24/04/2024 - 20/05/2024 / Week 1 - Week 5
Joey Lok Wai San / 0350857
Advanced Typography / Bachelor of Design (Hons) in Creative Media
Task 1: Exercises
TABLE OF CONTENTS
6. Further Reading
Lecture 1: Typographic Systems
Typographical organization is complex because the elements are dependent on communication in order to function. Hierarchy, order of reading, legibility and contrast are additional criteria.
Typographic systems are similar to shape grammars - a set of shape rules that is applied in a step-by-step way to create a set, language of designs. It is unique and provides a sense of purpose that focuses and directs the decision-making. It provides a solid framework that guides learners in their exploration while their intuition develops.
LECTURES
Lecture 1: Typographic Systems
Typographical organization is complex because the elements are dependent on communication in order to function. Hierarchy, order of reading, legibility and contrast are additional criteria.
Typographic systems are similar to shape grammars - a set of shape rules that is applied in a step-by-step way to create a set, language of designs. It is unique and provides a sense of purpose that focuses and directs the decision-making. It provides a solid framework that guides learners in their exploration while their intuition develops.
Designers rely on intuition. While the system may take away a designer's intuition by forcing them to work within it, having a guide early on is beneficial, especially when dealing with complex information since it gives them some focus and direction, like a hand to hold.
Fig. 1.1.1 Typographic Systems
All design is based on a structural system. There are eight major
variations of typographic systems:
Axial System: All elements are organised to the left or right of a single-axis
Radial System: All elements are extended from a point of focus.
Spread out from the point of focus, there can be multiple points of focus.
- Axial
- Radial
- Dilational
- Random
- Grid
- Modular
- Transitional
- Bilateral
Axial System: All elements are organised to the left or right of a single-axis
Fig. 1.1.2 Axial System
Radial System: All elements are extended from a point of focus.
Spread out from the point of focus, there can be multiple points of focus.
Fig. 1.1.3 Radial System
Dilatational System: All elements expand from a central point
in a circular fashion.
Can have multiple rings with information on either side or in line with the circle.
Typographic Systems:
Of the 8 typographic systems, the most used in typographic compositions is the Grid System (or Raster Systeme). It was further enhanced by what has now come to be termed as the Swiss (Modernist) style of Typography. The grid system is popular because of its versatility and modular nature, allowing an infinite number of adaptations. Our approach to reading tends to prefer order and more organized compositions.
In the post-modernist era, younger designers explored chaos, randomness and asymmetry. Designers used a lot of intuition and instinct, and there was a method to the chaos. Asymmetry, random, repetition, dilatational and radial systems began to take root. David Carson, Paula Scher, and Jonathan Barnbrook combined legibility and readability seamlessly.
Other Models / Systems:
Environmental Grid: 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 arranges the data around this super-structure, which has
non-objective elements to create a unique mixture of texture
and visual stimuli. The system is developed around key features of
an environment which provides context to the forms developed in the
design.
Fig. 1.2.5 Environmental Grid
Form and Movement: Based on the exploration of an existing Grid System. It encourages students to explore the opportunities of the grid and eliminate the seriousness surrounding the system. The placement of a form on a page, over many pages, creates movement. The forms could represent images, text or colour.
Fig. 1.2.6 Form and Movement
Lecture 3: Context and Creativity
Cuneiform (c. 3000 B.C.E)
Hieroglyphics (2613 - 2160 B.C.E)
Fig. 1.3.3 Hieroglyphics (2613 - 2160 B.C.E)
Early Greek - Phoenician letters (5th C. B.C.E.)
Fig. 1.3.4 Early Greek System
Roman Uncials (4th century Roman Letters)
- Roman letters became more rounded
Fig. 1.3.8 Blackletter (12-15 C. CE)
The Italian Renaissance
Fig. 1.3.10 Movable Type
Fig. 1.3.11 Middle Eastern Alphabets
Indus Valley Civilization (IVC) script (3500-2000 BCE)
Can have multiple rings with information on either side or in line with the circle.
Fig. 1.1.4 Dilatational System
Random System: Elements appear to have no specific pattern or
relationship.
Fig. 1.1.5 Random System
Grid System: A system of vertical and horizontal
divisions.
Transitional System: An informal system of layered banding. Banding is segregating information within certain bands.
Fig. 1.1.6 Grid System
Transitional System: An informal system of layered banding. Banding is segregating information within certain bands.
Fig. 1.1.7 Transitional System
Modular System: A series of non-objective elements that
are constructed as standardised units.
All units are the same size, and thus can be moved (can replace and shift the units). While the units can be randomly placed, it is not suggested. There can be more than 1 standardised base unit.
All units are the same size, and thus can be moved (can replace and shift the units). While the units can be randomly placed, it is not suggested. There can be more than 1 standardised base unit.
Fig. 1.1.8 Modular System
Bilateral System: All text is arranged symmetrically on
a single axis. It is used in formal invites.
Fig. 1.1.9 Bilateral System
Lecture 2: Typographic Composition
There are two aspects of typography: the creation of letters and the arrangement of large amounts of text within a given space. Typographic composition refers specifically to the latter, which is the arrangement of textual information in a given space. There are several ways to approach typographical composition:
Principles of Design Composition: Emphasis, isolation, repetition, symmetry and asymmetry, alignment, and perspective. However, when used in typographic layouts or compositions, these principles can feel ambiguous and more relevant to imagery. Emphasis, symmetry, and asymmetry are easily translatable into typographic composition, while repetition and perspective are more challenging.
Rule of Thirds: A photographic guide to composition, it suggests a frame (space) can be divided into 3 columns and 3 rows. The intersecting lines are used as a guide to place the points of interest, within the given space. However, it is rarely used in typographic composition.
There are two aspects of typography: the creation of letters and the arrangement of large amounts of text within a given space. Typographic composition refers specifically to the latter, which is the arrangement of textual information in a given space. There are several ways to approach typographical composition:
Principles of Design Composition: Emphasis, isolation, repetition, symmetry and asymmetry, alignment, and perspective. However, when used in typographic layouts or compositions, these principles can feel ambiguous and more relevant to imagery. Emphasis, symmetry, and asymmetry are easily translatable into typographic composition, while repetition and perspective are more challenging.
Fig. 1.2.1 Principles of Design - Emphasis in Typographic
Composition
Rule of Thirds: A photographic guide to composition, it suggests a frame (space) can be divided into 3 columns and 3 rows. The intersecting lines are used as a guide to place the points of interest, within the given space. However, it is rarely used in typographic composition.
Fig. 1.2.2 Rule of Thirds in Typographic Composition
Typographic Systems:
Of the 8 typographic systems, the most used in typographic compositions is the Grid System (or Raster Systeme). It was further enhanced by what has now come to be termed as the Swiss (Modernist) style of Typography. The grid system is popular because of its versatility and modular nature, allowing an infinite number of adaptations. Our approach to reading tends to prefer order and more organized compositions.
Fig. 1.2.3 Grid System (or Raster Systeme)
In the post-modernist era, younger designers explored chaos, randomness and asymmetry. Designers used a lot of intuition and instinct, and there was a method to the chaos. Asymmetry, random, repetition, dilatational and radial systems began to take root. David Carson, Paula Scher, and Jonathan Barnbrook combined legibility and readability seamlessly.
Fig. 1.2.4 Paula Scher, Jonathan Barnbrook, David
Carson
Other Models / Systems:
Fig. 1.2.5 Environmental Grid
Form and Movement: Based on the exploration of an existing Grid System. It encourages students to explore the opportunities of the grid and eliminate the seriousness surrounding the system. The placement of a form on a page, over many pages, creates movement. The forms could represent images, text or colour.
Fig. 1.2.6 Form and Movement
Lecture 3: Context and Creativity
Studying handwriting is important because the first mechanically
produced letterforms were designed to directly imitate
handwriting. Handwriting is the standard basis for form, spacing
and conventions of mechanical type that we try and mimic.
Letterforms shape and line are influenced by the
tools and materials used to make them. Some tools that
contributed to the unique characteristics of the letterform are:
- Sharpened bones
- Charcoal sticks
- Plant Stems
- Brushes
- Feathers and steel pens
- Charcoal sticks
- Plant Stems
- Brushes
- Feathers and steel pens
Another factor that contributed to the unique characteristics of
the letterform lies in the material it was written on, such as
clay, papyrus, palm leaf, animal skins (vellum and parchment) and
paper.
Fig. 1.3.1 Evolution of the Latin Alphabet
Cuneiform (c. 3000 B.C.E)
- Earliest system of actual writing, from 34C.B.C.E. through
the 1st century C.E
- Written from Left to Right
- Distinctive wedge results from pressing the blunt end of a
reed stylus into wet clay tablets
- Characters evolved from pictogram
Fig. 1.3.2 Cuneiform (c. 3000 B.C.E)
Hieroglyphics (2613 - 2160 B.C.E)
- The Egyptian writing system
- Fused with the art of relief carving
- The system is a mixture of both rebus and phonetic characters
- Hieroglyphics images could be used as ideograms, determinations and phonograms
- Fused with the art of relief carving
- The system is a mixture of both rebus and phonetic characters
- Hieroglyphics images could be used as ideograms, determinations and phonograms
1. Ideograms - to represent the things they actually depict
2. Determinatives - to show that the signs preceding are meant
as phonograms
3. Phonograms - to represent sounds that "spell out" individual
words
- Phonetic alphabets consisting of 22 letters
- Phoenicians were adopted by the Greeks who added the necessary
vowels
- Early Greek comprises only capital letters, written between
two guidelines to organize them in horizontal rows.
- The direction of reading is not yet fixed so it was read one
row left to right and then switched from right to left in a
format known as boustrophedon or 'as the ox ploughs'.
- Written freehand, not constructed with compasses and rules,
no serifs
- The strokes of these letters grew thicker, the aperture
lessened, and serifs appeared
- Model for calligraphy in the past 2000 years
- Roman letters became more rounded
- The curved forms allow for fewer strokes and therefore could be
written faster.
Fig. 1.3.5 Roman Uncials
English Half Uncials (8th C.)
Fig. 1.3.6 English Half Uncials (8th C.)
Carolingian Minuscule
Fig. 1.3.7 Carolingian Minuscule
Blackletter (12 - 15 C. CE)
Fig. 1.3.5 Roman Uncials
- The uncials evolved into a more slanted and condensed form.
- While English and Irish uncials evolved, the European
continent devolved considerably and needed a reformer and that
is when Carolingian Handwriting Reform came in.
- Capitals at the start of a sentence, spaces between words and
punctuation
- Used for all legal and literary works to unify communication between various regions of the European empire.
- Used for all legal and literary works to unify communication between various regions of the European empire.
- This style became the pattern for the Humanistic writing of
the fifteenth-century
- The basis of our lower-case Roman type
- Gothic is an artistic expression, occurring roughly from
1200-1500. It originated with the Italians who referred to rude
or barbaric cultures north of the Italian Alps.
- 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
- Humanist scholars were reviving the culture of antiquity
Fig. 1.3.9 The Italian Renaissance - Antica
- Humanists named the newly rediscovered letterforms 'Antica'
- The Renaissance analysis of form that was being applied to
art and architecture was directed toward letterforms,
resulting in a more perfect or rationalized letter
Movable Type (11 C. – 14 C.)
- Printing on wood blocks has already been practised in China,
Korea and Japan
- The earliest known printed book (AD 868) is Diamond Sutra, with
the world’s first printed illustration.
- Koreans established a foundry to cast movable type in bronze,
allowing the dismantling and resetting of text.
- The movable type was introduced in 1000-1100 CE. Pioneered by
China but achieved in Korea.
Evolution of Alphabets
Evolution of Middle Eastern Alphabets: The script
itself has been possibly influenced by the Egyptian
Hieroglyphics and Hieratic Scripts
Fig. 1.3.11 Middle Eastern Alphabets
Evolution of the Chinese Script: The evolution of the Chinese script from the
Oracle bone to Seal Script to Clerical Script, Tradition and
Simplified scripts
Fig. 1.3.12 Evolution of the Chinese Script
Indus Valley Civilization (IVC) script (3500-2000 BCE)
- Oldest writing found in the India Continent, Indus Valley
Civilization
Fig. 1.3.13 Indus Valley Civilization (IVC) Script
Brahmi script (450–350 BCE)
Fig. 1.3.14 Brahmi Script
Other Writing Systems in Southeast Asia
Fig. 1.3.15 Other Writing Systems in Southeast Asia
Fig. 1.3.16 Baloo (font with a blend of Latin and vernacular fonts)
Local Movements and Individuals
Lecture 4: Designing Type
Fig. 1.4.3 Bell Centennial - Font vs Printed
Fig. 1.4.4 Johnston Sans - Earlier Version vs Digitised Version
General Process of Type Design
Lecture 5: Perception and Organization
Perception in typography deals with the "visual navigation and interpretation of the reader through contrast, form and organization of content". The content can be textual, visual, graphical or in the form of colour.
Contrast
Fig. 1.5.8 Form in Typography
Organisation: Gestalt Laws (Principles)
- It is undeciphered and is believed to have non- linguistic
nature
- The script is very decorative, showing how advanced the IVC
was
- The earliest writing system developed in India after the Indus
script
- One of the most influential writing systems: All modern Indian
scripts and many scripts found in Southeast and East Asia are
derived from Brahmi script
- Derived or at least influenced by one or more contemporary
Semitic scripts due to cross-cultural exchange
Pallava (or Pallawa in Malay)
- A South Indian script originally used for writing Sanskrit and
Tamil
- Highly influential, became the basis for writing systems across Southeast Asia
- Highly influential, became the basis for writing systems across Southeast Asia
Pra-nagari
- Indian script used in the Malay Archipelago for writing
Sanskrit
- An early form of the Nagari script
- An early form of the Nagari script
Kawi
- Indonesia's most important historical script
- Based on Nagari, but indigenous to Java
- Used for contacting other kingdoms
- 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
- Comes from a South Sumatran grouping of scripts known as Rencong
Other scripts that are assimilated from Indonesian communities
into Peninsula Malay Communities: Rajang script, Batak script,
Bugis script (Lontara), and Javanese script.
Programmers and Type Designers
- More vernacular scripts are being produced by software giants
(Google)
- More vernacular and ‘multi-script’ typefaces are being produced
to cater to situations where written matter is communicated in
vernacular script or vernacular and Latin script.
Local Movements and Individuals
To help preserve local handwriting and scripts:
- Murasu.com by Muthu Nedumaran
- Huruf
- Ek Type and Indian Type Foundry
Lecture 4: Designing Type
Why design a new typeface?
- Type design carries a social responsibility so one must
continue to improve its legibility
- Type design is a form of artistic expression
Frutiger - Adrian Frutiger
- Designed by the Swiss type designer Adrian Frutiger, who
also designed Univers type
- A sans serif typeface
- A sans serif typeface
- Developed for the Charles De Gaulle International
Airport in France
- The letterform needed to be easily readable even when
the reader was moving and is easy to see from both close up
and far away
- Tested with unfocused letters to see which letterforms could still be identified in poor light conditions or when the reader was moving quickly past the sign
Fig. 1.4.1 Frutiger
Fig. 1.4.2 Verdana
- Tested with unfocused letters to see which letterforms could still be identified in poor light conditions or when the reader was moving quickly past the sign
Verdana - Matthew Carter
- Many of Carter's fonts were created to address
specific technical challenges
- Commissioned by Microsoft to create a typeface designed for the screen
- The font was extremely legible even at very small sizes on the screen
- Commissioned by Microsoft to create a typeface designed for the screen
- The font was extremely legible even at very small sizes on the screen
- Characteristics derived from the pixel rather than the
pen, the brush or the chisel
Bell Centennial - Matthew Carter
- Commissioned by AT&T which wanted a new typeface for use
in their telephone directories and to solve problems
related to the existing phonebook typeface, Bell Gothic
- Design ink traps to prevent ink spread when printing on low-quality paper at high speeds
- Design ink traps to prevent ink spread when printing on low-quality paper at high speeds
Johnston Sans - Edward Johnston
- Previously known as "Underground" typeface
- Commissioned by London's Underground Railway to create a
standardized font for their posters and signage
- Used the proportions of Roman capital letters which had a lot of history in traditional calligraphy, but was also simple enough to fit the modern age
- Used the proportions of Roman capital letters which had a lot of history in traditional calligraphy, but was also simple enough to fit the modern age
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Research
- Before creating a type, it is essential to understand type history, type anatomy and type conventions.
- Determine the type's purpose, what it would be used for, and what different applications it will be used in (such as for school buses or airport signage, etc.)
- Study existing fonts that are presently used for inspiration/context/usage patterns/ideas/etc.
-
Sketching
- Sketching can be done with both traditional tool sets (brushes/pens, ink and paper) and then scanned for the purpose of digitization, or with digital tools such as Wacom, directly into a font design software.
- Both methods have their positives and negatives, just use whatever works for you.
-
Digitization
- Using professional software such as Fontlab and Glyph Apps.
- Attention should not be given to the whole form at this stage but also the counter form. - The readability of the typeface is heavily dependent on it.
-
Testing
- Testing is a part of the refining and correcting aspects of typeface
- Prototyping is part of the process and leads to important feedback.
-
Deploy
- Deploying a typeface does not mark the end of the revision
- Teething problems may emerge after the prototyping and testing phases.
Typeface Construction
Using grids (with circular forms) can make an easier construction of letterforms and is a possible method to build/create/design the letterform
Construction and Considerations
Fig. 1.4.6 Classification according to form and construction
Many different forms and constructions must be taken into account when creating a new type. One of the important visual corrections is the extrusion of curved and protruding forms past the baseline and cap line (overshoot). This also applies to vertical alignment between curved and straight forms.
Fig. 1.4.7 Overshoots
Fig. 1.4.7 Comparison of Humanistic and Didone Typeface
Using grids (with circular forms) can make an easier construction of letterforms and is a possible method to build/create/design the letterform
Fig. 1.4.5 Construction Grid for Roman Capitals using 8 x 8 cells
Construction and Considerations
Depending on their form and construction, the 26 characters of
the alphabet can be arranged into groups. A distinction is
made between a group for the capitals and a group for
lowercase letters.
Fig. 1.4.6 Classification according to form and construction
Many different forms and constructions must be taken into account when creating a new type. One of the important visual corrections is the extrusion of curved and protruding forms past the baseline and cap line (overshoot). This also applies to vertical alignment between curved and straight forms.
Fig. 1.4.7 Overshoots
A visual correction is also needed for the
distance between the letters. A consistent
'visual' white space between letters must be
created because some letters next to each other
may not look good with equal spacing. The white
space between letters should look the same
(fitting type).
Fig. 1.4.7 Comparison of Humanistic and Didone Typeface
Lecture 5: Perception and Organization
Perception in typography deals with the "visual navigation and interpretation of the reader through contrast, form and organization of content". The content can be textual, visual, graphical or in the form of colour.
Contrast
Carl Dair had 7 ways to create contrast - size, weight, contrast
of form, contrast of structure, contrast of texture, contrast of
colour and contrast of direction
Fig. 1.5.1 Contrast in Typography
Fig. 1.5.2 Contrast in Size
Fig. 1.5.5 Contrast in Structure
Fig. 1.5.6 Contrast in Texture
Form
Fig. 1.5.1 Contrast in Typography
1. Size: A contrast of size provides a point to which
the reader’s attention is drawn. The most common use of size
is in making a title or heading noticeably bigger than the
body text.
2. Weight: Describes how bold type can stand out in the
middle of the lighter type of the same style. Using rules,
spots, and squares also provides a “heavy area” for a powerful
point of visual attraction or emphasis.
Fig. 1.5.3 Contrast in Weight
3. Form: The distinction between a capital letter and
its lowercase equivalent, or a Roman letter and its italic
variant, condensed and expanded versions of the typeface are
also included under the contrast of form.
Fig. 1.5.4 Contrast in Form
4. Structure: The different letterforms of different
kinds of typefaces. For example, a monoline sans serif and a
traditional serif, or an italic and a blackletter.
5. Texture: By putting together the contrasts of size,
weight, form, and structure, and applying them to a block of
text on a page. Texture refers to the way the lines of type
look as a whole up close and from a distance.
6. Direction: The opposition between vertical and
horizontal, and the angles in between.
Fig. 1.5.7 Contrast in Direction
7. Colour: The use of colour suggests that a second
colour is often less emphatic in values than plain black on
white. It is important to give thought to which element needs
to be emphasized and to pay attention to the tonal values of
the colours that are used.
Fig. 1.5.8 Contrast in Colour
Form
Form refers to the overall look and feel of the elements that make
up the typographic composition. A good form of typography tends to
be visually intriguing to the eye.
When a typeface is perceived as a form, it no longer reads as a
letter because it has been manipulated by distortion, texture, and
enlargement, and has been extruded into a space. Displaying type
as a form provides a sense of letterforms’ unique characteristics
and abstract presentation.
Gestalt in German means the way things have been placed or put
together. Gestalt theory emphasizes that the whole of anything is
greater than its parts, this can be the same for designing layouts
Fig. 1.5.9 Gestalt Laws (Principles)
- Law of Similarity: Elements that are similar to each other tend to be perceived as a unified group (eg. grouping of colour, orientation, size, or indeed motion).
- Law of Proximity: Elements that are in close proximity to each other tend to be perceived as a unified group.
- Law of Closure: Refers to the mind’s tendency to see complete figures or forms even if a picture is incomplete or partially hidden by other objects.
- Law of Continuation: Refers to how humans tend to perceive each of two or more objects as a different, singular, and uninterrupted object even when they intersect.
- Law of Symmetry
-
Law of Simplicity (Praganz)
INSTRUCTIONS
https://drive.google.com/file/d/1cCzqflwT6NvbTAEatqyIiA5lEIOiAcOM/preview
In this exercise, we are tasked to create a layout for each typographic system using the content given. The 8 typographic systems are: Axial, Radial, Dilatational, Random, Grid, Modular and Transitional.
Task requirements:
TASK 1: Exercise 1 - Typographic Systems
In this exercise, we are tasked to create a layout for each typographic system using the content given. The 8 typographic systems are: Axial, Radial, Dilatational, Random, Grid, Modular and Transitional.
Task requirements:
- Adobe InDesign only
- Size: 200 x 200 mm
- Colours: Black and one additional colour
- Limited graphical elements (lines, dots, etc.)
1. Topic Research
1. Topic Research
Mr. Vinod advised us to do research on the three headlines
provided and cater our design towards our chosen topic. Click on
the topic to read more about it.
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All Ripped Up: Punk Influence on Design
Due to limited resources and the youth's desire for autonomy from traditional design norms, punk emerged in the 1970s and adopted a Do-It-Yourself (DIY) attitude. It utilised stencil type, hand-lettering, ransom-note lettering, bright colours, collages, and other design elements. Punk fonts broke out of the typographic grid with its hand-drawn or distressed style, and mish-mashed lettering. Punk offers an aggressive, rebellious and contemporary aesthetic.
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The ABCs of Bauhaus Design Theory
Bauhaus designs are often abstract and geometric, characterized by clean lines, basic forms, primary colours, and little to no ornamentation. Bauhaus emphasized functional designs and the combination of art with everyday items, as it wanted to bring together art, craft, and technology. It was claimed that there was a correspondence between the three basic shapes and the three primary colours.
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Russian Constructivism and Graphic Design
Russian Constructivism was more than just an art style; it was a philosophy that emphasised art's role in social change rather than personal expression. The movement favoured functional and impactful design over decorative and expressive art. It used minimal colour palettes, often just red, black and sometimes yellow. These works commonly featured diagonal elements with circular and angled types and images.
The topic I chose was 'The ABCs of Bauhaus Design Theory'. As I have done this topic before in Typography: Task 2, I have a general sense of understanding about the
Bauhaus design. Nevertheless, I still did some research
for reference pictures to help me get reacquainted with
the Bauhaus style.
Fig. 2.1 Bauhaus Design Style - Visual References, Week 1 (22/04/2024)
2. Initial Experimentation
In Week 1, we were tasked to create and experiment with
the axial system. It took a little while to get used to
InDesign, after months of not using it. I made some
attempts at the Axial system with a simple horizontal and
diagonal axis.
Fig. 2.2 Axial system - practical class attempts, Week 1 (22/04/2024)
Before I chose my topic of "The ABCs of Bauhaus Design Theory", my initial idea was to do "All Ripped Up: Punk Influence on Design". These are some layout sketches for the Axial, Grid, Radial, Dilatational, and Random systems before digitizing them in InDesign. However, after some exploration, I realized my design didn't reflect the punk style. I took this as a form of experimentation and a warm-up.
Fig. 2.3 Initial Experimentation Sketches - "All Ripped Up: Punk Influence on Design", Week 1 (22/04/2024)
Fig. 2.4 Initial Experimentation Digitization - "All Ripped Up: Punk Influence on Design", Week 1 (22/04/2024)
Fig. 3.1 Sketches - "The ABCs of Bauhaus
Design Theory", Week 1 (25/04/2024)
Fig. 3.2 Axial Layout with Grids and Guides, Week 1 (25/04/2024)
Fig. 3.3 Grid Layout with Grids and Guides, Week 1 (25/04/2024)
Fig. 3.4 Dilatational Layout with Grids and Guides, Week 1 (25/04/2024)
Fig. 3.5 Modular Layout with Grids and Guides, Week 1 (25/04/2024)
Fig. 2.2 Axial system - practical class attempts, Week 1 (22/04/2024)
Before I chose my topic of "The ABCs of Bauhaus Design Theory", my initial idea was to do "All Ripped Up: Punk Influence on Design". These are some layout sketches for the Axial, Grid, Radial, Dilatational, and Random systems before digitizing them in InDesign. However, after some exploration, I realized my design didn't reflect the punk style. I took this as a form of experimentation and a warm-up.
Fig. 2.3 Initial Experimentation Sketches - "All Ripped Up: Punk Influence on Design", Week 1 (22/04/2024)
Fig. 2.4 Initial Experimentation Digitization - "All Ripped Up: Punk Influence on Design", Week 1 (22/04/2024)
3. Sketches
I created a second round of sketches for each
system, focusing on the Bauhaus movement style. I
directly developed some of these sketches when
digitising some of the systems. While for other
systems, it was easier to experiment directly in
InDesign software as they have the grid tools to
guide.
4. Progress
This is the digitization process of a few of the
systems. I used a combination of serif and sans-serif
typefaces for different layout designs. The body texts are between 10 pt to 13 pt, the
majority of which are 10 pt with a 12 pt leading.
The title and subtitle sizes vary.
I chose red as my accent colour because Bauhaus frequently utilise primary colours in their designs; yellow was too bright, blue wasn't enough of a contrast, while red goes well with white and black. Red, black and white are also the colours of Taylors University.
I chose red as my accent colour because Bauhaus frequently utilise primary colours in their designs; yellow was too bright, blue wasn't enough of a contrast, while red goes well with white and black. Red, black and white are also the colours of Taylors University.
Fig. 3.2 Axial Layout with Grids and Guides, Week 1 (25/04/2024)
Fig. 3.3 Grid Layout with Grids and Guides, Week 1 (25/04/2024)
Fig. 3.4 Dilatational Layout with Grids and Guides, Week 1 (25/04/2024)
Fig. 3.5 Modular Layout with Grids and Guides, Week 1 (25/04/2024)
Axial System
It was challenging to create a good layout for the axial system because it was hard to balance the body text, title and graphical elements. My initial designs were inspired by Bauhaus posters as shown in Fig. 2.1.
After feedback from Mr. Vinod, the graphical elements in
my first attempt above are too strong. Make use of white
space. Graphical elements draw the eye, it could be
distracting if the element is too big in size. I then
created more simple designs, using colour and simple
shapes (a staple of Bauhaus designs) to draw attention
to the title.
Fig. 4.2 Axial - Attempt #2, Week 1 (26/04/2024)
Radial System
The designs of my radial systems are inspired by sun rays. I made the title and body text to be lines radiating outward of the red circle, resulting in the left and middle layout designs. I also experimented with removing the red circle and changing the angles of the text, as shown in the right layout design below.
The designs of my radial systems are inspired by sun rays. I made the title and body text to be lines radiating outward of the red circle, resulting in the left and middle layout designs. I also experimented with removing the red circle and changing the angles of the text, as shown in the right layout design below.
Fig. 4.3 Radial - Attempt #1, Week 1 (24/04/2024)
Fig. 4.4 Radial - Attempt #2, Week 1 (26/04/2024)
In the feedback, Mr. Vinod mentioned there was too much
contrast in the design as the red circles drew too much
attention. I made another revision according to the
feedback and am much more satisfied with how it
looks.
Dilatational System
It was fun to come up with circular designs for the dilatational system. To maintain an informational hierarchy, I made the title bold and adjusted the opacity and font size for the body text.
Random System
Grid System
Fig. 4.7 Grid - Attempt #1, Week 1 (24/04/2024)
Fig. 4.8 Grid - Attempt #2, Week 1 (26/04/2024)
Transitional System
Fig. 4.9 Transitional - Attempt #1, Week 1 (24/04/2024)
Bilateral System
The bilateral system was inspired by magazine cover designs. I noticed that by using a red background, it fills up the empty space. Compared to leaving the background white, where the empty area is more noticeable, using a coloured background looks better.
Fig. 4.10 Bilateral - Attempt #1, Week 1 (24/04/2024)
Fig. 4.11 Bilateral - Attempt #2, Week 1 (26/04/2024)
It was fun to come up with circular designs for the dilatational system. To maintain an informational hierarchy, I made the title bold and adjusted the opacity and font size for the body text.
Fig. 4.5 Dilatational - Attempt #1, Week 1 (24/04/2024)
Random System
For the random system, I used a variety of different fonts,
font sizes, and colours for the title and body text to make it
as random as possible. I struggled with this a bit as I prefer
more organized designs. I tried my best to play around with
the layout. My first attempt, the left and middle design,
still looks a little too neat. The design on the right side is
my second attempt, and I'm quite happy with how it looks
Fig. 4.6 Random - Attempt #1, Week 1 (24/04/2024)
Grid System
The grid system was fairly simple to design. I made use of a 4x4 grid. The only graphical element I used was a simple red
square, inspired by Bauhaus styles. In my initial designs
below, I tried to have the text surround the square. However,
the designs looked messy and a bit difficult to read.
Fig. 4.7 Grid - Attempt #1, Week 1 (24/04/2024)
The feedback from Mr. Vinod confirmed that the
readability of the text was poor. I made a different
layout design. This time around, I aligned the text to
the red square more, which gives it a more organized
look. I also used a black background for the design on
the left, using a white background would make the empty
space very evident.
Fig. 4.8 Grid - Attempt #2, Week 1 (26/04/2024)
For the transitional system, I experimented with layering and
white space. I wanted the text to be floating or stacking onto
one another. The design on the right was inspired by a
computer glitch effect, which is why I included some
lines, squares, and rectangle shapes.
Fig. 4.9 Transitional - Attempt #1, Week 1 (24/04/2024)
Bilateral System
The bilateral system was inspired by magazine cover designs. I noticed that by using a red background, it fills up the empty space. Compared to leaving the background white, where the empty area is more noticeable, using a coloured background looks better.
Fig. 4.10 Bilateral - Attempt #1, Week 1 (24/04/2024)
From the feedback given by Mr. Vinod, we are only allowed to
use one line and not make it multilateral. I redesigned my
layout designs to match the criteria. The left design is
inspired by poster designs from Fig. 1.5.7 that
reveal only half of the text. The right design is a
redesigned layout of the magazine cover idea above.
Modular System
The modular system was not as challenging as I thought it would be. I stuck to having only a limited number of sizes for the shapes and using repetitive elements to differentiate between the grid system. In my first attempt, I used red squares to add some graphical elements to the layout.
Fig. 4.12 Modular - Attempt #1, Week 1 (24/04/2024)
Fig. 4.13 Modular - Attempt #2, Week 1 (26/04/2024)
The modular system was not as challenging as I thought it would be. I stuck to having only a limited number of sizes for the shapes and using repetitive elements to differentiate between the grid system. In my first attempt, I used red squares to add some graphical elements to the layout.
Fig. 4.12 Modular - Attempt #1, Week 1 (24/04/2024)
I made some adjustments to the modular system designs as the initial ones looked messy and unfinished. The squares and rectangles were unnecessary, which led me to put the information inside those shapes to give them some purpose. I also used two varieties of the square's size and used outlines of the shape instead of a fill.
Final Exercise 1 - Typographic Systems
Fig. 5.1 Final Axial System - JPEG, Week 2 (01/05/2024)
Fig. 5.2 Final Radial System - JPEG, Week 2 (01/05/2024)
Fig. 5.3 Final Dilatational System - JPEG, Week 2 (01/05/2024)
Fig. 5.4 Final Random System - JPEG, Week 2 (01/05/2024)
Fig. 5.5 Final Grid System - JPEG, Week 2 (01/05/2024)
Fig. 5.6 Final Transitional System - JPEG, Week 2 (01/05/2024)
Fig. 5.7 Final Bilateral System - JPEG, Week 2
(01/05/2024)
Fig. 5.8 Final Modular System - JPEG, Week 2 (01/05/2024)
Fig. 5.2 Final Radial System - JPEG, Week 2 (01/05/2024)
Fig. 5.3 Final Dilatational System - JPEG, Week 2 (01/05/2024)
Fig. 5.4 Final Random System - JPEG, Week 2 (01/05/2024)
Fig. 5.5 Final Grid System - JPEG, Week 2 (01/05/2024)
Fig. 5.6 Final Transitional System - JPEG, Week 2 (01/05/2024)
Fig. 5.9 Final Task 1 - Exercise 1: Typographic Systems -
PDF, Week 2 (01/05/2024)
Fig. 5.10 Final Task 1 - Exercise 1: Typographic Systems with Grids and Guides - PDF, Week 2 (01/05/2024)
Fig. 5.10 Final Task 1 - Exercise 1: Typographic Systems with Grids and Guides - PDF, Week 2 (01/05/2024)
TASK 1: Exercise 2 - Type & Play
We are tasked to select an image of a man-made object (chair,
glass, etc.), structure (buildings), or something from nature
(human, landscape, leaf, plant, bush, clouds, hill, river, etc).
Avoid selecting an image that contains too many different
elements. We then have to analyse, dissect and identify
potential letterforms within the dissected image.
- Extract at least 4-5 letterforms from the image and form a word if possible.
- Extract at least 4-5 letterforms from the image and form a word if possible.
- Should be uppercase or lowercase only
- Choose a reference typeface from the 10 typefaces
Part 1: Finding Type
1. Selecting an Image
While browsing through Pinterest for images with strong characteristics, I was interested in wavy shapes formed by curves. I selected three images - water reflection, purple cabbage, curly hair, as shown in Fig. 6.1. I believe all these images could make for an interesting exploration
I chose purple cabbage as my subject because I think it has much stronger characteristics than the water reflection and curly hair. Before choosing the photo, I observed all three photos for a while to see if I could identify potential letters; I could clearly find letterforms in the purple cabbage compared to the other two images.
Fig. 6.1 Image References, Week 2 (01/05/2024)
Fig. 6.2 Chosen Subject - Purple Cabbage, Week 2 (01/05/2024)
2. Extraction of Letterforms
At this stage, we need to observe and outline the shapes in the image. I used the pen tool in Adobe Illustrator to trace the outline of the shapes. I tried my best to keep the details of the curves of the purple cabbage. The extracted letters are uppercase letters W, A, V, E, S, and O.
Fig. 6.3 Tracing Letterforms - W, A, V, E, S, O, Week 2 (01/05/2024)
I have gained an understanding of several characteristics of the cabbage from looking at the image as a whole. From the extracted letters, I noticed that there are many curves and bumps, and some thick and thin strokes to the letterforms.
Fig. 6.4 Purple Cabbage Features, Week 2 (01/05/2024)
Fig. 6.4 Purple Cabbage Features, Week 2 (01/05/2024)
I placed all of the extracted letterforms on a horizontal guideline.
Fig. 6.5 Extracted Letterforms on Guides - W, A, V, E, S, O, Week 2 (01/05/2024)
3. Typeface Reference
We were instructed to have a reference to help with the construction/ refinement of our typeface. I initially selected 'MV Boli' as my reference font.
After feedback from Week 3, it was recommended I choose a different typeface because 'MV Boli' was a poor reference choice and it does not represent the extracted letters. I selected the 'ITC Garamond Std (Book)' font. I selected this font because it has some similar serif tails to my extracted letterforms, as well as similar thick and thin-width strokes.
Fig. 6.7 Typeface Reference - ITC Garamond Std (Book), Week 3 (08/05/2024)
Fig. 6.6 Initial Typeface Reference - MV Boli, Week 2 (04/05/2024)
After feedback from Week 3, it was recommended I choose a different typeface because 'MV Boli' was a poor reference choice and it does not represent the extracted letters. I selected the 'ITC Garamond Std (Book)' font. I selected this font because it has some similar serif tails to my extracted letterforms, as well as similar thick and thin-width strokes.
Fig. 6.7 Typeface Reference - ITC Garamond Std (Book), Week 3 (08/05/2024)
4. Refining Letterforms
First of all, I placed the reference typeface at the back with lower transparency and the extracted letterforms at the front so I could see the comparison between the two.
Fig. 7.1 Comparison between Extracted Letterforms and Typeface Reference, Week 2 (04/05/2024)
I began the refinement process by adjusting the angle of each letterform as well as scaling and adjusting the stroke height to look more consistent altogether and to match that of the reference font.
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Fig. 7.8 Initial compiled process, Week 2 (05/05/2024)
5. Refining Letterforms (After Feedback)
After receiving feedback from Mr. Vinod, I made another attempt at the refining process. While my extraction part was good, the major issue was the poor choice of reference typeface which made me redo most of the designing aspect. The feedback also helped me understand the importance of maintaining the characteristics and certain details of the object.
Fig. 7.9 Typeface Reference - ITC Garamond Std (Book), Week 3 (08/05/2024)
Fig. 7.10 Improved version, Week 3 (08/05/2024)
Fig. 7.11 Thicker strokes, Week 3 (08/05/2024)
Fig. 7.12 Refining details, Week 3 (11/05/2024)
Fig. 7.13 Experimenting with serif tail, Week 3 (08/05/2024)
Fig. 7.14 Comparison to ITC Garamond Std, Week 3 (11/05/2024)
Fig. 7.15 Adding ridges, Week 3 (11/05/2024)
Fig. 7.16 Adding ridges and more characteristics, Week 3 (11/05/2024)
I began the refinement process by adjusting the angle of each letterform as well as scaling and adjusting the stroke height to look more consistent altogether and to match that of the reference font.
Fig. 7.2 Stroke height + angle correction, Week 2 (05/05/2024)
Fig. 7.3 Simplified letterforms, Week 2 (05/05/2024)
Fig. 7.4 Font adjustments based on reference font - MV Boli, Week 2 (05/05/2024)
Fig. 7.5 After font adjustments, Week 2 (05/05/2024)
Fig. 7.6 Curving sharp edges, Week 2 (05/05/2024)
Fig. 7.7 Returning characteristics, Week 2 (05/05/2024)
I simplified the letterforms by reducing and simplifying all the anchor points. I further refined the design by modifying each letterform's strokes according to the reference font's height and width, especially with the letter 'E' since it was the most different out of all the letterforms in terms of stroke thickness. I then attempted to make the simplified letterforms look similar to one another and give them similar characteristics.
During my attempt at refining, I roughly adjusted all the letters to resemble the shape of the font reference. Among them, the letter 'V' was the simplest and closest to the desired font shape. The only adjustment that needed to be done was extending the stroke height of the right side of the letter to match the reference. Due to the complexity of the letter 'E,' I decided to first reduce the stroke width to match the rest of the letterforms and the reference font before making further adjustments.
Fig. 7.4 Font adjustments based on reference font - MV Boli, Week 2 (05/05/2024)
From my observation of the chosen image, there are no sharp points in all the curves of the purple cabbage. From my letterform design, I noticed a few sharp edges which did not reflect the characteristics of the purple cabbage. I smoothed out these sharp points by dragging the anchor points to adjust the curve of the path.
To retain some of the unique characteristics of the purple cabbage, I added its natural bumps and curves like those observed in Fig. 6.4.
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After receiving feedback from Mr. Vinod, I made another attempt at the refining process. While my extraction part was good, the major issue was the poor choice of reference typeface which made me redo most of the designing aspect. The feedback also helped me understand the importance of maintaining the characteristics and certain details of the object.
I changed my reference font to 'ITC Garamond Std (Book)', as it better represents the extracted letterforms.
Before reattempting to refine the letterforms again, Mr. Vinod suggested refining it next to the chosen image in order to get a better understanding of the features. He also advised me to refine one letter at a time and work on it for a few minutes to get an understanding of how the other forms would look.
Fig. 7.10 Improved version, Week 3 (08/05/2024)
After reattempting the refinement process, I ended up with what is shown in Fig. 7.11. The top is the initial design, which was approved by Mr. Vinod. From the general feedback in class, I learnt it is better to have thicker strokes to make them more visible. In my case, thicker strokes also better represented the image reference.
Fig. 7.11 Thicker strokes, Week 3 (08/05/2024)
This is some more refinement to the letterforms. As seen below in Fig. 7.12, the letterforms went through more adjustments, especially W, E and S.
- I tried combining two 'V's to form the letter 'W' but that didn't work out so I went back to my original design
- The 'E' looked really hunched initially so I made it more rounded
- The 'E' looked really hunched initially so I made it more rounded
- The stroke width of 'S' was really thick which led me to reduce it
The reference font, ITC Garamond Std, is a serif type. I wanted to mimic the serif tail as seen in the reference. All my design letterforms had tails but those in the letters, A, V, E, and S were all curving outwards. I changed it so that all the serif tails match the direction of the tails in ITC Garamond Std.
To include more characteristics of the purple cabbage in the design, I added a few thin ridges in some places of the shape, as shown in Fig. 7.15.
Fig. 7.15 Adding ridges, Week 3 (11/05/2024)
Fig. 7.16 Adding ridges and more characteristics, Week 3 (11/05/2024)
Fig. 8.1 Image and Extracted Letterforms, Week 4 (13/05/2024)
Fig. 8.2 Reference Typeface, Week 4 (13/05/2024)
Fig. 8.3 Final Letterforms, Week 4 (13/05/2024)
Fig. 8.4 Final Compiled Process, Week 4 (13/05/2024)
Fig. 8.5 Initial Extracted Letterforms and Final Letterforms, Week 4 (13/05/2024)
Fig. 8.6 Final letter "W", Week 4 (13/05/2024)
Fig. 8.7 Final letter "A", Week 4 (13/05/2024)
Fig. 8.8 Final letter "V", Week 4 (13/05/2024)
Fig. 8.9 Final letter "E", Week 4 (13/05/2024)
Fig. 8.10 Final letter "S", Week 4 (13/05/2024)
Part 2: Type and Image
Upon completing the letterforms, we are to combine the final extracted letterforms that are the basis of the extracted letters. The objective is to enhance the interplay between the letterforms and the selected visual. The text must be woven into a symbiotic relationship with the image. The size resolution of the final outcome should be 1024 x 1024 px in 300 dpi.
Fig. 9.1 Background image, Week 4 (12/05/2024)
Fig. 9.2 Poster variations and experimentation, Week 4 (12/05/2024)
Fig. 9.5 Adjusting the logo positions, Week 4 (12/05/2024)
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Fig. 9.7 Poster Design - After Feedback, Week 4 (15/05/2024)
Initially, I did a few variations of the poster using different backgrounds. I ended up choosing the black-and-white poster design because it stood out the most to me.
Fig. 9.2 Poster variations and experimentation, Week 4 (12/05/2024)
Due to the black and white background, some of the white letters may not be clearly visible. I used Photoshop to add an overlay with a dark grey gradient. In order to make the title stand out more, I used Gaussian Blur to make the background hazy.
Fig. 9.3 Editing background in Adobe Photoshop - gradient and blur, Week 4 (12/05/2024)
Fig. 9.4 Adjusting the layout, Week 4 (12/05/2024)
I added text and visuals to the design to make it like the concept of a movie poster. The goal is to produce a visually appealing composition that showcases the font. I experimented with different placement of the font and content in an attempt to merge the words with the background.
Fig. 9.4 Adjusting the layout, Week 4 (12/05/2024)
This is the initial poster design shown in class.
Fig. 9.6 Initial Poster Design, Week 4 (15/05/2024)
After receiving feedback, I tried to integrate the word with the background to have some form of interplay. I did this by masking the design in Photoshop, making some parts of the cabbage show through and overlapping the letters.
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Fig. 9.7 Poster Design - After Feedback, Week 4 (15/05/2024)
I then did another version of the poster design. I used a cross-section of the whole purple cabbage as suggested by Mr. Vinod. A few other adjustments I made was making the letters closer to one another, adding a background and having the main title stand out with a different colour.
Fig. 9.8 Poster Design #2, Week 4 (12/05/2024)
Final Exercise 2 - Type & Play | Type and Image
Fig. 10.1 Final Type and Image #1, Week 4 (15/05/2024)
Fig. 10.2 Final Type and Image #2, Week 4 (15/05/2024)
Fig. 10.2 Final Type and Image #2, Week 4 (15/05/2024)
FEEDBACK
WEEK 1
General Feedback
WEEK 1
General Feedback
Research on the topic to gain a better understanding
before creating a design. The body font size should be
between 8pt to 12pt, and the heading font size can be
increased. Keep in mind the hierarchy of information -
which one should the reader read first.
Specific Feedback
Specific Feedback
Exercise 1: Typographic Systems - Original
Layouts
The grid system is bold and neat, but readability is a little difficult. The axial, dilatational, and radial system has too much contrast. The second option of dilatational and grid is better.
Exercise 1: Typographic Systems - Refined Layouts
Axial system: The new layouts are more elegant, the first layouts have too strong graphical elements. The first design is the best.
The grid system is bold and neat, but readability is a little difficult. The axial, dilatational, and radial system has too much contrast. The second option of dilatational and grid is better.
Exercise 1: Typographic Systems - Refined Layouts
Axial system: The new layouts are more elegant, the first layouts have too strong graphical elements. The first design is the best.
Bilateral system: The first design is best
as it doesn't reveal the whole title
Dilatational system: No comment
Grid system: The first design is best, it
leads your eye from up to down. The second design is
alright but a little scattered. The original few layouts
are too hard to read
Modular system: All of the content fits the
grid. The first design is aesthetically better.
Radial system: No comment
Random system: The last design is good
Transitional system: The second design is
better
WEEK 2
General Feedback
Elements should be balanced to avoid making one side too heavy. Make use of white space. Graphical elements draw the eye, it could be distracting if the element is too big in size.
Grid system: Content must remain in the columns.
Bilateral system: Use one line only, don't make it multilateral.
Dilatational system: The text must be above the line if not it is harder to read, and it doesn't need to be in italicized font.
Specific Feedback
Exercise 2: Type & Play - Finding Type
The extraction process is done. It just needs more refining and defining. It'll lose characteristics when you adjust, but you can bring back some characteristics that work and put them in all the letters
WEEK 3
General Feedback
Exercise 2: Type & Play - Finding TypeGeneral Feedback
The extraction and characters of the extraction reflect what you see in the image
The characteristics of the stroke/weight should be the same, and letters should be proportionate
Choose the reference typeface carefully to reflect the extraction
Taking large portions of the image gives more character to the letters
Specific Feedback
Exercise 2: Type & Play - Finding Type
Repeated lines better represent the cabbage. Try to add ridges in some places.
Specific Feedback
Exercise 2: Type & Play - Finding Type
Repeated lines better represent the cabbage. Try to add ridges in some places.
Poor reference choice - doesn't represent the letters
Some parts need to be more characterized - not enough character.
The improved version looks good and represents the source, it may look like water but it's okay since the characteristics are similar
Some parts need to be more characterized - not enough character.
The improved version looks good and represents the source, it may look like water but it's okay since the characteristics are similar
WEEK 4
General Feedback
Exercise 2: Type & Play - Finding TypeGeneral Feedback
Background comes through to the foreground, thereby connecting them together.
Too much separation causes isolation.
Specific Feedback
Exercise 2: Type & Play - Finding Type
Clear progress of the work.
No integration or interplay with the text and image in the background. It would have a really good poster and end to the process.
Try finding an image that shows the whole cabbage.
REFLECTION
Experience
My experience with this task has been quite a long one. I feel like I gained a better understanding of the typographic system after retaking the module in the next semester. Initially, I had no idea what to do with the typographic systems and was pretty unsatisfied with my designs. Being able to sit on it for a while, I was able to grasp what the foundational principles of each systems were and created better designs. I found Type and Play to be more challenging than the Typographic System. It was tiresome and challenging re-refine the letterforms and bring out the unique features.
Observations
The first exercise made me observe the importance of having a clear hierachy of information, which can be achieved by the placement of the text and the font sizes and styles. From the second exercise, I observed that the being observant is the most crucial aspect to identify the letterforms. While we should not make the letterform be so different from the reference typeface, we also had to maintain the characteristics from the chosen image to make the letterforms unique. I observed every stroke or angle curve made a difference to the overall font design.
Findings
FURTHER READING
Fig. 11.1 "Typographic Systems" by Kimberly Elam
Fig. 11.2 Constraints and Options, Page 10
Lines can be broken from a single line into multiple lines, creating changes in grouping and the way the line is read. Leading creates changes in position and textures. Variations of word and letter spacing create changes in texture and tone.
Fig. 11.3 Non-objective Elements, Page 14
Non-objective elements can enhance hierarchical order and direct
the viewer's eye. It should be carefully used as it could
overwhelm the message because of the complex shape or volume of
colour.
Elam, K. (2007). Typographic Systems. Princeton
Architectural Press, New York
Fig. 11.2 Constraints and Options, Page 10
Lines can be broken from a single line into multiple lines, creating changes in grouping and the way the line is read. Leading creates changes in position and textures. Variations of word and letter spacing create changes in texture and tone.
Rule series: When there is a change in weight, the rules create a rhythm to guide the eye.
Circle series: An element that creates hierarchy, a circle draws the eye to a word making it the first word read in a composition.
Tone series: The viewer's eyes are drawn to the largest volume of colour (black on white background, or white on black background).
Fig. 11.4 Radial System - Enlarged Circles, Page 51
Fig. 11.5 Random System - Repetition
A random system should have repetition. However
excessive repetition to make an interesting composition
leads to a loss of communication. The random system
needs to have a pattern and texture. To preserve
communication, a design can layer text on top of texture
and/ or enlarge the repetition of the message with
colour change and the use of uppercase text.
Fig. 11.6 Kreatif Beats - "Finding Type: A Novel Typographic Exercise"
Nair, V. (2023. Finding type: A Novel Typographic Exercise. Kreatif Beats. https://kreatifbeats.com/2023/08/06/finding-type-a-novel-typographic-exercise/
Instead of extracting a colour palette from an image, a similar method to extract letterforms from an image emerges. The process is broken down into six steps: (1) finding an image with strong characteristics, (2) deconstructing the image, (3) identifying letterforms, (4) extracting letterforms, (5) identifying a reference typeface, and (6) refining letterforms while retaining the subject's core characteristics.
Fig. 11.7 Extracted letterform and refined letterform by Piyaphon Inthavong, 2019
1) Finding an image: The subject matter is preferred to have a repetitive nature without many elements. It is possible to do it without these characteristics, but the result could be inconsistent and time-consuming to extract letterforms.
2) Deconstructing an image: Outline the identified shapes. The shapes and form of the object, as well as the lines, textures and overall form, should be studied.
3) Identifying letterforms: The shapes do not have to look like an exact letter but resemble its basic shape.
4) Extracting letterforms: Identify core characteristics of the letterform.
5) Identify a reference typeface: Find a similar typeface with the same direction style. It guides the identified letterforms towards an overall aesthetic and determines the shape of a letter.
6) Refining letterforms: Refine the letterform to a point that is consistent and similar to the other letterforms extracted. It should retain the core characteristics of the original subject but also be used as a legible typeface.
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