Advanced Typography Task 1 Exercise: Typographic Systems & Type & Play

28 Aug 2023 - 22 Sep 2023/ Week 1 - Week 4
Simon Ko Jing Liang 0364359
Advanced Typography / Bachelor of Design (Honours) in Creative Media
Task 1 Exercise: Typographic Systems & Type & Play

LECTURES

Week 1 Typographic System

Typographic System, according to Elam, 2007.There have 8 major variations:

Axial System

Fig 1.1

All elements are organised to the left or right of a single axis.

Radial System

Fig 1.2

All elements are extended from a point of focus.

Dilatational System

Fig 1.3

All elements expand from a central point in a circular fashion.

Random System

Fig 1.4

All elements appear to have no specific pattern or relationship.

Grid System

Fig 1.5

A system of vertical and horizontal divisions.

Transitional System

Fig 1.6

An informal system of layered banding.

Modular System

Fig 1.7

A series of non-objective elements that are constructed in as a standardised units.

Bilateral System

Fig 1.8

All text is arranged symmetrically on a single axis.

Week 2 Typographic Composition

The Rule of Third

Fig 2.1

The Rule of Third is a photographic guide to composition that divides an image into nine equal parts using two horizontal and two vertical lines. The intersecting lines are used as guide to place the points of interest, within the given space.

Fig 2.2

Most commonly used system in the 8 typographic systems is GRID SYSTEM.

Fig 2.3

The post-modernist era in typography emerged as a reaction to the highly ordered approach of modernist typography. Younger designers, inspired by anti-establishment movements like Punk, challenged the notion of order by embracing chaos, randomness, and asymmetry in their typographical designs. Prominent figures such as David Carson, Paula Scher, and Jonathan Barnbrook led this movement, blending legibility with the excitement of apparent chaos to create a fresh and innovative design aesthetic that reflected the spirit of their generation.

Other models/ Systems

Environmental Grid

This design approach involves extracting essential lines, both curved and straight, from existing structures or combinations of structures. The designer then organizes information around this super-structure, which may incorporate non-objective elements. This approach adds texture and visual interest to the design, providing context because the system and structures are derived from key features of the environment relevant to the message's communicators.

Fig 2.4

Some examples of environment gird

Form and Movement

This system is based on the exploration of an existing Grid systems.

The exploration of this system: the multitude of options the grid offer; to dispel the seriousness surrounding the application of the grid system; to see the turning of pages in a book as a slowed-down animation in the form that constitutes the placement of image, text and color.

Fig 2.5

The placement of a form (irrespective of what it is) on a page, over many pages creates movement. Whether the page is paper or screen is irrelevant.

Fig 2.6

Week 3 Context and Creativity

Why is handwriting important in the study of type/typography?

That is because of the first mechanically produced letterforms were designed to directly imitate handwriting. Handwriting would become the basic or standard for form, spacing and conventions mechanical type would try and mimic.

The shape and line of hand drawn letterforms are influenced by the tools and materials used to make them. Sharpened bones, charcoal sticks, plant stems, brushes, feather ad steel pens all contributed to the unique characteristics of the letterform.

Additional factors included the material upon which the forms were written: clay, papyrus, palm leaf, animal skins (vellum and parchment) and paper.

Programmers and Type Design

More vernacular scripts are being produced by software giants(Google):

In their employment a great many Asia n programmers and designers. More and more vernacular and "multi-script" typefaces- a term coined by Muthu Nedumaran- are being produced to cater to situations where the written matter is communicated in the vernacular script or vernacular and Latin script.

Local Movements and Individuals

In Malaysia, murasu.com spear-headed by Muthu Nedumaran. The programming language needed to encode the different types of vernacular writing systems was cracked by Muthu.

Huruf: a local group of graphic designers interested in the localized lettering of latin and vernacular letters painted or inscribed on waits and signages are amongst the more prominent organizations digitizing and revitalizing typefaces in Malaysia.

Ek Type and Indian Type Foundry are organizations that have done ground breaking work with the development of vernacular typefaces in India.

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

Fig 3.1

Baloo

A perfect blend of pointy paws in a coat of fur
Baloo is an affable display typeface by Ek Type.
It is avaibe in nine Indian scripts along with a Latin counterpart, the family is Unicode compliant and libre licensed.

Fig 3.2

Evolution of the Latin Alphabet

Fig 3.3

Ancient Egypt Hieroglyphics Chart

Hieroglyphics

The Egyptian writing system is fused with the art of relief carving. The system was a mixture of both rebus and phonetic characters. Hieroglyphics images have the potential to be used in three different ways:

1. As ideograms, to represent the things they actually depict.

2. As determinatives to show that the signs preceding are meant as phonograms and to indicate the general idea of the word.

3. As phonograms to represent sounds that "spell out" individual words.

Fig 3.4

Early Greek

Greek alphabet developed in the late 8th century BCE.
Adapted from the Phoenician alphabet.
Added vowel symbols, creating the first true alphabet.
Early Greek alphabet had 24 letters.
Different local variants existed.
Classical Greek alphabet (5th century BCE) with 24 standardized letters.
Influence on Western writing systems, including Latin.
Legacy in modern Greek and as the basis for numerals (Gematria).

Fig 3.5

Roman Uncials

Used in the Roman world from 3rd to 9th centuries CE.
Characterized by rounded, simplified, and upright letters.
Single-case script, employing capital letters without upper/lower case distinction.
Primarily used for handwritten religious texts and literary works.
Declined in use with the rise of Carolingian Minuscule in the early Middle Ages.
Legacy seen in later scripts, influencing medieval Latin and Greek minuscules.
Notable manuscripts include Codex Sinaiticus and Book of Kells.
Letters have open, curved forms and are written with a broad-edged pen.
Remains influential in calligraphy and typography, recreating historical elegance.

Fig 3.6

English Half Uncials

Developed in the British Isles in the 7th to 9th centuries.
Influenced by Roman Uncials and Celtic scripts.
Characterized by rounded and simplified letterforms.
Combined elements of uppercase and lowercase letters.
Primarily used for religious texts and illuminated manuscripts.
Influential in preserving knowledge and Christianizing the British Isles.
Influenced later scripts like Carolingian Minuscule.
Notable examples include the Book of Kells and the Lindisfarne Gospels.
Declined in use after the Norman Conquest.
Occasionally used in modern calligraphy and decorative writing.

Fig 3.7

Carolingian minuscule

Developed in the Carolingian Empire during the 8th and 9th centuries.
Created by Charlemagne for standardizing and improving legibility of writing.
Characterized by clear, rounded lowercase letters.
Introduced uniform letter height and word spacing for readability.
Influenced the development of Gothic and modern Latin scripts.
Became the standard script for manuscripts across Europe.
Gradually evolved into other scripts during the later Middle Ages.
Modern Latin alphabet retains some of its characteristics.
Played a pivotal role in standardizing European writing.

Fig 3.8

Fig 3.9

Black Letter

Developed in Europe during the medieval period, primarily from the 12th to the 16th centuries.
Characterized by pointed or angular serifs, giving it an ornate appearance.
Strong vertical emphasis in letter strokes.
Often features a contrast between thin and thick strokes.
Elaborate decorative elements, especially in illuminated manuscripts.
Includes various styles like Textura, Bastarda, and Fraktur.
Used for manuscripts, religious texts, legal documents, and formal writing.
Declined with the rise of Renaissance and classical influences.
Experiencing occasional revivals in modern design and typography.

Fig 3.10

Fig 3.11

Italian Renaissance

Italian Renaissance marked by revival of classical learning and humanism.
Revived interest in Roman capital letters, known as Roman type.
Introduction of serifs, small lines at the ends of letter strokes, improving legibility.
Aldus Manutius introduced the first italic typeface in 1501.
Humanist handwriting styles like Chancery and Humanist scripts emerged.
Calligraphy flourished with ornate initials and decorations in manuscripts.
Renaissance innovations in letterforms and printing led to wider access to knowledge.
Legacy includes Roman typefaces, serifs, italics, and humanist handwriting, influencing modern typography and design.
Italian Renaissance marked by revival of classical learning and humanism.
Revived interest in Roman capital letters, known as Roman type.
Introduction of serifs, small lines at the ends of letter strokes, improving legibility.
Aldus Manutius introduced the first italic typeface in 1501.
Humanist handwriting styles like Chancery and Humanist scripts emerged.
Calligraphy flourished with ornate initials and decorations in manuscripts.
Renaissance innovations in letterforms and printing led to wider access to knowledge.
Legacy includes Roman typefaces, serifs, italics, and humanist handwriting, influencing modern typography and design.

Fig 3.12

Movable Type

Invented by Bi Sheng in ancient China during the 11th century.
Korean and Chinese versions of movable type also existed.
Johannes Gutenberg's printing press in 15th-century Europe is most famous.
Gutenberg's system used metal type, cast individually for each character.
Revolutionized book production by enabling quick, inexpensive, and mass printing.
Facilitated the spread of knowledge, impacting education, science, religion, and culture.
Played a significant role in the Reformation, Renaissance, and the scientific revolution.
Legacy includes the foundation for modern printing technologies and the democratization of information and culture.

Why do we talk about Greek influence on Rome, but not Egyptian or Near Eastern influence on Greek?

The emphasis on Greek influence on Rome over Egyptian or Near Eastern influence on Greece is primarily due to factors such as the availability of historical records, geographical proximity, and the Roman perspective. Greece and Rome shared a Mediterranean cultural nexus, leading to more direct and noticeable Greek influence on Rome. Additionally, the prominence of Greek culture and its documentation in the ancient world has contributed to this historical focus. However, modern scholarship recognizes the significance of Egyptian and Near Eastern influences on Greece, and efforts are ongoing to explore the complex interactions among these ancient civilizations.

Fig 3.13

Evolution of Middle Eastern Alphabets

It is important to note that while the Phoenician letter marks a turning point in written language.
Use of sound represented in letters.
the script itself has been possibly influenced by the Egyptian Hieroglyphics and Hieratic Scripts.

Fig 3.14

The Evolution of the Chinese script. From the Oracle bone to Seal Script to Clerical Script. Traditional and Simplified script.

Fig 3.15

Where is Phoenicia (present day Syria, Lebanon and Israel)

Fig 3.16

Indus script

Oldest writing in India is associated with the Indus Valley Civilization (Harappan Civilization).
Writing system known as the Indus script.
Discovered on various artifacts, including seals, pottery, and tablets.
Thousands of inscriptions found at Indus Valley sites.
Despite extensive research, the script remains undeciphered.
Direction of writing varies, from left to right or right to left.
Language and meaning of symbols still debated among scholars.
Cultural significance in understanding the Indus Valley Civilization.
India later developed other writing systems, including Brahmi.

Fig 3.17

The Brahmi Script

Brahmi script originated in India during the 4th to 3rd centuries BCE.
It is an abugida script, representing consonants with inherent vowel sounds.
Geographically spread across India, Sri Lanka, Southeast Asia, and Central Asia.
Gave rise to numerous regional scripts, including Devanagari and Bengali.
Used for inscriptions on pillars, rock surfaces, and monuments.
Famous for Ashoka inscriptions, documenting Ashoka's edicts.
Deciphered in the 19th century, aiding the understanding of ancient Indian history.
Legacy seen in modern scripts of South Asia.
Remains an important part of South Asian cultural heritage.

Fig 3.18

Kedukan Bukit inscription from Sumatra

The oldest handwriting system present in Southeast Asia were Indian Scripts.
The most important would be Pallava(or Pallawa in Malay), a South Indian script used for writing Sanskrit and Tamil.
Pallava was highly influential, becoming the basic for writing systems across Southeast Asia.

Fig 3.19

Pra-nagari(another Indian script)

Used in India for writing Sanskrit.
It can be seen today in the Blanjong inscription of Bali

Fig 3.20

Laguna Copperplate Inscription

Discovered in 1989 near the Lumbang River in the Philippines.
Copper plate with an inscription in the Kawi script.
Dated to the year 900 CE, making it one of the oldest known Philippine written documents.
Mentions a debt of 1 kati of gold paid by the chief of Tundun (Tondo) to another person.
Contains witness names and suggests a structured legal system.
Indicates cultural and trade connections with neighboring regions, including Indonesia.
Deciphered by Dutch scholar Antoon Postma and colleagues.
Preserved at the National Museum of the Philippines in Manila.
Valuable historical document shedding light on pre-colonial Philippine society and its connections.

Fig 3.21

Incung (comes from South Sumatra )

Indonesia has a great number of historical writing systems.
Scholars have theorized the existence of an ancient Gujerati-derived Proto-Sumatran writing system which was the basic of medieval scripts on the island.
This is Incung from Kerinci.

Some examples:

Fig 3.22

Fig 3.23

Fig 3.24

Jawi

Jawi is an Arabic script-based writing system.
Adapted for writing Malay and other Southeast Asian languages.
Historically used for religious texts, administration, and literature.
Geographically used in Malaysia, Indonesia, southern Thailand, southern Philippines, Singapore, and Brunei.
Includes modifications and additional characters to represent local phonemes.
Associated with Islamic education and religious texts.
Declined in official and educational use but still used for cultural and religious purposes.
Part of the cultural heritage of the Malay-speaking world.
Used in digital media for communication, Islamic education, and cultural preservation.

Fig 3.25

Typo 4: Designing Type

Why design another typeface?

type design carries a social responsibility so one must continue to improve its legibility.
type design is a form of artistic expression

Fig 4.1

Left: UNIVERS by Illustrator, InDesign(2015)

Right: Airport Signage using Frutiger

Who is Adrian Frutiger?

Adrian Frutiger was a Swiss typeface designer and typographer.
He was born on May 24, 1928, in Switzerland.
Frutiger studied at the Zurich School of Applied Arts and trained as a typesetter and type designer.
He is known for creating influential typefaces, including Univers, Futura ND, and Frutiger.
Univers is a versatile sans-serif typeface noted for clarity and readability.
Futura ND expanded upon the original Futura typeface and became influential in graphic design.
Frutiger is best known for the Frutiger typeface, recognized for legibility and readability, especially in signage and corporate branding.
His typefaces have had a significant impact on modern typography and graphic design.
Frutiger received awards such as the TDC Medal and the Gutenberg Prize.
He passed away on September 10, 2015, leaving a lasting legacy in typography and design.

Fig 4.2

Typeface Frutiger

Frutiger is a humanist sans-serif typeface designed by Adrian Frutiger in the 1970s.
It was originally created for the Charles de Gaulle Airport in Paris for signage and wayfinding.
Known for exceptional legibility, making it suitable for various applications.
Features subtle variations in stroke width, giving it an organic and readable appearance.
Available in multiple variants and weights, from light to bold, for different design needs.
Highly versatile and used in diverse projects, including print, digital media, signage, and branding.
Adopted by numerous corporations and organizations for their branding and identity systems.
Set a standard for legibility in signage and influenced the design of similar humanist sans-serif typefaces.
Remains a popular choice in typography and design, available in digital font formats.
Continues to be appreciated for its enduring qualities and adaptability in contemporary design.

Fig 4.3

Purpose: The goal of this new typeface was create a clean, distinctive and legible typeface that is easy to see from both close up and far away. "Extremely functional."

- Limitations: letterforms needed to be recognized even in poor light conditions or when the reader was moving quickly past the sign. He tested with unfocused letters to see which letterforms could still be identified.

Fig 4.4

Who is Matthew Carter?

Matthew Carter is a renowned British type designer.
He began his career at Linotype, designing fonts for metal typecasting machines.
Pioneered digital typography and played a key role in developing digital font formats and hinting technology.
Designed notable typefaces like Verdana and Georgia for Microsoft, known for readability on screens.
Other famous typefaces include Galliard and Bell Centennial.
Received the MacArthur Fellowship in 2010 for his contributions to typography.
His work has had a significant impact on digital and print typography, emphasizing functionality, readability, and aesthetics.

His fonts

"Verdana" is a well-known humanist sans-serif typeface designed for Microsoft, prized for screen readability.
"Georgia" is another Microsoft font, a serif typeface designed for on-screen reading and e-books.
"Galliard" is a classic serif typeface known for its elegance and is often used in print materials.
"Bell Centennial" is a highly legible typeface designed for phone book listings.
"Miller" is a contemporary serif typeface suitable for various print and digital media.
"Trenton Banner" is a custom typeface created for "The Trenton Times" newspaper in 1988.
Carter's fonts emphasize functionality, aesthetics, and readability, contributing significantly to typography across media.

Fig 4.5

Verdana Font

Fig 4.6

Purpose of Verdana: : the font was turned to be extremely legible even at very small sizes on the screen due in part to the popularity of the internet and electronic devices.

Considerations/Limitations: The Verdana fonts exhibit characteristics derived from the pixel rather than the pen, the brush or the chisel. Commonly confused characters, such as the lowercase i j l.

Fig 4.7

Comparison, font vs printed

Fig 4.8

Fig 4.9

the London Underground Typeface

Edward Johnston designed the "Johnston" typeface for the London Underground in 1913.
Commissioned by Frank Pick to create a unique and highly legible typeface for signage and publicity materials.
Focused on legibility and clarity in design philosophy.
Characterized by a clean, sans-serif design with uniform stroke widths and open letterforms.
Officially introduced in 1916 and later used throughout the London Transport system.
Eric Gill made refinements to the typeface in the 1920s, resulting in variations known as "Johnston Sans" or "Gill Sans."
The typeface's enduring popularity stems from its combination of aesthetics and functionality.
It has influenced type design globally and serves as an example of effective transportation signage.
Digital versions of the Johnston typeface are available, and it remains part of London's visual identity.
Edward Johnston's design philosophy continues to impact modern typography and signage systems.

The purpose of designing the Johnston typeface for the London Underground was multifaceted, encompassing the need for high legibility and clarity in the challenging underground environment, the creation of a distinct visual identity for the subway system, and the pursuit of a modern and visually appealing aesthetic while ensuring adaptability across various signage contexts. Additionally, the typeface was intended to endure the test of time, maintain consistency throughout the system, and serve as a potential standard for transportation signage internationally, emphasizing the principles of legibility and clarity.

Consideration/limitation: Johnston's remit was to unite the London Underground Group, the different companies all using the same rails and tunnels, All the advertising, all the signage was all completely different - there was this cacophony of letters. Johnston applied the proportions of Roman capital letters to his typeface, so it was rooted in history, rooted in traditional calligraphy, but it has an elegance and a simplicity that absolutely fitted the modern age.

Fig 4.10

Digitalised version of the Underground typeface letter known as Johnston Sans, by Eiichi Kono

Fig 4.11

Old version

His former student was perhaps driven by the guilt of seeing the success of his own typeface, Gill Sans

General Process of Type Design:

Fig 4.12

1. Research:

When creating type, we should understand type history, type anatomy and type conventions, and also know terminologies, side-bearing, metrics, hinting... It is important to determine the type's purpose or what it would be used for, what different applications it will be use in whether the typeface for. We should also examine existing fonts that are presently being used for inspiration/ideas/reference/context, usage pattern and etc.

Fig 4.13

2. Sketching:

Some designers sketch their typeface using the traditional tool set then scan them for the purpose of digitalization. They are more confident with their hands and have better control using it
Some designers sketch their typeface using digital tool set but this can sometimes impede the natural movement of hand stroke.

Fig 4.14

3. Digitalization

There are processional software that are used in the digitalization of typeface.
There are some designers also use Adobe Illustrator to design or craft the letterforms and then introduce it into the specialized font apps. This is however is frowned upon by purist.
Attention should not only be given to the whole form at this stage but also to the counter form. The readability oof the typeface is heavily dependent on it.

Fig 4.15

Prototype Stencil(Stenz) designed by Vinod J. Nair

4. Testing

Testing is essential in the type design process as it ensures that the typeface is easily readable in various contexts, fine-tunes details for visual harmony, confirms the presence and correctness of characters, identifies rendering issues, ensures multilingual support, tests style variations, evaluates accessibility, gathers user feedback, checks technical compatibility, verifies compliance with licensing, gauges market acceptance, and serves as a crucial quality assurance step before public release, all contributing to a reliable and versatile typeface.

Fig 4.16

Prototype Numbery Plate Typeface

5. Deploy

There are always teething problems that did not come to the fore during the prototyping and testing phases. Thus, the task of revision doesn't end upon deployment.

The rigour of the testing is important in so that the teething issue remain minor.

Fig 4.17

Construction grid for the Roman Capital

Using grids (with circular forms) can facilitate the construction of a letterforms and is a passible method to build your letterform.

Fig 4.18

Construction and considerations

Classification according to form and construction. Many different forms and constructions must be taken into account when designing a new type.
An important visual correction is the extrusion of curved( and protruding) forms past the baseline and cap line.
A visual correction is also needed for the distance between letters. The letters must be altered to a uniform 'visual' whit space. This called 'fitting' the type.

The consideration when creating a typeface cannot be covered in its entirely in a single lecture or in a couple of slides.

Typo 5: Perception & Organisation

Perception is 'the way in which something is regarded, understood, or interpreted'. Perception in typography deals with the visual navigation and interpretation of the reader via contrast, form and organisation of the content. Content can be textual, visual, graphical or in the form of colour.

Contrast

Fig 5.1

There are several methods in typography to create contrast the one in the left is devised by Rudi Ruegg. They are self-explanatory.

Fig 5.2

Contrast/Size

A contrast of size provides a point to which the reader's attention is drawn. For the example if have a big letter and a small letter you will obviously see the big letter first. The most common use of size is in making a title or heading noticeably bigger than the body text.

Fig 5.3

Contrast/weight

Weight describes how bold type can stand out in the middle of lighter type of the same style. Other than that using bold, using rules, spot, squares is also provide a "heavy area" for a powerful point of visual attraction or emphasis, therefore not only types of varying weight.

Fig 5.4

Contrast/Form

Contrast of form is the distinction between a capital letter and its lowercase equivalent, or a roman letter and its italic variant, condensed and expanded versions of typeface are also included under the contrast of form.

Fig 5.5

Fig 5.6

Contrast/Structure

Structure means the different letterforms of different kinds of typefaces.

Fig 5.7

Contrast/Texture

By putting together the contrasts of size, weight, form, and structure and applying them to a block of text on a page. Texture refers to the way the lines of type looks as a whole up close and from a distance.

Fig 5.8

Example of Contrast/Texture

Fig 5.9

Contrast/ Direction

Contrast of direction is the opposition between vertical and horizontal ad the angles in between. Turning one word on its side can have a dramatic effect on a layout.
Text blocks also have their vertical or horizontal aspects of direction. Mixing wide blocks of long lines with tall columns of short line can also create a contrast.

Fig 5.10

Example of Contrast/Direction

Fig 5.11

Contrast/Colour

The use of color is suggested that a second color is often less emphatic in values than plain black on white. Therefore it is important to give thought to which element needs to be emphasized and to pay attention to the tonal values of the colors that are used.

Fig 5.12

Form

For refers to the overall look and feel of the elements that make up the typographic composition. It s a part that plays a role in visual impact and first impressions. A good form in typography tends to be visually intriguing to the eye; it leads the eye from point to point, it entertains the mind and is most often memorable.

Typography can be seen as having two functions:

1. too represent a concept

2. to do so in a visual form

Display type as a form provides a sense of letterforms' unique characteristics and abstract presentation.

Fig 5.13

The interplay of meaning and form brings a balanced harmony both in terms of function and expression.

Organisation/Gestalt

Gestalt psychology, pioneered by Max Wertheimer, explores how people perceive and interpret visual information.
Gestalt principles, such as proximity, similarity, closure, continuity, and figure-ground, have significant implications for typography and graphic design.
Proximity is applied to character and line spacing to create visual groupings and improve legibility.
Closure can be utilized in typography by using creative font treatments that allow readers to complete partially obscured characters or letterforms.
Similarity is employed to create visual hierarchies in typography by using shared visual characteristics like font style, size, or color.
Continuity in typography relates to the design of fonts with smooth and continuous curves, enhancing readability and aesthetics.
Figure-ground principle is relevant to typography by ensuring a clear contrast between text and background for readability.
Symmetry and balance are used in typography layouts to create visually pleasing and well-balanced compositions.
Closure and completion suggest that readers may mentally fill in missing or obscured letters or words, requiring type designers to minimize ambiguity.
Prägnanz, or the Law of Good Gestalt, emphasizes the preference for simplicity and organization in typography design to enhance readability and visual appeal

Fig 5.14

Gestalt participles of grouping

Proximity: Elements that are close to each other are perceived as a group. This principle suggests that proximity is a powerful way to create visual relationships between objects. For example, dots arranged in rows are seen as separate rows due to their proximity.

Similarity: Elements that are similar in terms of color, shape, size, or orientation are perceived as belonging to the same group. This principle is essential for creating visual harmony and categorizing objects based on common attributes.

Continuity: When lines or shapes are arranged in a way that suggests a continuous flow or direction, our brains tend to perceive them as a single group or object. This principle helps us interpret and connect visual information smoothly.

Closure: When there is a gap or missing part of an object, our brains tend to "close" the gap and perceive the object as a whole. This principle allows us to recognize incomplete shapes or forms.

Symmetry: Symmetrical arrangements are perceived as more stable and harmonious. When elements are symmetrically organized, they are often seen as a cohesive group.

Pragnanz (Simplicity): The brain tends to prefer simple and organized interpretations of visual information. When multiple interpretations are possible, we tend to choose the simplest one.

INSTRUCTION

Task 1 Exercise: Typographic Systems & Type & Play

Week 1
Process in software

Fig 1

Axial System
(1 Sep 2023)

Fig 2

Dilatational System
(2 Sep 2023)

Fig 3

Random System
(3 Sep 2023)

Fig 4

Grid System
(4 Sep 2023)

Output

Fig 5

Axial System

(1 Sep 2023)

Fig 6

Radial System

(1 Sep 2023)

Fig 7

Dilatational System
(2 Sep 2023)

For the left attempt, the expression is a seahorse so I put the outline of seahorse on the system.

Fig 8

Modular System

(3 Sep 2023)

Fig 9

Random System
(3 Sep 2023)

Fig 10
Grid System
(4 Sep 2023)

Fig 11

Bilateral System
(4 Sep 2023)

For the left attempt, the expression is like the egg crack and the chick appears.

Fig 12
Transitional System

(5 Sep 2023)

Final Outcome

Fig 13
(1 Sep 2023)

Axial System-JPEG

Fig 14
(1 Sep 2023)

Radial System-JPEG

Fig 15
(2 Sep 2023)

Dilatational System-JPEG

Fig 16
(3 Sep 2023)

Modular System-JPEG

Fig 17
(4 Sep 2023)

Bilateral System-JPEG

Fig 18
(5 Sep 2023)

Transitional System-JPEG

Fig 19

(4 Sep 2023)

Grid System-JPEG

Fig 20
(3 Sep 2023)

Random System-JPEG

Fig 21
(5 Sep 2023)

Typographic System Combination-PDF

Type & Play: Finding type

Fig 22

Finding Type-Char Kway Teow
(9 Sep 2023)

Fig 23

Outline in image
(9 Sep 2023)

Fig 24

Original Letterform
(9 Sep 2023)

This is the letterform that I found from Char Kway Teow and I used the shape tool to outline the letterform.

Fig 25

Modified Letterform
(9 Sep 2023)

I smoothed the corners then modified some details to make them more like the letterform and this is the outline of the letterform.

Fig 26

Final Letterform
(9 Sep 2023)

After feedback

Fig 27
Outline of letterform
(14 Sep 2023)

Fig 28

Preview
(14 Sep 2023)

The designed font is too round and tough, it is inconsistent with the things in the selected pictures, so in Mr. Vinod recommended making a gap at the "inflection point" of the letters to show the wrinkle characteristics.

Final

Fig 29
Letter A
(14 Sep 2023)

Fig 30

Letter V
(14 Sep 2023)

Fig 31

Letter Y
(14 Sep 2023)

Fig 32

Letter L
(14 Sep 2023)

Fig 33

Letter N

(14 Sep 2023)

Fig 34

Combination letterforms-JPEG
(15 Sep 2023)

Fig 35

Letterform A L V N Y-PDF
(15 Sep 2023)

Fig 36

Combination - PDF
(15 Sep 2023)

After finished the TYPE DESIGN, Mr. Vinod need the letterforms put into the image(the type design that followed) that we found.

Fig 37

Poster-JPEG
(17 Sep 2023)

The background is CHAR KWAY TEOW that I designed the type following by. In The title, I placed the letterforms as LNAVY and changed the L word color to brown, N A V Y changed to white so can see the words clear. There is a date in L word and the font I used is Gill Sans BOLD ITALIC.

Below is the subtitle - A STORY ABOUT CHAR KWAY TEOW and the font is used GILL SANS LIGHT. The other hands, bottom is the producers. The fonts I used is GILL SANS BOLD and GILL SANS CONDENSED to distinguish each name.

After Review

Fig 38

Poster-JPEG
(20 Sep 2023)

Darken the color of the background photo to highlight the look and feel of the font.

Fig 39

Poster-PDF
(20 Sep 2023)

Feedback

Week 2 General Feedback Grid system emphasizing structured alignment, modular system offering flexibility through the use of rearrangeable modular elements.

Week 3 General feedback Design the words should be more thinking and do more research.

Specific Feedback The words are to round, can make a gap in the words.

Week 4 Specific Feedback The background of poster should be more darker to highlight the types.

Reflection

Although it frequently goes unnoticed, typography is a crucial component of design that profoundly affects how we view and engage with visual material. I've developed a deeper understanding of the versatility and power of typography in design as a result of my recent investigation of typographic systems and type play. The significance of establishing a typographic system inside a design project is one of the main lessons to be learned from this investigation. A clearly defined typographic system establishes hierarchy and uniformity, which directs the viewer's eye and successfully communicates the desired message. A typographic system's choice of typefaces, font weights, sizes, and spacing might indicate formality, playfulness, professionalism, or informality.

I've discovered that when selecting fonts and putting up a typographic system, it's crucial to take the context and goal of the design into account. A sans-serif typeface can represent a contemporary and minimalist look in formal texts, whereas a serif typeface can indicate authority and tradition. While preserving aesthetic coherence, experimentation with different combinations within a typographic system promotes creativity.

For the type & play, I found that there have many things can be the ideas/refences to design a typeface. At the beginning of the design, I had no clue about looking for suitable reference objects until I saw Char Kway Teow. Then I started designing and kept evolving until I was more satisfied. But there's still something not suitable after feedback so I changed the letterforms that relevant to the object.

I found that one of the most striking aspects of type design is the careful balance between form and function. Every curve, stroke, and serif serves a purpose, contributing to both the aesthetic appeal and legibility of a typeface. I've learned that the process of designing typefaces involves not only creativity but also a deep understanding of typographic principles. Spacing and kerning, in particular, play a pivotal role in determining how readable and visually pleasing a typeface is.

Overall, my exploration of typographic systems and type design has been extensive and fruitful. My grasp of design as the union of art and science has grown, and I am now more aware of the importance of typography in clear communication. I'm looking forward to learning more about this interesting subject and honing my understanding for the force of effective typography and the subtle beauty of letterforms.

HONOR GLOBAL DESIGN AWARD

Fig 43

Fig 44

Description

Theme I chose the renewal and return of life:Think about the relationship between humans and all things.

The picture shows a scene of nomads in the desert. I use "Abstract" to illustrate. There is the sky, the desert, and the green ones are cacti or plants. For the creatures, I use dark colors to make them easier to distinguish. Why do people and camels seem unfinished (partly empty)? That is the theme to be expressed - living things will eventually return to nature, that is, all things, and at the same time, the relationship between humans and all things is mutual.

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Simon Ko Jing Liang (0364359)