Lectures
WEEK 1 | TYPOGRAPHIC SYSTEMS
During the first week, we are introduced to the eight typographic systems. Below are my own understanding of the systems. I separate them into four types based on the shapes the texts follow for their layout; lines, circles, squares, and extras.
LINES
Axial Typographic System
The set of elements are placed on either side of a guide line, whether the line is visible or not.
The examples above show the basic use of an axial system in typography. symmetry is not a requirement to be called an axial system. Below is another example I find creative.
Bilateral Typographic System
In a bilateral system the main focus of the layout is to have a balanced symmetry forming from a line. A set of elements can be on either side of the line as long as they are visually symmetrical. Examples of a bilateral system can be seen on figure 1.3.
CIRCLES
Radial Typographic System
The circle (point of focus) is placed on the page and text appear to come out from it. A set of elements start at an angle which will create a radial effect when combined with other sets of elements. There can be multiple points of focus in a canvas.
Dilatational Typographic System
A dilatational system is a system where the text follows the curve of a circle. Because the elements are placed on smaller or larger sized circle from only one point of focus, it creates an illusion of a dilation. Both radial and dilatational systems can use multiple points of focus.
SQUARES
Grid Typographic System
The grids in a grid system doesn't need to be perfectly symmetrical or the exact same size. From what I gather, the grid system is one that's most used for daily writing as it's organized and isn't hard to read.
Modular Typographic System
A modular system is similar to a grid system in the way that it's organized. It uses standardized units that allow elements to be easily adjusted. It's a little confusing to understand, but it makes more sense when we see the examples. A video explaining modular grids can be visited by clicking the link below.
EXTRAS
Transitional Typographic System
The transitional system uses layered banding that creates an exciting visual impact. A transitional system looks as if it's moving from one end to another. A creative way to express this is by starting the system on one end and onto the next.
Random Typographic System
As explained by the title, a random system doesn't have a clear system. There is organization in the mess, and using this system creates dynamic visuals.
WEEK 2 | TYPOGRAPHIC COMPOSITIONS
EMPHASIS
Using a larger portion of the page for the important information.
Emphasizing a text can be achieved by using contrasting backgrounds,
RULE OF THIRDS
Photographic guide to composition, suggesting a frame can be divide
into three columns and rows. the intersecting lines are where the most
important informations should be.
TYPOGRAPHIC SYSTEMS
(Covered in week 1 lecture)
ENVIRONMENTAL GRID
A system that uses existing structures from real life reference as the
base for text to be placed on.
FORM AND MOVEMENT
Based on the exploration of an existing grid system, to explore and
dispel the seriousness surrounding the application of a grid system. It's a
unique way to create a dynamic set of layouts deposit it's static
characteristic.
WEEK 3 | CONTEXT & CREATIVITY
HANDWRITING
All characteristics of the tools and materials heavily influence
the shape and line of handwritten letterform. An example is the evolution
of the Latin Alphabet that started from 1750 BCE until now.
The Cuneiform (3000 BCE) is the result of pressing the blunt end of a reed stylus into wet clay tablets. Hieroglyphics (2613-2160 BCE) was a mixture of rebus and phonetic characters. Hieroglyphics are used in three different ways: as ideograms, determinatives, and phonograms.
Early greek / 5th C. BCE was built on the Egyptian logo-consonantal system. The Phoenicians then developed 22 phonetic alphabet letters. Roman Uncials (4th century) letters are when it starts becoming more rounded. The curves allow faster writing, and later on a more condensed version is formed in the 8th century (English Half Uncials).
Emperor Charlemagne (8 C. CE) kept the knowledge of writing alive. During Charlemagne's patronage (Carolingian Minuscule) book production increased and language was standardized. Moving forward to 11-14 century, movable type was introduced.
PROGRAMMERS AND TYPE DESIGN
More vernacular and multi-script typefaces are being produced.
Instructions
Typographic Systems
EXERCISE 1
Our first exercise is to create a design for each typographic system. I started by looking at examples that I've shared in the lecture section and sketched four layouts each. It's not guaranteed that I will use these sketches to each pixel, but they are there to help visualize what I had in mind. I tried giving each square a variety of sketches.
During the process of creating these, I've had to search up some helpful tutorials provided in YouTube. below are the links to each video.
Vertical Text in InDesign | Flipping Texts in Circles InDesign
AXIAL TYPOGRAPHIC SYSTEM
Fig. 2.3 Axial System Attempt 2 (4/4/2022)
BILATERAL TYPOGRAPHIC SYSTEM
Fig. 2.6 Bilateral System Attempt 2 (1/4/2022)
RADIAL TYPOGRAPHIC SYSTEM
Fig. 2.9 Radial System Attempt 2 (4/4/2022)
DILATATIONAL TYPOGRAPHIC SYSTEM
Fig. 2.12 Dilatational System Attempt 2 (4/4/2022)
GRID TYPOGRAPHIC SYSTEM
Fig. 2.15 Grid System Attempt 2 (4/4/2022)
MODULAR TYPOGRAPHIC SYSTEM
Fig. 2.18 Modular System Attempt 2 (4/4/2022)
TRANSITIONAL TYPOGRAPHIC SYSTEM
Fig. 2.20 Transitional System Attempt 1 (2/4/2022)
Fig. 2.21 Transitional System Attempt 2 (4/4/2022)
Fig. 2.21 Transitional System Attempt 2 (4/4/2022)
RANDOM TYPOGRAPHIC SYSTEM
Fig. 2.23 Random System Attempt 1 (1/4/2022)
Fig. 2.24 Random System 2 (4/4/2022)
Type and Play
PART 1
Type and play is an exercise created by Mr. Vinod for us. As many existing typefaces are inspired by real life and use real life references, he assigned us a task in which we search for a picture of our liking to be traced and use an reference for a typeface. I decided to choose between these two images;
Below are the results after tracing.
 |
| Fig. 3.9 Weight Reduced (21/4/2022) |
Type and Play
PART 2
For this exercise we were required to integrate typeface into a photo. I searched up images I find interesting and thought about what I could do with them.
After seeing the options, I decided I wanted to work on figure 4.3 using the word "luminescence" to emphasize on the glowing characteristic of the northern lights. I used "Gill Sans Std Condensed" as the base typeface. I used eyedropper tool to get the colors of the original image and used several different layers for blurred effects. Below are the changes I have done from start to finish.
Final Works
TYPOGRAPHIC SYSTEMS
FINAL JPEG/PNG
Fig. 5.1 Final Axial System (4/4/2022)
Fig. 5.2 Final Bilateral System (4/4/2022)
Fig. 5.3 Final Radial System (4/4/2022)
Fig. 5.4 Final Dilatational System (4/4/2022)
Fig. 5.5 Final Grid System (4/4/2022)
Fig. 5.6 Final Modular System (9/4/2022)
Fig. 5.7 Final Transitional System (4/4/2022)
Fig. 5.8 Final Random System (9/4/2022)
FINAL PDF | WITH GUIDES
FINAL PDF | WITHOUT GUIDES
TYPE AND PLAY – 1
Feedback
WEEK 1
GENERAL FEEDBACK
An extra color is allowed but do not use one that's too bright, may cause
eyestrain and is barely visible on a white background.
SPECIFIC FEEDBACK
A friend's preference is the second modular system sketch, third radial sketch, and first or third transitional sketch.
WEEK 2
GENERAL FEEDBACK
- An axial system must be on either side of an axis - A good idea to try is exploring outside the safe versions of each system
SPECIFIC FEEDBACK
- Remove unnecessary graphical elements.
- The right dilatational system is more interesting.
- Explore random systems more.
- The units in a modular system need to be clearer.
- Title section in the transitional systems are too heavy.
WEEK 3
GENERAL FEEDBACK
- Aim to keep as much characteristics as possible from the image. - Understand the image so you can find the best possible outcome of a typeface.
SPECIFIC FEEDBACK
- Use a different spiderweb image for better detailing. - Utilize the lines of the spiderweb as an outline more than a fill.
WEEK 4
GENERAL FEEDBACK
- Have at least one repetition visible for a consistent typeface - Make sure our refining doesn't lose the original characteristic that makes the typeface unique
SPECIFIC FEEDBACK
- Reduce the thickness of the typeface - Add visible 'strings' to the other letters (similar to E)
WEEK 5
GENERAL FEEDBACK
- Try the best to make the types seem as if it was present in the pictures
- Use surrounding elements to help
SPECIFIC FEEDBACK
- Type and Play 2 is good
- Edit Type and Play 1 to be consistent
WEEK 7
GENERAL FEEDBACK
[COMING SOON]
SPECIFIC FEEDBACK
[COMING SOON]
Reflection
EXPERIENCE
The first impression of this semester’s classes was dependent on this module’s offline class. I was finally able to learn in an environment that helped motivate me to create better works. I greatly enjoyed the exercises, especially Type and Play. My favorite part is to use real life references for typographical purposes.
OBSERVATION
There were bumps on the journey, mostly on my part. I work impulsively, which led to the struggles being mostly caused by my inability to think of my design from different angles. Mr Vinod’s and my classmate’s suggestions are a big help in this situation. Being able to observe my classmate’s works outside of class as well helped me find inspiration and gain courage to explore different approaches in refining my final works.
FINDINGS
Within the exercise-filled weeks, I’ve learned more ways to see the structures of nature that can be used in type. For context, in Type and Play part 1 Mr Vinod suggested to step back and see the strings of the cobwebs as an outline rather than the type itself. That one comment stuck in my mind ever since to always use the different perspectives into consideration.
Outside of class, whenever I’m fully conscious of my surrounding, I tend to imagine scenarios of how a typography can be included. For example, using the side of a wall or the outline of the TV for a system or curtains and clouds for a typeface. I truly enjoy the experiences I had so far.
Further Reading
Typographic Systems by Kimberly Elam
Because I was experiencing difficulties in separating what
systems are which, I opened the book Mr Vinod suggested to use
as reference. I specifically checked the 'Transitional System'
pages first as I realized that I actually didn't understand at
first.
Page 108
This image caught my eye at the start, as the smaller image used
has a line across the page. I thought that it meant some
similarities exist with the lined systems, but as I read more I
understood that the line is there as an indication of the
transitional movement. Curious to see more examples, I checked
the next two pages.
Page 109 - 110
Looking at the examples, I got even more confused. The layout of
a transitional system didn't make sense to me. It was only until
after I looked up what 'layered banding' is that I understood it
a bit better. The way I see it, the text are organized in a way
that looks thick and thin, from the start to end, to help the
readers transition from the start to the end of the text.
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