Advanced Typography: Task 1 Typographic Systems & Type&Play

|| 09/24/2024 - 10/21/2024 (Week 1 - Week 4)

|| Bertrand Alden Gani / 0370471

|| Advanced Typography

|| Bachelor Of Design In Creative Media

|| Task 1 / Exercises: Typographic Systems & Type&Play

TABLE OF CONTENTS

1. Lectures

2. Instructions

3. Task 1

4. Feedback

5. Reflection

6. Further Reading

LECTURES

Week 1 - Lecture 1

Advanced Typography: Typographic Systems

According to Elam, there are eight major variations with an infinite number of permutations which are:

• Axial : all elements are organised to the left or right of a single axis

Fig 1.0 Examples of Axial System in Typography

• Radial : all elements are extended from a point of focus

Fig 1.1 Examples of Radial System in Typography

• Dilational : all elements expand from a central point in a circular fashion

Fig 1.2 Examples of Dilational System in Typography

• Random : elements appear to have no specific pattern or relationship

Fig 1.3 Examples of Random System in Typography

• Grid : a system of vertical and horizontal divisions

Fig 1.4 Examples of Grid System in Typography

• Modular : a series of non-objective elements that are constructed in as a standardised units

Fig 1.5 Examples of Modular System in Typography

• Transitional : an informal system of layered banding

Fig 1.6 Examples of Transitional System in Typography

• Bilateral : all text is arranged systemetrically on single axis

Fig 1.7 Examples of Bilateral System in Typography

Week 2 - Lecture 2

Advanced Typography: Typographic Composition

Principles of Design Composition: 

The dominant principles underpinning design composition are emphasis, isolation, repetition, symmetry and asymmetry, alignment, perspective

Fig 1.8 Example of Emphasis design principle

The Rule of Thirds:

The Rules of Thirds is a photographic guide to composition, it basically suggest that a frame (space) can be divided into 3 columns and 3 rows. The intersecting lines are used as guide to place the points of interest, within the given space.

Fig 1.9 Example of The Rule of Thirds

From the 8 systems the most pragmatic and the most used system is the Grid System (or Raster System), which is derived from the grided compositional structure of Letter Press printing. It was further enhanced by what is now come to be termed as the Swiss (Modernist) style of Typography, with its foremost proponents being Josef Muller Brockmann, Jan Tschichold, Max Bill and such.

Fig 2.0 Example of  Grid System

In reaction to this very ordered approach to Typography of the modernist era, a group of younger designers began to question and challenge this notion of order. Thus was born the post-modernist era in Typographical systems where chaos, randoms and asymmetry were explored. Legibility and readibility were relegated to the back seat however the bests examples seem to combine the two seamlessly. Its proponents include: David Carson, Paula Scher, Jonathan Barnbrook, to name a few.

Fig 2.1 Example of Post-Modernist era in Typographical systems

Other models / Systems

Environmental Grid: This system is based on the exploration of an existing structure or numerous structures combined

Form and Movement: This system is based on the exploration of an existing Grid Systems

Week 3 - Lecture 3

Advanced Typography: Context and Creativity

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

• Cuneiform, c 3000 B. C. E: the earliest system of actual writing, was used in a number of languages between the 34C. B. C. E through the 1st century C. E.
• Hieroglyphics, 2613-2610 B. C. E: The Egyptian writing system is fused with the art of relief carving.
• Early Greek / 5th C. B. C. E: built on the Egyptian logoconsonantal 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 less strokes and could be written faster.
• English Half Uncials, 8th C.: in England the uncial evolved into a more slanted and condensed form
• Emperor Charlemagne, 8 C. CE: After the fall ofthe Roman Empire, the end of a central advanced culture resulted in general illiteracy and a breakdown of handwriting into diverse regional styles.
• Carolingian Minuscule: was used for all legal and literary works for unity communication and was as important a development as the standard Roman capital.
• Black Letter, 12-15 C. CE: Gothic was the culminating artistic expression of the middle ages, occuring roughly from 1200 - 1500.
• The Italian Renaissance: embrace of ancient Greek and Roman culture spurred a creative wave through Italian art, etc.
• Movable Type, 11 C. - 14 C.: printing (wood block) had already been practiced in China, Korea, and Japan.

Week 4 - Lecture 4

Advanced Typography: Designing Type

Xavier Dupre (2007) suggested two reasons for designing a typeface:

- Type design carries a social responsibility 

- Type design is a form of artistic expression

1. Frutiger by Adrian Frutiger

Designed by the Swiss type designer Adrian Frutiger in 1968, specifically for use in the French airport. The purpose is to create a clean, distinctive and legible typeface that is easy to see from both close up and far away. Consideration / Limitations: Letterforms needed to be recognized even in poor lightings, or when the reader was moving quickly past the sign.

2. Verdana by Matthew Carter

Designed by Matthew Carter to address specific technical challenges. The purpose is to be extremely legible even at very small sizes on the screen due in part to the popularity of the internet and electronic devices. Consideration / Limitations: Verdana exhibits characteristics derived from the pixel rather than the pen, the brush or the chisel. 

3.  Johnston Sans by Edward Johnston

Designed by Edward Johnston in 1916 with a request for bold simplicity.

The purpose is to be used as a new typeface in posters and signage on London's Underground Railway.

General Process of Type Design:

1. Research

To understand type history, type anatomy, type conventions, terminologies, sidebearing, metrics, hinting, etc. It is important to determine the type's purpose or what it would be used for. We should examine existing fonts that are presently being used for inspiration/ ideas/ reference/ context/ usage patterns and more.

2. Sketching

Some designers sketch traditionally (brushes, pens, ink and paper) and some designers sketch using digital tool sets

3. Digitization

FontLab and Glyphs software are often used.

4. Testing

The results of the testing are part of the process of refining and correcting. Prototyping is one of them. Readability and legibility of the typeface become an important consideration depending on the typeface category (display type/text type).

5. Deploy

There are always teething problems that do not come to the fore during the prototype and testing stages. The rigour of the testing is important so that the teething issues remain minor. 

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INSTRUCTIONS

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TASK 1

Exercises 1: Typographic Systems

We are instructed to explore the eight mentioned typographic systems which are Axial, Radial, Dilatational, Random, Grid, Modular, Transitional and Bilateral. This exercise has to be completed by only using Adobe InDesign. The size must be 200 x 200 mm. In addition to black, we can use one other colour. Graphical element such as line, dot, etc are allowed to be used but limitedly.

Progression

Fig 2.2 Progression

Final Result:

Fig 2.3 Final Result

Fig 2.4 Final Result

Exercises 2: Type & Play (Part 1)

For this exercise, we are asked to select an image of a man-made object or structures, or something from nature. Then we are required to analyse, dissect, and indentify potential letterforms within the dissected image. The forms would be explored and ultimately digitized.

The image that I chose is:

Fig 2.5 Selected Image

The process:

Fig 2.6 Extraction

Fig 2.7 First Attempt Process

Fig 2.8 First Attempt Process

Fig 2.9 Second Attempt Process

Fig 3.0 Second Attempt Process

Result:

Fig 3.1 Extracted Letterform and Final Letterform 1

Fig 3.2 Extracted Letterform and Final Letterform 2

Type Information:

- Ascender line: 12,46 pt

- Cap line: 12,03 pt

- Median line: 8,46 pt

- Baseline: 0 pt

- Descender line: -3,74 pt

Poster:

Fig 3.3 Final Poster

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FEEDBACK

Week 1: 

General feedback: Start updating your eportfolio with necessary lectures, process work, reflection, etc.

Special feedback: Start researching and doing Task 1: Typographic Systems

Week 2:

General feedback: -

Special feedback: -

Week 3: 

General feedback: The webs are not visible, make it bigger and add more details

Special feedback: Mr. Vinod give suggestion on creating letterform by using the row and column of the spider web

Week 4:

General feedback: Start doing Task 2: Key Artwork & Collateral

Special feedback: Make a mindmap about yourself, create mood board and sketches.

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REFLECTION

Reflecting on the completion of tasks related to typographic systems and the concept of type and play, I've gained a deeper understanding of how typography shapes communication. 

Exploring typographic systems highlighted the importance of hierarchy, contrast, and alignment in creating effective layouts. Each typeface carries its own personality, influencing how messages are perceived. Learning to manipulate these elements has motivate me to craft more engaging and readable designs. 

Engaging with the idea of "type and play" opened up a world of creativity. Experimenting with typography encouraged me to explore unique combinations. I discovered that playful interactions with type can lead to unexpected and impactful designs, enhancing my ability to convey messages in innovative ways.

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FURTHER READING

"Typographic Systems" by Kimberly Elam

In Typographic Systems, Kimberly Elam presents a structured approach to understanding typography through a series of grids and systems. The book emphasizes the importance of organization and hierarchy in typographic design, illustrating how different systems can guide the arrangement of type and enhance visual communication.

Elam introduces various typographic systems such as axial, radial, dilational, and random which serve as frameworks for designers to create balanced and effective layouts. Each system is accompanied by clear examples and practical applications, demonstrating how thoughtful typographic choices can influence a design's clarity and aesthetic.

The book also addresses the interplay between type and space, highlighting how negative space can enhance the overall composition. Elam encourages experimentation and playfulness, urging designers to break conventional boundaries while maintaining a strong sense of structure.

Overall, after reading "Typographic Systems", I gain insights into the foundational principles of typography and inspiring creative exploration in typographic design.

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