Advanced Typography - Project 1 : Typographic Systems & Type and Play
22/4/2024 - 13/5/2024 ( Week 1 - Week 4 )
Ho Winnie / 0364866
Advanced Typography / Bachelor's of Design Honors In Creative Media
Project 1 : Typographic Systems & Type and Play
1. Lecture Summary
1. Lecture Summary
Lecture 1 : Typo_1_Typographic
Systems
Typographical systems are complexed because of elements depending on each
other for communication in order to function well. More criteria such as
hierarchy, order of reading , legibility and contrast all comes into action
as well when relating to typographical systems.
Typographic systems are known to architects as shape grammars. They are
similar in a way that they have a fixed set of rules that is unique and
provide a sense of purpose when focuses and direct decision
makings.
Definition of " shape grammars " : They consists of a shape rules and
generation engines that selects and processes rules.
Axial System : All elements aligned to the left or right of a single
axis
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| Fig 1.1 Axial System Examples , Week 0 (4/16/2024) |
Radial System : Elements are all extended from a point of focus , it can
consists of multiple points of focus
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| Fig 1.2 Radial System Examples , Week 0 (4/16/2024) |
Dilatational System : All elements will expand from a central point of
focus in a circular fashion
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| Fig 1.3 Dilatational System Examples , Week 0 (4/16/2024) |
Random System : Elements will have no specific pattern or
relationship
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| Fig 1.4 Random System Examples , Week 0 (4/16/2024) |
Grid System : Elements will be arranged in a system of horizontal and
vertical divisions
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| Fig 1.5 Grid System Examples , Week 0 (4/16/2024) |
Transitional System : Informal system of layered banding
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Fig 1.5 Transitional System Examples , Week 0 (4/16/2024) |
Modular System : Series of non objective elements that are constructed in standardised units
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| Fig 1.6 Modular System Examples , Week 0 (4/16/2024) |
Bilateral System : All texts will be arranged symmetrically on a single
axis
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| Fig 1.7 Bilateral System Examples , Week 0 (4/16/2024) |
Lecture 2 : Typo_2_Typographic Composition
Typography consists of creating the letters and the arrangement of
large amount of letters in a given space. Typographic composition
mainly refers to the art of arranging types in order to make it more
legible and visually appealing when displayed. There are a few ways to
do this and this includes the following :
1) Principles Of Design Composition
Composition of texts usually consists of design principles like
emphasis, isolation, repetition , symmetry and asymmetry , alignment
and perspectives. However, when it comes to using them on typographic
layouts, they will seem more relevant to imagery than complex unit of
information.
Using these on real life contents such as text information, images and
colors on a page or screen can be disparate but repetition and
perspective is even harder to translate onto typographic
systems.
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| Fig 1.8 Emphasis on typographic systems , Week 2 (5/2/2024) |
2) The Rule Of Thirds
It is a photogenic principle guide to composition, it suggests that
a frame can be divided into 3 columns and 3 rows. The intersecting
lines is used as a guide to place the points of interest, within the
given space.
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| Fig 1.9 Rule of thirds , Week 2 (5/2/2024) |
3) Typographic Systems
Within the 8 systems learnt earlier in the first lecture, the most
pragmatic one is the grid system , which is derived from the grided
compositional structure of Letter press printing.
Even though the grid system is old and rigid, it continues to
remain popular because of the versatility of this system allows it
to be adapted infinitely. Readability prefers those that are
organized and composed instead of it being chaotic.
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| Fig 2.0 Grid system , Week 2 (5/2/2024) |
In the modern era of typography, young designers challenge this
notion of order and explored chaos, randomness and asymmetry.
Although some might sacrifice readability and legibility, the
best ones involved two in one together seamlessly. Dilatational,
random , asymmetry and radial typographic systems began to take
root in designs.
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| Fig 2.1 Best examples , Week 2 (5/2/2024) |
Environmental grid : This system is based off the exploration of an existing structure and multiple structures combined. An extraction of crucial lines, both curved and straight are formed. The designer will organize the information around the structure, which includes non objective element to create an exciting mixture of texture and visual.
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| Fig 2.2 Example of environmental grid , Week 2 (5/2/2024) |
Form & Environment : This system is based on exploring grid
system, this is developed to get students to explore the multitude
grid system has to offer - and to dispel the rigidness around grid
system. The placement of a form on a page creates movement, whether
the page is paper or screen.
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| Fig 2.3 Form and environment , Week 2 (5/2/2024) |
Lecture 3 : Typo_3_ Context & Creativity
This lecture teaches us about mainly how the study of ancient scripts helps transform into a modern particular type and the vitality of learning the context of handwritten scripts. After learning about handwritten scripts, we can further understand the civilization behind it.
Handwriting :
Handwriting is studied as it is the first mechanically hand produced letterforms and it would become the basis of the form, spacing and conventions mechanical type would try and mimic.
Development of Western Handwriting :
Cuneiform - Hieroglyphics - Early Greek - Roman Uncials - English Half Uncials - Emperor Charlemange - Blackletter - The Italian Renaissance - Movable Type
Movable type was introduced in 1000-1100CE and China tried to use it for printing but it was unsuccessful due to the characters and the clay material used. In late 14C, Koreans discovered a way to cast movable type in bronze which allows the resetting of text.
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| Fig 2.4 Movable type , Week 3 (5/11/2024) |
Development of Eastern Handwriting :
The digital revolution of the western handwriting resulted in the selling of them through type industries. Historical handwriting is being recognized around which is a great factor but colonization between the east and the west leads to a decrease in cultural heritage, practices , literature and arts.
The oldest writing found in Indian is called Indus Valley Civilization (IVC) Script in 3500 - 2000 BCE.
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| Fig 2.5 IVC Script , Week 3 (5/11/2024) |
After the IVC Script, Brahmi Script is developed in 450-350 BCE and it is one of the most influential writing systems as all modern Indian systems and various other systems found in Southeast Asia models after the Brahmi Script.
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| Fig 2.6 Brahmi Script , Week 3 (5/11/2024) |
Pallava script is one of the most important scripts as it is originally used for writing Sanskrit and Tamil.
Pre Nagari was used in Indian for writing Sanskrit and Kawi , one of Indonesia's most distinct and historical script is based on Nagari as well but indigenous to Java. Nagari has usage of contacting other kingdoms and even Indonesia and Philippines use it.
Incung is the original writing system originating from Kerinci, a South Sumatran grouping of scripts known as Rencong.
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| Fig 2.7 Incung Script , Week 3 (5/11/2024) |
Other scripts coming from Indonesian communities and entering Peninsula Malay communities includes Rajang, Batak , Lontara and Javanese Script.
Jawi is of great importance in modern Malay communities because its script is used for famous artworks of litreature. Indonesia has a wealth of pre-Jawi inscriptions leading to falsely claim that Jawi is tulisan asal Melayu.
Programmers and Type Design :
Google is hiring many Asian programmers and designers to create increasing number of multi script typefaces and these typefaces aims at helping to facilitate communication in both vernacular and Latin scripts.
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| Fig 2.8 Baloo , a multiscript by Elk Type , Week 3 (5/11/2024) |
Local Movements and Individuals :
In Malaysia, murusu.com is lead by typographer Muthu Nedumaran and programmer , the programming language is cracked by Muthu and now the system is used both in mobile and tablets.
Huruf is a local group of designers interested in localizing Latin and vernacular letters painted or inscribed on walls.
Elk type and Indian Type Foundry are organizations that did ground breaking work with the development of vernacular typefaces in India.
Lecture 4 : Typo_4_ Designing Type
Xavier Dupre (2007) suggested two reasons on why typefaces are being designed
- type design carries a social responsibility so its legibility must be constantly improved
- artistry is being expressed through type design
Frutiger :
It is a sans serif typeface being designed by Adrian Frutiger who is a renowned 20th century Swiss designer. He also designed the typeface Univers.
The goal for creating frutiger was to make a clean, distinctive and legible typeface that is easy to see from closeup and from faraway, making it extremely functional.
When creating letterforms, it is important to consider that it must be able to read in poor lightnings and also when it is moving unstably.
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| Fig 2.9 Airport signs using Frutiger typeface, Week 4 (5/22/2024) |
Verdana :
It is designed by Matthew Carter and it is being commissioned by Microsoft. The font was made to be extremely legible even at very small sizes. It is designed as a typeface for screen as it is made to be read on electronic devices.
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| Fig 3.0 Verdana typeface, Week 4 (5/22/2024) |
Johnston Sans :
This typeface is created by Edward Johnson for London's Underground railway's posters and signage.. He handed over details and examples of lettershapes that set the printed text until the present day.
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| Fig 3.1 Johnston Sans used in underground railway , Week 4 (5/22/2024) |
Process for type design :
1) Research
- Creating typefaces demands a deep dive into history, anatomy, and conventions, grasping nuances like serif, sans-serif, and script. Understanding technical elements such as side-bearing and hinting ensures precision.
- Identifying the type's purpose, be it for bus signs or airport displays, shapes design decisions. Analyzing existing fonts offers inspiration and insight into usage patterns, guiding iterative refinement for usability and functionality.
2) Sketching
- Some designers opt for the traditional approach, sketching typefaces with brushes, pens, and paper before digitizing them. This method offers a tactile feel and greater control for those confident with hand tools.
-Others prefer digital tools like Wacom tablets, allowing direct input into font design software. While quicker and consistent, this method can sometimes lack the natural flow of hand-drawn strokes. Each approach has its advantages and drawbacks.
3) Digitalization
-Leading software tools like FontLab and Glyphs App are commonly employed by professionals for typeface digitization. However, some designers resort to Adobe Illustrator for crafting letterforms, which is often criticized by purists who prefer specialized font apps.
-At this stage, attention should not only be directed towards the overall form but also to the counter form, as readability heavily relies on it.
4) Testing
-Testing is integral to the design thinking process, providing crucial feedback for refining and correcting aspects of the typeface. Prototyping plays a pivotal role in this phase, generating valuable insights.
-The readability and legibility of a typeface are paramount considerations, particularly in text types. However, for display types, where form expression holds more precedence, readability and legibility are comparatively less critical.
5) Deploy
- Even after deploying a finished typeface, unforeseen issues may arise that weren't evident during prototyping and testing. Therefore, the task of revision extends beyond deployment, as continuous refinement is necessary.
Typeface Construction :
Using grids (with circular forms) can facilitate the construction of a letterforms and is a possible method to build/create/design your letterform.
Construction and Considerations :
When designing a new typeface, various forms and constructions require careful consideration. One crucial visual correction involves adjusting curved forms to extend past the baseline and cap line, ensuring consistency in vertical alignment with straight forms.
Additionally, attention is needed for the spacing between letters. Rather than simply placing letters with equal spacing, adjustments are made to create uniform 'visual' white space between them. This process, known as 'fitting' the type, ensures that the spacing appears consistent and harmonious
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| Fig 3.1 Letters "c" and "e", Week 4 (5/22/2024) |
Lecture 5 : Perception & Organization
Perception is the way in which something is regarded, understood or interpreted. In typography, perception deals with the visual navigation and interpretation via form , organization and contrast.
Contrast/Weight :
Weight will determine how bold the type can stand out in the middle of lighter type of similar style. Squares, rulers and dot also provide a "heavy area" for powerful point of visuals.
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| Fig 3.2 Contrast/Weight , Week 5 (5/27/2024) |
Contrast/Form :
Contrast of form is the distinction between capital letters and its lower cases or equivalent, or separating a roman letter from its italic variant , condensed from expanded versions of typeface also falls under contrast of form.
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| Fig 3.3 Contrast/Form , Week 5 (5/27/2024) |
Structure refers to the varying shapes of letterforms in different typefaces. For example, separating a monoline sans serif from a traditional serif.
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| Fig 3.4 Contrast/Structure , Week 5 (5/27/2024) |
Contrast/Texture :
This comes from putting together all the contrasts listed above to get contrast of texture. Texture refers to the way of lines of type looks as a whole up close and from distance. This also depends on the letterform and how they are arranged.
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| Fig 3.5 Contrast/Texture , Week 5 (5/27/2024) |
Contrast/Direction :
It is the opposition between vertical and horizontal, and angles in between. Turning a word another direction can bring dramatic effects on a layout. Text blocks also have their own vertical and horizontal aspects. Mixing wide blocks with long lines and tall/short columns also can create contrast.
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| Fig 3.6 Contrast/Direction , Week 5 (5/27/2024) |
Having two colors help to emphasize that the second color is less emphatic in values than plain black or white. Hence it is important to give thoughts on which element to emphasize and pay attention to in forms of tonal values.
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| Fig 3.7 Contrast/Color , Week 5 (5/27/2024) |
This refers to the overall look and feel of the elements that makes up the typographic composition. It plays a vital role in visual impact and forming a good first impression. A good form of typography appears visually pleasing to the eyes and leads the viewer's eyes from one point to another.
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| Fig 3.8 Examples of form , Week 5 (5/27/2024) |
Organization :
Gestalt theory is important in design as the components that makes up the design is only good if its overall visual is great as well. While each component is functional at elemental level, the sum of its parts is still smaller compared to the overall form.
Law of similarity : This principle states that objects and elements that share similar visual characteristics such as color, shape, size or other attributes tend to be grouped together perceptually by viewers.
Law of proximity : This principle explains how humans tend to perceive elements that are close to each other as belonging together, spatial arrangement of visual elements influences our perspective of their relationship and grouping
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| Fig 3.9 Examples of similarity and proximity , Week 5 (5/27/2024) |
Law of Continuation : This principle explains how our brains perceive lines or shape as continuing in a smooth flow even when they are interrupted by other elements. When elements are arranged in a way that implies continuous flow, viewers tend to perceive them together and forming a pattern.
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| Fig 4.0 Examples of closure and continuation , Week 5 (5/27/2024) |
Law of symmetry : This principle explains how humans perceive visual stimuli as balanced and harmonious when they exhibit symmetrical arrangements or follow a predictable pattern.
2. Exercise 1 : Typographic Systems
In this exercise, we are tasked to come up with the 8 layout designs of
typographic systems as learnt in the lecture. Initially, I spent more time
to do research before starting out sketching any ideas and
layout.
I went to pinterest and other typographic systems website to read more and
get inspirations.
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| Fig 2.1 Research Board , Week 2 (4/30/2024) |
2.1 Axial System
To begin with axial system, I started on paper sketches first for a
rough idea before using Indesign to digitalize it.
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| Fig 2.1.1 Axial System Sketches , Week 2 (4/30/2024) |
For the first layout, I decided to use one line and align my texts
accordingly to the axis , but for my second layout, I experimented
with a two lines axis. I also choose to use the color red and black
here as they contrast each other well.
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| Fig 2.1.2 Axial system digitalize attempt #1 , Week 2 (4/30/2024) |
Changes After Feedback session Week 2 :
Mr Vinod commented that axial system should only have one line as the
axis and for both my layouts, two lines were being used. For layout 2,
the angle of the line is too sharp as well. I redid another axial
layout using one line and aligned the contents on the left and right
side.
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| Fig 2.1.3 Axial System digitalize attempt #2 , Week 2 (5/2/2024) |
2.2. Radial System
To begin with radial system, I started on paper sketches first for a
rough idea before using Indesign to digitalize it.
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| Fig 2.2.1 Radial System Sketches , Week 2 (4/30/2024) |
For my first layout, there is a tiny mix of dilatational system
together with radial as i placed some contents circling the main
circle. For my second layout, my idea is to make it protrude and
center from the bottom circle point. I connected some lines to the
main circle to emphasize on the main title which is "Punk Influences
On Design" .
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| Fig 2.2.2 Radial system digitalize attempt #1 , Week 2 (4/30/2024) |
Changes After Feedback session Week 2 :
Mr Vinod commented that for layout 1, there is a mixed of radial and
dilatational layout so it cannot be accepted. For layout 2. there is
too much text clumped together at the end of one line so it is not
counted as radial. I redid a new layout for radial.
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| Fig 2.2.3 Radial system digitalize attempt #2, Week 2 (5/2/2024) |
However I feel that the black circle is too eye catching so i adjusted
the shape to be smaller and make it to be only outlines.
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Fig 2.2.3 Radial system digitalize attempt #3, Week 2
(5/2/2024) |
2.3 Dilatational System
To begin with dilatational system, I started on paper sketches first
for a rough idea before using Indesign to digitalize it.
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| Fig 2.3.1 Dilatational System Sketches , Week 2 (4/30/2024) |
For my first layout, the center point will be a circle with the main title and contents will be placed evenly around it. To ensure easy readability, I flipped some of the texts so it will be easier to understand as well. For the second layout, I decided to play with multiple circles and putting contents in more circles. I bolded and colored some of the main texts to ensure that it is easy for readers to capture it.
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| Fig 2.3.2 Dilatational system digitalize attempt #1 , Week 2 (4/30/2024) |
Changes After Feedback session Week 2 :
Mr Vinod prefers layout 2 compared to layout 1 , however he felt
that there is unnecessary graphical elements inside like the two
circles which does not serve much purpose. Hence I removed it to
make the layout look cleaner as well.
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Fig 2.3.3 Dilatational system digitalize attempt #2 , Week 2
(5/2/2024) |
2.4 Random System
To begin with random system, I started on paper sketches first for a
rough idea before using Indesign to digitalize it. However, I find it
quite challenging to sketch this particular layout.
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Fig 2.4.1 Random System Sketches , Week 2 (4/30/2024) |
For my first layout, the idea is to be random in a way I arrange the
contents but I placed black rectangles and circles around to
highlight some main points of the text to make it still slightly
readable although it is random. I make use of different colors to
bring out the messiness of some texts as well by overlaying them
together. For my second layout, I stacked up the alphabets of the
title in a vertical manner and used various shapes to bring the
message across.
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Fig 2.4.2 Random system digitalize attempt #1 , Week 2
(4/30/2024) |
Changes After Feedback session Week 2 :
Mr Vinod preferred layout 1 to layout 2 although he felt that the
random arrangement of the letters " All Ripped Up" was good. He
recommended that to remove some graphical elements that
overcomplicate the layout like the circles. I removed some word
layerings to increase readability and changed some color pairings
because red and black also decrease readability.
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Fig 2.4.2 Random system digitalize attempt #2 , Week 2
(5/2/2024) |
2.5 Grid System
To begin with grid system, I started on paper sketches first for a
rough idea before using Indesign to digitalize it.
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Fig 2.5.1 Random System Sketches , Week 2 (4/30/2024) |
For my first layout, I decided to use a 4 column grid layout and aligned my title to 3 columns and divided the rest of the contents evenly among the other columns. As i aligned my title towards the left side, i placed the contents below aligned to the right side to create a balance. For my second layout, I used 4 column grid as well but i sandwiched my contents between the two main titles.
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Fig 2.5.2 Grid system digitalize attempt #1 , Week 2
(4/30/2024) |
Changes After Feedback session Week 2 :
Mr Vinod felt that both layout works but in layout 1 he suggested to
left align the third row and for layout 2 he suggested to remove the
lines as they are not needed to give the layout more whitespace. I
decided to rework my layout 2 - removing the lines and changing the
color pairings.
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Fig 2.5.3 Grid system digitalize attempt #2 , Week 2
(5/2/2024) |
2.6 Modular System
To begin with modular system, I started on paper sketches first for
a rough idea before using Indesign to digitalize it.
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| Fig 2.5.1 Modular System Sketches , Week 2 (4/30/2024) |
For both layouts, I made use of a 4 column grid and created 5 guidelines so it becomes a 6x4 grid. The difference between the two layouts is how i structured the boxes to fit the grids. For layout 1 , the boxes are more evenly divided but layout 2 is more heavily divided to the left due to the first box being bigger. I fit around 3 columns for the box in layout 2 but only 2 columns for layout 1.
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| Fig 2.6.2 Modular system digitalize attempt #1 , Week 2 (4/30/2024) |
Changes After Feedback session Week 2 :
Mr Vinod prefers layout 2 to layout 1, but he thinks that the red
background is too overpowering and that "All Ripped Up" should be
the main thing people see instead of "punk influences on design" . I
changed the text layout , adjusted the alignments of texts and the
background color to a more subtle grey.
|
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Fig 2.6.3 Modular system digitalize attempt #2 , Week 2
(5/2/2024) |
However, I felt that the subline " Punk Influences on Design" is not
obvious and I missed out one line of content hence i added a black
outline box to it .
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Fig 2.6.3 Modular system digitalize attempt #3 , Week 2
(5/2/2024) |
To begin with modular system, I started on paper sketches first for a
rough idea before using Indesign to digitalize it.
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| Fig 2.7.1 Transitional System Sketches , Week 2 (4/30/2024) |
For layout 1, I made use of a more simple transitional layout that is guiding the contents towards the right direction. I intersected two lines together for them to connect at the right side of the end point to place more emphasis as well. For layout 2, i went with a bolder approach of aligning my contents upwards like a house since its " the design school " and i thought it will be kinda interesting.
|
|
Fig 2.7.2 Transitional system digitalize attempt #1 , Week 2
(4/30/2024) |
Mr Vinod felt that improvements in layout 1 can be made but layout 2 is
not acceptable. After reading more on transitional layout, I decided to
come up with a new layout that guides the viewer's eye from left to
right than right to left in a shape of an arrow.
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| Fig 2.7.3 Transitional system digitalize attempt #2 , Week 2 (5/2/2024) |
2.8 Bilateral System
To begin with modular system, I started on paper sketches first for a
rough idea before using Indesign to digitalize it.
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| Fig 2.8.1 Bilateral System Sketches , Week 2 (4/30/2024) |
For layout 1, I balanced two contents with lines hanging from up and
down and sandwiched the main title in between, following one single
axis. For layout 2, I balanced the title with two lines on top and
gradually placed contents below.
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| Fig 2.8.2 Bilateral system digitalize attempt #1 , Week 2 (4/30/2024) |
Changes After Feedback session Week 2 :
Mr Vinod felt that layout 1 could be argued as bilateral but not
really as well, layout 2 needs lots of rework. I decided to came up
with a new layout for bilateral system by editing layout 1 and another
layout.
|
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Fig 2.8.3 Bilateral system digitalize attempt #2 , Week 2
(5/2/2024) |
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| Fig 3.1 Final Axial System JPEG , Week 3 (5/6/2024) |
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| Fig 3.2 Final Radial System JPEG , Week 3 (5/6/2024) |
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Fig 3.3 Final Dilatational System JPEG , Week 3 (5/6/2024) |
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| Fig 3.4 Final Grid System JPEG , Week 3 (5/6/2024) |
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| Fig 3.5 Final Radial System JPEG , Week 3 (5/6/2024) |
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Fig 3.6 Final Modular System JPEG , Week 3 (5/6/2024) |
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| Fig 3.7 Final Bilateral System JPEG , Week 3 (5/6/2024) |
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Fig 3.8 Final Transitional System JPEG , Week 3 (5/6/2024) |
PDF Of Combined Typographic Systems ( With Grid ) :
3. Exercise 2 : Type and Play ( Finding Type )
For this exercise, we are required to choose an image from a man-made ,
nature or a structure that does not contain a multitude of elements. We need
to analyze, identify and dissect potential letterforms from the
image.
Image Searching :
I went onto pinterest to search for nature images that potentially could be used in this exercise and shortlisted a few below. As I have been watching a tad bit much of horror movies these few weeks, I decided to go for something more veiny and horror such as blood veins.
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| Fig 3.1 Reference Images , Week 3 (5/9/2024) |
As shown above, I extracted letters like " BLOOD" , "VEINS" and "DEATH" as i find it very fitting to the theme of these images which is horror. I ultimately choose Image 3 which is the blood veins under microscope as my final picture as i find it the clearest and most distinct.
Letter Extraction :
I extracted the letterforms "D" , "E" , "A" , "T" , "H" as i find them most aesthetically pleasing to me and that it fits the feel of the image.
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| Fig 3.2 Letterforms extracted , Week 3 (5/9/2024) |
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| Fig 3.3 Font Reference , Week 3 (5/9/2024) |
Importing into Illustrator & Refinements :
For attempt #1, I placed the letters against the reference font and roughly adjusted the letters to resemble the shape of the font. It is the toughest to adjust letters like E and H and easiest to adjust letters like D and T. For each letters, I adjusted them to have a curvy end and a varying "thick-thin" strokes throughout to resemble the blood vessels.
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| Fig 3.4 Attempt #1 at modifying font , Week 3 (5/9/2024) |
In order to bring over the characteristics of the veins, I relooked at the original picture and extracted some key patterns of the veins and drew it out. It mainly has varying thick thin strokes and white blobs in the middle.
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| Fig 3.5 Unique characteristics of the veins , Week 3 (5/9/2024) |
Improvement Attempts on letter "D" :
I added the vessel like structures to letter D but it seems over complexed for me, in attempt 2, I smoothen the serifs and also refined on the vessels to make it look smoother and simpler. In attempt 3, I wanted to create the bubble-like structure inside the veins so i narrowed down the curve of the D. In attempt 4, I extended the top base of the letter so it matches the bottom base more.
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| Fig 3.6 Improvement attempts on letter "D" , Week 3 (5/9/2024) |
In attempt 1, the blood vessels structure were added to it and in attempt 2, I refined and sharpen the edges of serifs on E to mimic the pointing ends of the vessels. The overall lines and curves were also further refined to become thinner than the first letter. In attempt 3, I simplified the outlook of the vessels to avoid it looking too graphic and over excessive.
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| Fig 3.7 Improvement attempts on letter "E" , Week 3 (5/9/2024) |
Improvement Attempts on letter "A" :
In attempt 1, I did not add the vessels yet as I was contemplating on where is a good location to add it in. Instead, I worked on refining the side edges of the letterform. In attempt 2, the vessels were added in the middle part of the letterform as i felt that it blends inside there, In attempt 3, I worked mostly on correcting the anchor points on the letter as I made the hairline less curved, thinner and the bottom edges thicker so it gives the contrast of the vessels. In attempt 4, i smoothen out the bottom two strokes and make it more equal.
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| Fig 3.8 Improvement attempts on letter "A" , Week 3 (5/9/2024) |
Improvement Attempts on letter "T" :
In attempt 1, I roughly tried adding the vessels but i felt that it was too much, so in attempt 2, i reduced the number of vessels and refined the strokes of the top line to make it shorter and also the middle line to become thinner. In attempt 3, I gave another try at adding the vessels but i figured that in this letter, it was quite hard to add the vessels without making it awkward so in the last attempt, i decided to go with a simplistic outlook.
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| Fig 3.9 Improvement attempts on letter "T" , Week 3 (5/9/2024) |
Improvement Attempts on letter "H" :
For attempt 1, I roughly added the vessels to it yet again i felt that it was too overdone. For attempt 2 I adjusted many factors such as the overall width of it to become more narrow as i tried to make the white space in the middle more like a bubble in the vessel. The top part is made to be more curved like the vessel and i smoothen up the bottom part of the letterform as well and made the vessels more organized and simple.
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| Fig 4.0 Improvement attempts on letter "H" , Week 3 (5/9/2024) |
First Final Form of Refined Letters :
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| Fig 4.1 First Final Form of Refined Letters , Week 3 (5/9/2024) |
Second and Final Form of Refined Letters :
After feedback session with Mr Vinod, he suggested to lessen the number of letters with the veins and use back the attempt's 2 letter "D" as he felt that it works quite well. He also suggested to make the strokes of the veins thinner and strategically place the veins and not place it anyhow.
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| Fig 4.2 Second Final Form of Refined Letters , Week 4 (5/13/2024) Final Outcome :  |
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| Fig 4.3 Image Reference , Week 4 (5/13/2024) |
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| Fig 5.4 Extracted Letterforms , Week 4 (5/13/2024) |
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| Fig 5.7 Final Letter "D" , Week 4 (5/13/2024) |
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| Fig 5.8 Final Letter "E" , Week 4 (5/13/2024) |
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| Fig 5.9 Final Letter "A" , Week 4 (5/13/2024) |
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| Fig 6.0 Final Letter "T" , Week 4 (5/13/2024) |
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| Fig 6.1 Final Letter "H" , Week 4 (5/13/2024) |
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| Fig 6.2 Original Extracted letterforms and Final letterforms, Week 4 (5/13/2024) |
Part Two :
After completing the letterforms, we were instructed to use our letterforms and make it into a mock movie poster. The main objective is to enhance the letters and the selected image we choose to edit. The letters and the visual image need to correlate to each other.
I decided to use back the original photo of the vessels i found but i further edited it in Photoshop by adding adjustment layers to adjust the curves and gradient map.
I added 3D effect to my words in illustrator and adjusted the thickness of it before bringing it over into photoshop.
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| Fig 6.3 3D Effect and Color added , Week 4 (5/13/2024) |
I further enhanced the outlook of the words in photoshop by adding more adjustment layers such as exposure and brightness levels.
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| Fig 6.4 Mock Movie Poster , Week 4 (5/13/2024) |
Mr Vinod commented that there can be better hierarchy and arrangement of words for the letterings, and the contrast level could be higher for the background so I took another shot at designing the movie poster.
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| Fig 6.5 Final Mock Movie Poster , Week 4 (5/13/2024) |
4. Feedback
Week 1 :
General Feedback : Final product of typographic systems should be 300ppi and "random" system still needs to be readable.
Week 2:
General Feedback : Avoid using too much lines and graphics in the typographic systems.
Specific Feedback : (AXIAL) Mr Vinod commented that axial system should only have one line as the axis and for both my layouts, two lines were being used
(RADIAL) Mr Vinod commented that for layout 1, there is a mixed of radial and dilatational layout so it cannot be accepted. For layout 2. there is too much text clumped together at the end of one line so it is not counted as radial.
(DILATATIONAL) Mr Vinod felt that there is unnecessary graphical elements inside like the two circles which does not serve much purpose
(RANDOM) Mr Vinod recommended that to remove some graphical elements that overcomplicate the layout like the circles.
(GRID) Mr Vinod felt that both layout works but in layout 1 he suggested to left align the third row and for layout 2 he suggested to remove the lines as they are not needed to give the layout more whitespace
(MODULAR) Mr Vinod prefers layout 2 to layout 1, but he thinks that the red background is too overpowering and that "All Ripped Up" should be the main thing people see instead of "punk influences on design"
(TRANSITIONAL) Mr Vinod felt that improvements in layout 1 can be made but layout 2 is not acceptable
(BILATERAL ) Mr Vinod felt that layout 1 could be argued as bilateral but not really as well, layout 2 needs lots of rework
Week 3 :
General Feedback : Consider the characteristics of the original reference image used and ensure it shows in your adjusted letterforms.
Specific Feedback : Overall the letters work fine, the combination between reference font and extracted letterforms are done well as there are defined thick and thin strokes. However, reduce on the thickness of the blood veins, place the veins strategically and not by random The first two attempts on letter "D" works better than the final form.
Week 4 :
General Feedback : Integration of letterforms and background image needs to be acheived in order to attain a good movie poster. It is important to be able to observe what is lacking in your own work when compared to other industry level movie posters.
Specific Feedback : Placement of the words on the movie poster needs to be improved and the exposure of the image should be higher.
5. Further Reading
For further reading, I picked the book "Typographic Systems" by Kimberly
Elam.
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| Fig 5.1 Typographic Systems by Kimberly Elam , Week 2 (4/30/2024) |
Kimberly mentioned earlier that in typographic system design process, there is bound to be constraints and options that can bring about opportunities for other design variations as all lines of the message need to be used in the system.
The constraints and options include :
1) Line Breaks
Lines might be broken from a single line to multiple lines, which will
create changes in the grouping and how users read it.
When format is small and several line length are long, the first option is
to break the line but lines need to be broken intuitively and logically in a
manner to ensure grouping of lines of text that belong together. Grouping is
vital as it helps increase readability and simplifies contents.
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Fig 5.2 Line Breaks , Week 2 (4/30/2024) |
2) Leading
Leading is variable which can create changes in position and textures.
Leading can be tight and to overlapping or wide and airy.
As work progresses, designers will experiment with grouping lines and
altering the leadings between the lines. Sensitivity gets more important
along time so word spacings , leadings and letter spacing will all be
gradually altered.
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Fig 5.3 Leadings , Week 2 (4/30/2024) |
3) Word & Letter Spacing
Variable word and letter spacing can create distinct changes in texture and
tone. When letter spacing increases, word spacing need to increase together
to avoid confusion.
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| Fig 5.4 Word & Letter Spacing , Week 2 (4/30/2024) |
6. Reflection
Experience :
In task 1 has been quite challenging as we have to come up with 8 systems in one week. However, it is pretty interesting to manipulate different colors and elements within a given space. The random system was my favorite as it gave me the freedom to play around much more but also ensuring that there is certain legibility in the randomness. For task 2, I had the opportunity to play around with blood vessels and explored its unique characteristics to create a type.
Observations :
For task 1, I observed that it is very important to follow guides and grids when creating the layouts. We can create many interesting patterns with texts, elements and colors while also keeping it within the grid. For task 2, I observed it is important to integrate the original unique characteristics of the image into our letterforms in order to retain its originality.
Findings :
Lecture 1 and 2 was extremely helpful in our tasks, text formatting was previously learnt in semester 1 but after this task 1, our skills were further refined in how to layout text effectively. In task 2, it is important to observe closely the original pictures we chose and select a similar typeface for reference.
Overall, time management and effectiveness is crucial in this task and it was a good decision to sketch out the layouts on paper first instead of aimlessly trying out different layouts in Indesign.
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