Advanced Typography / Task 1 / Exercises: Typographic Systems & Type & Play
05/04/2023 - 26/04/2023 / Week 1 - Week 4
Kim Min Ah / 0356145
Typography / Creative Media / Taylor's Design School
TASKS
Task 1 / Exercise: Typographic Systems
Task 1 / Exercise: Type & Play
LECTURES
AdTypo_1_Typographic Systems
Axial
- all elements are organized to the left or right of a single axis.
Axis doesn’t have to be straight.
Radial
- all elements are extended from the point of focus. Like a sun.
Dilatational
- all elements expanded from a central point in a circular fashion. Like a ring?
Random
-appear to have no specific pattern or relationship RANDOM
Grid
-A system of vertical and horizontal divisions. Regular books
Transitional
- an informal system of layered banding
Modular
-a series of non-objective elements that are constructed as standardized units.
Bilateral
-All text is arranged symmetrically on a single axis
invitation cards
An understanding of the systems organization process allows the designer to break free from “the rigid horizontal and vertical grid system of letterpress” (Elam, 2007).
- Mr. Vinod's lecture video, AdTypo_1_Typographic Systems
AdTypo_2_Typographic Composition
The notion of design composition is abstract and ambiguous in typographic layouts or composition.
-Emphasis
-The rule of thirds
(No one would prefer to use the rule of thirds when there are other options)
Typographic system
It started off with a group of young designers who began to question and challenge the notion of order in typography.
-Environmental grid
Fig 1.1.1 Screenshot of Mr.Vinod's lecture, AdTypo_2_Typographic Composition
-Form and Movement
Fig 1.1.2 Screenshot of Mr.Vinod's lecture, AdTypo_2_Typographic Composition
Exploration of existing grid systems. Utilizing the placement of a form on a paper or screen; to create a continuous flow of movement over pages.
AdTypo_3_Context & Creativity
Handwriting
It is important to study handwriting since all first letterforms were designed to mimic handwriting.
Evolution of the Latin Alphabet
Fig 1.1.3 Screenshot of Mr.Vinod's lecture, AdTypo_3_Context & Creativity
Movable Type
Fig 1.1.4 Screenshot of Mr.Vinod's lecture, AdTypo_3_Context & Creativity
The introduction of moveable type was in 1000-1100 CE. It was invented in China but achieved in Korea(Diamond Sutra). Koreans created movable type in bronze in the late 1300-1399 CE, several decades before the earliest printing in Europe(Gutenberg’s bible, 1439).
It is important to study handwriting because the first letterforms were created directly to imitate handwriting.
Creativity and originality are intertwined.
Creativity and inspiration come from observation of surroundings and exploration of histories.
It is important for young designers to examine the histories, civilizations, cultures and communities, and reflect them on designs.
AdTypo_4_Designing Type
Type design has a social responsibility to maintain legibility.
Form of artistic expression.
<Process of type design>
1. Research
-history, anatomy and convention of an existing typeface
-It is important to distinguish the purpose of the use of typeface
2. Sketch
-Either hand drawing or digital drawing
Digitalization
-Fontlab and Glyphs App
-Counter form is as important as the whole form of letters. The readability of the typeface depends on it.
3. Testing
-A typeface should have good legibility, but it is not crucial for display typefaces.
4. Deploy
Most typefaces are created on a demand of motivation or need, either intrinsic or extrinsic.
INSTRUCTIONS
Task 1 / Exercise: Typographic Systems
Research
Fig 1.1.6 Taking the Mystery Out of Arranging Type by Katherine Humphreys, p.1 (05/04/2023)
https://type365.com/2017/02/21/7-typographic-layout-systems/
Fig 1.1.7 References (05/04/2023)
-Axial
Fig 1.1.8 Axial sketches (06/04/2023)
Fig 1.1.9 Radial sketches (07/04/2023)
The records were added to imply the title of the topic(All Ripped Up: Punk Influences On Design).
Fig 1.2.1 Dilatational sketches (10/04/2023)
Each sketch shows the flow of dilatation from the inner side, bottom and right bottom corner.
Fig 1.2.2 Random sketches (11/04/2023)
Fig 1.2.3 Grid sketches (11/04/2023)
At first, I thought Grid Typographic System would be the easiest to execute since it's the most basic one. However, unlike my expectation, it was the toughest one to create. I struggled to come up with proportionally aesthetic compositions.
Fig 1.2.4 Transitonal sketches (11/04/2023)
Only Bembo, Regular was used on the second one. I intended to express diverse Transitional Typographic Systems: a transition of the size of letters, sentence alignments and style of typefaces.
Fig 1.2.5 Modular sketches (11/04/2023)
Fig 1.2.6 Bilateral sketches (11/04/2023)
Fig 1.2.7 8 Typographic System Overview (11/04/2023)
-Axial
Fig 1.2.8 Axial JPG (12/04/2023)
Fig 1.2.9 Radial JPG (12/04/2023)
Fig 1.3.4 Dilatational JPG (12/04/2023)
Fig 1.3.1 Random JPG (12/04/2023)
Fig 1.3.2 Grid JPG (12/04/2023)
Fig 1.3.3 Transitional JPG (12/04/2023)
Fig 1.3.4 Modular JPG (12/04/2023)
Fig 1.3.5 Bilateral JPG (12/04/2023)
Final Submission (PDF)
Fig 1.3.6 Final submission with grid PDF (12/04/2023)
Fig 1.3.7 Final submission PDF (12/04/2023)
Task 1 / Exercise: Type & Play
Photo Deconstruction
Fig 1.3.8 Crumpled paper photo (15/04/2023)
Fig 1.3.9 Photo deconstruction (18/04/2023)
Fig 1.4.1 Reference typeface (19/04/2023)
Fig 1..4.2 Refinement (19/04/2023)
Photo Deconstruction (2nd attempt)
Fig 1.4.3 Jasmine flower tea, photo deconstruction (25/04/2023)
Fig 1.4.4 Ubuntu Regular, referenced typeface (25/04/2023)
Fig 1.4.5 Refinement (25/04/2023)
Fig 1.4.6 Refinement (25/04/2023)
Fig 1.4.7 Final form (25/04/2023)
Fig 1.4.8 Poster (25/04/2023)
Fig 1.4.9 Final poster JPG (26/04/2023)
Fig 1.5.1 Final poster PDF (26/04/2023)
Letterform
Fig 1.5.2 Final letterform with grid (26/04/2023)
Fig 1.5.3 Final letterform JPG (26/04/2023)
Fig 1.5.4 Final letterform PDF (26/04/2023)
Fig 1.5.5 Final poster JPG (17/05/2023)
Fig 1.5.6 Final poster PDF (17/05/2023)
FEEDBACK
Week 1 (05/04/2023)
-Axial: The layout is fine, but the size format is wrong.
Week 2 (12/04/2023)
General feedback:
-Form(design element) must have a function.
-Leading & Consistency are important.
-The Graphic should enhance the text and not interfere.
-The texture is important. The weight and size of the typeface create the texture).
-The hierarchy of information is important.
-Random Typographic System still has to provide some information.
Specific feedback:
Axial
-Not memorable enough.
-It needs to have more personality.
Dilatational
-Almost looks transitional (too wide) but still works.
-Headline (title separated in different sizes)
= miscommunication
Radial
-Graphical objects take up too much space.
-The layout is fine.
Grid
-The layout is okay, but too much negative space. Utilize the space.
Random
-Not random
Transitional
-Too Difficult to read
-The text alignment is too straight
Colour choices (hard to read)
Modular
Not modular
Bilateral
It works. The circle in the middle could be outlined to attract the proper amount of attention.
Week 3 (19/04/2023)
-The typeface doesn’t reflect the crumpled paper enough.
-It’s not characteristic enough.
-Extraction is just a starting point, it can transform.
Week 4 (26/04/2023)
-The chosen image still doesn’t provide enough characteristics.
-The refined letterforms look okay considering the poor choice of the original image.
-The gaps between letterforms are too large.
-The poster has to be based on a photograph.
REFLECTION
Experience
During the past weeks, I worked on task 1: typographic systems and task 2: Type & Play. Before working on the first task, I had to learn and comprehend the most basic eight Typographic Systems.
For the second task, I had to deconstruct an image to find five letters. The found letters were required to have characteristics that reflect the chosen image well. After deconstruction, the letterforms needed to go through the progress of refinement based on a reference typeface. The purpose of refining was to apply the general anatomy of existing letterforms to the rough letters; so they could function as a proper typeface. After finalizing the refinement progress, I needed to create a poster with the letters, showing a solid integration between the letterform and the image.
Observation
I observed that the grid and modular are the two hardest systems out of all typographic systems. I thought the grid system wouldn't be a challenge compared to other ones since it's the most basic and familiar. Nevertheless, I struggled to come up with a design that is not only aesthetic but also suits the grid system. The notion of the modular system was a bit ambiguous for me to understand as well.
Findings
I found that the introduction to the typographic systems has led me to a new point of view and understanding of layout and composition in a typography setting. It was fascinating to know that the abstract sense of aesthetics can be interpreted through disciplines.
Also, I already learned that typeface does more than provide the literal meaning of letters through the previous typography class. However, I was reminded once again during working on task 2. I realized that there's no limit to exploring and creating typefaces with each unique characteristic as long as continuous efforts are given. I reckon that the creation of good typefaces starts from deep observations.
FURTHER READING
Fig 1.5.5 The Vignelli Canon by Massimo Vignelli (11/04/2023)
Week 1 (pages 10 - 11)
Semantic
Semantic is the search for the meaning of Design. It's essential to spend enough time in the search for accurate meaning and direction. Semantic will provide the correct inception of projects (design). Semantic is a huge part of being a designer, the natural progress of design and the point of departure of design.
Design something has meaning and reason for existing, not just arbitrarily.
Week 2 (pages 12 - 13)
Syntactic
Syntactics in graphic design is overall structure such as the grid, the typefaces, the text and headlines, the illustrations, etc.
Grids help designers to achieve syntactical consistency in graphic design.
Week 3 (pages 14 - 15)
Pragmatics
Any design that causes miscommunication is a failed design.
All artifacts should be able to stand by themselves without extra explanation.
Week 4 (pages 16 - 17)
Discipline
There's no detail on the design without discipline.
According to the "Vignelli Canon" by Massimo Vignelli, we should abide by a continuously painstaking effort of the creative process. Design without discipline is anarchy, an exercise of irresponsibility. Discipline is a tool that allows designers to work with consistency.
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