Advanced typography / Task1: Exercises: Typographic Systems & Type Play

 Week1 - Week5 31/08/2022 - 28/09/2022

Riko Matsuyama 0351470

Bachelor of Design in Creative Media

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Lecture 

Week1

Advanced typography: Typographic systems

"All design is based on a structural system" and there are eight major variations with an infinite number of permutations. These light major variations: 

1. Axial system: All elements are organized o the left or right of a ingle axis.

Fig1.1: axial system

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

Fig1.2: radial system

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

Fig1.3: dilatational system

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

Fig1.4: random system

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

Fig1.5: grid system

6. Transitional system: An informal system of layered banding.

Fig1.6: transitional system

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

Fig1.7: modular system

8. Bilateral system: All text is arranged symmetrically n a single axis.

Fig1.8: bilateral system

An understanding of the systems organization process allows the designer to break free rom "the rigid horizontal and vertical grid systems of letter press" (Elam, 2007). It allows designers to use more fluid means to create typographic messages.

Week2

Typographic composition

When we think about composition, we think about the dominant principles underpinning design composition, which are emphasis, isolation, repetition, symmetry and asymmetry, alignment, perspective to name a few.

Fig1.9; composition

⚫︎The rule of thirds

Realistically no one would ever use the rule of thirds hen there are other more favorable options.

Fig1.10: the rule of thirds

From the 8 systems the most pragmatic and the most used system is the Grid system, which is derived from the guided compositional structure of Letter Press printing.

fig1.11: example

Fig1.12: example

Left to right: Paula Scher, Jonathan Barnbrook and David Carson

⚫︎Environmental Grid

This system is based on the explanation of an existing structure numerous structures combined. An extraction of crucial lines both curved and straight re formed.

fig1.13: composition

Static versions of the form placed on spread (Grid were hidden). Care was taken to ensure visual connections and surprises on every page. The forms could represent images, text or color.

The level of complementary increases as newer elements are introduced in a incremental fashion: addition of one color, then image, then dummy text and so on.
 

fig1.14: example

Week 3

Context & Creativity

⚫︎Handwriting

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.

The shape and line of hand drawn letterforms are influenced by the tools and materials used to make them. Sharpened bones, charcoal sticks, plant stems, brushes, feather and steel pens all contributed to the unique characteristics of the letterform.

Fig1.15: Latin alphabet

Additional factors included the material upon which the forms were written: clay, papyrus, palm leaf, animal skins (vellum and parchment) and paper.

Fig1.16: Cuneiform c. 3000 B. C. E.

fig1.17: Hieroglyphics 2613-2160 B. C. E.

The Egyptian writing system is fused with the art of relief carving. The system was a mixture of both rebus and the phonetic characters-the first linked 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 ... Building on the Egyptian logo consonantal system, the Phoenicians developed a phonetic alphabet consisting of 22 letters.

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

English Half Uucials, 8th C. ... 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.

Black letter 12-15 c. 3000 B. C. E. ... Gothic was the culminating artistic expression of Rom of the middle ages, occurring roughly from 1200-1500. The writ term Gothic originated with the best Italians who used it to refer to chan rude or barbaric cultures north of the Italian Alps.

Movable type 11C. - 14 C. ... Printing (woodblock) had already been practiced in China, Korea, and Japan (Dharani Sutra, AD 750). The earliest known printed book (AD 868) is the Diamond Sutra: 16' scroll with the world's first printed illustration.

Fig1.18: printer

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.

Fig1.19: Evolution of Middle Eastern alphabets

fig1.20: The Evolution of the Chinese scripts 

Fig1.21: The oldest writing found in the 'Indian' subcontinent the Indus Vally Civilization script
3500-2000 BCE

Fig1.22: handwriting

Fig1.23: handwriting

Why is handwriting important in the study of typography?

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

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Instructions 

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Exercises 1: Typographic Systems

The exercises are as follows: 

1) Typographic Systems (1 Week) 

• Axial, Radial, Dilatational, Random, Grid, Modular, Transitional and Bilateral 

2) Type & Play Part 1 & 2 (2 Week)

After watching lecture videos, I did sketch and start to make exercise1. 

We need to use Adobe Indesign. Size 200mm × 200mm. In addition black, you can use one other color. Graphic elements can be used but limiteddly.

Fig2.1: sketch

The 8 systems mentioned above are to be explored using the following content: 

The Design School, Taylor’s University 

All Ripped Up: Punk Influences on Design or 

The ABCs of Bauhaus Design Theory or 

Russian Constructivism and Graphic Design 

Open Public Lectures: 

June 24, 2021 

Lew Pik Svonn, 9AM-10AM 

Ezrena Mohd., 10AM-11AM 

Suzy Sulaiman, 11AM-12PM 

June 25, 2021 

Lim Whay Yin, 9AM-10AM 

Fahmi Reza, 10AM-11AM 

Manish Acharia, 11AM-12PM 

 Lecture Theatre 12

Fig2.2: process 

Fig2.3: process2

Fig2.4: process3

Fig2.5: week1 design (axial system)

Fig2.6: week1 design2 (axial system)

Fig2.7: week1 design3 (grid system)

Fig2.8: week1 design4 (dilatational system)

Fig2.9: week1 design5 (grid system)

Fig2.10: week1 design6 (dilatational system)

Fig2.11: week1 design7 (modular style)

During week 2 class, I received feedbacks from teacher. General feedback: The overall balance and alignment are not consistent, so you should pay attention to them. I have finalized the work considering the feedback. And I need to use 8 typographic systems, so I created additional works using one that hadn't been used yet. It was a little bit difficult random and radical system.

Fig2.12; process

Fig2.13: process

The font used: Futura Std (Light Condensed, bold condensed, Extra Bold condensed Oblique, Heavy Oblique, medium)

Axial:  I devised arrangement of date part. I made symmetrical.

Bilateral: I devised a main part arrangement in the middle.

Transitional: I put circles of different sizes. I was careful the balance.

Dilatational: I come up with a white space. I put a big green circle in the middle, and made an impact.

Grid: I come up with a size of characters, I made it like a cover of book.

Modular: I used a typography system book as a reference. Using curved sentences.

Random: Arrange the date part like a calendar. Since it is random, I devised the arrangement. Used several different fonts.

Exercise 1.1 Final Outcome

Fig2.14: final outcome, axial style (.jpg)(08/09/2022)

Fig2.15: final outcome, bilateral style (.jpg)(08/09/2022)

Fig2.16: final outcome, transitional style (.jpg)(08/09/2022)

Fig2.17: final outcome, dilatational style (.jpg)(08/09/2022)

Fig2.18: final outcome, grid style (.jpg)(08/09/2022)

Fig2.19: final outcome, modular style (.jpg)(08/09/2022)

Fig2.20: final outcome, radial system (.jpg)(23/09/2022)

Fig2.21: final outcome, random style (.jpg)(23/09/2022)

Fig2.22: final outcome, 8 typographic systems (.pdf)(08.09.2022)

Fig2.23: final outcome, 8 typographic systems with guides and grids (.pdf)(08.09.2022)

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Exercise 2: Type play

Finding type – selection of image between man-made objects (chair, glass, etc.) or structures (buildings), and nature (Human, landscape, leaf, plant, bush, clouds, hill, river, etc). 

Students will analyse, dissect and identify potential letterforms within the dissected image. 

I chose some images, tree, stone road, and broken glass. After looking for alphabets, I decided image of broken glasses.

Fig3.1: tree

Fig3.2: floor

Fig3.3: broken glass

Fig3.4: process

I used a square-like area in the broken glass as a reference. One part of the letter was made to look like this. These are mostly irregularly shaped.

Fig3.5: Referenced part

Fig3.6: Referenced part

Fig3.7: process

Next, sharp pieces of glass were applied to the letters. Since these are of different thicknesses, I also changed the thicknesses on the left and right when using them for the letters.

Fig3.8: Referenced part

Fig3.9: process

Fig3.10: week 4 outcome

This is final design on week3. I received feedback from Mr. Vinod. My refinement process is still not complete, having a very sharp point at the end, it needs to be done with a little bit more carving. You don't necessarily have to introduce a sharp point on every stroke, so that's something you might want to consider. After this, I created my letter based on feedback.

Fig3.11: feedback

Fig3.12: process

Fig3.13: final design

Fig3.14: final design

Fig3.15: final design

Exercise 1.2 Final Outcome

Fig3.16: broken glass

Fig3.17: final outcome (21.09.22)(.jpeg)

Fig3.18: process (21.09.22)(.jpeg)

Fig3.19: final design (21.09.22)(.jpg) 

Fig3.20: final design (21.09.22)(.jpg)

Fig3.21: final outcome (21.09.22)(.pdf)

Fig3.22: final outcome (21.09.22)(.pdf)

Fig3.23: final outcome (21.09.22)(.pdf)

Fig3.24: final outcome (21.09.22)(.pdf)

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Feedback

Week 2

General Feedback: The overall balance and alignment are not consistent, so you should pay attention to them.

Specific Feedback: (Axial)1st: compositional standpoint, it has too much space on the bottom left. 2nd: It is difficult to understand the set axial. 3rd: it just looks better than a grid system. it’s not random because this is too organized.

(dilatational)1st one is fine.

(Transitional) it’s fine, but if you want to add a line, separate the line from the text. Whenever you use the condensed typeface, you have to be careful of information like this, because the letter is sticking to each other.

(grid) The upper side is okay, but the lower side needs to align left. 

 

Week 3

General feedback: There are cool designs.

Week 4

Specific feedback: Your refinement process is still not complete, having a very sharp point at the end, it needs to be done with a little bit more carving. You don't necessarily have to introduce a sharp point on every stroke, so that's something you might want to consider. 

(2nd feedback) It is better than before, but the part below should be applied to all characters. Create a sense of unity.

Week5

Specific feedback: The area that should be looking at in your work should be smaller (Fit in the upper left part) Because tea part is important but there are too many things in your picture About smoke, a little bit wispier. Adapt the quality of smoke

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Reflection 

Experience

This module is advanced typography, so I was able to use my typography experience from the last module. In exercise1, we made some layouts using systems we Learned in class. It was a little bit difficult to think of an idea, especially the dilatational and radial systems. In exercise 2, the typo play task, I had difficulty going from the beginning to the next step. I cannot come up with a good idea and even if I come up with an idea, that is not good. I was able to complete it by thinking about a sense of unity. 

Observation

The task of creating letters from natural or artificial objects was interesting.  I especially enjoyed looking for the alphabet from things around me. Sometimes, I found alphabets or my language characters from around me. So I think it was a good experience to actually create characters.

Findings

I need to describe own work. Describe in words why it is the way it is.  Because there are things that are made somehow, so there need to have a meaning. I thought it would be nice to come up with new ideas that do not overlap with existing ideas. And it is important the process of idea research. I need to take more time of it. 

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Further Reading

Typographic systems, Kimberly Elam

Non-objective elements

Using nonobjective elements sharpens and articulates this composition. Just as typography is functional in the communication of a message, the nonobjective elements enhance the functions of emphasis, organization, and balance. Nonobjective thum elements become functional guides when used with typography- into play and communicate the message more clearly by enhancing ally f a hierarchical order and directing the viewer's eye.

Rule Series

Rules can both organize and emphasize a message. Single-weight rules of equal length function primarily as elements of the organization. When there is a change in weight, the rules also create a rhythm and guide the eye downward. Altering the length of the rules creates a strong diagonal.

Circle Series

The circle can act as a nonobjective pivot point or as an element that creates a hierarchy. The examples show ways in which the circle draws the eye to a single word, making that word the first read in the composition.

Tone Series

The simple use of tone can dramatically alter the hierarchy of a message. The eye is drawn to the largest volume of black on a white background or the largest volume of white on a black background. Words or portions of words can be emphasized, giving the message a sense of visual punctuation.

The examples on this spread make use of simple nonobjective elements, such as rectangular strokes or rules, circles, and tone. in the rule series there are distinct visual differences between rules that are of consistent length and those that vary in length. When the widths vary, the visual arrangement is more complex. 

The circle, a visually compelling element, attracts attention no matter how small it is. Because of this the circle can readily be used as an element of emphasis.

The use of nonobjective elements should be carefully consid s attention no ered and caution must be taken to avoid using elements that cle can readily overwhelm the message, either because of the volume of color ple changes in or the complex shape.

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