LIST

TABLE OF CONTENTS:

1.1 LECTURES

LECTURES

LECTURE 01: AdTypo_1_Typographic System

Typographic System

Eight major variations with an infinite number of permutations :

Axial
Radial
Dilatational
Random
Grid
Modular
Transitional
Bilateral

"Typographical organization is complex because the elements are dependent on communication in order to function. Additional criteria such as hierarchy, order of reading, legibility, and contrast also come into play.

The typographic systems are akin to what architects term 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." (Elam, 2007)

Axial System

All elements are organized to the left or right of a single axis.

Fig 1.0 Examples of Axial System, Week 1

Radial System

All elements extend from a point of focus.

Fig 1.1 Examples of Radial System, Week 1

Dilatational System

All elements expand from a central point in a circular fashion.

Fig 1.2 Examples of Dilatational System, Week 1

Random System

Elements appear to have no specific relationship.

Fig 1.3 Examples of Random System, Week 1

Grid System

A system of vertical and horizontal divisions.

Fig 1.4 Examples of Grid System, Week 1

Transitional System

An informal system of layered banding.

Fig 1.5 Examples of Transitional system, Week 1

Modular System

A series of non-objective elements that are constructed as standardised units.

Fig 1.6 Examples of Modular System, Week 1

Bilateral System

All text is arranged symmetrically on a single axis.

Fig 1.7 Examples of Bilateral System, Week 1

LECTURE 02: AdTypo_2_Typographic Composition

Principles of Design Composition

Key Principles

Emphasis
Isolation
Repetition
Symmetry & Asymmetry
Alignment
Perspective

Abstract Nature

These principles often seem ambiguous in translating to typographic layouts
They appear more relevant to imagery than to complex units of information

Application Challenges

Applying these ideas to real-life content (images, text, colours) on a page or screen can feel disconnected

Translatability

Some principles are more easily translatable to design composition than others

The Rule of Thirds

Definition

A photographic guide to composition

Concept

Divide a frame into 3 columns and 3 rows

Guidelines

Use intersecting lines as guides
Place points of interest at intersections
Optimize placement within the given space

Fig 1.7 Example of Rule of Thirds

Typographic Systems

Reaction to Modernist Typographic

Younger designers challenges the ordered approach of the modernist era

Birth of Post- Modernist Era

Emphasis on chaos, randomness and asymmetry in typographical systems
Legibility and readability were often secondary considerations

Notable Proponents

David Carson
Paula Scher
Jonathan Barnbrook

Fig 1.8 Left to Right : Paula Scher, Jonathan Barnbook, David Carson

Characteristics of Post-Modernist Typography

Apparent chaos replaced traditional order
Excitement and novelty appealed to a generation influenced by Punk and anti-establishment sentiments

Typographic systems in Post- Modernism

Asymmetry

Deliberate lack of balance and uniformity

Randomness

Unpredictable placement and design elements

Repetition

Use of repeating patterns and motif

Dilatational System

Expanding and contracting typographic forms

Radial System

Design elements radiating from a central point

Environmental Grid

Exploration Based System

Utilizes existing structures or a combination of multiple structures
Focuses on extracting crucial lines, both curved and straight

Formation od Super-Structured

Designer organises information around this super-structure
Incorporates non-objective elements

Creation of Unique Visual Stimuli

Results in a unique and exciting picture of texture and visual stimuli.
Enhances the visual appeal and depth of the design

Contextual Relevance

Provides context to the forms developed in the design
Rooted in key features of the environment associated with the communicators of the message

Purposeful Exploration

Interesting method of exploration and design development
Ensures the design is relevant and meaningful to the environment and message communicators

Fig 1.9 Example of Environmental Grid

Form and Movement

Exploration of an existing Grid Systems

The multitude of options the grid offer

To dispel the seriousness surrounding the application of the grid system
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.

LECTURE 03: AdTypo_3_Context & Creativity

Importance of Handwriting in Typography

Basis for Mechanical Type

Early mechanical letterforms imitated handwriting
Setting standards for form, spacing and conventions

Influence of Tools and Materials

Tools

Sharpened bones
Charcoal
Sticks
Plant Sstems
Brushes
Feather
Steel pens

Materials

Clay
Papyrus
Palm leaf
Vellum
Parchment
Paper

Typographer's Homage

Historical letterforms studied and recreated in mechanical forms for printing

Digital Revolution

Digitisation of historical letterforms by the west
Type foundries created, marketed, and sold/licensed these digital forms

Impact of Colonisation

Western colonisation halted or stunted eastern heritage and cultural practices in literature, arts, craft, languages and scripts.

Eastern Developments in Handwriting

Rich Heritage

Eastern handwriting has a rich cultural and historical significance

Unique Tools and Materials

Different tools

Brushes
Bamboo pens

Different materials

Rice paper
Silk

Calligraphy

High artistic value placed on calligraphy in many eastern cultures

Influence on Typography

Eastern scripts and styles have influenced modern typography.

Modern Preservation

Efforts to digitise and preserve eastern scripts and calligraphy styles

Cultural Revival

Renewed interest in traditional eastern handwriting and its application in contemporary design

Key Points

Handwriting as the foundation for early type design
Varied tools and materials shape unique letterforms
Historical respect and recreation by typographers
Digitisation preserves historical forms
Colonisation affected eastern literary and artistic practices
Eastern calligraphy and scripts hold cultural and historical importance

LECTURE 04: AdTypo_4_Designing Type

Why Design Another Typeface ?

Social responsibility

Improve legibility

Artistic Expression

Explore creative design

General Process of Type Design

Research

Understand type history, anatomy and conventions
Learn technologies, side-bearing, metrics, and hinting
Determine the typeface's purpose and applications
Examine existing fonts for inspiration and context

Sketching

Traditional tools

Brushes
Pens
Ink
Paper
Then scan for digitisation

Digital tools

Use Wacom and font design software for quicker, consistent results
Each methods has its pros and cons

Digitisation

Use professional software like FontLab and Glyphs App
Some designers use Adobe Illustrator before importing into specialisation font apps
Focus on both whole forms and counter forms for readability

Testing

Essential for reifying and correcting the typeface.
Prototyping provides important feedback
Readability and legibility are crucial for text types, less so for display types

Deploy

Post-deployment revisions are common to address minor issues
Rigorous testing helps minimise post-deployment problems

Typeface Construction

Roman Capital Grid

A square with a circle touching its edges, containing a smaller central rectangle.

Grids and Circular Forms

Aid in designing letterforms

Construction and Considerations

Visual Corrections

Curved forms extend past the baseline and cap line

Uniform White Space

Adjust letter spacing for consistent visual white space, known as "fitting the type"

Context & Creativity in Typeface Design

Intrinsic Motivation

Driven by a personal interest or desire to solve a design problem

Extrinsic Motivation

Commissioned work or assigned tasks

Designer Investment

Understanding requirements and limitations is crucial

Labour of Love

Designing a typeface is demanding with modest rewards

INSTRUCTIONS

EXERCISE 01

[TYPOGRAPHIC SYSTEMS]

INSTRUCTIONS

For this assignment, We need to explore the eight typographic systems. Using Adobe InDesign, We were tasked with incorporating the following content into our exploration :

The Design School, Taylor’s University

All Ripped Up: Punk Influences on Design

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

SUBMISSIONS

Export final outcomes as JPEG @300ppiPDF
With and without guides
Turn on/off guides when saving PDF
Turn off spreads when exporting
Compile all 8 systems together for presentation.

Axial (Attempts & Process)

Fig 2.0 Attempt 1 & Attempt 2, Axial system

Fig 2.1 Attempt 3, Final layout

Fig 2.2 Process 1 for Axial System Attempt 3

Fig 2.3 Process 2 for Axial System Attempt 3

Fig 2.4 Process 3 for Axial System Attempt 3

Axial (Final Outcome)

Fig 2.5 Axial System (Final)

Radial (Process)

Fig 2.6 Process 1 for Radial System (Final)

Fig 2.7 Process 2 for Radial System (Final)

Fig 2.8 Process 3 for Radial System (Final)

Radial (Final Outcome)

Fig 2.9 Radial (Final)

Dilatational (Process)

Fig 2.10 Process 1 for Dilatational System (Final)

Fig 2.11 Process 2 for Dilatational System (Final)

Fig 2.12 Process 3 for Dilatational System (Final)

Dilatational (Final Outcome)

Fig 2.13 Dilatational (Final)

Random (Process)

Fig 2.14 Process 1 for Random System (Final)

Fig 2.15 Process 2 for Random System (Final)

Fig 2.16 Process 3 for Random System (Final)

Random (Final Outcome)

Fig 2.17 Random (Final)

Grid (Process)

Fig 2.18 Process 1 for Grid System (Final)

Fig 2.19 Process 2 for Grid System (Final)

Fig 2.20 Process 3 for Grid System (Final)

Grid (Final Outcome)

Fig 2.21 Grid (Final)

Modular (Process)

Fig 2.22 Process 1 for Modular System (Final)

Fig 2.23 Process 2 for Modular System (Final)

Fig 2.24 Process 3 for Modular System (Final)

Modular (Final Outcome)

Fig 2.25 Modular (Final)

Transitional (Process)

Fig 2.26 Process 1 for Transitional System (Final)

Fig 2.27 Process 2 for Transitional System (Final)

Fig 2.28 Process 3 for Transitional System (Final)

Transitional (Final Outcome)

Fig 2.29 Transitional (Final)

Bilateral (Process)

Fig 2.30 Process 1 for Bilateral System (Final)

Fig 2.31 Process 2 for Bilateral System (Final)

Fig 2.32 Process 3 for Bilateral System (Final)

Bilateral (Final Outcome)

Fig 2.33 Bilateral (Final)

Final

Fig 2.34 Typography System Compilation

Fig 2.35 Final outcome of Typographic Systems exercise with grids in PDF, Week 2

Fig 2.36 Final Outcome of Typographic Systems exercise without grids in PDF, Week 2

EXERCISE 02

[TYPE & PLAY - FINDING TYPE]

INSTRUCTIONS

For this assignment, we need to select an image of a man-made object or a natural element. The chosen image had to be simple and not contain many different element.

Our task is to analyse, dissect and identify the potential letterforms within the dissected image. We have to explore these forms and ultimately digitise them. Through the process of iteration, the forms evolve from crude representations to more refined versions that still reflects their origins to some degree.

Selection & Exploration of Images

I decided to choose image of natural elements like leaf, sea water and rocks.

Fig 3.0 Images Explored - Clear Sea Textures, Leaf Vein, Rocks

Image Chosen

I have chosen an image of a Monstera plant for its intricate yet simple structure to proceed to the next step.

Fig 3.1 Chosen Image - Monstera

Extracted Letterforms from Image

I placed the image that I had chosen into Adobe Illustrator. Then, I started to find and identify the potential letterforms that I could find in this image. As a result, I extracted the letters D, K, L, A and E from the image I had chosen.

Fig 3.2 Extracted Crude Letterform from Image

Refining Letterforms (Process)

Fig 3.3 Refining Process

Final Type Design

Fig 3.4 Final Letterforms JPG

Fig 3.5 Final Exercise 2

[TYPE & PLAY - MOVIE POSTER DESIGN]

Movie Poster Design (Image Selection)

Fig 3.6 Image Explored for the background of movie poster

Movie Poster Design (Attempts & Process)

I decided to use this image as the background of my movie poster design because it evoke a sense of mystery, and I am aiming for this in my design.

Fig 3.7 Process 1 of Movie Poster Design Attempt 1

Fig 3.8 Process 2 of Movie Poster Design Attempt 1

Fig 3.9 Process 3 of Movie Poster Design Attempt 1

Attempt 1

Fig 3.10 Movie Poster Attempt 1

As I found that the title of my movie poster didn't stand out enough, I started experimenting with colors to see which ones could enhance its visual impact. I ended up deciding to use yellow for the title because I think it goes well with the background and makes the title stand out more.

Fig 3.11 Process 1 of Movie Poster Design Attempt 2 (Final)

Fig 3.12 Process 2 of Movie Poster Design Attempt 2 (Final)

Fig 3.13 Process 3 of Movie Poster Design Attempt 2 (Final)

Final

Fig 3.14 Movie Poster JPG (Final)

Fig 3.15 Movie Poster PDF (Final)

FEEDBACK

Week 1

General Feedback

The blog should be organised well and the provided link must be linked to the Advanced Typography page

Specific Feedback

No feedback given

Week 2

General Feedback

Turn off facing pages in Adobe InDesign

Specific Feedback

Make the random system more chaotic
All the info in bilateral system should be in one group and be symmetrical

Week 3

General Feedback

Ensure that the weights of each stroke are balanced, while maintaining a consistent baseline and capline. The font should accurately reflect the style and characteristics of the initial reference image.

Specific Feedback

Reduce the negative space in the letter "e". Use the letter "A" as a reference. Decrease the spacing between the other letters to be more similar to the spacing between the leaves.

Week 4

General Feedback

The typeface should be the main focus, ensuring it balances well with the image used in the poster. Readability and spacing need to be maintained. There should be an interplay between the text and the background.

Specific Feedback

Don't apply the 3D effects on the title because it doesn't looks like a leaf

REFLECTION

Experience

For task 1 exercise 1, I able to explore the typographic systems. Using Adobe InDesign, I explored eight typographic systems : axial, radial, dilatational, random, grid, modular, transitional and bilateral. Each system provided a unique approach to organising text, affecting readability and visual impact. For exercise 2, I selected a simple image and identified potential letterforms within it. Through iteration, I refined these forms and combined them with the original image to create a movie poster titled. "dlake". The dark background and the phrase "whispered in the woods, secrets beneath the lake" aimed to evoke a mysterious atmosphere.

Observation

While doing exercise 1, I observed that the systems like the grid offer structure, while systems like random allow more creativity. Other than that, I found out that different systems guide the reader's eye in various ways, affecting how information is received. On the other hand, I've learned about iterative design, refining initial crude forms into polished letterforms was essential in exercise 2. Lastly, it is very important that the text had to complement the image, creating a cohesive movie poster.

Findings

In exercise 1, I found out that each system offers unique strengths for different design contexts. In addition, while experimenting with system, it encourages innovation in design. Other than that, I realised that both natural and man-made objects can inspire unique typographic design in exercise 2. Lastly, the relationship between letterforms and their visual context is crucial for effective design.

FURTHER READING

A Type Primer by John Kane

Fig A Type Primer by John Kane

"A Type Primer" by John Kane is a comprehensive guide to typography, detailing its history, key terminology, and practical uses. Kane delves into various facets of type design, including letterforms, fonts, spacing, and alignment. He traces the development of typography from its beginnings to contemporary digital typefaces, emphasizing significant milestones and influential designers. The book provides clear explanations of typographic principles and techniques, making it suitable for both novices and seasoned designers. In summary, "A Type Primer" is an invaluable resource for anyone wanting to enhance their knowledge of typography and refine their design abilities.

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