Advanced Typography: Task 1 (Exercises) & HONOR Talents Competition

30/8/2023 - 24/9/2023(Week 1 - Week 4)

Seh Zi Qi/ 0355872/ Bachelor of Design(Honours) in Creative Media

Module Name: GCD 61004/ Advanced Typography

Task 1: Exercises

LIST

Lectures

Class Summaries

Exercise 1:

Exercise 2:

HONOR Talents Competition:

Research & Sketching
Digitisation
Final HONOR Talents Competition

Feedback

Reflection

Further Reading

LECTURES

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AdTypo_1_Typographic Systems

“All design is based on a structural system”.

According to Elam (2007), there are 8 major variants with an infinite number of permutations. These are the 8 major variants:

Axial

All elements are organised to the left or right of a single axis.
Usually has 1 line and it's not encouraged to use multiple axes but it’s possible.

Fig 1.1, Examples of axial typographic systems, 30/8/2023

Radial

All elements are extended from a point of focus, and words will usually be spread out.
You can use multiple points as a focus point if desired.

Fig 1.2, Examples of radial typographic systems, 30/8/2023

Dilatational

All elements expand from a central point in a circular fashion.
Can have multiple rings or circles with information on either side or follow the guidelines of the rings and circles.
Placed hierarchically, depends on the typographers’ intent, placement and reading rhythm.

Fig 1.3, Examples of dilatational typographic systems, 30/8/2023

Random

Elements that appear to have no specific pattern or relationship.
Although it’s random, there’s still a method when creating this system.

Fig 1.4, Examples of random typographic systems, 30/8/2023

Grid

A system of vertical and horizontal divisions.
Can differentiate important information using different sizes and weights to create emphasis and hierarchy.

Fig 1.5, Examples of grid typographic systems, 30/8/2023

Modular

A series of non-objective elements that are constructed as a standardised unit.
Allows us to move individual units into different portions of the page, this can happen with the standardisation.
Layouts may be gridded with different compositions, but they can still be shifted from that space as they occupy their own particular unit.

Fig 1.6, Examples of modular typographic systems, 30/8/2023

Transitional

An informational system of layered banding.
Headlines would remain in the larger band while body texts are usually gathered in band clumps to have emphasis or to show the difference in integral texts such as place and time.
Weight, size and colour can contribute to readability as well as adding flair to plain composition.

Fig 1.7, Examples of transitional typographic systems, 30/8/2023

Bilateral

All texts are arranged symmetrically on a single axis, which can be tedious but if used correctly, it can be exciting.
To create exciting compositional layouts, we can use different typefaces, sizes and weights to help with emphasis and readability.

Fig 1.8, Examples of bilateral typographic systems, 30/8/2023

Conclusions:

Student designers find it awkward when first using these variants of typographical systems, but with more practice and understanding of the systems, they’ll end up merging the systems to create different permutations that express their own creativity.
Grid system is primarily used by most designers, who need to be made aware of the potential of the other variants.
Gaining an understanding of the different variants can help designers break free and create fluid typographic messages instead of the ‘rigid horizontal and vertical grid systems of letter press’ (Elam, 2007).
(Although it may help with creating exciting compositions, this can impede readability so it needs to be used reasonably.)

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AdTypo_2_Typographic

Typography pertains to the creation of letters and large amounts of text in a given space.

Principles of Typographic Composition:

Composition is usually thought of as the dominant principle underpinning design compositions; to name a few, we have emphasis, isolation, repetition, symmetry and asymmetry, alignment and perspective.
Seems to be more relevant towards imagery than complex units of information that consist of different elements.
Ideas, thoughts or applied towards real-life content, can feel disparate on pages or screens; even though disparate, these principles are a little more easily translatable than the others.
(I.e. emphasis can be easily translated while repetition would be harder (Not saying it’s not usable, it would be harder in a typographical composition)

Fig 2.1, Emphasis in typographical composition, 13/9/2023

Principles of Design Composition:

Usually, it has been developed for 2D design or the development of composition in a student’s cognitive ability to create designs that are appealing and engaging.
Though harder to translate within typographic terms, it’s not impossible; It’s more applicable within visual imagery as opposed to textual information or disparate information within a given space.

The Rule of Thirds:

A photographic guide to composition.
A frame that’s divided into 3 columns and rows, where the intersection of that line, typically used as guides, creates interest points that are aesthetically pleasing towards the majority of people.
Even though a good composition guide, no one would realistically use it as a typographic composition when there are clearly more favourable options.

Fig 2.2, Rule of thirds as a guide and used in typography, 13/9/2023

Typographic Systems(Grid System):

8 different types of systems and the one that’s pragmatically used the most is the Grid System which is also derived from the grid compositional structure of letterpress printing(The grid system was further enhanced as the Swiss(Modernist) style of Typography.)
People like Josef Muller Brockmann took the supposed rigid grid system and managed to introduce elements of excitement and engagement to it.
It may still be old and rigid, but the versatility of this system tends to allow an infinite number of adaptations/permutations; more ordered things help with legibility and readability.

Fig 2.3, Examples of exciting grid structures, 13/9/2023

Typographic Systems(Creation of the other systems):

In reaction towards the ordered approach came the post-modernist era of young designers challenging the notion of order.
They created systems that relegated legibility and readability into the backseat and chaos, randomness and asymmetry were integrated; although chaotic, there was still a method to the madness.
The exposure of Punk anti-establishment thought and music made the chaos look exciting and ‘new’; As such, other systems like asymmetry, random, repetition, dilatational and radial systems began to take root.
The beauty in the chaos is the balance, to be able to balance the excitement/contrasting nature creates a visually impactful design.

Fig 2.4, Examples of post-modernist typography, 13/9/2023

Other Models/Systems:

Environmental Grid:

This system was derived from the exploration of an existing structure/ numerous structures combined together(i.e.artitectural structures, (several)paintings or even interior design, anything that creates structure.)
Extraction of crucial lines, both curved and straight, are formed; The designer using the information around the super-structure, creates unique and exciting visual stimuli using non-objective elements.
It’s an interesting manner of exploration which provides context that was developed around key features of an environment that associates the communicators’ message.

Fig, 2.5, Example from lecturer Brenda McMannus, 13/9/2023

Form & Movement:

Made by Mr Vinod.
Based on the exploration of an existing Grid System, it’s to dispel seriousness when applying the grid system by giving students a multitude of options that make the turning pages into a slowed-down animation rather than just another book.
The placement of a form on many pages creates movement on paper and even screens.
As long as there’s a sequence when it comes to the pages, it creates excitement and uniqueness to a high degree. Although exciting, there has to be some care given to not over-decorate the pages as there will be too many complexities.

Fig 2.6, Examples of form & movement panels, 13/9/2023

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AdTypo_3_Context & Creativity

Handwriting:

The first mechanically produced letterforms were direct imitations of handwritings.
They become the basis/standard for form, spacing and conventions of mechanical type that we try and mimic.
Shapes and lines of hand-drawn letterforms were influenced by tools and materials they used(i.e. sharp bones, charcoal, sticks, plant steams, brushes, feathers and steel pens.)
Additional factors include the material they were written on(i.e. clay, papyrus, palm leaf, animal skins(vellum & parchment) and paper)

Fig 3.1, Evolution of the Latin Alphabet, 15/9/2023

Cuneiform [3000 B.C.E]:

The earliest system of actual writing, used in several languages between 34C. B.C.E through the 1st century C.E.
Distinctive wedge form was the result of pressing the end of a reed stylus into wet clay tablets.
Read from Right => Left.

Fig 3.2, Cuneiform system, 15/9/2023

Hieroglyphics [2613 - 2160 B.C.E.]:

Egyptian writing system fused with the art of relief carving.
A mixture of rebus and phonetic characters - the first link to a future alphabetic system.

3 different ways the hieroglyphic images were used:

Ideograms: represent the things they actually depict.
Determinatives: shows the signs were meant to be photograms and indicate the general idea of the word.
Phonograms: represent sounds that 'spell out' individual words.

Fig 3.3, Hieroglyphics, 15/9/2023

Early Greek [5th C. B.C.E.]:

Built on the Egyptian logo-consonantal system(the phonetic alphabet that consists of 22 letters.)
Adopted the Phoenician system to add the necessary vowels.
Comprised of only capital letters written between 2 guidelines which were organised into 2 horizontal lines.
Read in the boustrophedon format, Left => Right then Right => Left.
Drawn freehand with no constructs, compasses or rulers.
In time, the strokes grew thicker, apertures lessened and serifs appeared; these new forms were used as models for formal lettering in imperial Rome.

Fig 3.4, Early Greeks, 15/9/2023

Roman Uncials:

4th century Roman, the letters became more rounded.
The curved strokes were faster and easier to write with.

Fig 3.5, Roman Uncials, 15/9/2023

English Half Uncials [8th C.]:

In England, the uncials became more slanted and condensed.
While the English and Irish evolved, the writing considerably devolved and needed a reformer; this luckily came in the Carolingian Handwriting Reform.

Fig 3.6, English Half Uncials, 15/9/2023

Emperor Charlemagne [8 C. C.E.]:

After the fall of the Roman Empire, the central advancements had been broken and resulted in general illiteracy and diverse regional-styled handwriting.
For 300 years, the knowledge of writing was kept alive by the remote outposts of religious cloisters and retreats

Carolington Minuscule:

A production of Charlemagne's patronage where book production increased and languages were standardised; this is where capitals started in sentences and spaces were between words and punctuation.
Used for all legal and literacy work for unity communication.
As important as the standard Roman capital, this pattern made it a more Humanistic writing in the 15th century; in turn, this created the basis of the lower-case Roman type.

Fig 3.7, Carolington Minuscule, 15/9/2023

Black Letter [12-15 C. C.E.]:

A culminating artistic expression of the Middle Ages (roughly 1200 -1500) created the Gothic style.
This style originated with the rude/barbaric cultures north of the Italian Alps.
Characteristic by tight spacing and condensed lettering where evenly spaced verticals dominated the letterform.
With this condensation, the cost of book production was reduced significantly.

Fig 3.8, Black Letter, 15/9/2023

The Italian Renaissance:

When the Gothic spirit reached its peak in different parts of Western Europe, the slow revival of the culture of antiquity was by the Humanist scholars in Italy.
Embraced the ancient Greek and Roman culture, which resulted in creating art, architecture, literature and letter form design.
Named the newly rediscovered letterforms Antica.

Fig 3.9, Antica Font, 15/9/2023

Movable Type [11 C. - 14 C.]:

Printing(woodblock) had already been practised in China, Korea and Japan(Dharani Sutra, AD 750).
China attempted but failed due to the amount of characters and materials used(Clay).
Koreans would be successful and were also the first ones to create movable types, dismantling and resetting the text, in the late 14 C.
China pioneered while Korea achieved it.

Fig 3.10, Movable Type, 15/9/2023

Evolution of Middle Eastern Alphabets:

Possibly influenced by Egyptian Hieroglyphics and Hieratic spirits.

Fig 3.11, Evolution of Middle Eastern Alphabets, 15/9/2023

Evolution of Chinese script:

Fig 3.12, Evolution of Chinese Scripts, 15/9/2023

Indus Valley Civilization(IVC) Script [3500 - 2000 BCE]:

The oldest writing found in the 'Indian' subcontinent.

Fig 3.13, Indus Valley Civilization(IVC) Script, 15/9/2023

Brahmi Script [450 - 350 BCE]:

The earliest writing system that was developed in India.
One of the most influential writing systems; all modern Indian scripts and several hundred scripts in Southeast and East Asia.

Fig 3.14, Brahmi Script, 15/9/2023

Handwriting [Asia]:

Pallava:

One of the most important South Indian scripts, originally used for writing Sanskrit and Tamil.
Highly influential which also became the basis for writing systems across Southeast Asia.
Wasn't the only Indian script in use, the other one was Pra-Nagari, an early form of Nagari script.

Fig 3.15, Pra-Nagari Script, 15/9/2023

Kawi:

Based on Nagari, but indigenous to Java.
Comes from the Sanskrit term 'kavya' which means poet.
Since it's so widespread, it became the basis of other scripts in both Indonesia and the Philippines.

Fig 3.16, Laguna Copperplate Inscription, 15/9/2023

Incung:

Incung from South Sumantran, the grouping of the scripts known as Rencong.

Fig 3.17, Incung/ Rencong, 15/9/2023

Batak script:

Fig 3.18, Batak Script, 15/9/2023

Bugis Script:

Fig 3.19, Bugis Script, 15/9/2023

Javanese Script:

Fig 3.20, Javanese Script, 15/9/2023

Jawi:

Arabic-based alphabet.
Ancient Hindu societies were classist so lower classes were often illiterate; Islam didn't get rid of this completely but it did encourage teaching for the sake of proselytization.
Traders would teach Jawi to people who couldn't read or write, this allowed it to spread amongst the upper and middle-class within trading ports.

Fig 3.21, Record of sale using Jawi, 15/9/2023

In modern Malaysia, Jawi has a greater importance because it was used for all our famous works of literature.
Every hikayat and Malay charm book is written in Jawi.

Fig 3.22, Manuscript using traditional Javanese, 15/9/2023

Programmers & Type Design:

More vernacular scripts are being produced by software giants(Google).
These 'multi-script' are being produced to cater to situations.

Fig 3.23, Baloo script, 15/9/2023

Local Movement & Individuals:

Huruf, a group of graphic designers interested in localized lettering of Latin and vernacular letters painted/inscribed on walls.
Ek Type and Indian Type Foundry are organisations that did groundbreaking work with the development of vernacular typefaces in India.
It's important for young designers to look inward and examine histories, civilizations, cultures and communities to bring past developments into the future to develop them.
Creativity and inspiration should begin by observing our surroundings and exploration of our collective histories.

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AdTypo_4_Designing Type

Why design another typeface?:

A social responsibility to continue designing and improving the legibility of type.
A form of artistic expression.

Adrian Frutiger:

A renowned 20th-century Swiss graphic designer.
His forte was typeface designing and was responsible for the advancement of digital typography.
Valued typeface contributions are Univers and Fruiger.

Fig 4.1, Univers Typeface, 22/9/2023

Frutiger:

A sans serif typeface, made by him in 1968, designed specifically for the newly built Charles de Gaulle International Airport in France.

Purpose:

To make a clean, distinctive and legible typeface that is easy to see from up close and far away. Making it extremely functional.

Considerations/Limitations:

Needed to be recognized in poor light or moving quickly past the sign.
(He tested out unfocused letters to see which letterform could still be identified.)

Fig 4.2, Frutiger Typeface, 22/9/2023

He received many honours, but the highest honour he received was at the University of Varanasi.
He designed a new Devanagari font for modern typesetting and printing processes.
His goal was to simplify the sacred characters without sacrificing any of the ancient calligraphic expressions.
A group of "wise men" contemplated his first draft for quite a while, ultimately "approving" his draft to have no "desecration of something that was, for them, sacred".

Fig 4.3, Adrian Frutiger at the National Institute of Design, 22/9/2023

Matthew Carter:

The son of Harry Carter, Royal Designer for Industry, contemporary British type designer and ultimate craftsman.
Many of his fonts were created to address specific technical challenges, for example, Verdana for Microsoft.

Verdana:

Purpose:

Tuned to be extremely legible even at very small sizes on the screen.
This is due to the popularity of the internet and electronic devices.

Considerations/Limitations:

Exhibit characteristics derived from the pixel rather than the pen.
Commonly confused characters were i, j, and l.

Fig 4.4, Verdana Typeface, 22/9/2023

In 1976, AT&T commissioned him to make a new typeface to use in their telephone dictionaries.
The design had to solve several visual problems with the existing typeface, Bell Gothic.

Fig 4.5, Visual Problems with Bell Gothic, 22/9/2023

Edward Johnston:

The creator of the hugely influential London "Underground" typeface, which would be later known as "Johnston Sans".
Asked to create a typeface with "bold simplicity" that was modern yet rooted in tradition.

Purpose:

Ordered a new typeface for its posters and signage.
He handed over details about the type so they could be replicated in print.

Consideration/Limitations:

All the typefaces for the advertisements and signage were different as there was a cacophony of letters.
He applied proportions of Roman capital letters to his typeface to stay to the theme of "rooted in tradition".
Yet there's still an elegance and simplicity that fits the modern age.

Fig 4.6, Johnston Sans Typeface, 22/9/2023

Gill Sans:

Eric Gill, Edward Johnson's former student.
He was perhaps driven by the guilt of seeing the success of his own typeface, Gill Sans.
He admitted that the typeface was heavily based on Johnson's work.

General Process of Type Design:

1 - Research:

Before creating a type, we need to understand type history, anatomy and conventions. We should also know the terminologies, side bearings, metrics, hinting and more.
Also important to determine the type's purpose or what it would be used for.
Should also examine existing fonts that are personally being used for inspiration/ideas/reference/context/usage pattern/ etc.

Fig 4.7, In Traps for aesthetic purposes, 22/9/2023

2 - Sketching:

Some designers sketch their typeface with traditional tools and then scan them for digitising.
Other designers sketch their typeface using digital tools, but this can sometimes impede the natural movement of hand strokes.
Both methods have their own good or bad.

Fig 4.8, Sketching with traditional tools, 22/9/2023

3 - Digitisation:

Professional software that is used to digitise typefaces are Fontlab and Glyphs App.
Some designers use Adobe Illustrator that introduces specialised fonts, though these are usually frowned upon by the purist.
Attention shouldn't only be given to the whole form at this stage but also to the counter form.
The readability is heavily dependent on it.

Fig 4.9, Glyphs App and Fontlab, 22/9/2023

4 - Testing:

An important component in the design thinking process.
This is part of refining and correcting aspects of the typeface; prototyping is also part of it which can lead to important feedback.
Depending on the typeface category, the readability and legibility of the typeface become an important consideration.
However, not as crucial if the typeface is a display type.

Fig 4.10, Prototype Stencil, 22/9/2023

5 - Deploy:

After deploying completed typefaces, there will always be teething problems that aren't present in the testing and prototype phases.
The rigour of the testing is important so the teething issue is quite minor.

Fig 4.11, Prototype Number plate typeface, 22/9/2023

Typeface Construction:

Roman Capital:

The grid consists of a square and the inside is a circle that just barely touches the square.
The rectangle is three-quarters the size of the square and is positioned in the centre of the square.
Can facilitate the construction of a letterform, also a viable way to build/create/design a letterform.

Fig 4.12, Construction grid, 22/9/2023

Constructions and Considerations:

Depending on their form and construction, the 26 characters of the alphabet can be arranged into groups.
A distinction is made between a group of capitals and a group of lowercase letters.

Fig 4.13, Constructions of capitals and lowercase, 22/9/2023

Many different forms and constructions must be taken into consideration when designing a new type.
Important visual corrections are the extrusions of curved forms past the baseline and cap line.
Another important visual correction is the distance between letters, the letters must be altered to a uniform 'visual' white space.
White space between letters should appear similar, this is what they called fitting.

Fig 4.14, Extrusions of curved forms, 22/9/2023

Fig 4.15, Extrusions of curved forms 2, 22/9/2023

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AdTypo_5_Perception and Organisation

Perception:

What you see/ manipulate to see = what you understand.
Typography is often a way to visually navigate and interpret the readers' perceptions.
Context can be textual, visual, graphical or colour, i.e. contrast, form and organisation.

Several Methods to Create Visual Navigation:

- By Rudi Ruegg

Fig 5.1, Contrast, 29/9/2023

- By Carl Dair

Contrast/Size:

Provides a point for readers to focus on/ draw attention to.
Examples: Bigger letters will draw more attention than small ones.
The mostcommon uses of this would be in the titles to make them obviously different from the body text.

Fig 5.2, Contrast in Size, 29/9/2023

Contrast/Weight:

Helps to stand out within the lighter type of the same style.
Uses different line weights to create a point of attention.
Instead of line weight, we can also use rules, spots and squares to create a "heavy area". This helps with creating a powerful visual attraction or impact.

Fig 5.3, Contrast in Weight, 29/9/2023

Contrast/Form:

The distinction between the capital and lowercase, the Roman and italic variants and the condensed and expanded version of the same typeface.

Fig 5.4, Contrast in Form, 29/9/2023

Contrast/Structure:

The different letterforms of different kinds of typefaces.
Examples like monoline sans serif and traditional serif or an italic and blackletter.

Fig 5.5, Contrast in Structure, 29/9/2023

Contrast/Texture:

Putting together the contrast of size, weight, form and structure and applying it as a text block.
Partly depends on the letterforms and their arrangements.

Fig 5.6, Contrast in Texture, 29/9/2023

Contrast/Direction:

The opposition between vertical, horizontal and the angles between them.
Turning words on their sides can create a dramatic effect for a layout; This can also be applied to text blocks to create aspects of direction.
Example: Mixing wide blocks of long text and columns of short text can create a unique contrast.

Fig 5.7, Contrast in Direction, 29/9/2023

Contrast/Colour:

This technique is mostly used as a secondary colour as it's less emphatic within the values of black and white.
Important to give thought to which letters will be using this type of contrast as it emphasizes them; Also pay attention to the tonal values of colours that are used.

Fig 5.8, Contrast in Colour, 29/9/2023

Form:

The overall look and feel of the elements that make up the typographic composition.
A role in visual impact and first impressions.
Good form = visually intriguing to the eye helps with leading the readers from point to point, entertains the mind and is often memorable

Fig 5.9, Typographic Form, 29/9/2023

Originating from the Greek words typos(form) and graphics (writing), meaning to write in accordance with form. There’s 2 functions within typography: 1) Represent a concept and 2) Do so in a visual form.
Displaying type as a form helps emphasize the unique characteristics and abstract presentation of a letterform.

Fig 5.10, Form placement using letterforms, 29/9/2023

The use of form creates a meaning and balanced harmony within function and expression.
When typeface is perceived as a form, it is no longer a letter because of the alterations like distortion, texture, enlargement and extrusion into a space doesn’t make it legible.

Fig 5.11, Form and communication works, 29/9/2023

Organisation/ Gestalt:

Gestalt = Thing that has been “placed” or “put together”.
Gestalt Psychology = Attempting to understand the laws behind acquiring and maintaining meaningful perceptions.
Gestalt Psyhologist, Max Wertheimer = developed “laws” that predict the perceptual grouping that occurs under varieties of circumstances, just like principles.
Gestalt Theory = Emphasizes on the whole of anything is greater than its parts, experiencing unified wholes instead of breaking down thoughts and behaviours to the smallest elements; as Gestalt psychologists like to look at the experiences as a whole.
In conclusion, the components/elements that make up the whole design is as good as it gets in visual form; each component may be good as its functionality within an elemental level, it isn’t as great as the sum of everything combined in an overall form.

The Gestalt Principles of Groupings:

Law of Similarity
Law of Proximity
Law of Closure
Law of Continuation
Law of Symmetry
Law of Simplicity (Praganz)
…

Fig 6.1, Gestalt Principles of Groupings, 29/9/2023

The Law of Similarity:

The elements that are similar to each other to be perceived as a unified group.
i.e. colour, orientation, size, or indeed motion

The Law of Proximity:

The elements that are close together are perceived as a unified group.
i.e. things together = grouped up, not toegther = not grouped up

Fig 6.2, Similarity & Proximity, 29/9/2023

The Law of Closure:

Our mind’s tendency to see complete figures even if the picture is incomplete or partially hidden.
i.e. wanting to solve incomplete images or information = tricks ourselves to think its complete; crucial in mark or logotype design

The Law of (Good) Continuation:

Perceive 2 or more objects as different, singular and uninterrupted objects even in intersection.
i.e. Alignment of objects/ forms

Fig 6.3, Closure & Continuation, 29/9/2023

The Law of Symmetry & Simplicity (Law of Praganz):

To ensure awareness/ show your work progress.
i.e. Creating forms that are structually complex within a hierachial manner requires immense practice and knowledge to pull off.

Fig 6.4, Symmetry & Praganz, 29/9/2023

CLASS SUMMARIES

Week 1:

Mr Vinod, our lecturer for this module, briefed us about how the feedback will be using sample and peer feedback instead of giving individual feedback, This helps with efficiency in marking as well as giving us, students, an opportunity to hone our skills in detecting flaws in our own typography. We were also briefed on our tasks and how the last task would be really hard but possible if we had the motivation and good time management. He continued with briefing more extensively about the MIB learning outcomes and Task 1, where we should stay vigilant in our progress and results of our own work which helps keep us in check. We were given time to watch Lecture 1 and the video tutorial InDesign Formatting to work on an in-class exercise of making a typography using the Axial system.

[Go into Kreatif Beats and search up Font Forge(an alternate and free version of Fontlab)]

Week 2:

We started the class off with Mr Vinod struggling to use Teams(it was hilarious I’m sorry Mr Vinod), but after finally getting it to work, he gave us various feedback towards our typographic systems and how to improve them. We were then briefed about the 2nd exercise for Task 1, he told us that doing this type of exercise may be hard as our intuition isn’t developed yet but we still have to try as this helps us learn that intuition that we lack. He also suggested that we should read this article as it helps us grasp the exercise better. We aren’t searching for letterforms within the pictures we select, It’s good if there are letters, but it is to extract elements from it to create those letterforms. When creating these extracted fonts, we don’t need to compare them to the 10 fonts given, we can use any fonts that we find that fit the extraction. Being meticulous and observant can help develop a font even when the research is simple.

Week 3:

Mr Vinod started to talk about how we have to start fast and strong when it comes to this specific module. Exercise 1 seems more challenging than it seems while Exercise 2 is the more challenging one when it comes to work since we have to rely on imagination to get our job done. The more time you allow yourself to reflect on your own work, the better the results will be since you have fresh eyes that help see a new perspective into the art you create. We were briefed about the second part of Exercise 2, and he told us if we were done with our fonts, we could start creating the poster. We have to have a dual-toned background, it can be any colour as long as it's 2 colours; we can do this in Adobe Photoshop by going into View>Modes >Grayscale. Once it’s grayscale, go to View>Modes>Dual Tones and choose the colours you want. It is a MUST that the 5 letters we’ve made are the focal point of the poster. Dimensions for the poster are 1024 x 1024 px, 300 dpi.

Week 4:

In today's class, we were given a brief about our specialisations from Mr Vinod and how we should be certain of our own specialisations; it would be a costly price to pay if we figured out that the specialisation we chose wasn't the one we wanted. After that, we were asked to showcase our poster to the whole class, I was inspired by the others and it gave me a boost to do better with my own poster. He also advised everyone to make the poster 1024 x 1024 px, 300 dpi because most people had it A4 size instead of the square he advised. We were then asked to show the word marks we've drawn and he'll give us feedback, he said that I may have the form but if it doesn't have functionality, it's just decorative which is something I need to work on. The whole class had a few laughs since some of the word marks had funny meanings behind their words, he then asked us to create word marks that people would make merchandise and buy from.

INSTRUCTION

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Exercise 1: Typographic Systems

"The exercise task is to be done using Adobe InDesign only. Size 200 x 200 mm. In addition to black, you can use one other colour. Graphical elements (line, dot, etc.) can be used but limitedly."

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Research

Before going into making the typographic systems, Mr Vinod asked us to watch the lectures, AdTypo_1_Typographic Systems and Indesign Formatting to gain a basic understanding of what each typographic system is.

I also went ahead with going through a website named 7 Essential Typographic Layout Systems and Pinterest to gain a better understanding and inspiration for making my own work.

Fig 6.1, 7 Essential Typographic Layout System Webpage & Pinterest inspiration, 2/9/2023

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Process

Since this task can only be performed by using Adobe Indesign, our visual elements will be limited therefore I'll strive to make a simplistic typographic system where the words are the showcase instead of relying on those visual elements.

Fig 6.2, Process work, 2/9/2023

I used the circle or pen tool to create the shapes and paths I needed to write on. Once I was done with that, I went ahead with using the Type on Path Tool to get the effect needed when making dilatational and transitional typographic systems.

Fig 6.3, Typing on path tool, 2/9/2023

Here are the spreads of each typographic system before getting Mr Vinod’s feedback. I made 2 of each system as I wanted to challenge myself in creating different styles as well as gain a better understanding of each system.

Fig 6.4, Typographic Systems, 3/9/2023

After feedback, I found out that most of my systems were lacklustre compared to the other students that were shown. I added some visual elements but ultimately stayed true to my own interpretation of how the words should be the centrepiece and how the visual elements should enhance it, not take the focal point of it.

Fig 6.5, Progression after feedback, 9/9/2023

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FINAL Typographic Systems

Fig 7.1, Final Axial Typographic System, 9/9/2023

Fig 7.2, Final Radial Typographic System, 9/9/2023

Fig 7.3, Final Dilatational Typographic System, 9/9/2023

Fig 7.4, Final Random Typographic System, 9/9/2023

Fig 7.5, Final Grid Typographic System, 9/9/2023

Fig 7.6, Final Modular Typographic System, 9/9/2023

Fig 7.7, Final Transitional Typographic System, 9/9/2023

Fig 7.8, Final Bilateral Typographic System, 9/9/2023

Fig 7.9, Final Typographic Systems PDF, 9/9/2023

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Exercise 2: Type & Play

" Students will analyse, dissect and identify potential letterforms within the dissected image. The forms would be explored and ultimately digitized. Upon completing the letterforms, students will combine the

letterforms with a visual of their choosing. The objective is to enhance/support the interplay between the letterforms and the selected visual. "

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Research & Sketching

I started off with finding an image to make my own font of, I wouldn’t need something too complicated since all I needed was to simplify what I found into something unique and legible.

I wanted to do fried eggs as my font since they create unique shapes which can be conveyed into different interpretations but Mr Vinod advised me to not go with that concept as it’s too broad of a spectrum and can lead to difficult outcomes. So I searched more and went with a disheveled-looking mop as a base which Mr Vinod reluctantly let slide.

Fig 8.1, Research for references, 6/9/2023

After finding the image, I went ahead with finding different letters within the image and gaining a better understanding of the line weight and length as that’s what makes a unique letterform.

Looking around the photo I chose, I was able to identify the 5 letters ‘C, M, B, A, and Y’. Although it doesn’t make a word, it gives me a great opportunity to make my own word which can enhance my uniqueness.

Fig 8.2, Identification of letters, 6/9/2023

After finding the letters, I put all of them next to each other to find out what was similar to each letterforms to create a consistent font.

Similarities:

Thin line weight with some thick varieties.
Rounded tips
Elongated
Organic lines/shapes

I went through different modifications and I decided to go with the top-right version. This is because it matches with the similarities I've found and it looks like a mop that has been used for a long period.

Fig 8.3, Sketching modification, 6/9/2023

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Digitisation[Making the font]

Once I've chosen my modifications, I went ahead with digitising the font within Adobe Illustrator. I started with blocking out the general shape using the Curvature Tool. This helps me get a head start with my letterforms and visualise their shape.

Fig 8.4, Blocking out the general shape of found font, 10/9/2023

Then, I went in with refining the shapes using the Janson font as my base since the font family has a variety of line weights with rounded edges which matches the font I wanted to make.

Fig 8.5, Referencing from Janson font, 10/9/2023

I evened out the letters 'M' and 'A' as the shape can disorient the viewers because of the extended right line; as such, I had to compromise and also straighten out the letters since I wasn't making them into italics.

Fig 8.6, Compromising aesthetics for legibility, 10/9/2023

I went into further refinement using circles as my guidelines to make sure the weight and length had structure and were also to my liking.

Fig 8.7, Guidelines for font, 10/9/2023

This marks my first iteration of the refinement stage and I will need Mr Vinod's feedback to see what I need to change to improve my font.

Fig 8.8, First iteration of font, 10/9/2023

After gaining feedback, I decided to go back to the drawing board to redo the font. I felt that the first iteration didn’t retain most of the original image I’d chosen.

Instead of sketching the letters, I traced out new letters from the same image and found new letters like 'B, Y, A, F, E' instead of the original 'C, M, B, A, Y' since they felt more similar to the original.

Fig 8.8, Tracing before digitising, 13/9/2023

After tracing it, I put it in Adobe Illustrator to digitise it further. Instead of using the Curvature Tool, I used the Pen Tool to create the jagged lines that the dishevelled look originally had.

Fig 8.9, Tracing in Adobe Illustrator, 13/9/2023

I then lined it up with the font Futura Std [Book] to see how much I needed to refine it to make it into a consistent shape.

Fig 8.10, Using Futura Std [Book] as a reference to refine font, 15/9/2023

After refining, I added lines to give that frayed thread look that used mops have. I achieved this by using the Pen Tool to create the lines and the Width Tool to make the edges look pointy which gives the frayed thread look.

Fig 8.11, Difference between refined font and added elements to font, 15/9/2023

I also changed the letter 'B' to have the middle area attached. This helps with the overall shape that people usually associate with and the recognisability of the font towards people who aren't used to it.

Fig 8.12, Before and After refinement of 'B', 15/9/2023

This completes my refinement stage of the font. I'll get Mr Vinod's feedback to see what more I can improve on before submission.

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Digitisation[Making the poster]

I started off by finding an image that I could use as a background for the movie poster we were supposed to make.

Fig 8.13, Final background image for movie poster, 16/9/2023

After finding the image, I went into Adobe Photoshop to create a dual-tonal background that helps with creating a simple focal point of the font I want to show. Purple and yellow are the colours picked for my dual-tonal background since they fit and complement each other well.

Fig 8.14, Purple and yellow dual-tonal background, 16/9/2023

I added a Gaussian Blur towards the background to create even more emphasis on the font I wanted to show; It's subtle enough that it shows the mop which is what the font was derived from.

Fig 8.15, Gaussian blur towards the background image, 16/9/2023

Once I was done with the background, I put it back within Adobe Illustrator to create the poster. The dimensions for the poster were 1024 x 1024px with 300 dpi.

We can add words like 'ZI QI PRODUCTIONS Presents' or 'Coming Out June 2024' with movie logos to help sell the poster look without much effort; Although easy, the placement of these words needs to be thoroughly considered as it will affect the how people perceive information.

Fig 8.16, Adding words to make the poster more legitimate, 16/9/2023

After obtaining feedback from Mr Vinod, I went back and searched for another poster that I could use. I figured that I could use the original image that I extracted the font from as the background.

Instead of using the dual-tonal of purple and yellow, I went with red and black because my friends said the original poster and font gave a horror film feel more than a generic mop ad. This was achieved by readjusting the colours in Adobe Illustrator within the RGB colour mode where I can specifically pick out the red colour needed.

Fig 8.17, Turning original picture into black and red background, 21/9/2023

After making the background, I had the idea of intertwining the letters with the background to make the overall look more creepy. This can be achieved by highlighting the space you want, the background and letters, and going to Object > Intertwine > Make.

Fig 8.18, Intertwining letters with background, 21/9/2023

I've asked my friends about the poster as I personally felt that it could be improved but just didn't know how to proceed with it. They had recommended a bright red colour for the letters and subtext since the white felt too overpowering even when wanting to create a focal point.

I've capitalised the sentences 'ZIQI PRODUCTIONS PRESENTS' and 'COMING OUT JUNE 2024' because most, if not all, movie posters have this format which also helps with staying consistent with the main title.

Fig 8.19, Changing letter colour and capitalising sentences, 21/9/2023

Even after changing the letter colour and capitalisation, it still felt off so I played around and found out that changing the blending modes from Normal to Difference helps with blending the letters much better than just intertwining the letters and background.

Fig 8.20, Changing blending modes to Difference, 21/9/2023

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FINAL Type & Play

Fig 9.1, Final B, 15/9/2023

Fig 9.2, Final Y, 15/9/2023

Fig 9.3, Final A, 15/9/2023

Fig 9.4, Final F, 15/9/2023

Fig 9.5, Final E, 15/9/2023

Fig 9.6, Final Type & Play Part 1, 15/9/2023

Fig 9.7, Final Type & Play Part 1 PDF, 15/9/2023

Fig 9.8, Final Type & Play Part 2, 21/9/2023

Fig 9.9, Final Type & Play Part 2 PDF, 21/9/2023

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HONOR Talents Competition

"The project continues to focus on art design, end product experiential design and new forms of design expression to further the global discourse between art and technology. We hope the world can witness the talents of these young creative minds, and consumers can constantly experience the beauty of technology and art innovation."

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Research & Sketching

Before I went ahead with sketching, I went ahead with choosing a theme that I felt connected to me the most. The theme I ended up choosing was Renewal of Life - Return since I already had an idea when Mr Vinod first announced the competition.

Firstly, I went ahead with finding inspiration that connected to the theme and my original idea was to go with a galaxy theme where we humans contemplate their existence with everything on a worldwide scale.

Fig 10.1, Visual reference for theme, 5/10/2023

After finding references, I felt that the scale of the theme felt too wide which can hinder my abilities to create a good wallpaper for the competition and opted with sketching a wallpaper that shows the differences between everything that is connects with human beings.

What we were given and created gives us a connection towards everything and with that connection gives us a reason to save the world and using that influence to create a better place on the world should be the end goal of us humans. Once I figured out what I wanted to make, I went on Procreate to sketch a few ideas

Fig 10.2, Sketches of wallpaper, 6/10/2023

I ended up choosing the one where everyone faces each other and is standing on the hills to signify that the land, air and sea comes together and make a world that thrive.

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Digitisation

Using the sketch as the base, I used the Monoline brush to create bold strokes that helps the characters and items stand out from the background as both parts will be colourful. Once I was done with the line art, I went ahead with colouring the background and finishing up the artwork with final details.

Fig 10.3, Lineart of wallpaper, 6/10/2023

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FINAL HONOR Talents Competition Artwork

Title: Together We Thrive

Description: The artwork shows what we can achieve together with the relationships we've built. With our technological advancements and the help of everyone, we can strive to create a paradise with harmony with every flora and fauna.

Fig 11.1, Final Honor Talents Competition Artwork, 8/10/2023

Fig 11.2, Final Honor Talents Competition Artwork Wallpaper, 8/10/2023

Fig 11.3, Final Honor Talents Competition Artwork PDFs, 8/10/2023

FEEDBACK

Week 1:

- General Feedback:

There wasn’t much feedback as it was the first lesson where everything was just being briefed

- Specific Feedback:

Axial lines don’t have to be a straight line, it can be a zig-zag or any type of pointed line as long as it’s a singular line. Aesthetics can also contribute to how it looks, so having a straight line isn’t a must.

Week 2:

- General Feedback:

Most works were fine with the exceptions of colours needing to be the same or where the directions needed to go. The grid system is used for readability while the bilateral needs to be symmetrical. If we want to have a text on a path, we shouldn’t have the texts touching the path itself because it disfigures them which in turn makes it hard to read; this make be fixed by putting a gap between the text and the path.

- Specific Feedback:

Mr Vinod said most of my works were okay with a few needing more work than others, he quite liked my random typographic system which is a huge plus for me. Firstly for the bilateral typographic system, we can put left and right alignment on the information as the white space in the middle throws off the balance and can accidentally create a multilateral system. Secondly, the transitional typographic system is right but needs more elements to make it look balanced and exciting to the viewers. Lastly for the modular typographic system, instead of using coloured boxes, I was advised to use line boxes to create a more balanced look as well as not disrupting or taking the focal point away from the title.

Week 3:

- General Feedback:

Most works needed more refinement even though they looked good. We need to be better at extracting/emulating the original image we’ve chosen. Don’t complicate the design and utilise the main shape that you find within the image you chose, only add or subtract it once you’ve found it.

- Specific Feedback:

I’ve made an abstraction of an abstraction, which isn’t what I should’ve done. What I needed to do and improve on was to emulate the image I’ve chosen, I have retained a few characteristics which is good but I didn’t retain the emulation needed which doesn’t pertain to the objective of the exercise. The form in itself is bad and could be improved upon with more time within the refinement stage. I will most likely have to redo the state of the letter structures which can help me gauge my own interpretations with the actual emulation better by using Mr Vinod’s talk on how thread is made. Try not to overthink the design, just try to find the necessary components first then go on trial and error.

Week 4:

- General Feedback:

Don’t make a design that doesn’t have meaning behind the words. Keep our words simple when explaining to just express what you want to show and become. Sometimes, less isn’t more, please give more concepts. A concept is a derivative of an idea, don’t be fixated on one idea. Extra parts towards word marks need to be subtle to not take away the focal point of the word mark.

-Specific Feedback:

For the poster design, it’s alright but it could be better:

The colour clashes with the font, so change that
The font isn’t connected with the original image, it looks like a foreground and background.

For the sketches, it’s good but:

The sketches are good, but they need more meaning towards the forms/word marks you’ve created.
Form over function, if not, it’s just decorative.
Simplify the concept to a few words since no one knows what art is, a simple explanation should do.

REFLECTION

Experience

This first task wasn't as bad as I thought it would be because I was able to finish most of my work on time despite the time crunch we had to face. I didn't have the best time management when it came to working on this particular task as I needed to juggle between 4 other subjects that were just as important as this one. One thing that I would like to take away is that I was able to judge my work even without Mr. Vinod's help, which is a huge plus especially when we can't ask him questions outside of class time; this is a good thing because I am finally developing some skill within typography that made me able to see the flaws within my own works and figure out a solution without guidance!

Observation

When working on these projects, I was able to do the needed research that helped me stay on a path which kept me focused on my goals. I was also able to see a lot of my classmates' works during feedback sessions with Mr. Vinod and be inspired by those works to improve my own work for the better. With some help from friends and finicking around with the programs given, I made my poster look much better than the first iteration, making it feel more fleshed out rather than having it look aesthetically pleasing.

Findings

When creating typographic systems, it's best to remember what is best for the readers as well as be able to balance and limit our creativity to make compositions that are legible and also stand out from the rest. This even applies to creating the letterforms for our second exercise, we aren't experienced enough to create letterforms that rival typographers with years of skills under their belt, but we are able to keep it basic and remember the simple rules that apply to everyone even if they are skilled and experienced. With more practice, we'll be able to create new typographic systems and letterforms that can secure our place in the rankings of the 10 most iconic fonts and systems.

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Seh Zi Qi (0355872)

Advanced Typography: Task 1 (Exercises) & HONOR Talents Competition

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