Advanced Typography - Task 1 : Typographic System & Type and Play

31/08/2022- 07/09/2022 (Week 1- Week 5)

Brigita Maria/0352958

Advanced Typography/ Bachelor of Design in Creative Media

Advanced Typography Exercises: Typographic Systems

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AD TYPO 1

TYPOGRAPHIC SYSTEM
-Axial
-Radial
-Dilatational
-Random
-Grid
-Modular
-Transitional
-Bilateral

Shape grammars, the typographic systems are similar that the systems has a set of rules that is unique and provides a sense of purpose that focuses and directs the decision making.

Figure 1.1

Axial system: all elements are organized to the left or right of a single axis

Figure 1.1

Radial system: all elements are extended from a point to focus.

Figure 1.2

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

Figure 1.3

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

Figure 1.4

Grid system: a system of vertical and horizontal division

Figure 1.5

Transitional system: an informal system of layered banding

Figure 1.6

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

Figure 1.7

Bilateral system: all text is arranged symmetrically on a single axis

AD TYPO 2

TYPOGRAPHIC COMPOSITION

Principles of Design Composition

The Rule of Thirds
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 points of interest, within the given space.

Typographic Composition

Typographic Systems
8 systems
Grid system , further enhanced to swiss modernist style of typography

Other models/system:

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 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 texture and visual stimuli.
Form and movement:

This system is based on the exploration of an existing Grid Systems. I developed this system to get students to explore; the multitude of options the grid offer; to dispel the seriousness surrounding the application of the grid system; and to see the turning of pages in a book as a slowed-down animation in the form that constitutes the placement of image, text and color.

AD TYPO 3

CONTEXT AND CREATIVITY

Handwriting

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.

The shape of hand writing are influenced by the tools and materials that are used to make them.

History of Writing System

Cuneiform c.3000 B.C.E.

Figure 1.8

Cuneiform, the earliest system of actual writing, was used in a number of languages between the 34C. B.C.E. through the 1st century C.E. Its distinctive wedge form was the result of pressing the blunt end of a reed stylus into wet clay tablets. The cuneiform characters evolved from pictograms. Cuneiform was written from left to right.

Hieroglyphics 2613-2160 B.C.E.

Figure 1.9

The Egyptian writing system is fused with the art of relief carving. The system was a mixture of both rebus and phonetic characters—the first link to a future alphabetic system.

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

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

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

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

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

Figure 1.10

Built on the Egyptian logo-consonantal system, the Phoenicians developed a phonetic alphabet consisting of 22 letters.

The Phoenicians system then was adopted by the Greeks who added the necessary vowels. Early Greek was comprised of only capital letters, written between two guidelines to organize them into horizontal rows.

Greek was often read in a format known as boustrophedon or “as the ox plows.” One row would read left to right and then switch from right to left.

These early Greek letters were drawn freehand, not constructed with compasses and rule, and they had no serifs —neither the informal entry and exit strikes left by a relaxed and fluent writer, nor the symmetrical finish stroke typically added to letters by formal scribes.

In time the strokes of these letter grew thicker, the aperture lessened, and serifs appeared. The new forms, used for inscriptions throughout the Greek empire, served as models for formal lettering in imperial Rome.

Roman Uncials

Figure 1.11

And those Roman inscriptional letters—written with a flat brush, held at an angle like a broad nib pen, then carved into the stone with mallet and chisel—have served in their turn as models for calligraphers and type designers for the past two thousand years."

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

English Half Uncials, 8th C.

Figure 1.12

In England the uncial evolved into a more slanted and condensed form. While English and Irish uncials evolved, writing on the European continent devolved considerably and needed a reformer. Luckily it came in the Carolingian Handwriting Reform.

Emperor Charlemagne 8 C. CE

Figure 1.13

After the fall of the Roman Empire, the end of a central advanced culture resulted in general illiteracy and a breakdown of handwriting into diverse regional styles. For 300 years the knowledge of writing was kept alive mainly in the remote outposts of religious cloisters and retreats.

Carolingian Minuscule

Figure 1.14

A court school was established under the direction of Alcuin of York. During Charlemagne's patronage book production increased and language was standardized —pronunciation and spelling as well as writing conventions— capitals at the start of a sentence, spaces between words and punctuation. A new script emerged, the Carolingian minuscule.

The Carolingian minuscule, was used for all legal and literary works to unify communication between the various regions of the expanding European empire.

The Carolingian minuscule was as important a development as the standard Roman capital—for 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.

Figure 1.15

Black Letter 12-15 C. CE

Figure 1.16

Gothic was the culminating artistic expression of the middle ages, occurring roughly from 1200—1500. The term Gothic originated with the Italians who used it to refer to rude or barbaric cultures north of the Italian Alps.

The Gothic spirit took hold in France, Germany and England where it was manifested through unhindered upward striving:

Figure 1.17

the vertical supplanted horizontals as the dominant line in architecture; the pointed arch replaced the round arch of the Romans; the almond shape, or mandorla, was preferred. Gothic writing forms reflected this aesthetic. Blackletter is characterized 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

Figure 1.18

As the Gothic spirit reached its apex in the other areas of western Europe, Humanist scholars in Italy were slowly reviving the culture of antiquity. The renaissance embrace of ancient Greek and Roman culture spurred a creative wave through Italian art, architecture, literature and letter form design.

The Humanist admired the Carolingian script , which had clear open handwriting.

Humanist named the 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 rationalized letter.

Figure 1.19

Movable Type 11 C. - 14 C.

Figure 1.20

Printing (wood block) had already been practiced in China, Korea and Japan (Dharani Sutra, AD 750). Earliest known printed book (AD 868) is the Diamond Sutra: 16’ scroll with the world’s first printed illustration.

China had attempted use movable type for printing but was unsuccessful due in part to the number of characters and the material used (clay).

Figure 1.21

In late 14 C. several decades before the earliest printing in Europe, the Koreans establish a foundry to cast movable type in bronze—allowed the dismantling and resetting of text.

With the creation of their new script Han’gul, the Koreans would succeed where the Chinese failed.

To conclude, the introduction of moveable type was introduced in the 1000-1100 CE. This innovation was pioneered in China but achieved in Korea (Diamond Sutra). In the late 1300-1399 CE, several decades before the earliest printing in Europe (Guttenberg’s bible 1439), the Koreans establish a foundry to cast movable type in bronze.

Figure 1.22

Why do we talk about Greek influence on Rome, but not Egyptian or Near Eastern influence on Greece?

Because in the 19th century and the rise of the modern British Empire, it became out of style to credit Africa or Africans with anything of value, and therefore Greece and Rome were elevated over much older, much more influential civilizations, specifically Ancient Egypt, but also less extensive or old civilizations like Mesopotamia, the Indus Valley, China, etc.

An example of this insidiousness is how the European academic process worked to create the discipline of “Indology”. Max Mueller who was central to this, never actually visited India. By viewing historical evidence through colonial lenses they ignorantly postulated ideas that were self serving, i.e. Aryan theory.

And the same is true for: Classicism, Egyptology, Africanism, Indology and Orientalism.

Handwriting

What is important to note is that later day typographers, through research, curiosity and a respect for history would pay homage to these developments. This would result in books being written and published, recreation of the hand written styles into mechanical forms for printing.

With the digital revolution, the west would begin to digitize many of its historical creations and type foundries would create, market and sell or license them. The recognition of the importance of these historical letterforms is something to be admired and learned from.

With the colonization of the east by the west, much of the heritage and cultural practices in literature, arts and crafts, languages and scripts would be halted or stunted.

Figure 1.23

Evolution of Middle Eastern Alphabets:

It is also important to note that while the Phoenician letter marks a turning point in written language—use of sound represented in letters—the script itself has been possibly influenced by the Egyptian Hieroglyphics and Hieratic Scripts.

Figure 1.24

The Evolution of the Chinese script:

From the Oracle bone to Seal Script to Clerical Script, Traditional and Simplified scripts

Figure 1.25

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. “Some believe that these symbols are non-linguistic, while others argue that they represent a Dravidian language.”

Figure 1.26

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.

The origin of the script is still much debated, with most scholars stating that Brahmi was derived from or at least influenced by one or more contemporary Semitic scripts, while others favor the idea of an indigenous origin or connection to the much older and as-yet undeciphered Indus script of the Indus Valley Civilization.

Handwriting

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.

Figure 1.27

This is the Kedukan Bukit inscription from Sumatra, written in Old Malay using the Pallava script.

Figure 1.28

Pra-nagari, an early form of the Nagari script, used in India for writing Sanskrit. It can be seen today in the Blanjong inscription of Bali

Pallava was highly influential, becoming the basis for writing systems across Southeast Asia.

But Pallava wasn't the only Indian script in use in the Malay Archipelago. Another was Pra-nagari, an early form of the Nagari script, used in India for writing Sanskrit

Indonesia's most important historical script: 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.

This means that ancient kingdoms in of the Malay Peninsula would have been using both Indian scripts and Kawi to write old Malay language.

Figure 1.29

Laguna Copperplate Inscription. Written in Kawi. The Sanskrit terms seen in the document, the culture and society of Manila Bay was that of a Hindu–Old Malay amalgamation, similar to the cultures of Java, Peninsular Malaysia and Sumatra at the time.

Indonesia has a great number of historical writing systems. We will look into the scripts of the communities that assimilated into Peninsula Malay communities.

Scholars have theorised the existence of an ancient Gujerati-derived Proto-Sumatran writing system which was the basis of medieval scripts on the island. More can be read about this here.

Now for some later examples. This is Incung from Kerinci. If you have family from Kampung Kerinci, this is your “tulisan asal” or original writing system, not Jawi.

Figure 1.30

Incung comes from a South Sumatran grouping of scripts known as Rencong.

Figure 1.31

A related script to the Rencong grouping is the Rejang script, also from South Sumatra

Figure 1.32

The Batak script: This is a page from a Batak handbook on magic and divination

Figure 1.33

The Bugis script called Lontara, deriving from the word lontar, a type of palm used for writing manuscripts in the Malay Archipelago

Figure 1.34

The Javanese script is a medieval descendant of Kawi. This is the Surya Ngalam, a legal treatise.

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”.

Figure 1.35

Record of sale for a female Batak slave to a British, can give more insight into our history. Img from the British Library.

Ancient Hindu societies in both South and Southeast Asia were classist and often caste-based. The lower classes were generally illiterate. Obviously Islam didn't change this completely, but it did encourage teaching for the sake of proselytization

When those traders engaged in missionary work, they would have taught Jawi to people that might otherwise not have learned to read and write. This allowed it to spread among the upper and middle-class in the trading ports. However it took a while for Jawi to supplant other scripts, and in some areas never did so completely.

In modern Malaysia, Jawi is of greater importance because it's the script used for all our famous works of literature. Every hikayat and Malay charm book is written in Jawi. Unlike Indonesia, we don't have a huge wealth of pre-Jawi inscriptions and writings—this part of the reason why some tend to ignorantly claim that Jawi is "tulisan asal Melayu", which is of course untrue.

Here is an article that gives a small very basic overview in what is a complex history of writing systems in the Malay archipelago / South East Asia.

All systems of writing have some form of influence. To claim complete originality is inaccurate and some would say ignorant. History gives us context, but it also gives designers opportunity to design, research or help codify to communicate and understand better our collective heritage.

Figure 1.36

Demak was a Muslim Javanese kingdom, yet here's a manuscript from the 19th century which still uses the traditional Javanese writing system

Why is handwriting important in the study of type/typography?

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

For decades, Asia/East has neglected much of its written heritage, and by adapting western printing technologies (letter press, linotype, Unicode), it was difficult to create many of the old text in printed form, because it would take know-how, much time, effort and money.

However with a mild renaissance in the East, with the advent of computer programmers in large numbers, we are starting to see the proliferation of indigenous scripts on phones, tablets and computers.

Figure 1.37

More vernacular scripts are being produced by software giants (Google): in their employment a great many Asian programmers and designers. More and more vernacular and “multi-script” typefaces —a term coined by Muthu Nedumaran—are being produced to cater to situations where the written matter is communicated in the vernacular script or vernacular and Latin scripts.

AD TYPO 4

DESIGNING TYPE

So why do we design another typeface?

Xavier Dupré (2007) in the introduction of his typeface Malaga suggested two reasons for designing a typeface:

1. type design carries a social responsibility so one must continue to improve its legibility.

2. type design is a form of artistic expression.

Figure 1.38

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ADRIAN FRUTIGER

A renowned 20th Century Swiss graphic designer. His forte was typeface designing and he is considered responsible for the advancement of typography into digital typography. His valued contribution to typography includes the typefaces;

Univers and Frutiger.

Frutiger typeface is a sans serif typeface designed by the Swiss type designer Adrian Frutiger in 1968 specifically for the newly built Charles de Gaulle International Airport in France. A more detailed history can be found here.

Purpose: The goal of this new typeface was create a clean, distinctive and legible typeface that is easy to see from both close up and far away. Extremely functional.

Considerations/Limitations: letterforms needed to be recognized even in poor light conditions or when the reader was moving quickly past the sign. He tested with unfocused letters to see which letterforms could still be identified.

Adrian Frutiger received many honors, at the university in the holy city of India, Varanasi. He had designed a new Devanagari font for modern typesetting and printing processes at the request of the Indian Design Institute. With the goal to simplify the sacred characters without compromising their ancient calligraphic expression.

MATTHEW CARTER

The son of Harry Carter, Royal Designer for Industry, contemporary British type designer and ultimate craftsman. Carter trained as a punchcutter at Enschedé by Paul Rädisch, responsible for Crosfield’s typographic program in the early 1960s, Mergenthaler Linotype’s house designer 1965–1981.

Many of Carter's fonts were created to address specific technical challenges, for example those posed by early computers…

Verdana (1996) for Microsoft

Purpose: the font was tuned to be extremely legible even at very small sizes on the screen due in part to the popularity of the internet and electronic devices.

Considerations/limitations: The Verdana fonts exhibit characteristics derived from the pixel rather than the pen, the brush or the chisel. Commonly confused characters, such as the lowercase i j l.

In 1976, AT&T commissioned the design of a new typeface whose sole purpose would be for use in their telephone directories. The design had to solve multiple technical and visual problems related with the existing phonebook typeface, Bell Gothic. The solution, named in honour of the company's 100th anniversary, was Bell Centennial.

EDWARD JOHNSTON

He is the creator of the hugely influential London “Underground” typeface, which would later come to be knows as “Johnston Sans” (1916).

He was asked to create a typeface with “bold simplicity” that was truly modern yet rooted in tradition. Johnston’s design, completed in 1916, combined classical Roman proportions with humanist warmth.

Purpose: London's Underground railway ordered a new typeface for its posters and signage from the calligrapher Edward Johnston. He handed over details and examples of letter shapes that would set the tone for printed text until the present day.

Consideration/limitation: "Johnston's remit was to unite the London Underground Group, the different companies all using the same rails and tunnels," "All the advertising, all the signage was all completely different - there was this cacophony of letters. Johnston applied the proportions of Roman capital letters to his typeface, so it was rooted in history, rooted in traditional calligraphy. But it has an elegance and a simplicity that absolutely fitted the modern age."

GENERAL PROCESS OF TYPE DESIGN

1. Research

2. Sketching

3. Digitization

4. Testing

5. Deploy

1. Research

When creating type, we should understand type history, type anatomy and type conventions. We should also know terminologies, side-bearing, metrics, hinting…

It is then important to determine the type’s purpose or what it would be used for, what different applications it will be used in such as whether the typeface is for school busses or airport signages, etc.

We should also examine existing fonts that are presently being used for inspiration/ideas/reference/context/usage pattern/etc.

2. Sketching

Some designers sketch their typeface using the traditional tool set (brushes/ pens, ink and paper) then scan them for the purpose of digitization. They are more confident with their hands and have better control using it.

Some designers sketch their typeface using digital tool sets, such as Wacom directly into a font design software (much quicker, persistent, and consistent) but this can sometimes impede the natural movement of hand strokes.

Both methods have their positives and negatives.

3. Digitization

There are professional software that are used in the digitization of typefaces, amongst the leading software are: FontLab and Glyphs App.

There are designers that also use Adobe Illustrator to design or craft the letterforms and then introduce it into the specialized font apps. This however is frowned upon by the purist.

Attention should not only be given to the whole form at this stage but also to the counter form. The readability of the typeface is heavily dependent on it.

There are professional software that are used in the digitization of typefaces, amongst the leading software are: FontLab and Glyphs App.

There are designers that also use Adobe Illustrator to design or craft the letterforms and then introduce it into the specialized font apps. This however is frowned upon by the purist.

Attention should not only be given to the whole form at this stage but also to the counter form. The readability of the typeface is heavily dependent on it.

4. Testing

Testing is an important component in the design thinking process. The results of the testing is 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 typ) the readability and legibility of the 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 in so that the teething issue remain minor.

Typeface Construction

Roman Capital: The grid consists of a square, and inside it a circle that just touches the lines of the square in four places. Within the square, there is also a rectangle. This rectangle is three quarters the size of the square and is positioned in the centre of the square. More here and here.

Thus, using grids (with circular forms) can facilitate the construction of a letterforms and is a possible method to build/create/design your letterform.

Construction and considerations:

Figure 1.56

Classification according to form and construction

Depending on their form and construction, the 26 characters of the alphabet can be arranged into groups, whereby a distinction is made between a group for the capitals and a group for lowercase letters.

Many 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. This also applies to vertical alignment between curved and straight forms.

A visual correction is also needed for the distance between letters. It is not possible to simply place letters next to each other with equal spacing between them. The letters must be altered to a uniform ‘visual’ white space. This means that the white space between the letters should appear the same. This is called ‘fitting’ the type.

The consideration when creating a typeface cannot be covered in its entirety in a single lecture or in a couple of slides. As such I would urge you to read more about it, when time permits or when the need arises here.

However take note that there are many approaches and considerations other than what has been provided in the link.

AD TYPO 5

PERCEPTION AND ORGANISATION

Figure 1.57

Perception is “the way in which something is regarded, understood, or interpreted”. So, is perception what you see—and therefore understand—or what you are manipulated into seeing and understanding?

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. However our focus today is in typography.

CONTRAST

Figure 1.58

Carl Dair on the other hand adds a two more principles into the mix; texture and direction “to make design work and meaning pop out — clearly and unambiguously, and with flair.” via the use of contrast in typography. More here.

Dair posits 7 kinds of contrast (most of which has already been covered by Rudi Reugg albeit using different terms):
1. size

2. weight

3. contrast of form

4. contrast of structure

5. contrast of texture

6. contrast of color

7. contrast of direction

Contrast/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.

Figure 1.59

Figure 1.60

Contrast / 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.

Figure 1.61

Contrast / Form

Contrast of form is the distinction between a capital letter and its lowercase equivalent, or a roman letter and its italic variant, condensed and expanded versions of typeface are also included under the contrast of form.

Figure 1.62

Contrast / Structure

Structure means the different letterforms of different kinds of typefaces. For example, a monoline sans serif and a traditional serif, or an italic and a blackletter.

Figure 1.63

Figure 1.64

Contrast / Texture

By putting together the contrasts of size, weight, form, and structure, and applying them to a block of text on a page, you come to the contrast of texture. Texture refers to the way the lines of type look as a whole up close and from a distance. This depends partly on the letterforms themselves and partly on how they’re arranged.

Figure 1.65

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Contrast / 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 or horizontal aspects of direction. Mixing wide blocks of long lines with tall columns of short line can also create a contrast.

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Contrast / Color

The use of color is suggested that a second color is often less emphatic in values than plain black on white. Therefore it is important to give thought to which element needs to be emphasized and to pay attention to the tonal values of the colors that are used.

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FORM

For 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. A good form in typography tends to be visually intriguing to the eye; it leads the eye from point to point, it entertains the mind and is most often memorable.

Figure 1.71

Originating from the Greek words “typos” (form) and “graphis” (writing), typography means to write in accordance with form. Typography can be seen as having two functions:

1. to represent a concept

2. to do so in a visual form.

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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.

Figure 1.75

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 meaningful perceptions.

The Gestalt psychologists, especially Max Wertheimer, developed a number of “laws” that predict how perceptual grouping occurs under a variety of circumstances (Wertheimer, 1923/1938). Technically, in sciences, laws are predictions that are true. In reality, these laws are better classified as principles

Gestalt theory emphasizes that the whole of anything is greater than its parts—this is based on the idea that we experience things as unified whole: Instead of breaking down thoughts and behavior to their smallest elements, the gestalt psychologists believed that you must look at the whole of experience.

Figure 1.76

Therefore in design (read: typographic layouts), the components/ elements that make up the design is only as good as its overall visual form. While each component may be functional at an elemental level, the sum of its parts is not greater than the whole or the overall form.

Perceptual Organisation / Groupings

Law of Similarity

Law of Proximity

Law of Closure

Law of Continuation

Law of Symetry

Law of Simplicity (Praganz)

…

Figure 1.77

The Law of Similarity is the gestalt grouping law that states that elements that are similar to each other tend to be perceived as a unified group. Similarity can refer to any number of features, including color, orientation, size, or indeed motion.

The Law of Proximity is the gestalt grouping law that states elements that are close together tend to be perceived as a unified group. This straightforward law states that items close to each other tend to be grouped together, whereas items further apart are less likely to be grouped together.

Figure 1.78

The Law of Closure refers to the mind’s tendency to see complete figures or forms even if a picture is incomplete, partially hidden by other objects, or if part of the information needed to make a complete picture in our minds is missing

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. The alignment of the objects or forms plays a major role for this principle to take effect. For more.

Figure 1.79

INSTRUCTION

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Task 1 Exercise 1 TYPOGRAPHIC SYSTEMS

For this exercise, we are given the task to explore 8 systems which are Axial, Radial, Dilatational, Random, Grid, Modular, Transitional and Bilateral in InDesign using the content given in the MIB.

- Size 200 x 200 mm
- Colours: Black and can have additional colour
- Minor graphical elements

I did first do the research on layouts that people had made regarding all the typographic system.

Figure 2.1 Modular system, Week 1 (30/09/2022)

Figure 2.2 Radial System, Week 1 (30/09/2022)

Figure 2.3 Axial System, Week 1 (30/09/2022)

Figure 2.4 Dilatational System, Week 1 (30/09/2022)

Figure 2.5 Radial System, Week 1 (30/09/2022)

Here are some of the initial working of the design in the Indesign program.

Figure 2.6 Bilateral System, Week 1 (30/09/2022)

Figure 2.7 Transitional Progress, Week 1 (30/09/2022)

The font that I used is Univers Std. The font size differs from 9-4 pts. For the titles I used Univers Std Bold or Black, for content Univers Std Roman. There is one design that I used ITC New Baskerville Roman for the content.

Here are the initial ideas and design on every system. I came up with 2-3 designs for each system to make a comparison and varieties than can be choose.

Figure 2.8 Axial system, Week 1 (30/09/2022)

I realized that the right most version is not an axial design as it has multiple axials, which breaks the rule of the axial system. And it is generally hard for me to design only using the 10 typefaces only. I feel like I am trapped in the rule and can't seem to work around these given guidelines.

Figure 2.9 Bilateral system, Week 1 (30/09/2022)

It felt very bland, not creative and a literal translate of the Bilateral system definition and rule

Figure 2.10 Dilatational system, Week 1 (30/09/2022)

Figure 2.11 Grid system, Week 1 (30/09/2022)

Figure 2.12 Modular system, Week 1 (30/09/2022)

Figure 2.13 Radial system, Week 1 (30/09/2022)

Figure 2.14 Random system, Week 1 (30/09/2022)

Figure 2.15 Transitional system, Week 1 (30/09/2022)

Figure 2.16 Final Option, Week 1 (30/09/2022)

Week 2:

Mr. Vinod gave some feedbacks and tips regarding our work. So from his feedbacks to classmates and to my own work. I did some changes. Because mostly my work did follow the rules of the Typographic system, but it is to plain and simple. Not creative and can be explored more, in my opinion.

Hopefully after seeing my friends' work and some ideas from internet, I can make a better design.

Figure 2.17 Compiled version of the edited design, Week 2 (07/10/2022)

Figure 2.18 Axial System , Week 2 (07/10/2022)

Figure 2.19 Modular System, Week 2 (07/10/2022)

Figure 2.20 Dilatational System, Week 2 (07/10/2022)

Figure 2.21 Radial System, Week 2 (07/10/2022)

Figure 2.22 Random System, Week 2 (07/10/2022)

Figure 2.23 Grid System, Week 2 (07/10/2022)

Figure 2.24 Transitional System, Week 2 (07/10/2022)

Figure 2.25 Bilateral System, Week 2 (07/10/2022)

FINAL RESULT

Figure 2.26 Final Result PDF, Week 3 (14/10/2022)

Figure 2.27 Final Result PDF with Baseline, Week 3 (14/10/2022)

Task 1 Exercise 2 TYPE AND PLAY PART 1

For exercise 2 part 1, we need to analyze, dissect and identify potential letterforms (4 letters only) within a chosen image of a subject - organic or man-made.

- Uppercase or lowercase only

- Choose reference typeface from the 10 typefaces

This is a photo that I took when I was on holiday XD.

Chosen Picture

Figure 3.1 Subject, Week 3 (14/10/2022)

1st Attempt Letter Extraction

Figure 3.2 Extraction from the subject, Week 3 (14/10/2022)

Re-construction

Figure 3.3 Initial progression , Week 3 (14/10/2022)

2nd Attempt Letter Extraction

Figure 3.4 Extra extraction from the leaves, Week 3 (14/10/2022)

Figure 3.5 Sneak-peek on the construction progress, Week 3 (14/10/2022)

Details on the Re-construction

Figure 3.6 Reference Font: Futura Std, Week 3 (14/10/2022)

Figure 3.7 Exact Extraction letterform, Week 3 (14/10/2022)

Figure 3.8 First Re-construction, Week 3 (14/10/2022)

Figure 3.9 Second Re-construction, Week 3 (14/10/2022)

Figure 3.10 Third Re-construction, Week 3 (14/10/2022)

Figure 3.11 Final Re-construction, Week 3 (14/10/2022)

Figure 3.12, Compiled steps of the construction Week 3 (14/10/2022)

Figure 3.13 H letter black and outlined, Week 3 (14/10/2022)

Figure 3.14 Y letter black and outlined, Week 3 (14/10/2022)

Figure 3.15 M letter black and outlined, Week 3 (14/10/2022)

Figure 3.16 A letter black and outlined, Week 3 (14/10/2022)

Figure 3.17 F letter black and outlined, Week 3 (14/10/2022)

Details and Ending

After receiving some more feedback from Mr. Vinod. I added some final details to enhance the property of the object that I referenced this letterforms which is leaves. Making it more "leaf-like" if you may say.

Figure 3.18 H letter details construction, Week 4 (21/10/2022)

Figure 3.19 Y letter details construction, Week 4 (21/10/2022)

Figure 3.20 M letter details construction, Week 4 (21/10/2022)

Figure 3.21 A letter details construction, Week 4 (21/10/2022)

Figure 3.22 F letter details construction, Week 4 (21/10/2022)

Figure 3.23 Poster, Week 4 (21/10/2022)

FINAL RESULT

Figure 3.24 Final Result , Week 4 (21/10/2022)

Task 1 Exercise 2 TYPE AND PLAY PART 2

For Exercise 2 Part 2, we were tasked to enter the HONOR Talents Global Design Awards. It is a design contest organized by HONOR. It was introduced in 2020, aims to connect and inspire young talents who are passionate about Arts and Technology. The program became HONOR’s flagship program to provide global platform for youth.

All of my classmates were told to participate the competition using our 2 part of this exercise, where we cooperate typography with photos that we took ourselves. The end goal is to make a wallpaper photo with the design theme they provided. "Cultural Prosperity · Celebration: A Totem of Renewing Festive Culture" or "Renewal of life · Return Contemplate human beings' relationship with all things".

After first hearing the exercise, I immediately try to find inspirations from the internet and the things around me. Mr.Vinod did gave us examples from previous classes work.

Figure 4.1 Sample 1 from last year Task 1B , Week 4 (21/10/2022)

Figure 4.2 Sample 2 from last year Task 1B , Week 4 (21/10/2022)

Figure 4.3 Sample 3 from last year Task 1B , Week 4 (21/10/2022)

Figure 4.4 Inspiration from Pinterest 1 , Week 4 (21/10/2022)

Figure 4.5 Inspiration from Pinterest 2 , Week 4 (21/10/2022)

Choosing Photos

I choose this photo from my phone gallery. I feel like this is a good picture as I can use the light and manipulate it. The light beam transformed into shapes like letterforms.

Figure 4.6 Photo that I took in Taiwan , Week 4 (21/10/2022)

The photo itself is a stoplight for pedestrian in Taiwan. Although the camera phone did not captured all of the moving person at the bottom of the light, I think it is a unique photo.

The light can describe the life of someone's life. As diligently and systematically we plan and arrange our life, we can not fully control it. Something higher will control our lives, the inevitable will happen at anytime. Just like the stoplight controls the people whether to keep on walking or stop. How long will you stop or how long can you walk.

First try

For the first try I did not quite like it as it does not turn out the way i imagine it to be. Maybe because of my limited skill and knowledge in AI. So I did not know the features in AI that can make what I pictured in my head into a real design.

Figure 4.7 Design 1 , Week 5 (28/10/2022)

Figure 4.8 Design 2 , Week 5 (28/10/2022)

I did the wrong keyword, so I re-did the whole thing.

Redo with the right Keyword

Figure 4.9 Design 3 , Week 5 (28/10/2022)

Figure 4.10 Design 4 , Week 5 (28/10/2022)

Turns out the wallpaper size is 6,000 x 3,000 px, in JPG format, size ≤ 20M.. So I need to resize it and adjust to meet the criteria.

Figure 4.11 Illustrator 3D and Materials , Week 5 (28/10/2022)

I used rectangle and revolve it into 3D shape, to mimic the shape of the pole beside the light source, so it would look more realistic.

Figure 4.12 Design 5 , Week 5 (28/10/2022)

The trick that I used was tweaking the transparency, the blending mode, and also stack the layer to make a shadowy and blurred and dispersed effect on the words.

Figure 4.13 Design Design 6 , Week 5 (28/10/2022)

FINAL RESULT

Figure 4.14 Final Result , Week 5 (28/10/2022)

FEEDBACK

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Week 2:

General Feedback:

all meets the system's definition but not that good overall

Specific Feedback:

the random system could be more random ( no order but still readable) grid system better number 1, but not quite creative transitional system fits the example but number 2 is more nicer (especially the space on the top that gives a focus to the writing bellow) modular system the choice of fonts is not quite appropriate with the design

Week 3:
General feedback:

need to extract precisely to make an accurate typeface that represents the reference/picture needs to choose a good reference photo , consider the object that we want to use

Specific feedback:

the branches and leaves have diff characteristics can be problematic so can go to branches or leaves, suggest sticking to the leaves heading in the direction, shapes and weights can be more refine, needs no resembles, strokes needs to be consistent, need to decide the characteristics, and axis of the font so if slant, slant all, straight, straight all.

Week 4: General feedback: Specific feedback:

letter y: lowercase A the lower A cut has a different angle the H cutting why is different height? M cutting to hard.. It can be rounded off a little bit. It would means adjusting the other letters as well

Week 5: General Feedback: image needs to be a symbolic representation of the word.. soo needs to be connected wallpaper: be careful with contrast, for wallpaper desktop (too contrast can be disturbing) Specific Feedback: make the word bigger more prominent, cause its a typography class :) in the water: do you want to make it as the clouds or water or what element? the stop light: make it more prominent ( can't really see it) pay attention on the orientation ( for the competition) sizing is a problem : Specifications: size 6,000 x 3,000 px, in JPG format, size ≤ 20M.

REFLECTION

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Experience

My experience in Advance Typography is quite a struggle. The gap that I felt from typography and advance typography is not quite big but indeed different. The first exercise is already surprising cause we did not have a class for the week 1 (because of holiday) yet we were given a task to make 8 different design (with 2 opt varieties :oo). Obviously, I need to keep up with all the tasks right from then, warming up to all the tasks and projects.

Observations

During this 5 weeks of advanced typography, I realize that my skill in typography had improved a lot compared to last semester. My eye became more detailed on spotting types and typography. It shows that the course did helped me to improve. Other than that, I slowly learn to make a more eye pleasing type design and organization.

Findings

Typography is not easy! I found out there are many thinking, theories, history, and all the consideration that had been implemented in the typography world. So, no ordinary person can call themselves as a typographer or professional typographer... They need to study, understand, and master these things.

Brigita Maria 0352958

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