Advanced Typography - Task 1: Exercises

week1-week5

Jin Rong/0361701

Advanced Typography / Creative media in design 

Task1:exercise

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Instructions

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LECTURES

Lecture 1: AdTypo_1_Typographic Systems

The complexity of typesetting stems from the dependency of elements on communication and functional implementation. In addition, other factors such as hierarchy, reading order, readability, and contrast need to be considered.

Shape syntax is closely related to typesetting systems, which contain a series of rules that provide guidance and focus for designers, helping them make decisions. Shape syntax, as an architectural term, provides a step-by-step approach for generating a set of designs or design languages.

Axial flow system is a typesetting method that organizes all elements uniformly on the left or right side of a single axis. This system simplifies the design and brings a clear sense of structure, making the design easier to understand and browse.

Fig1.1 Axial System

A radial system is the opposite of an axial flow system in that it is a layout method in which all elements extend from one or more focal points. These focal points can be single or composed of multiple components. The characteristic of this typesetting system is that the elements present a radial layout in the design, making the focus the core of the design, while other elements expand outward, forming a visual sense of hierarchy.

Fig1.2 Radial System

All elements in the expansion system extend in a circular manner from a central point. The characteristic of this typesetting system is that the layout of elements presents a radial structure, similar to a radial ripple or diffusion effect. The center point becomes the core of the design, while the elements expand outward in a circular manner, creating a visual sense of expansion.

Fig1.3 Dilatational System

The elements in a random system exhibit a layout that appears to have no specific patterns or relationships. In this system, the position, size, and arrangement of elements are usually random without clear patterns or structures. This typesetting approach may create a visual effect that is disorderly, chaotic, or non-linear, sometimes used to express concepts that are chaotic, disorderly, or illogical.

Fig1.4  Random System

The grid system is based on a vertical and horizontal partitioning system. In a grid system, pages are divided into regular square or rectangular areas, which can be of equal width or height, or can be adjusted according to design needs. Designers can arrange and align content based on the division of the grid system, thereby creating a unified and neat layout. Grid systems provide an organized, easy to manage, and predictable layout structure that helps ensure content consistency and readability.

Fig1.5 Grid System

Transition system is an informal typesetting system that adopts a layered and strip layout. In this system, elements are arranged in layers to form a gradual transition effect, rather than a strictly regular grid. This typesetting method is usually more flexible and can be freely adjusted and modified according to design requirements.

Fig1.6 Transitional System

A modular system consisting of a series of non objective elements organized into standardized units. In this system, designers divide pages into reusable modules or blocks, each with a fixed size and functionality. These modules can be freely combined and arranged according to design requirements, forming various different layouts and structures.

Fig1.7 Modular System

The bilateral system symmetrically arranges all texts on one axis. In this system, the text and other elements on the page are arranged on both sides of the axis, forming a symmetrical layout on both sides. This typesetting method is commonly used to create designs with traditional, balanced, and symmetrical aesthetics

Fig1.8 Bilateral System

Lecture 2: AdTypo_2_Typographic Composition

Typography, a crucial aspect of design, encompasses two primary areas: creating letters and arranging extensive text within a designated space. The latter, known as typesetting or layout composition, involves organizing text information to create a visually appealing and effective presentation. There are various methods to approach layout composition, each guided by specific design principles.

Design Composition Principles

The principles of composition involve combining and arranging design elements to create a strong visual impact. These principles include:

1.Emphasis: Highlighting the most important elements to draw attention.

2.Isolation: Separating elements to make them stand out.

3.Repetition: Repeating elements to create a sense of unity.

4.Symmetry: Creating balance by mirroring elements on either side of an axis.

5.Asymmetry: Achieving balance through uneven distribution of elements.

6.Alignment: Arranging elements to create a clean, ordered appearance.

7.Perspective: Creating a sense of depth and dimension.

When applied to layout composition, these principles can feel abstract. However, they can be effectively used to organize text and images on pages or screens. 

Rule of Thirds

The rule of thirds is a photography guide for composition that divides a frame into three columns and three rows, creating a grid with intersecting lines. These lines serve as guides for placing points of interest within the space. However, this type of composition element is rarely used.

Typesetting system

In typesetting combinations, the eight commonly used systems include Grid System or Raster Systeme, which is one of the most practical and widely used systems. The Swiss (modernist) typesetting style was further enhanced by Joseph Muller Brockmann, Jan Tchichold, Max Bill, and others.

Grid systems are known for their versatility and modularity, allowing for an infinite number of adaptations. Our readability prefers ordered and organized composition over chaotic composition.

Key features

-Multifunctionality: Grid systems can adapt to various design needs, whether it's web design, print, or multimedia content.

-Modularization: Designers can flexibly arrange content by adjusting the rows and columns of the grid, ensuring clear and consistent layout.

-Improving readability: Ordered layout can enhance the readability of information, making it easier for readers to understand and absorb content.

These characteristics of grid systems make them the preferred tool for designers when typesetting, capable of creating design works that are both aesthetically pleasing and highly functional.

Other typesetting systems

Environmental Grid

The environmental power grid system is based on the exploration and combination of existing structures or multiple structures. Designers extract key lines from curves and lines to form a basic structure. Then, the designer organizes information and superstructure around this basic structure, including non objective elements, to create a unique and exciting blend of texture and visual stimulation.

This system encourages designers to break through the limitations of traditional typesetting and create unique and visually impactful design works through exploration and innovation.

Form and Movement

The form and motion system are based on the exploration of existing grid systems, encouraging designers to try different compositions and explore the connections between each composition. This system views the layout as a dynamic composition with a sense of motion.

This system emphasizes the experimental and innovative nature of design, encouraging designers to break free from conventions and create unique and eye-catching visual experiences through the combination of form and motion.

Lecture 3: AdTypo_3_Context&Creativity

Ancient Scripts and Their Evolution into Modern Languages

Introduction

This lecture explores how ancient scripts evolved into special forms of writing that have influenced modern languages. Understanding the development of handwritten scripts offers valuable insights into the cultural and historical context of specific civilizations.

The Importance of Handwriting

We study handwriting because the first mechanically produced letter forms aimed to closely mimic handwritten scripts. Handwriting established the foundation for form, spacing, and conventions that mechanical type would later strive to replicate.

Development of Western Handwriting

1. Cuneiform

- The earliest form of writing, developed by the Sumerians in Mesopotamia, using wedge-shaped marks on clay tablets.

2. Hieroglyphics

- Ancient Egyptian writing system that used symbolic pictures to represent words and sounds.

3. Phoenician Alphabet

- Early Greek script derived from the Phoenician alphabet, which is one of the first alphabets to use characters to represent phonetic sounds rather than concepts.

4. Roman Alphabet

- Adapted from the Greek alphabet, the Roman alphabet laid the groundwork for many modern Western languages.

5. Charlemagne’s Influence

- During Charlemagne’s reign, efforts to standardize handwriting led to the development of Carolingian Minuscule, a clear and legible script that influenced later European scripts.

6. Half Uncials and the Carolingian Minuscule

- The English half uncials and the Carolingian Minuscule represent the standardization of handwriting styles during the Carolingian Empire, emphasizing clarity and uniformity.

7. Blackletter (Gothic Script)

- A style of script used throughout Western Europe from approximately 1150 to the 17th century, characterized by its dense and dark appearance.

8. Italian Renaissance Scripts

- The Renaissance brought a revival of classical learning and a return to the scripts of ancient Rome, leading to the development of humanist minuscule and other elegant, readable scripts.

9. Moveable Type

- The invention of moveable type by Johannes Gutenberg in the 15th century revolutionized writing and printing, making texts more accessible and standardized.

By tracing the evolution of these scripts, we gain insight into the historical and cultural transformations that shaped the development of writing systems. Understanding the lineage of handwritten forms to modern typography enhances our appreciation for the intricacies of written communication and the importance of preserving these traditions.

Movable type printing was first developed in China around 1040 AD and later advanced in Korea, where the "Jikji" was printed in 1377 using metal type. This technology predates Gutenberg's European movable type printing, which began in 1439. These early innovations greatly influenced the spread of knowledge globally.

Southeast Asian Writing Systems

The oldest writing systems in Southeast Asia are based on Indian scripts. Among the most significant is the Pallava script, a South Indian script originally used for writing Sanskrit and Tamil. Pra-nagari, an early form of the Nagari script, was used in India for writing Sanskrit. The Kawi script, Indonesia's most important historical script, is based on Nagari but originated in Java. Kawi was used extensively for communication between kingdoms and became the foundation for other scripts in Indonesia and the Philippines. Incung, a script from the Kerinci people of South Sumatra, belongs to the Rencong script group. Other scripts that spread from the Indonesian archipelago to the Malay Peninsula include Rejang, Batak, Buginese (Lontara), and Javanese scripts. The Jawi script, based on the Arabic alphabet, spread with Islam. Muslim traders taught Jawi, making it popular among the upper class and in trade ports. However, it took time for Jawi to replace other scripts. In modern Malaysia, Jawi is significant because it is used in many renowned literary works. Unlike Indonesia, Malaysia has fewer pre-Jawi inscriptions, leading to some misconceptions about Jawi being the original Malay script.

Exercise

TASK 1: Exercises 1 - Typographic Systems

We were tasked to create a layout for each typographic system with the given content. The EIGHT typographic systems are as follows: Axial, Radial, Dilatational, Random, Grid, Modular ，Transitional and

Bilateral.

Content to be used:

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

Task requirements:

- Use Adobe InDesign only

- Size:200x 200 mm

- Colours: black and one other colour

- Limited graphical elements (lines, dots, etc)

WEEK1

I first searched for some references.

link：https://www.pinterest.com/

Made some preliminary draft designs

 Axial System

Radial System

Dilataional System

Random System

Grid System

Transitional System

Modular System

Bilateral System

Throughout the exercise, our task was to apply the eight systems we learned in InDesign (axial, radial, inflation, random, grid, modular, transitional, and bilateral) using the content provided by MIB. Additionally, it is recommended that we review the InDesign demonstration videos provided in the lecture playlist.

These are my InDesign progress and my repeated experiments:

Week 2 Modification

Final Typographic System Submission:

FINAL

Exercise 2: Type & Play

At first, I chose a picture of foam waves, but Mr. Vinod said it was difficult. I have chosen a new photo of the lake surface

I used the font Matura Berlin Sans FB as a reference

I extracted the letter form from the image. Then increase readability by adding negative spaces. I also aligned the text baseline.

I use Photoshop to process movie logo materials and unify the visual size of all movie logos, arranging them neatly with consistent spacing.

Final poster size: 1024px X 1024px, 300ppi

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FEEDBACK

Week 2

Feedback:

Remember to update the blog

Ensure that progress work and final work are separated.

0.5 pt contour drawing board stroke

Pay attention to the background color

Be careful when using graphic elements to ensure they function properly

Week 3

Feedback:

Ensure accurate tracking from the images you have selected

It is necessary to ensure that the letters do not lose the features of the image.

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REFLECTION

WEEK1:

When doing the exercises that Mr. Vinod asked us to complete, I noticed that it was difficult to align words and keep them in the grid while working on some typesetting systems. I need to pay attention to work details to keep things consistent and easy to read. In my work, I noticed that in Illustrator, The design in InDesign is completely different. I think some tools are the same, but the fact is not. However, I found them by searching and learning from the Internet and tutorials in YouTube. They are really helpful.

WEEK2:

Observation is one of the most important things this week, as we need to observe the pictures and find the alphabet from them.

week3：

What I have learned from the previous lectures and tasks is very useful and applicable to task practice. I found that there are actually many errors in my font design. The details of the type are also important. A small change can affect the whole thing. I still need time to make revisions, but my schedule is very unreasonable, which makes me have to stay up late to do my homework. I need to plan my time better.

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FURTHER READING

As a design student, reading "Typographic Systems" by Kimberly Elam was very insightful and educational. This book explains different systems of typography and demonstrates how to use them effectively in design projects. It has significantly enhanced my understanding of how to create organized and professional-looking designs.

First, Elam introduces nine types of typographic systems: axial, grid, modular, hierarchy, radial, bilateral, transitional, random, and dilational. She uses detailed diagrams and real-world examples to illustrate each system. This visual approach helped me grasp the concepts more easily and see how to apply them in my own work. For instance, the grid system shows how to align text and images neatly, while the axial system teaches how to create balance using an invisible line.

Second, the book emphasizes the importance of consistency and rules in typography. Consistent typography helps make designs look clean, professional, and easy to read. Elam also discusses common typography mistakes, such as incorrect spacing and alignment issues, and provides solutions to avoid them. This guidance is crucial for improving the quality of my designs and making them more effective.

Third, Elam explores the relationship between typography and other design elements like images, colors, and layout. She explains that successful typography is not just about arranging text but also about integrating it harmoniously with other elements. This comprehensive approach encourages me to consider the overall design composition, ensuring that all elements work together cohesively.

Additionally, the book provides a historical overview of typography, tracing its evolution and the development of various styles. Understanding the history of typography helps me appreciate the foundations of modern design and draw inspiration from different periods and movements. Elam highlights influential styles such as the Swiss design and the Bauhaus movement, which broaden my perspective and enrich my design vocabulary.

Finally, the book combines theoretical knowledge with practical applications. Elam includes exercises and projects that allow readers to practice what they have learned. These hands-on activities reinforce the concepts and make the learning process more engaging and effective. By working through these exercises, I have gained confidence in applying typographic principles to my own design projects.

In summary,"Typographic Systems" has greatly improved my understanding and appreciation of typography. The book’s blend of theory, history, and practical examples makes it an invaluable resource for my design studies. It has not only enhanced my skills but also sparked a deeper interest in exploring the art and science of typography in the future.