elements should have their own function while being used in the layout. Dilational system should be based on the shape of circle. The angle of the text should not more than 45° as it will become too sharp. We should avoid typo and lack of information happened in the design.

Specific Feedback:

Axial system- Looks okay but can reduce the lines.

Radial system- The graphic element is too strong, may be can change the colour or size.

Dilational system- Looks a bit weird because of the symmetrical arrangement.

Random system- ✔

Grid system- ✔, but can add leading to the texts at the left side.

Modular system- ✔ Interesting, the graphic elements function well.

Transitional system- ✔

Bilateral system- Can increase the leading of the text.

Week 3

General Feedback: We should extract the letterforms based on the shapes in the image instead of the lines. The shape must be representative.

Specific Feedback:

Overall between the letters C,O,M,E,S, M and E is the most suitable and should be referred by other letters.

Letter C: Include more patterns and take away the sharp point at the edge.

Letter O: Not acceptable, should include the patterns at outer curve. The counter need to be adjust.

Letter M: ✔

Letter E: ✔

Letter S: The top and bottom patterns should be removed, no need to follow the exactly extracted letterforms. The patterns could be added at the middle part to make it looked more natural.

Week 4

General Feedback: The title should be bigger enough to catch the audiences' attention at first sight. Others elements such as logo and contents should be smaller so it would not distract the audience. The background picture should be the same thing of our reference image so that it intergrated with the title.

Specific Feedback: The other elements at bottom of poster should be resize. 3D effects should be related to the texture of the image. It is better to not add the effect first while focusing on the title.

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Reflection

Experience

After a semester without learning typography, I find it a bit unfamiliar when I started the first class of advanced typography. Luckily we started with exercise that are not so challenging, but also required the sense of composition and design which I find it quite hard for me to think of different types of interesting composition that best to express the informations but I have tried my best to try out different ways of arrangement of information according to different typographic systems. Exercise type and play is quite fun for me as it is designing font from a picture with special repetitive patterns. This is the first time I designing font with special patterns instead of normal font.

Obeservations

While carrying out the exercises, I have observed my improvements and developments along the journey. In exercise 1, I have not much idea about the arrangement of texts at the start. However, when slowly exploring on more and more ideas, I could think of different variations of arrangement and also confirm which style I preferred. For exercise 2, I observed that every minor details in a letterform could impact a lot. For instance, once I have change a little of the pattern and texture that I have created for my letterforms like strokes, curves or the size of counter, the feeling of the letterforms can be different.

Findings

Throughout all the exercises, I have successfully found out all the mistakes that I have made by Mr Vinod's feedback and corrected them which is a big improvement for me. I found out that I am not detailed enough in every particulars, which is the reason that my work does not look good enough. Other than that, I found out that sometimes looking at others' works could also give me some inspritations or let myself know which part I can improve more. 

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Further Reading

Typography Systems

by Kimberly Elam

Fig 6.1 Typography Systems by Kimberly Elam, Week 2 (30/4/2024)

All design relies on a structural framework, which can be categorized into eight main variations, each with endless possibilities for compositions. Once designers grasp these fundamental visual organization systems, they can seamlessly arrange words or images within a structure, combine different structures, or innovate variations of existing structures. These typographic systems are analogous to what architects refer to as shape grammars, which identify styles through rule-based compositional systems. These shape grammars serve both for historical style analysis and design purposes. Similarly, the eight typographic systems each have their own unique set of rules, providing a clear sense of purpose that guides decision-making processes.

Fig 6.2 Axial, Radial and Dilational systems, Week 2 (30/4/2024)

The image attached showed the relevant examples of all the 8 systems. Each typographic system possesses its own unique aesthetic and visual language. Although some systems may not be suitable for conveying lengthy messages, they can all be adapted to communicate with dynamic energy. These systems are most effective for interpretive communication, where the designer carefully considers factors such as message tone, structure, length, and meaning. By blending typography with the message content, it transforms into an image that dynamically invites the reader and enhances the overall meaning.

Fig 6.3 Random, Grid, Tansitional, Modular and Bilateral systems, Week 2 (30/4/2024)

Fig 6.4 Line Breaks, Week 2 (30/4/2024)

Every line of the message should be incorporated into each composition. However, lines can be broken as desired, transforming a single line into multiple lines and altering the grouping and reading flow. 

Fig 6.5 Leading, Week 2 (30/4/2024)

The leading can vary, leading to shifts in position and texture. 

Fig 6.6 Word and letter space, Week 2 (30/4/2024)

Adjusting word spacing and letter spacing results in noticeable changes in texture and tone.