Advanced Typography

24.4.2024 -

Ruthlene Chua Zhen Si 0365222

Bachelor of Design (Honours) in Creative Media - Advanced Typography

Task 1

Lecture
Instruction
Class Summary
Task

1 exercise
2 exercise

Feedback
Reflections
Further reading

LECTURE (SUMMARIES VIDEO)

Week 1-17/04/2024: Typographic Systems_AdTypo_1

Intro:

They are 8 major variation with and infinite number if permutations:

Axial
Radial
Dilatational
Random
Grid
Modular
Transitional
Bilateral

Why typographical organization is complex ?

Elements are dependent on communication in order to function
Additional criteria: hierarchy, order of reading, legibility, contrast

Typographic system are akin to what architects term shapes grammar

While similar, typographic and architectural systems are not identical
Typographic systems resemble the grammar of shapes in architecture
Each system has its unique set of rules
These rules serve a specific purpose by directing and guiding decision-making

Axial system: All elements are organized to the left or right of a *single axis*( red line )

Information is divided into groups and then it is placed in different angle on different sides of the axis
Axial not necessary have to be straight, it can be bent
Multiples axials are acceptable

Figure 1.0 : Axial system which is organized to left or right & in different angel (bent)

Figure 1.1 : Examples of Axial system of how information has been placed on a single axis which is going diagonally across towards the right

Radial system: All elements are extended form a point of focus and the spread out according to that particular point of focus

All the sentences are pointing towards that point of focus and so that constitutes radial

Figure 1.2 : Radial system which is elements are extended form a point of focus

Figure 1.3 : Radial system but with multiple points of focus instead of it being just one point focus

Dilatational system: All elements systems expanded from a central point in a circular manner

Arrangement that can be made using the Dilatational system:

Circles with information on sides, arranged hierarchically
Main points in central circle; supporting details in inner rings
Less important info in outer rings
Hierarchical placement guides reader's focus
Organize into clusters based on hierarchy or reading rhythm
Can be simple organize but also can be quite a complex organization of information

Figure 1.4 : Examples of Dilatational system in a more complex way

Random system: Elements appear to have to specific pattern or relationship

Although it is random but there is a method in the chaos that is created within the page

Figure 1.5 : Examples of random system

Grid system : A system of vertical and horizontal divisions

Its a wide and common use system
Different size and weight all to create emphasis and hierarchy

Figure 1.6 : Examples of grid system, the information has been structured according to the different grids within the page

Transitional system: An informal system of layered banding* segregating information within certain bands

Ways to apply the layout of the system:

Headline stays within one band
Middle text remains in one band
Information directs to venue in separate band

Figure 1.7 : Examples of transitional system

Figure 1.8 : Student work of transitional system

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

Units of the little squares have to be standardized and have to be the same size

Reason:

Modular allows moving units around the page
Units replace others at bottom or side
Possible due to standardized units

Single unit structures can be placed with single unit structures; same goes with double unit structures, therefore it becomes modular
Simply fits around but make sure if its fits within a single unit

Figure 1.9 : Layout of modular system

Figure 2.0 : Layout of modular system which are gridded well but shift elements in different spaces

Bilateral system: All text is arranged systematically on a single axis

System which is used a lot of times in invitation cards and other types of formal invites

Figure 2.1 : Layout of Bilateral system

The bilateral system in the middle has two axes: one central and vertical, and another horizontal with slight curvature. The standard version features large, bold headlines, while variations include italics and regular typefaces for different emphasis

Figure 2.2: Student examples of Bilateral system

Week 1-24/04/2024: Typographic Composition_AdTypo_2

The rule of thirds

A photographic guide to composition, (mostly suggest) a frame (space) can be divided into 3 columns and 3 rows.
The intersecting lines are used as guide to place the point of interest, within the given space.
Rule of third is generally never used in typography competition but it is an element of composition that used to make decisions on placement of important information within a given space

Figure 2.3: Rule of third samples

In all the 8 systems, the most pragmatic and most used systems is the grid system
Why remain popular?

The versatility of the systems and its modular nature tend to allow an infinite number of adaptations.

Figure 2.4: Examples of grid systems and it's format layout

The exploration of know things that look like radial dilatational random asymmetrical alignment, started to take a come to the fore

Figure 2.5: Examples of radial dilatational random alignment

Environmental Grid

Based on the exploration of existing structure or numerous structures combine.
Extraction of crucial lines both curved and straight are formed.
The system and structures were developed based on key features of an environment relevant to the communicators of the message.

Figure 2.6: Examples from lecture Brenda McManus, of Pratt Inst. from the book: Typographic Form and Communication , pp211

Form and Movement

This system is based on the exploration of existing grid systems.
Placing a form on a page consistently over multiple pages creates movement.
The type of page, whether paper or screen, is irrelevant.
Static versions of the form were placed on the spread.
Care was taken to ensure visual connections and surprises on every page.
In compositional exercise, level of complexity increases newer element are introduce in a incremental fashion

Figure 2.7: Form and movement layout examples

Week 8-1/05/2024: Context and Creativity_AdTypo_3

Handwriting

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

Figure 2.8: The Evolution of Latin Alphabet

Cuneiform

The earliest system of actual writing, was used in a number of languages between the 34C.B.C.E.

Hieroglyphic 2613-2160 B.C.E.

The system was a mixture of both rebus and phonetic characters, forming the first link to a future alphabetic system.
Ideograms: Represent things they actually depict.
Determinatives: Indicate that preceding signs are meant as phonograms and convey the general idea of the word.
Phonograms: Represent sounds that "spell out" individual words.

Figure 2.9：Ancient Egypt Hieroglyphics Chart

Early Greek

Developed a phonetic alphabet consisting of 22 letters
Was adopted by the Greeks who added the necessary vowels
Words have been in rows but the direction of reading was not yet fixed
Drawn Freehand, not constructed with compasses and rule, no serifs

Figure 3.0：Early Greek

Roman Uncials

4th century Roman letters becomes more rounded, the curved form allowed for less strokes and be written faster

Figure 3.1：Roman Uncials

English half Uncials.8th C.

Slanted and condensed form
Came in the Carolingian handwriting reform (reformed)

Figure 3.2：English half Uncials.8th C.

Carolingian Minuscule

Used for all legal and literary works to unify communication between the various regions of the expanding European empire
Development as the standard Roman capital

Figure 3.3：The evolution of Carolingian Minuscule

Black letter

Characterized by tight spacing and condensed lettering
Condensing line spacing and letter spacing reduced the amount of costly material

Figure 3.4: Black letter

Gothic

Used to refer to rude or barbaric cultures north of Italian Alps

Figure 3.5: Gothic (without round arch, almond shape/ mandoria)

The Italian Renaissance

Embrace of ancient Greek and Roman culture spurred a creative wave through Italian art, architecture, literature and letter form design

Figure 3.6: Italian Renaissance in Italian art

Antica

New rediscovered letterform
Applied to art and architecture to resulting more perfect or rationalized letter

Figure 3.7: Antica

Movable Type

China attempted to use movable type for printing
Was pioneered in China but achieved in Korea (1300-1399)

Figure 3.8: Earliest printing

Evolution of Middle Eastern Alphabets

The Phoenician letter marks a turning point in written language.
The script itself may have been influenced by Egyptian hieroglyphics and hieratic scripts.

Figure 3.9: Evolution of Middle Eastern Alphabets

Evolution of Chinese Script

From the Oracle Bone script to Seal Script, to Clerical Script.
Traditional and Simplified scripts.

Figure 4.0:Evolution of Chinese Script

The Brahmi Script (450 – 350 BCE)

The earliest writing system developed in India after the Indus script.
It is one of the most influential writing systems.

Figure 4.1:Evolution of Latin Alphabet

Southeast Asia Script:

The oldest writing systems present in Southeast Asia were Indian scripts.
Among them, the most important was the Pallava script.
Pallava was a South Indian script originally used for writing Sanskrit and Tamil.

Figure 4.2: Kedukan Bukit Sumatra

Another important script was Pra-Nagari.
Pra-Nagari was an early form of the Nagari script.
It was used in India for writing Sanskrit.

Figure 4.3: Pra-nagari stone of words

Nusantara also has its own writing system, called Kawi.
Kawi is based on Nagari but is indigenous to Java.
Kawi was used for contacting other kingdoms, making it widespread.
It became the basis of other scripts in both Indonesia and the Philippines.

Figure 4.4: Kawi

Jawi

The Arabic-based alphabet, Jawi, holds great importance in modern Malaysia.
Jawi is the script used for all of Malaysia's famous works of literature.

Figure 4.5: Jawi

Programmers and Type Design:

More vernacular scripts are being developed by software giants like Google.
Increasing numbers of vernacular and "multi-script" typefaces are being produced.
These typefaces cater to situations where written content is communicated in vernacular scripts or a combination of vernacular and Latin scripts.

Figure 4.6: Programmer symbols and icon design

Week 4-15/05/2024: Designing Type_AdTypo_4

INTRO

Type design carries a social responsibility so one must continue to improve its legibility
type design is a form of artistic expression

Typeface_Frutiger

The new typeface's objective was to design a clear, recognizable, and readable font that would be simple to read from a distance as well as up close. ——Highly Operational
Limitations/Considerations:

Letterforms had to be recognizable even in dimly lit areas or when the reader was passing the sign quickly.

Figure 4.7: Frutiger Typeface

Figure 4.8:Frutiger in Arabic form

Carter's fonts

Created to address specific technical challenges
Purpose:

The widespread use of electronic devices and the internet has led to the development of a highly readable font, even at very small screen sizes.

Limitations/consideration:

The Verdana fonts display traits that come from the pixel instead of the pen, brush, or chisel. Commonly confused characters, such as the lowercase.

Figure 4.9: Verdana fonts

Johnston Sans

Created a typeface with "bold simplicity" that was truly modern yet rooted in tradition
Purpose:

Calligrapher Edward Johnston was commissioned by the London Underground to create a new font style for their signs and posters. His specifications and letter form samples have influenced printed text ever since they were provided.

Limitations/consideration:

Johnston was assigned the responsibility of uniting the disparate London Underground Group entities, each of which used a distinct style for signage and advertising, resulting in a disorganized jumble of letters. Taking inspiration from classical and historical calligraphy, he incorporated the dimensions of Roman capital letters into his typeface. However, his design had a timeless beauty and simplicity that made it ideal for the present day.

Figure 5.0: Johnston Sans fonts

General Process of Type Design:

Research

Recognize the anatomy, conventions, and history of type.
Acquire knowledge of essential terms like hinting, metrics, and side-bearing.
Ascertain the typeface's function and the uses for which it is intended (e.g., school buses, airport signage).
Look for references, inspiration, ideas, usage patterns, and context in the fonts that are currently in use.

Sketching

Traditional tools: provide more assurance and control; sketch using brushes, pens, ink, and paper, then scan for digitization.
Digital tools: use Wacom tablets to sketch into font design software. This method is quicker and more accurate, but it can restrict the range of motion of the hand.

Pros and cons apply to both approaches.

Digitization

Prominent applications for digitizing typefaces are Glyphs App and FontLab.
Even though purists frequently disapprove of this approach, some designers create letterforms in Adobe Illustrator before importing them into specialty font applications.

Both the entire form and the counter form should be emphasized because readability significantly depends on the latter.

Testing

In the process of design thinking, testing is essential.
The typeface is improved and corrected in part by the testing results.
As a step in the testing process, prototyping offers crucial input.
Prioritizing readability and legibility is crucial, particularly when choosing text typefaces.
When it comes to display typefaces, readability and legibility may be subordinated to the expression of form.

Deploy

Deployment can encounter teething issues that were not detected in testing and prototyping.
After deployment, changes are still being made to address these problems.
Thorough testing is essential to guarantee that any teething issues are minor.

Typeface Construction:

Roman Capital: The grid consists of a square with four points on the square's sides where a circle has been inscribed.
Three-quarters of the square's area is taken up by a rectangle in the center.
It is feasible to design letterforms and can help to construct them by using grids with circular forms.

Figure 5.0: Construction grid for Roman Capital using 8x8 cells

Construction and considerations:

The 26 alphabet characters can be grouped based on their form and construction.
Separate groups are created for capital and lowercase letters.

Figure 5.1: Classification according to form and construction

When creating a new typeface, many forms and constructions must be taken into account.
Extending curved and projecting forms past the baseline and cap line, as well as vertically aligning straight and curved forms, are significant visual adjustments.
To create consistent 'visual' white space, letters must be adjusted rather than spaced equally.
'Fitting' the type refers to maintaining a constant amount of visual white space between letters.

Typeface creation requires extensive consideration beyond what a single lecture or slides can cover.
Encouragement to explore further reading when time permits or when the need arises.
Emphasis on the existence of numerous approaches and considerations beyond the provided information.

Figure 5.2: The adjustment of proportions, contrast, maximal curve thickness

Conclusion Part:

Typefaces often emerge from intrinsic or extrinsic needs or motivations.
Intrinsic motivation involves a designer's personal interest or identification of a gap/problem.
Extrinsic motivation includes commissioned work or tasks assigned to student-designers.
Successful design requires the designer's investment in the idea and understanding of requirements, limitations, use, and stakeholders.
Designing a typeface is a labor-intensive process driven by passion; the reward may not match the effort for many designers.

INSTRUCTION

CLASS SUMMARY

Week 0: Lectures gives us briefing for the advance typography, the rules, the task and assignments that we are going through this sem.

Week 1: We are given a task to do 8 typography system with 10 font which was given, make 3 sketches for each typography system which makes it 24 typography system sketches then choose one as the final selection, combine 8 of them into a one page of view.

Week 2: This week was public holiday, so Mr. Vinod gives us feedbacks and suggestion online to make improvement on our 8 typography system. Before the class ends, he brief us the next assignments.

Week 3: Mr. Vinod give feedbacks for the second assignment and let us have time to make arrangement and changes during the class. He inform us to get ready for submission for assignment 1 and 2.

Week 4: Mr. Vinod gives us feedback for the poster of artwork and type, let us make changes and improvement. Then he brief of for the up coming task, key artwork.

Week 1

TASK 1: Exercise 1_Typographic Systems ( 24/04/2024 —— 1/05/2024）

We are require to explore 8 systems from typographic systems which are axial, radial, dilatational, random, grid, transitional, modular and bilateral in InDesign using the rules and notes that have given in the MIB. To do so, we need to asses and watch through the InDesign demonstration videos in the lecture playlist.

These are the demand for this assignment:

Size 200 X 200 mm
Using Adobe InDesign only
Addition to black, can use one other color
Graphical elements (line, dot, etc.) can be used limitedly

Before starting to do the systems layout, I did do some sketches for it. Then for the digitization.

Sketches:

Figure: a.1 - Sketches for the 8 systems

Typographic systems: Axial

Reference for this particular systems:

Figure: a.2 - Reference for Axial systems

Figure: a.3 - Reference for Axial systems

For this particular system's digitization sketch :

Figure: a.4 - System's digitization sketch 1 (Axial)

Title: Font Bembo Std Bold , Font size 22pt , Leading 26.583pt
Subtitle: Bembo Std Bold , Font size 21pt , Leading 25.375pt
Heading 1:Bembo Std Bold, Font size 18pt, Leading 21.75pt
Heading 2:Bembo Std Bold, Font 14pt, Leading 16.91pt
Normal Text: Bembo Std Regular, Font 14pt, Leading 16.91pt
Margin and Columns：Column 5, Gutter 5mm , Margin 10mm
Guides: Row 5, Gutter 5mm

Figure: a.5 - System's digitization sketch 2 (Axial)

Title: Font Bembo Std Bold , Font size 29pt , Leading 35.04pt
Subtitle: Bembo Std Bold , Font size 24pt , Leading 29pt
Heading 1:Bembo Std Bold, Font size 18pt, Leading 21.75pt
Heading 2:Bembo Std Bold, Font 14pt, Leading 16.91pt
Normal Text: Bembo Std Regular, Font 14pt, Leading 16.91pt
Margin and Columns：Column 5, Gutter 5mm , Margin 10mm
Guides: Row 6, Gutter 5mm

Figure: a.6 - System's digitization sketch 3 (Axial)

Title: Font Bembo Std Bold , Font size 36pt , Leading43.5pt
Subtitle: Bembo Std Bold , Font size 31pt , Leading 37.45pt
Heading 1:Bembo Std Bold, Font size 18pt, Leading 21.75pt
Heading 2:Bembo Std Bold, Font 14pt, Leading 16.91pt
Normal Text: Bembo Std Regular, Font 14pt, Leading 16.91pt
Margin and Columns：Column 5, Gutter 5mm , Margin 10mm
Guides: Row 4, Gutter 5mm

Figure: a.7 - 3 Layout for Axial systems

Typographic systems: Radial

Reference for this particular systems:

Figure: a.8 - Reference for Radial systems

Figure: a.9 - Reference for Radial systems

For this particular system's digitization sketch :

Figure: a.10 - System's digitization sketch 1 (Radial)

Title: ITC Garamond Std Bold, Font size 22 pt , Leading26.583pt
Subtitle: ITC Garamond Std Book Narrow, Font size 21pt , Leading 25.375pt
Heading 1:ITC Garamond Std Bold, Font size 15pt, Leading 18.125pt
Heading 2:ITC Garamond Std, Font 18pt, Leading 21.75pt
Normal Text: ITC Garamond Std, Font 18pt, Leading 21.75pt
Margin and Columns：Column 4, Gutter 4mm , Margin 10mm
Guides: Row 6, Gutter 5mm

Figure: a.11 - System's digitization sketch 2 (Radial)

Title: ITC Garamond Std Bold, Font size 14 pt , Leading16.91pt ("AND" Font size 44 pt , Leading53.16pt)
Subtitle: ITC Garamond Std Book Narrow, Font size 22pt , Leading 26.583pt
Heading 1:ITC Garamond Std Bold, Font size 20pt, Leading 24.16pt
Heading 2:ITC Garamond Std, Font size 20pt, Leading 24.16pt
Normal Text: ITC Garamond Std Book Narrow, Font 16pt, Leading 19.3pt
Margin and Columns：Column 3, Gutter 5mm , Margin 10mm
Guides: Row 5, Gutter 5mm

Figure: a.12 - System's digitization sketch 3 (Radial)

Title: ITC Garamond Std Bold, Font size 27 pt , Leading32.625pt
Subtitle: ITC Garamond Std Book Narrow, Font size 22pt , Leading 26.583pt
Heading 1:ITC Garamond Std Bold, Font size 22pt, Leading 26.583pt
Heading 2:ITC Garamond Std, Font size 20pt, Leading 24.16pt
Normal Text: ITC Garamond Std Book Narrow, Font 16pt, Leading 19.3pt
Margin and Columns：Column 4, Gutter 5mm , Margin 10mm
Guides: Row 3, Gutter 5mm

Figure: a.13 - 3 Layout for Radial systems

Typographic systems: Dilatational

Reference for this particular systems:

Figure: a.14 - Reference for Dilatational systems

Figure: a.15- Reference for Dilatational systems

For this particular system's digitization sketch :

Figure: a.16 - System's digitization sketch 1 (Dilatational)

Title: Adobe Caslon Pro Bold, Font size 36pt , Leading43.5pt
Subtitle: Adobe Caslon Pro Reguglar, Font size 31pt , Leading 37.45pt
Heading 1:Adobe Caslon Pro, Font size 24pt, Leading 29pt
Heading 2:Adobe Caslon Pro, Font 16pt, Leading 19.3pt
Normal Text: Adobe Caslon Pro, Font 14pt, Leading 16.91pt
Margin and Columns：Column 4, Gutter 5mm , Margin 10mm
Guides: Row 4, Gutter 5mm

Figure: a.17 - System's digitization sketch 2 (Dilatational)

Title: Adobe Caslon Pro Bold, Font size 27pt , Leading32.625pt
Subtitle: Adobe Caslon Pro Reguglar, Font size 24pt , Leading 29pt
Heading 1:Adobe Caslon Pro, Font size 21pt, Leading 25.375pt
Heading 2:Adobe Caslon Pro, Font 16pt, Leading 19.3pt
Normal Text: Adobe Caslon Pro, Font 14pt, Leading 16.91pt
Margin and Columns：Column 4, Gutter 5mm , Margin 10mm
Guides: Row 6, Gutter 5mm

Figure: a.18 - System's digitization sketch 3 (Dilatational)

Title: Font Bembo Std Bold Italic , Font size 25pt , Leading30.2pt
Subtitle: Bembo Std Bold , Font size 18pt , Leading21.75pt
Heading 1:Bembo Std Bold, Font size 17pt, Leading 20.541pt
Heading 2:Bembo Std Bold, Font 15pt, Leading 18.125pt
Normal Text: Bembo Std Regular, Font 14pt, Leading 16.91pt
Margin and Columns：Column 3, Gutter 5mm , Margin 10mm
Guides: Row 5, Gutter 5mm

Figure: a.19 - 3 Layout for Dilatational systems

Typographic systems: Random

Reference for this particular systems:

Figure: a.20 - Reference for Random systems

Figure: a.21 - Reference for Random systems

For this particular system's digitization sketch :

Figure: a.22 - System's digitization sketch 1 (Random)

Title: Serifa Std 65 Bold , Font size 36pt , Leading43.5pt
Subtitle: Serifa Std 56 Italic , Font size 35pt , Leading 42.29pt
Heading 1:Serifa Std 55 Roman, Font size 22pt, Leading 26.58pt ("12" Font size 100pt, leading 120.8pt)
Heading 2:Serifa Std 56 Italic, Font 15 pt, Leading 18.125pt
Normal Text: Serifa Std 45 Light, Font 14pt, Leading 16.91pt
Margin and Columns：Column 4, Gutter 5mm , Margin 10mm
Guides: Row 6, Gutter 5mm

Figure: a.23 - System's digitization sketch 2 (Random)

Title: Serifa Std 45 Light , Font size 40pt , Leading48.3pt
Subtitle: Serifa Std 46 Light Italic , Font size 35pt , Leading 42.29pt
Heading 1:Serifa Std 55 Roman, Font size 24pt, Leading 29pt
Heading 2:Serifa Std 56 Italic, Font 18 pt, Leading 21.75pt
Normal Text: Serifa Std4 6 Light Italic, Font 14pt, Leading 16.91pt
Margin and Columns：Column 3, Gutter 5mm , Margin 10mm
Guides: Row 5, Gutter 5mm

Figure: a.24 - System's digitization sketch 3 (Random)

Title: Serifa Std 46 Light Italic , Font size 22pt , Leading26.58pt
Subtitle: Serifa Std 46 Light Italic , Font size 21pt , Leading 25.375pt
Heading 1:Serifa Std 55 Roman, Font size 24pt, Leading 29pt
Heading 2:Serifa Std 56 Italic, Font 18 pt, Leading 21.75pt
Normal Text: Serifa Std4 6 Light Italic, Font 14pt, Leading 16.91pt
Margin and Columns：Column 3, Gutter 5mm , Margin 10mm
Guides: Row 3, Gutter 5mm

Figure: a.25 - 3 Layout for Random systems

Typographic systems: Grid

Reference for this particular systems:

Figure: a.25 - Reference for Grid systems

Figure: a.26 - Reference for Grid systems

For this particular system's digitization sketch :

Figure: a.27 - System's digitization sketch 1 (Grid)

Title: Font Gill Sans Std Ultra Bold, Font size 26pt , Leading31.41pt
Subtitle: Gill Sans Std Regular, Font size 19pt , Leading 22.95pt
Heading 1Gill Sans Std Regular, Font size 18pt, Leading 21.75pt
Heading 2:Gill Sans Std Bold Condensed, Font 16pt, Leading 19.3pt
Normal Text: Gill Sans Std Regular, Font 14pt, Leading 16.91pt
Margin and Columns：Column 3, Gutter 5mm , Margin 10mm
Guides: Row 7, Gutter 5mm

Figure: a.28 - System's digitization sketch 2 (Grid)

Title: Font Gill Sans Std Condensed , Font size 37pt , Leading44.7pt
Subtitle: Gill Sans Std Light , Font size 33pt , Leading39.87pt
Heading 1:Gill Sans Std Light, Font size 24pt, Leading 29pt
Heading 2:Gill Sans Std Light, Font 22pt, Leading 26.58pt
Normal Text: Gill Sans Std Light, Font 19pt, Leading 22.95pt
Margin and Columns：Column 6, Gutter 5mm , Margin 10mm
Guides: Row 4, Gutter 5mm

Figure: a.29 - System's digitization sketch 3 (Grid)

Title: Font Gill Sans Std Condensed , Font size 21pt , Leading25.375pt
Subtitle: Gill Sans Std Light , Font size 19pt , Leading22.95pt
Heading 1:Gill Sans Std Light, Font size 18pt , Leading21.75pt
Heading 2:Gill Sans Std Light, Font 22pt, Leading 26.58pt
Normal Text: Gill Sans Std Light, Font 16pt, Leading 19.3pt
Margin and Columns：Column 4, Gutter 5mm , Margin 10mm
Guides: Row 7, Gutter 5mm

Figure: a.30 - Done 3 Layout for Grid systems

Typographic systems: Transitional

Reference for this particular systems:

Figure: a.31 - Reference for Transitional systems

Figure: a.32 - Reference for Transitional systems

For this particular system's digitization sketch :

Figure: a.33 - System's digitization sketch 1 (Transitional)

Title: Futura Std Heavy , Font size 36pt , Leading43.5pt
Subtitle: Futura Std Book, Font size 20pt , Leading 24.16pt
Heading 1:Futura Std Bold Condensed, Font size 18pt, Leading 21.75pt
Heading 2:Futura Std Book Oblique, Font 14pt, Leading 16.91pt
Normal Text: Futura Light, Font 12pt, Leading 14.5pt
Margin and Columns：Column 3, Gutter 5mm , Margin 10mm
Guides: Row 3, Gutter 5mm

Figure: a.34 - System's digitization sketch 2 (Transitional)

Title: Univers LT Std 67 Bold Condensed , Font size 24pt , Leading 29pt
Subtitle: Univers LT Std 67 Bold Condensed, Font size 21pt , Leading 25.375pt
Heading 1:Univers LT Std 47 Light Condensed Oblique, Font size 18pt, Leading 21.75pt
Heading 2:Univers LT Std 65 Bold, Font 14pt, Leading 16.91pt
Normal Text: Univers LT Std 65 Bold, Font 10pt, Leading 12.08pt
Margin and Columns：Column 3, Gutter 5mm , Margin 10mm
Guides: Row 3, Gutter 5mm

Figure: a.35 - System's digitization sketch 3 (Transitional)

Title: Univers LT Std 63 Bold Extended Oblique , Font size 21pt , Leading 25.375pt
Subtitle: Univers LT Std 67 Bold Condensed, Font size 20pt , Leading 24.16pt
Heading 1:Univers LT Std 47 Light Condensed Oblique, Font size 20pt , Leading 24.16pt
Heading 2:Univers LT Std 67 Bold Condensed, Font 14pt, Leading 16.91pt
Normal Text: Univers LT Std 65 Bold, Font 8pt, Leading 9.6pt
Margin and Columns：Column 3, Gutter 5mm , Margin 10mm
Guides: Row 3, Gutter 5mm

Figure: a.36 - Done 3 Layout for Transitional systems

Typographic systems: Modular

Reference for this particular systems:

Figure: a.37 - Reference for Modular systems

For this particular system's digitization sketch :

Figure: a.38- System's digitization sketch 1 (Modular)

Title: ITC New Baskerville Std Roman , Font size 36pt , Leading43.5pt
Subtitle: ITC New Baskerville Std Bold Italic, Font size 31pt , Leading 37.45pt
Heading 1:ITC New Baskerville Std, Font size 18pt, Leading 21.75pt
Heading 2:ITC New Baskerville Std, Font 14pt, Leading 16.91pt
Normal Text: ITC New Baskerville Std Font 14pt, Leading 16.91pt
Margin and Columns：Column 3, Gutter 5mm , Margin 10mm
Guides: Row 3, Gutter 5mm

Figure: a.39- System's digitization sketch 2 (Modular)

Title: ITC New Baskerville Std Roman , Font size 46pt , Leading55.58pt
Subtitle: ITC New Baskerville Std Bold Italic, Font size 31pt , Leading 37.45pt
Heading 1:ITC New Baskerville Std, Font size 28 pt, Leading 33.83pt
Heading 2:ITC New Baskerville Std, Font 22pt, Leading 26pt
Normal Text: ITC New Baskerville Std Font 17pt, Leading 20.54pt
Margin and Columns：Column 5, Gutter 5mm , Margin 10mm
Guides: Row 3, Gutter 5mm

Figure: a.40- System's digitization sketch 3 (Modular)

Title: ITC New Baskerville Std Roman , Font size 27pt , Leading32.625pt
Subtitle: ITC New Baskerville Std Bold Italic, Font size 21pt , Leading 25.375pt
Heading 1:ITC New Baskerville Std, Font size 18 pt, Leading 21.75pt
Heading 2:ITC New Baskerville Std, Font 17pt, Leading 20.5pt
Normal Text: ITC New Baskerville Std Font 14pt, Leading 16.91pt
Margin and Columns：Column 3 Gutter 5mm , Margin 10mm
Guides: Row 3, Gutter 5mm

Figure: a.41 - 3 Layout for Modular systems

Typographic systems: Bilateral

Reference for this particular systems:

Figure: a.42 - Reference for Bilateral systems

For this particular system's digitization sketch :

Figure: a.43- System's digitization sketch 1 (Bilateral)

Title: Bodoni Std Poster , Font size 21 pt , Leading25.375.5pt
Subtitle: Bodoni Std Bold, Font size 19 pt , Leading 22.95pt
Heading 1:Bodoni Std Roman , Font size 18pt, Leading 21.75pt
Heading 2:Bodoni Std Book, Font 15pt, Leading 18.125pt
Normal Text: Bodoni Std Book, Font 14pt, Leading 16.91pt
Margin and Columns：Column 6, Gutter 5mm , Margin 10mm
Guides: Row 4, Gutter 5mm

Figure: a.44- System's digitization sketch 2 (Bilateral)

Title: Bodoni Std Poster , Font size 21 pt , Leading25.375.5pt
Subtitle: Bodoni Std Roman , Font size 19 pt , Leading 22.95pt
Heading 1:Bodoni Std, Bold Font size 18pt, Leading 21.75pt
Heading 2:Bodoni Std Book, Font 16pt, Leading 19.3pt
Normal Text: Bodoni Std Book, Font 14pt, Leading 16.91pt
Margin and Columns：Column 4, Gutter 5mm , Margin 10mm
Guides: Row 4, Gutter 5mm

Figure: a.45- System's digitization sketch 3 (Bilateral)

Title: Font Bembo Std Poster , Font size 26pt , Leading31.41pt
Subtitle: Bembo Std Roman , Font size 21pt , Leading 25.375pt
Heading 1:Bembo Std Bold, Font size 19pt, Leading 22.95pt
Heading 2:Bembo Std Book, Font 18pt, Leading 21.75pt
Normal Text: Bembo Std Book, Font 14pt, Leading 16.91pt
Margin and Columns：Column 3, Gutter 5mm , Margin 10mm
Guides: Row 5, Gutter 5mm

Figure: a.46 - 3 Layout for Bilateral systems

Week 2_ Feedback and Last Adjustment 1/5/2024

We are required to choose only one of the layout typography systems from the sketches. Therefore, I choose the selection bellow as my work for the final.

Figure: a.47 - The sketches that I choose for final adjustment

These are the adjustment that I made after getting the general feedback from Mr. Vinod.

1. Mr. Vinod suggest to made an adjustment to the colors, saying that it is better to utilize only one more color to make the entire text appear cleaner and more readable. As a result, I decided to make green the primary hue as it is more breakthrough. It leaves just one color in the text when I remove the sub color (blue).

Figure: a.48 - Color adjustment on Dilatational and Random systems

Figure: a.49 - Color adjustment on Grid systems

Figure: a.49 - Color adjustment on Axial and Radial system

Figure: a.50 - Color adjustment on Modular systems

2. I put a wildcard element (a circle) to the top right of transitional systems because I believe it could affect the composition and the way it is read, draw readers in, and make them want to read more. The previous version, which did not have this element, was boring and plain.

Figure: a.51 - Wildcard element added on Transitional systems

3. Alignment change: According to Mr. Vinod, two alignments are not permitted for the bilateral system as they would make it difficult for readers to understand what and where they are reading. I make the entire text align into a single alignment by shifting the alignment of two rectangles in the layout's left and right corners to the center.

Figure: a.52 - Alignment change on Bilateral systems

Final Outcome :

Figure: a.53 - Final Bilateral systems

Figure: a.54 - Final Modular systems

Figure: a.55 - Final Transitional systems

Figure: a.56 - Final Grid systems

Figure: a.57 - Final Random systems

Figure: a.58 - Final Dilatational systems

Figure: a.59 - Final Radial systems

Figure: a.60 - Final Axial systems

Figure: a.61 - Final Typography systems (without grid)

Figure: a.62 - Final Typography systems (with grid)

Week 3

TASK 2: Type and Play ( 8/05/2024 —— 15/05/2024）

For this task, we need to choose an image to analyze and break down in order to find potential letterforms within it. These letterforms should be integrated into a harmonious relationship with the image. Afterward, we must digitize the result and create a poster with dimensions of 1024x1024 pixels at 300 dpi.

In order to get a strong texture, I choose jade stone as my analyzing image.

Figure: a.63 - Jade stone (source. Freepik)

Then, I adjust the color of the image to grayscale in order to get a clear sight of the veins.

Figure: a.64 - Process of turning the image into grayscale

These are to letters that I found in the veins of the jade stone, "P","A","L","W".

Figure: a.65 - Letterform identification (PALW)

These are the sketches to guide the letterform following process that I want them to be .

Figure: a.66 - Sketches for the letterform identifications

For the words I am working with, I have chosen ITC Garamond Std Book as my reference font. The images below show the process of refining the letterforms. First, I adjusted the angles and size, followed by modifying the width to match the reference font. Additionally, I refined the thickness to align with the reference font. Finally, I made detailed adjustments to ensure the letterforms better adhere to the topic and requirements of this assignment.

Figure: a.67 - Process of adjustment on the letterform

For clearer viewing and also detail wordform adjustment, I extracted letterforms on baseline in the illustrator.

Figure: a.68 - Baseline added to the letterforms first page

Figure: a.69 - Baseline added to the letterforms second page

After completing the task above, we are require to combine our letterform with an image and came out an artwork such as movie posters. The picture bellow are the first picture that I choose to make combination with my letterforms.

Figure: a.70 - Picture added in adobe illustrator to combine the precious letterform

During the process of selecting this image as the base for the poster, I found it unsuitable to combine with my letterforms. Therefore, I applied some texture effects to the photo.

Figure: a.71 - Pencil texture added in the poster picture

After going through all those steps, I found the image still unsuitable, and adding textures made the entire poster even messier and unclear. Therefore, I decided to choose another image featuring a clover with a background of jade stones. Both the clover and jade stones are considered lucky charms, my letterforms is a truly best fits to have related to the image. The photo I selected was too large, so I cropped it to the required size of 1024x1024 pixels.

Figure: a.72 - Cropping the image

In order to reduce confusion and also have the best measurement on the entire layout, I added some grid lines on it. This makes more easier for me to consider which layout was correct and suitable for this particular size poster.

Figure: a.73 - Adding grid lines

Grid lines are added, I import the letterform that I have done from the last task to make combination with the image.

Figure: a.73 - Adding precious letterforms

At first I think that topics are best to be in the middle in order to lead readers to have the straightest, quickest and also getting the fastest information from the poster .

Figure: a.74 - Align all information to the middle of the poster

After conducting brief research and careful consideration, I realized that the topic or title of the main subject can be positioned either at the top or bottom of the layout. Therefore, I decided to align the information at the bottom. To avoid obstructing the view of the clover, I thought it would be interesting to flip the image, which I then proceeded to do.

Figure: a.75 - Move the information of the poster to the lower part layout

And finally, this is the artwork that I came out with.

Figure: a.76 - Artwork for this particular task

After getting feedbacks from Mr. Vinod, I made some changes on it . I applied effect on the main words, adding gradience and also transparency.

Figure: a.77 - Add on effects on the words

Then, I change the text contents bellow, because there is lack of information for this particular movie. In order to extract readers to read and get attention from the poster, I add on the actors, producers and so on.

Figure: a.78 - Edit Content of the Poster

Final:

Figure: a.79 - Final artwork for this particular task

Final outcome :

Figure: a.80 - All process and Finals in pdf format

FEEDBACK

Week 1 - Briefing for the course

Specific Feedback: -

General Feedback: Please keep on update portfolios and also further reading.

Week 2 - Feedback for Task 1

Specific Feedback: Refers to the general feedback which is told in the recording.

General Feedback: Using contrast has to be done in a very careful manner. Graphical elements are not allowed to be strong in the typography system's layout. The way of information is composed should be well balanced in the design. Bilateral is only one center alignments, not two or three different center alignments.

Week 3 - Feedback for Task 2

Specific Feedback: -

General Feedback: The text emphasizes considering more of the area and adding surrounding elements for better representation. It stresses fixing mistakes and having consistent yet varied textures. It encourages ongoing refinement and highlights factors like weight and proportionality. Ultimately, it notes the freedom to evolve the image.

Week 4 - Feedback for Task 2

Specific Feedback: Related image is required to be the poster, audience need to see and to understand your poster what is all about in a split sec. The additional caption for the particular poster needs to be clear, you need to attract the audience to watch the poster and the movie.

General Feedback: The movie tittle needs to be align in the middle and also the conspicuous part in the poster. Tittle should be easy to see, the text color should not have the similar color with the poster, in order to show clearly in the poster.

Search This Blog

Ruthlene Chua Zhen Si (0365222)

Advanced Typography

Comments

Post a Comment

Popular posts from this blog

Information Design_Exercise

Sonic Design_Final Project

Sonic Design_Exercises