Advanced Typography - Exercises

Advanced Typography - Exercises

14.04.2020 - 12.05.2020  (Week 1 - Week 5)
Wong Kai Yi (0340236)
Advanced Typography
Exercises

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1. LECTURE

 14.04.2020 (Week 1)

Mr Vinod briefed us about the module. The class is divided into 4 groups, and each group will be presenting the given topics by him.

Lecture: Typographic systems

Next is the lecture on typographic systems. When designing a layout, the information given (communicated as a message) has to be considered as the most important (information hierarchy). The lecture is based on the book Typographic Systems by Kimberly Elam. There are 8 systems, which include:

1. Axial: Text information is either to the left or right of an axis, it can be an invisible line
2. Radial: All information / elements extend from a point of focus
   It is different from dilational system. There can be multiple points on a layout.
3. Dilational: Information expands from a central point in a circular fashion, which is around the circumference of the circle
   Suggestion for exercise: can use a line of 0.5 stroke width for the circle
4. Random: In every chaotic layout, there is an order in the layout. There is a method in the madness.
   1st impression: chaos; 2nd impression: clear visual hierarchy
5. Grid: Text are fitted in columns and rows (vertical and horizontal)
6. Transitional: Information is moving in a particular order, there is a flow
   There can be a layered system: top to bottom
   The example from the book is not quite good because it is bottom heavy (information are chunked at the bottom)
7. Bilateral: Centrally aligned, following an axis
8. Modular: Similar to grid, but the cells are of a standard unit. Information can be moved as long as they occupy the standard unit. It does not have to be a square/ rectangle, it can also be circle or a polygon.

21.04.2020 (Week 2)

Lecture: Typographic composition

Fig 1.1 Lecture Slides - Typographic Composition

Design principles are used in exciting typographical layout. They are sometimes more relevant when you are dealing with imagery than complex units of information that consist different elements. In typography, there are multiple levels of content. Hence, designers work with a larger layout in a system.

Emphasis: Dominant principle

The rule of thirds: photographic guide to composition
*you should not use this principle in typography layouts as they are generally not used for them
Among the 8 typographic systems, the grid system is the most used system. It is derived from the grided compositional structure of letterpress printing. It is used due to its readability and versatility.
Environmental grid: based on the exploration of an existing structure / numerous structures combined. Curved and straight lines are formed. Includes non-objective elements to create a unique and exciting mixture of texture and visual stimuli. It also works in branding.

Form and Movement - moving frames
Based on the exploration of an existin grid system
Dispel seriousness surrounding the application of the grid system
Static versions of the form placed on a spread (grids were hidden)
Movement: Visual connections and surprisess on every page

28.04.2020 (Week 3)

Lecture: Typographic Perception and Organization



Fig 1.2 Lecture Slides - Typographic Perception and Organization

Expressive typography

Needs to work together and complement each other in various way when applied in typography

Forms Follow Function

Design follows purpose
Mr Vinod: modernism
post modernism -  people questioning function follows form

Principle by Louis Sullivan from Boston, interpret form follows function:

Descriptive: beauty results from purity of function

Prescriptive: aesthetic considerations in design should be secondary to functional considerations

Bauhaus School founded by Walter Gropius

focused on productivity instead of the mere beauty of the design

"less is more"

Functions Follow Forms

"less is a bore"

storytelling comes first

deeply exploring the potential design possibilities
Mr Vinod: "post modernism -  people questioning function follows form

Gestalt Psychology & Layout

totality of the mind and behavior

The whole was greater than the sum of its parts Wolfgang Kohler

Laws of Perceptual Organization

• Similarity
• Continuation - guide the eye of a viewer 
• Closure - your brain will fill in the missing parts (Mr Vinod using in typography alignment)
• Proximity - how close elements are to one another
• Figure/Ground - negative space is processed
• Symmetry & order
• Common fate - same direction

Layout

Design for the overall appearance of a printed page
How?

• Spacing (Mr Vinod: pica is general unit to measure, dp is pixel density; line space vs leading)

Fig 1.1 leading explanation

• Grids 
• Balance 
• Bullet & number lists
• Figure, tables & illustrations

Creating Visual Hierarchy

arrangement of elements in a away that implies importance

influences the order in which the human eye perceive

visual contrast

6 Aspects:

• Size
• Colour and contrast
• Typographic hierarchy: headings, subheadings, body
• Typeface
• Spacing: make a text-heavy design look organized & well balanced
• Composition: rule of thirds, rule of odds (odd number obj more engaging than even), implied movement

Mr Vinod: Herbert Bayer, bayer type, universal

He felt that there was no need for uppercase letters

Read: ABCs of Bauhaus

05.05.2020 (Week 4)

Project 1 & 2 brief: included in Advanced Typography - Project 1 page

Lecture: Context and Creativity


Fig 1.3 Lecture Slides - Context & Creativity

Context: Historical context

Started with handwriting (first mechanically produced letterforms)
Latin alphabet
Egyptian:

• Cuneiform 3000 B.C.E. (B.C.E. = Before the Common Era)
• Hieroglyphs - 2613-2160 B.C.E.

Early Greek 5th C. B.C.E.
Ox plow - Greek letters: left to right then vice versa
Roman Uncials - curved form (rounded)

Emperor Charlemagne 8 C. C.E.

Movable Type 11 C. - 14 C.
Pioneered in China, achieved in Korea
Guttenberg

Why Greek influence on Rome, but not Egyptian / Near eastern influence on Greece?
19th century - rise of the modern British Empire -> out of style to credit Africa / Africans with anything of value -> Greece and Rome were elevated over much older, much more influential civilizations, specifically Ancient Egypt, but also less extensive / old civilizations like Mesopotamia, the Indus Valley, China, etc

Insidiousness - Max Mueller

Eastern Scipts: Chinese, Indus, Brahmi, Pallava, Pra-nagari, Incung, Bugis, Javanese, Jawi etc

Modern digitization:
Local movements and Individuals
Typographer: Muthu Neduraman, murasu.com

Young designers should look inward and examine history, civilization, culture, communities to bring these past developments into the future and develop on them instead of blindly approaching cultures and developments that have no context, relatability or relevance.

Creativity and inspiration should begin by observing our surroundings and exploration of our collective histories.

Quote of the lecture:
"Looking behind gives you context. Looking forward gives you opportunities." — Vinod J. Nair

12.05.2020 (Week 5)

Lecture: Designing Type

Fig 1.4 Lecture Slides - Designing Type

Anatomy of Type
terminal, leg, crossbar, beak, head serif, closed counter, apeture/open counter, spine, foot, arm, crotch, bilateral serif, link/neck, ear, eye, descender, bar, hairline, body, tittle, spur, finial, tail, loopserif, stress, serif, stem

General Process of Type Design
1. Research
type theory, anatomy, tules, typographic terminoligies
applications, purposes
determine style
examine existing typeface
serif (lengthy) / sans-serif (young, learning)

2. Sketching
refer - add details and improvements
sketching: traditional, digital

3. Digitize
layering an existing typeface over your sketches/digitized typeface
shape and size
kerning

4. Testing in Content
different media and layouts
legibility and readability

5. Market it!
or keep for personal projects

How to Think Before Drawing
1. Purpose
demonstrate the font

2. Limitations
possibilities of limitations - unusable
e.g. gaming font history -  limit is amount of space (memory) 8*8 bit

3. Need
e.g. ink trap
Guttenberg Textura -  press printing
Purpose: as the 1st blackletter font to use in printing press, 1sst book: Bible
Need: More spacing

Bodoni
Purpose: wide variety of different materials (book printing and magazine)
Limitation: hairline strokes can recede to being hard to see, when display sizes printed at text size
Need: make the hairline strokes thicker

Construction of Components
1. Geometrical form (square, circle, triangle)
2. Squares (proportions)

Classification according to form and construction

Elements of building a typeface

1. Construction - strokes and elements
2. Shape - variation in basic shapes used in typefaces
3. Proportions - basic letterform dimensions and the use of space in a typeface
4. Modelling - visual character of a typeface partly determined by weight and variety of line used in the form
5. Weight - thickness of font across across the entire font
6. Terminations - variety of stroke terminals
7. Key Characters - specific characters in a typeface - treatment in significant in distinguishing the typeface from others
8. Decoration - common motifs - detailing existing letterforms (shadow)

Characteristic of Good Font Design
1. Font Weight - light, regular, bold
2. Font Width - strongly affects readability and visual
3. Font contrast - difference between the main and additional contrast
4. X-height- small (significant diff between letters)
5. Corner Rounding - intersections and connections of strokes inevitably form coners (rounded - reduces eye strain, sharp - atention, discomfort)
6. Geometry - every letter is built according to a geometric formula

Processes and approaches
John Baskerville - Baskerville
Beier's Design Model

1. Specification: new style of printing type, stood clear on bnw colors, embody elegance that exceeded any work of his contemporaries
2. Analysis: calligraphic writing hands and on printed books
3. Creation: conceptual blending: calligraphy and printing type, can be created with pointed nib pen
4. Form Making: write letters -> provide calligraphic sketches as models for his punch-cutter John Handy

Stanley Morrison - Times New Roman
Typeface design for newspaper printing, short x-height, short descenders - tight linespacing, relatively condensed appearance

Tobias Frere - Jones - Gotham
1. Questioning
What would a typeface look like if?
What does he want out of the typeface?
What tone does it speak?
2. Sketching & Experimenting
3. Digitizing
4. Categorizing into tribes - square (H) , circle (O) , triangle (diagonal, V)
5. Designing uppercase letters (HOD)
6. Making important decisions
7. Designing lowercase (n, o, p) *
8. Integration within Upper & Lower case
9. Solving the basic puzzle
hamburgafontsiv
10. Micro & Macro Testing (on screen) engage experience of reader

Tips and Tricks by him:
1. digitize as early on in the process
2. Roboto font and Python to automate intricate process
3. join forums
4. every simple decision influences another. begin from space between words
5. web view and print view
6. details to be strengthened enlarge x-height and spacing

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2. INSTRUCTIONS

Exercises

14.04.2020 (Week 1) to 21.04.2020 (Week 2): Typographic systems

For the exercise, we are to create 16 layouts for the 8 types of typographic systems, 2 of each system. We use Adobe InDesign to design the layout.

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:
November 24, 2020
Lew Pik Svonn, 9AM-10AM
Ezrena Mohd., 10AM-11AM
Suzy Sulaiman, 11AM-12PM

Muthu Neduraman, 9AM-10AM
Fahmi Reza, 10AM-11AM
Fahmi Fadzil, 11AM-12PM

Specifications:

• Size: 200mm*200mm (facing pages)
• Use minimal graphical elements (also known as non-objective elements)
• Color: Black, white, one other color for all systems

We are to use typefaces from the 9 type families given:

• Adobe Caslon Pro
• Bembo Std
• Futura Std
• Gill Sans Std
• ITC Garamond Std
• ITC New Baskerville Std
• Janson Text LT Std
• Serifa STD
• Univers LT Std

I received feedback for this layout (axial):

Fig 1.5 Axial exercise

Below is the progress for my layouts (in order of axial, radial, dilational, random, grid, transitional, bilateral, modular):

Version 1.0:

Fig 1.6 Typographic system exercise 1.0 (axial, radial, dilational, random, grid, transitional, bilateral, modular)

I realized that I did not include the words "The Design School, Taylor's University" so I added them into all the layouts.

Fig 1.7 Axial 2.0

Fig 1.8 Radial 2.0

Fig 1.9 Dilational 2.0

Fig 1.10 Random 2.0

Fig 1.11 Grid 2.0

Fig 1.12 Transitional 2.0

Fig 1.13 Bilateral 2.0

Fig 1.14 Modular 2.0

21.04.2020 (Week 2)

After receiving feedback, I made changes an below is the final layouts for typographic systems:

Fig 1.15 Axial (Final Submission for Typographic Systems)

Fig 1.16 Radial (Final Submission for Typographic Systems)

Fig 1.17 Dilational (Final Submission for Typographic Systems)

Fig 1.18 Random (Final Submission for Typographic Systems)

Fig 1.19 Grid (Final Submission for Typographic Systems)

Fig 1.20 Transitional (Final Submission for Typographic Systems)

Fig 1.21 Bilateral (Final Submission for Typographic Systems)

Fig 1.22 Modular (Final Submission for Typographic Systems)

Fig 1.23 Final Submission for Typographic Systems (PDF)

21.04.2020 (Week 2) to 28.04.2020 (Week 3): Type and Play 1

Part 1: Finding type - We are asked to make a selection of image between man-made objects or structures and nature. We will then analyse, dissect and identify potential letterforms within the dissected image. The forms will be explored and ultimately digitized. It is expected that through a process of iteration the forms would go from crude representation to a more refined celebration that would reflect to a degree its origins.

Progress:

I took some pictures of rice at home. I chose this picture below:
here

Fig 1.24 Rice image

Then, I traced letters A, E, V, T and U.

Fig 1.25 Traced letters onto rice

Fig 1.26 Traced letters without rice image

Then, I chose Futura Medium Condensed as a reference typeface. Below is the evolution of letters:

Fig 1.27 Crude version of letters

As the thickness varied as I change the size of the letters, I decided to make the rice grains more unified but with variation. Hence, the size of each grain is almost the same. I added rice grains to the letters so that they fit within the chosen typeface.

Fig 1.28 Refined 1.0

I felt that the weight of some letters are not balanced. Hence, I changed the size and re-positioned some grains of rice to fit the shape and also look more balanced in the letterform.

Fig 1.29 Refined 2.0

Week 3
After receiving feedback, I decided to trace the image more detailed. Hence the progress is as below:

Fig 1.30 Tracing letters on image

Fig 1.31 letters AEVTU

Fig 1.32 letters AEVTU (unedited)

Fig 1.33 letters with adjusted size

Then, I started to arrange the rice grains so that it fit the typeface. I decided to go with Futura Medium Condensed Oblique because the "A" already looks like an oblique typeface.

Fig 1.34 progress 1

As the letters are not balanced (too weighted due to the thickness of the grain), I slightly changed the shapes and or re-positioned them to fit the typeface. Below is the progress:

Fig 1.35 progress 2

Fig 1.36 progress 3

Fig 1.37 progress 4

Fig 1.38 progress 5

Upon receiving feedback, the "U" is a little thick on top. Otherwise, it's cool. Mr Vinod suggested that I try outlining the intersection so that they look like digital signboards.

Fig 1.39 progress 6 (after changing the thickness of "U")

Fig 1.40 progress 7 (added outlines for intersections)

Upon receiving feedback, I increased the thickness of the gap from 5pt to 20pt to increase visibility when the typeface is used in small pt size.

Type and Play 1 (FINAL):

JPEG:

Fig 1.41 Final Submission Type and Play 1 (JPEG)

PDF:

Fig 1.42 Final Submission Type and Play 1 (PDF)

Fig 1.43 Final Submission Type and Play 1 - individual letters (PDF)

28.04.2020 (Week 3) to 05.05.2020 (Week 4): Type and Play 2

Type and image: Text interplays with the image.

10 Typefaces to choose from:

• Adobe Caslon Pro
• Bembo Std
• Futura Std
• Gill Sans Std
• ITC Garamond Std
• ITC New Baskerville Std
• Janson Text LT Std
• Serifa STD
• Univers LT Std
• Bodoni Std

Reference photos:

Fig 1.44 Poster reference 1

Fig 1.45 Poster reference 2

Fig 1.46 Poster reference 3

Fig 1.47 Poster reference 4

I did a few layouts but I felt that they aren't good.

Layout 1: Skull head and "COME"

Typeface: Bodoni

Fig 1.48 Original image of skull from Unsplash

Fig 1.49 Layout 1 - COME

Layout 2: Sinking human with "UNDERNEATH"

Typeface: Univers LT

Fig 1.50 Original image of drowning human from Unsplash

Fig 1.51 Layout 2 - UNDERNEATH

Layout 3: ECLIPSE

Draft:

Fig 1.52 ECLIPSE draft

Typeface: Univers LT

Fig 1.53 Original image of eclipse from Unsplash

Fig 1.54 Layout 3 - ECLIPSE 1.0

05.05.2020 (Week 4)

After receiving feedback, I proceeded with the ECLIPSE layout. I made the letters a misty effect to mimic the misty background.

Here is the outcome:

Fig 1.55 ECLIPSE 2.0

I received feedback from Mr Vinod on Facebook.x

I did another layout after being inspired by this image of "Hide & Seek".

Fig 1.56 Hide & Seek

Layout 4: JAIL BREAK

I drafted the layout "JAIL BREAK".

Fig 1.57 JAIL BREAK draft

I used this image as the background.

Fig 1.58 Jail image 

For "BREAK", I searched how to do the Broken text effect tutorial YouTube. I then masked a concrete image layer onto the text to give it texture.

Fig 1.59 Concrete image Photo by Mitch Harris on Unsplash

Fig 1.60 Layout 4 - JAIL BREAK 1.0

I felt that the text was too big and I also lost the file so I did a new one similar to Fig 1.56.

FINAL (Type & Play 2):

Fig 1.61 Final Submission - JAIL BREAK 2.0

Fig 1.62 Final Submission JAIL BREAK final (PDF)

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3. FEEDBACK

14.04.2020 (Week 1)

General feedback:

For the next class, some students will share their layouts first and get feedback. As feedback is repetitious in nature, we should take the feedback of other students if it applies to our layout.

Specific feedback:

For my bilateral layout, it is a bad design because it is bad to divide a page into half. This is because it creates tension, impedes reading and there is no harmony in it. I should refer to good layouts when doing my layouts.

21.04.2020 (Week 2)

General feedback:
Look at Ng Mei Ying, Jenani, Dondo's exercise for typographic systems. They have done good work. Point size for the text should be 8-11pt.

Specific feedback:
Zoom session:

Random: Not random enough, can be more random. For the 2nd layout, it is still quite structured. Mr Vinod likes how the "Open Public Lectures Lecture Theater 12" goes but it does not unravel in the other parts of the layout.
Grid: Both do not look like grid, so I have to change them.
Transitional: Use less drop shadow as it impedes readability. 1st layout: The title is quite isolated. 2nd layout: It is not good.
Bilateral: 1st layout: The grey is not necessary for the title. 2nd layout: The non-objective element is too strong. Remove the boxes.
FaceBook:
Make clear the use of hyphen, en dash and em dash. Always work on assumption that less is more. Use less "design extras" to convey your message simply and effectively but don't mistake simple with simplistic.

28.04.2020 (Week 3)

General feedback:

Make the extraction more refined. If your extraction is not detailed, you might lose some of the characteristics when refining the typeface.
Facebook: Cool. Do you think and outline around the part where there is intersection would make it a little more different from it looking like those digital signboards? Just wondering... The top ends of the U look a little thick...

Specific feedback:Try different styles after the 2nd attempt of extraction, you may come up with something different. You can use back your first attempt's style, but do explore other choices.

05.05.2020 (Week 4) 

General feedback:

The text has to interplay with the image so there is a connection. 

Specific feedback:
Type and Play ex1:
Mr Vinod agreed to my statement that the gaps thickness should be increased to increase the visibility when the letters are used at a smaller size.
FB: Just need to be careful with that small bit on letter "E"

Type and Play ex2:

The first 2 are not really good. Mr Vinod suggested that I make the letters "E, L, I, P, S, E" have a misty effect so that the text interplays with the background.
FB feedback for ECLIPSE: Hi Kai Yi, it’s ok la. I will accept. I think part of the difficulty in this image is the fact that the background is too plain. So your adaptation of the nature of the background isn’t very prominent the interplay (while there) is a little underwhelming. If you look at the example I provided in the brief, you can see clearly how when interplay and adaptation is taken to its height, what the end result would look like.

12.05.2020 (Week 5)

General feedback:
For presentations, add in the notes and references so that students can refer to them easily.
Type & Play 2: Critically evaluate your work. Since it is an advanced typography class, the ideal ratio of text:image is at least 50:50.

Specific feedback:
Type & Play: (JAIL BREAK) Good job. No amendments required.
E-portfolio: Everything is ok, reflection needs to be longer.

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4. REFLECTION

14.04.2020 (Week 1) - 21.04.2020 (Week 2)

Reading is very important. It is also essential to look at good layouts to make sure you are on the right track. I also think that at times, we need to take a break so that we can refresh our minds. Often times, we are too occupied by the fact that we have to finish an assignment instead of exploring designs. I am not saying to procrastinate on assignments, but I am stating the fact that exploring is more crucial than assignments and deadlines.

 28.04.2020 (Week 3) - 05.05.2020 (Week 4)

I realized that it is important to look at other people's designs and analyze them well. I have looked online for many designs as reference so that I have a better idea of how good designs look like. As a designer, I think that nothing is truly original. An idea /  layout is certainly inspired, where different pieces are weaved together to create something original (in a sense). Note that I am not talking about plagiarism, but it is a form of expressing an idea or concept through a designer's perspective.

12.05.2020 (Week 5)

I was struggling to get a good idea for type & play exercise 2. Hence, I drew out a lot of ideas and sketches, did a lot of research and suddenly a great idea came to my mind. I learnt that inspiration and ideas do not come as and when you want it, so it is crucial to be always thinking and observing surroundings. As a designer, critical thinking is important, not only on others' work but also on my own work. 

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5. FURTHER READING

14.04.2020 (Week 1) - 21.04.2020 (Week 2)

Title: Typographic Design: Form and Communication by Rob Carter, Philip B. Meggs, Ben Day, Sandra Maxa and Mark Sanders

Fig 1.63 Typographic Design (front)

I read the part on "The Evolution of Typography". In summary, typography can be dated back over five thousand years ago. It begins with the invention of writing at that time. It ends with the invention of movable type in Europe (mid 15th century). Gutenberg's invention of movable type to the end of the 18th century lasted about 350 years. The Industrial Revolution and 19th century are revealed as an era of technological innovation and an outpouring of new typographical forms. Beginning from the year 1900, type was shaped by the aesthetic concerns of modernism, the need for functional communication, technological progress and the digital revolution in typography. As for now, in the 21st century, typographic design has expanded to mobile devices and embrace the many possibilities afforded by digital production.

28.04.2020 (Week 3) - 05.05.2020 (Week 4)

Title: The Fundamentals of Typography by Ambrose, Gavin, Harris and Paul

Fig 1.64 The Fundamentals of Typography

Type on Screen:
The use of type on screen shares many of the requirements and concerns of type on a printed page. The same thought patterns govern the use of layout and the font choices made, but the end result is a little less controllable.
HTML: looks different on different machines - users with special needs and requirements will also be better catered for
different display on desktop and mobile devices

Website for a brand - Creasence Design

Fig 1.65 Creasence Design (The Fundamental of Typography)

• Clear hierarchy, refined colour palette 
• controlled, restrained typography - creates a sense of order
• still feeling feminine and inviting
• series of pages
• layout and alignment are used to create pace and structure

12.05.2020 (Week 5) - 19.05.2020 (Week 6)

Title: Typography Essentials: 100 Design Principles for Working with Type by Saltz, Ina 

Fig 1.35 Typography Essentials: 100 Design Principles for Working with Type

Type as Image:
In this section, it shows the interplay between text and image. From the images provided, the interplay is very interesting as the text integrates with the image really well. Firstly, it is shaping the text to the shape of the image. On the left, the 'man' is made from characters of a single typeface.

Fig 1.36 Image from Typography Essentials book, p.78