Advanced Typography | Task1 Exercise
|| 22/4/2024 - 22/5/2024 || Week 1 - Week 4
|| Chen TianYao / 0367550
|| Advanced Typography || Bachelor of Design (Honours) In Creative Media || Taylor's Univerisity
Lecture
Week1:
8 Typographic System
1.Axial System: All elements areorganised to the left or right of asingle axis.
2.Rdial: All elements areextended from a point of focus.
3.Dilatational: All elementsexpand from a central point in acircular fashion.
4.Random: Elementsappear to have no specificpattern or relationship.
5.Grid: A system ofvertical and horizontal divisions.
6.Modular: A series ofnon-objective elements that areconstructed in as a standardisedunits.
Week2:
### Typographic Composition: Principles of Design Composition (Week 2)
When we consider composition, we focus on key principles such as emphasis, isolation, repetition, symmetry and asymmetry, alignment, and perspective. These abstract concepts can seem ambiguous when applied to typographic layouts, appearing more relevant to imagery than to the complex units of information that include various elements.
Despite the seeming disparity between these principles and their application to real-life content (such as images, textual information, and color) on a page or screen, some principles are more easily translatable than others.
**The Rule of Thirds**
The Rule of Thirds is a photographic guide to composition. It suggests that a frame can be divided into 3 columns and 3 rows, using the intersecting lines as guides to place points of interest within the given space. Realistically, designers often prefer other methods over the Rule of Thirds.
#### Typographic Systems
We have thoroughly covered 8 typographic systems in theory and practice. Among these, the most pragmatic and widely used system is the Grid System (or Raster Systeme), which originated from the gridded compositional structure of letterpress printing. This system was further refined by the Swiss (Modernist) style of typography, led by figures like Josef Müller-Brockmann, Jan Tschichold, and Max Bill.
In response to the highly ordered approach of modernist typography, a group of younger designers began to challenge and question this notion of order, giving rise to the post-modernist era in typographical systems. This era embraced chaos, randomness, and asymmetry, with legibility and readability sometimes taking a backseat. Notable proponents include David Carson, Paula Scher, and Jonathan Barnbrook. Their work introduced exciting and new elements for a generation influenced by Punk's anti-establishment culture. As a result, asymmetrical, random, repetitive, dilatational, and radial systems became part of the designer's lexicon.
#### Other Models / Systems
**Environmental Grid**
This system involves exploring existing structures or a combination of structures, extracting crucial lines (both curved and straight), and organizing information around this super-structure. This approach includes non-objective elements to create a unique and stimulating mix of texture and visual stimuli. It provides context to the designs since the systems are developed around key features of an environment related to the message's communicators.
**Form and Movement**
Developed by Mr. Vinod Nair, this system explores existing grid systems, encouraging students to investigate the numerous options grids offer. It aims to dispel the seriousness surrounding the grid system's application and views the turning of pages in a book as a slowed-down animation formed by the placement of images, text, and color. The placement of any form on a page over many pages creates movement, regardless of whether the page is paper or screen. The complexity increases as newer elements are incrementally introduced, such as adding one color, then an image, then dummy text, and so on.
3.Typography System
4.Othe modules / systems
-environmental grid
-form and movement
Week3:
Week 4: Designing Type
Why Design Another Typeface?
Xavier Dupré (2007), in the introduction of his typeface Malaga, suggested two reasons for designing a new typeface:
1. **Social Responsibility**: Type design carries a social responsibility to continually improve legibility.
2. **Artistic Expression**: Type design is a form of artistic expression.
Adrian Frutiger
Adrian Frutiger was a renowned Swiss graphic designer of the twentieth century, known for advancing typography into the digital era. His significant contributions include the typefaces Univers and Frutiger.
Frutiger Typeface:
- Purpose: Designed in 1968 for Charles de Gaulle International Airport in France, the goal was to create a clean, distinctive, and legible typeface visible from both close up and far away.
- Considerations/Limitations: The letterforms needed to be recognizable even in poor lighting or when viewed quickly. Frutiger tested with unfocused letters to ensure readability.
Sources
- [CityTech OpenLab](https://openlab.citytech.cuny.edu/type/2015/02/24/the-story-of-frutiger-lypeface-of-the-airpor/)
- [Pop Culture Wiki](https://pop-culture.fandom.com/wikiFrutiger)
Frutiger received many honors, including a notable one in Varanasi, India. He designed a new Devanagari font for modern typesetting at the Indian Design Institute, simplifying the sacred characters without compromising their calligraphic expression. Religious dignitaries ultimately approved his design.
Matthew Carter
Matthew Carter, son of Royal Designer for Industry Harry Carter, is a contemporary British type designer and craftsman. He trained as a punchcutter and worked for various companies, including Mergenthaler Linotype.
Verdana Typeface:
Purpose: Created in 1996 for Microsoft, Verdana was designed to be extremely legible even at small sizes on screens, addressing the needs of the growing internet and electronic devices.
Considerations/Limitations**: Verdana’s design is pixel-based, which helps distinguish commonly confused characters like lowercase i, j, and l.
Sources:
- [My Fonts](https://www.myfonts.com/person/Matthew_Carter/)
- [Microsoft Typography](https://docs.microsoft.com/en-us/typography/font-list/verdana)
Verdana and Georgia have also been used in print, with IKEA switching from Futura to Verdana in 2010, sparking controversy.
Bell Centennial Typeface
Purpose: Commissioned by AT&T in 1976 for their telephone directories, it solved technical and visual problems related to Bell Gothic, the existing typeface.
Edward Johnston
Edward Johnston created the influential London Underground typeface, later known as Johnston Sans (1916). He was asked to design a typeface with "bold simplicity" that was modern yet rooted in tradition.
Purpose: To unify the signage of the London Underground, Johnston applied classical Roman proportions to his typeface, creating a blend of elegance and simplicity that suited the modern age.
Sources:
- [The Guardian](https://www.theguardian.com/artanddesign/2016/mar/10/edward-johnston-london-underground-typeface-100-years-ditchling-sussex-eric-gill)
- [BBC](https://www.bbc.com/news/magazine-35916807)
Eric Gill, Johnston’s student, admitted that his successful typeface Gill Sans was heavily based on Johnston’s work.
General Process of Type Design
Research
- Understand type history, anatomy, conventions, and terminologies.
- Determine the type’s purpose and applications.
- Examine existing fonts for inspiration and context.
Sketching
- Traditional tools (brushes, pens, ink, paper) or digital tools (Wacom, font design software).
- Both methods have their advantages and challenges.
Digitization
- Professional software like FontLab and Glyphs App.
- Attention to both the form and counter form for readability.
Testing
- Testing is crucial for refining and correcting the typeface.
- Readability and legibility are important, especially for text types.
Deploy
- Post-deployment, minor issues may still arise, necessitating ongoing revisions.
- Rigorous testing minimizes these issues.
Typeface Construction
- Using grids (with circular forms) can aid in constructing letterforms.
Considerations
- Visual corrections are needed for curved and straight forms.
- Uniform visual spacing between letters is essential for fitting the type.
Intrinsic vs. Extrinsic Motivation**:
- Intrinsic: Driven by interest and a desire to solve a problem.
- Extrinsic: Commissioned work or student assignments.
Designing a typeface is a labor of love, requiring dedication and understanding of requirements and limitations. The rewards may be minimal compared to the effort involved, but the process is deeply fulfilling for those passionate about type design.
INSTRUCTIONS
Task | Exercise 1
In this lesson we need to go through the 8 TYPOGRAPHIC SYSTEMS we have learnt to rank what the teacher has given us. We are going to choose one of the three headings .
Task requirements:
1. Adobe InDesign only
2. Size: 200mm ✖ 200mm
3. colour use: black and another colour
4. limited graphic elements (lines, dots, etc.)
Exercise 1
1.1 Axial System
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| 1.1 Axial System (JPG) |
1.2 Dilatational System
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| 1.2 Dilatational System (JPG) |
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| 1.3 Grid System (JPG) |
1.4 Random System
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| 1.4 Random System (JPG) |
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| 1.5 Nodular System (JPG) |
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| 1.6 Dilatational System (JPG) |
Exercise 1 | SUBMISSION
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| 8 Typographic System PDF Without Grid
PDF With Grid |
Exercise 2 | Sketch & JPEG
2.3.1 Extraction of letterforms
During Week 2, we are tasked to select an image of a man-made object (chair, glass, etc.) or structure (buildings), or something from nature (Human, landscape, leaf, plant, bush, clouds, hill, river, etc). Avoid selecting an image that contains too many different elements. Extract at least 5 letterforms from the image and form a word if it is possible.
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| Fig 2.1 Reference |
I used the pen tool in Adobe Illustrator to outline some of the shapes in the reference image.
2.3.2 Poster
In the second part of the assessment, we're going to combine the final extracted letterforms with related images to create a 1024px x 1024px poster
IMAGE SEARCHING
ADOBE PHOTOSHOP PROGRESS
Feedback
Since Mr. Vinod Nair posted the Week 0 task on Microsoft Teams, there was no feedback. The first week of the course only introduced the contents of the MIB file on Microsoft Teams.
Week 2 (29/04/2024):
As I didn't complete the 8 scheduling systems, I didn't seek feedback from Mr. Vinod Nair. The teacher reminded me to update my blogger promptly and complete the next assignment.
Week 3 (06/05/2024):
Focused on completing the scheduling systems and updating my blogger as instructed.
Self - Reflection
In the process of learning Typography, I feel that this subject is both complex and fascinating. Although I have mastered some basic knowledge, many areas are still vague and require further in-depth study and understanding.
Through continuous learning and practice, I hope to make more progress and breakthroughs in the field of Typography.
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