22/4/2024 - 20/5/2024 (Week 1 - Week 4)
Wee Jun Jie / 0375271
Task 1: Exercises 1 & 2
Lecture 1 - Typographic System
A typographic system is a coordinated collection of guidelines and components that control how text is presented visually and maintain the hierarchy and consistency in design.Images below shown will be explain from left to right.
Dilatational: Elements expand from a central point in a circular fashion.
Transitional: An informal system of layered banding.
Random: Elements appear without a specific pattern or relationship.
Modular: Elements organized into standardized units or modules for flexible assembly and modification.
Grid: Layout framework using lines to organize content for consistent design structure.
Radial: Elements extend from a focus point.
Bilateral: Text can be design in variety ways in this system: vertical space, horizontal space, multiple groups, tilt, and non-objective elements.
Lecture 2 - Typographic Composition
Two parts of typography
- Creation of letters
- Arrangement of textual information (usually in large amounts) within a given space ← Typographic Composition
Images below shown the principles of design composition.
Emphasis:
Rule of Thirds:
Fig. 1.3 Example of Rule of Thirds (source)
- A composition guide in photography.
- Intersecting lines guide the placement of points of interest.
- Nobody would use this rule when there are more favorable options.
Typographic SystemGrid (Modernist)
Fig. 1.4 Grid System
The most used out of them all is the Grid system (in German, Raster Systeme), which is derived from the grided compositional structure of Letter Press printing. It was further enhanced by what now comes to be termed as the Swiss (Modernist) style of typography — proposed by Josef Muller Brockmann, Jan Tschichold, Max Bill, etc. — by adding elements of excitement & engagement to the seemingly rigid structure.
Asymmetry, Random, Repetition, Dilatational, & Radial (Post Modernist)The grid system was versatile and modular, making it infinitely extendible and widely used throughout most of the modernist era of typography. However, this dominance began to shift when younger designers started questioning this structured approach, giving rise to the post-modernist era characterized by chaos, randomness, and asymmetry. During this time, legibility and readability often took a backseat, except for a select few designers like David Carson, Paula Scher, and Jonathan Barnbrook.
The new approach embraced the concept of "method to madness," where apparent chaos became exciting for a generation influenced by punk's anti-establishment ethos. As a result, design principles such as asymmetry, randomness, repetition, dilatational, and radial systems became integral to a designer's vocabulary.
Executing these designs required extensive planning and thoughtful arrangement of information. Apparent chaos was carefully crafted to achieve a balance of excitement and structure, creating designs that were just distorted enough to be engaging yet still comprehensible, thereby striking a balance between noise and beauty.
Environmental Grid (Other)
Fig. 1.5 Example of Environmental Grid
By exploring existing structures and extracting essential curved and straight lines while discarding the rest, information (both text and non-objective elements) is organized around the newly created super-structure. This approach generates a unique blend of texture and visual stimuli, giving context to the forms developed in the design. This is made possible by developing new elements around the key features (extracted lines) of the environment, thus preserving the communication inherent in the original structure.
Form and Movement (Other)- This system is based on the exploration of an existing Grid Systems.
- Encourage exploration of grid system possibilities.
- Emphasize the placement of elements in this animation.
- Remove the seriousness often associated with using grids.
- Consider page-turning as a slow-motion animation involving elements like images, text & color.
Lecture 3 - Context & Creativity (a historic context about particular topic) Why is handwriting important?
Handwriting is significant because the earliest mechanically produced letterforms were designed to closely resemble handwriting. It served as the foundational standard for form, spacing, and conventions that mechanical type sought to replicate.
English Uncial script (8th century) became slanted and condensed. Meanwhile, European writing needed reform, which came with the Carolingian Handwriting Reform.
Carolingian Minuscule- Charlemagne's court Cuneiform (c. 3000 B.C.E.)
- Earliest writing system.
- Wedge-shaped characters made in wet clay with a reed stylus.
- Evolved from pictograms.
- Written left to right.
Hieroglyphics (2613 – 2160 B.C.E.)- Egyptian writing fused with relief carving.
- A mix of rebus and phonetic characters.
- Hieroglyphic images serve three purposes:
- As ideograms, depicting actual objects.
- As determinatives, indicating the word's general
idea and that preceding signs are phonograms. - As phonograms, representing sounds to spell out words.
Early Greek (5th C. B.C.E.)- Adapted from the Egyptian logo-consonantal system.
- Phoenicians developed a 22-letter phonetic alphabet.
- Greeks introduced vowels.
- Early Greek used capital letters, organized horizontally between guidelines.
- Reading direction varied from left-to-right to right-to-left.
- Greek letters were hand-drawn, lacked serifs, and were freehand.
- Over time, Greek letters gained serifs and thicker strokes.
- These letterforms influenced inscriptions in Greece and Roman formal writing.
Roman letters (4th century) became rounder, enabling faster writing with fewer strokes.
Black Letter (12 – 15 C. CE)- Gothic style from 1200 to 1500.
- Term "Gothic" from Italians, denoting northern cultures.
- Emphasized vertical lines in architecture and Blackletter writing.
- Blackletter had tight spacing, saving materials in book production.
The Italian Renaissance- Gothic thrived, while Italian Humanists revived ancient Greek and Roman culture.
- They admired Carolingian script for its clear handwriting.
- Named rediscovered letterforms "Antica."
- Improved letterforms for a more perfect look during the Renaissance.
Movable Type (11 C. – 14 C.)- Before 11th century: Woodblock printing in China, Korea, Japan; earliest book, Diamond Sutra (AD 868).
- China's failed movable type attempts due to character volume and clay.
- Late 14th century: Koreans pioneered bronze movable type for text reassembly.
- Movable type introduced around 1000-1100 CE, starting in China and succeeding in Korea.
Eastern developments in handwritingIndus Valley Civilization (IVC) Script (3500 – 2000 B.C.E.)- The oldest writing in the Indian subcontinent
- Undeciphered
- Logo-syllabic nature
Brahmi Script (450–350 BCE)- Developed in India
- Highly influential; basis for modern Indian and many Southeast/East Asian scripts
- Origin debated: Some suggest Semitic influence, others propose indigenous or Indus script connection
- Oldest scripts in Southeast Asia: Indian scripts, notably Pallava (or Pallawa in Malay) from South India.
- Not all borrowed from India: Kawi, based on Nagari but native to Java.
- Kawi's significance: Used for inter-kingdom communication, influenced scripts in Indonesia and the Philippines.
- Ancient Malay kingdoms likely used Indian scripts and Kawi for old Malay language.
- Later development: Scholars suggest the existence of a Proto-Sumatran writing system.
- Jawi's introduction: Linked to the spread of Islam, encouraging literacy among different social classes.
- Jawi's adoption: Slowly supplanted other scripts in some areas but not entirely.
Lecture 4 - Designing Type
Why another typeface?
- Type design carries a social responsibility; thus,
we must continue to improve its legibility. - Type design is a form of artistic expression.
Two parts of typography
- Creation of letters
- Arrangement of textual information (usually in large amounts) within a given space ← Typographic Composition
Emphasis:
Rule of Thirds:
Fig. 1.3 Example of Rule of Thirds (source)
- A composition guide in photography.
- Intersecting lines guide the placement of points of interest.
- Nobody would use this rule when there are more favorable options.
Typographic System
Grid (Modernist)
Asymmetry, Random, Repetition, Dilatational, & Radial (Post Modernist)
Fig. 1.4 Grid System
The most used out of them all is the Grid system (in German, Raster Systeme), which is derived from the grided compositional structure of Letter Press printing. It was further enhanced by what now comes to be termed as the Swiss (Modernist) style of typography — proposed by Josef Muller Brockmann, Jan Tschichold, Max Bill, etc. — by adding elements of excitement & engagement to the seemingly rigid structure.
Asymmetry, Random, Repetition, Dilatational, & Radial (Post Modernist)
The grid system was versatile and modular, making it infinitely extendible and widely used throughout most of the modernist era of typography. However, this dominance began to shift when younger designers started questioning this structured approach, giving rise to the post-modernist era characterized by chaos, randomness, and asymmetry. During this time, legibility and readability often took a backseat, except for a select few designers like David Carson, Paula Scher, and Jonathan Barnbrook.
The new approach embraced the concept of "method to madness," where apparent chaos became exciting for a generation influenced by punk's anti-establishment ethos. As a result, design principles such as asymmetry, randomness, repetition, dilatational, and radial systems became integral to a designer's vocabulary.
Executing these designs required extensive planning and thoughtful arrangement of information. Apparent chaos was carefully crafted to achieve a balance of excitement and structure, creating designs that were just distorted enough to be engaging yet still comprehensible, thereby striking a balance between noise and beauty.
Fig. 1.5 Example of Environmental Grid
By exploring existing structures and extracting essential curved and straight lines while discarding the rest, information (both text and non-objective elements) is organized around the newly created super-structure. This approach generates a unique blend of texture and visual stimuli, giving context to the forms developed in the design. This is made possible by developing new elements around the key features (extracted lines) of the environment, thus preserving the communication inherent in the original structure.
Form and Movement (Other)
- This system is based on the exploration of an existing Grid Systems.
- Encourage exploration of grid system possibilities.
- Emphasize the placement of elements in this animation.
- Remove the seriousness often associated with using grids.
- Consider page-turning as a slow-motion animation involving elements like images, text & color.
Lecture 3 - Context & Creativity (a historic context about particular topic)
Why is handwriting important?
Handwriting is significant because the earliest mechanically produced letterforms were designed to closely resemble handwriting. It served as the foundational standard for form, spacing, and conventions that mechanical type sought to replicate.
English Uncial script (8th century) became slanted and condensed. Meanwhile, European writing needed reform, which came with the Carolingian Handwriting Reform.
Carolingian Minuscule
- Charlemagne's court Cuneiform (c. 3000 B.C.E.)
- Earliest writing system.
- Wedge-shaped characters made in wet clay with a reed stylus.
- Evolved from pictograms.
- Written left to right.
Hieroglyphics (2613 – 2160 B.C.E.)
- Egyptian writing fused with relief carving.
- A mix of rebus and phonetic characters.
- Hieroglyphic images serve three purposes:
- As ideograms, depicting actual objects.
- As determinatives, indicating the word's general
idea and that preceding signs are phonograms. - As phonograms, representing sounds to spell out words.
Early Greek (5th C. B.C.E.)
- Adapted from the Egyptian logo-consonantal system.
- Phoenicians developed a 22-letter phonetic alphabet.
- Greeks introduced vowels.
- Early Greek used capital letters, organized horizontally between guidelines.
- Reading direction varied from left-to-right to right-to-left.
- Greek letters were hand-drawn, lacked serifs, and were freehand.
- Over time, Greek letters gained serifs and thicker strokes.
- These letterforms influenced inscriptions in Greece and Roman formal writing.
Roman letters (4th century) became rounder, enabling faster writing with fewer strokes.
Black Letter (12 – 15 C. CE)
- Gothic style from 1200 to 1500.
- Term "Gothic" from Italians, denoting northern cultures.
- Emphasized vertical lines in architecture and Blackletter writing.
- Blackletter had tight spacing, saving materials in book production.
The Italian Renaissance
- Gothic thrived, while Italian Humanists revived ancient Greek and Roman culture.
- They admired Carolingian script for its clear handwriting.
- Named rediscovered letterforms "Antica."
- Improved letterforms for a more perfect look during the Renaissance.
Movable Type (11 C. – 14 C.)
- Before 11th century: Woodblock printing in China, Korea, Japan; earliest book, Diamond Sutra (AD 868).
- China's failed movable type attempts due to character volume and clay.
- Late 14th century: Koreans pioneered bronze movable type for text reassembly.
- Movable type introduced around 1000-1100 CE, starting in China and succeeding in Korea.
Eastern developments in handwriting
Indus Valley Civilization (IVC) Script (3500 – 2000 B.C.E.)
- The oldest writing in the Indian subcontinent
- Undeciphered
- Logo-syllabic nature
Brahmi Script (450–350 BCE)
- Developed in India
- Highly influential; basis for modern Indian and many Southeast/East Asian scripts
- Origin debated: Some suggest Semitic influence, others propose indigenous or Indus script connection
- Oldest scripts in Southeast Asia: Indian scripts, notably Pallava (or Pallawa in Malay) from South India.
- Not all borrowed from India: Kawi, based on Nagari but native to Java.
- Kawi's significance: Used for inter-kingdom communication, influenced scripts in Indonesia and the Philippines.
- Ancient Malay kingdoms likely used Indian scripts and Kawi for old Malay language.
- Later development: Scholars suggest the existence of a Proto-Sumatran writing system.
- Jawi's introduction: Linked to the spread of Islam, encouraging literacy among different social classes.
- Jawi's adoption: Slowly supplanted other scripts in some areas but not entirely.
Lecture 4 - Designing Type
Why another typeface?
Why another typeface?
- Type design carries a social responsibility; thus,
we must continue to improve its legibility. - Type design is a form of artistic expression.
Typeface Designers?
Edward Johnston:
- Creator of "Johnston Sans," a highly influential London Underground typeface in 1916.
- Designed Typefaces: Johnston Sans.
- Purpose: Designed for London's Underground railway to unify signage with a modern yet traditional "bold simplicity."
- Consideration/Limitation: Applied Roman capital letter proportions to harmonize a cacophony of different letter styles across the Underground, combining history and traditional calligraphy with modern elegance.
Eric Gill (Student of Edward Johnston):- Acknowledged the influence of Johnston's work on his own typeface, Gill Sans.
General Process of Type DesignResearchWe begin by understanding the history, anatomy, conventions, terminology, side-bearings, metrics, and hinting of type. Next, we determine the type's purpose and applications (e.g., for school buses, airport signage, etc.). We also examine existing typefaces for inspiration, ideas, reference, context, and usage patterns.
SketchingYou can create sketches using traditional tools (brushes, pens, ink, paper) and then scan them, or you can use digital tools (such as a Wacom tablet with font design software). Each method has its pros and cons. Some designers excel with traditional tools, while others benefit from the speed and efficiency of a digital workflow.
DigitizationFont Lab and Glyphs are the leading software for digitizing type. Although we use Adobe Illustrator, purists generally frown upon it. During digitization, it's essential to pay attention to both the form and counter form of the letter.
TestingAt this stage, readability and legibility should be carefully considered, especially for most typeface categories (excluding display types).
DisplayAfter the release, unforeseen issues may arise, requiring revisions and updates.
Typeface Construction
Fig. 1.6 Construction for the Roman Typeface
The left image above shown Roman Capital typefaces often use a grid with a square and circle, making it easier to create letterforms. While right image is the classification of characters into capital and lowercase groups based on their form and construction.
Typeface Designers?
Edward Johnston:
- Creator of "Johnston Sans," a highly influential London Underground typeface in 1916.
- Designed Typefaces: Johnston Sans.
- Purpose: Designed for London's Underground railway to unify signage with a modern yet traditional "bold simplicity."
- Consideration/Limitation: Applied Roman capital letter proportions to harmonize a cacophony of different letter styles across the Underground, combining history and traditional calligraphy with modern elegance.
Edward Johnston:
- Creator of "Johnston Sans," a highly influential London Underground typeface in 1916.
- Designed Typefaces: Johnston Sans.
- Purpose: Designed for London's Underground railway to unify signage with a modern yet traditional "bold simplicity."
- Consideration/Limitation: Applied Roman capital letter proportions to harmonize a cacophony of different letter styles across the Underground, combining history and traditional calligraphy with modern elegance.
Eric Gill (Student of Edward Johnston):
- Acknowledged the influence of Johnston's work on his own typeface, Gill Sans.
General Process of Type Design
General Process of Type Design
Research
We begin by understanding the history, anatomy, conventions, terminology, side-bearings, metrics, and hinting of type. Next, we determine the type's purpose and applications (e.g., for school buses, airport signage, etc.). We also examine existing typefaces for inspiration, ideas, reference, context, and usage patterns.
Sketching
You can create sketches using traditional tools (brushes, pens, ink, paper) and then scan them, or you can use digital tools (such as a Wacom tablet with font design software). Each method has its pros and cons. Some designers excel with traditional tools, while others benefit from the speed and efficiency of a digital workflow.
Digitization
Font Lab and Glyphs are the leading software for digitizing type. Although we use Adobe Illustrator, purists generally frown upon it. During digitization, it's essential to pay attention to both the form and counter form of the letter.
Testing
At this stage, readability and legibility should be carefully considered, especially for most typeface categories (excluding display types).
Display
After the release, unforeseen issues may arise, requiring revisions and updates.
Typeface Construction
Fig. 1.6 Construction for the Roman Typeface
The left image above shown Roman Capital typefaces often use a grid with a square and circle, making it easier to create letterforms. While right image is the classification of characters into capital and lowercase groups based on their form and construction.
INSTRUCTIONS
<iframe src="https://drive.google.com/file/d/1pPuoGajk6dVXriwgBpZpSc0ISAOk7JoV/preview" width="640" height="480" allow="autoplay"></iframe>
Task 1 - Exercise 1: Typographic Systems
We have been tasked with exploring eight different systems, including Axial, Radial, Dilatational, Random, Grid, Transitional, Bilateral and Modular using InDesign with the content provided in the MIB. Before starting the task, we were instructed to watch InDesign demonstration videos from the lecture playlist.
Size: 200 x 200 mm
Color: Black and an additional color
Minor graphical element is allowed.
INSTRUCTIONS
<iframe src="https://drive.google.com/file/d/1pPuoGajk6dVXriwgBpZpSc0ISAOk7JoV/preview" width="640" height="480" allow="autoplay"></iframe>
We have been tasked with exploring eight different systems, including Axial, Radial, Dilatational, Random, Grid, Transitional, Bilateral and Modular using InDesign with the content provided in the MIB. Before starting the task, we were instructed to watch InDesign demonstration videos from the lecture playlist.
Size: 200 x 200 mm
Color: Black and an additional color
Minor graphical element is allowed.
Color: Black and an additional color
Minor graphical element is allowed.
Week 1 - Practical
Fig. 2.1 My Practice, Week 1 (24-26/4/24)
First day of class is always filled with anticipation at a certain moment. It was my first-time using InDesign after few years. Fortunately, I can still remember some of the shortcut key. And that's it ... It took me a while to get used to it and I learn a lot from Mr. Vinod videos. I skipped my sketches to make my learning progress smoother. I prefer to work with the software first to test out all the tools. It helps me to visualize my concept better when I try practicing all the layouts grid and system.
Week 1 - Attempts
Fig. 2.1 My Practice, Week 1 (24-26/4/24)
First day of class is always filled with anticipation at a certain moment. It was my first-time using InDesign after few years. Fortunately, I can still remember some of the shortcut key. And that's it ... It took me a while to get used to it and I learn a lot from Mr. Vinod videos.
I skipped my sketches to make my learning progress smoother. I prefer to work with the software first to test out all the tools. It helps me to visualize my concept better when I try practicing all the layouts grid and system.
Fig. 3.1 Axial - attempt #1, Week 1 (22-23/4/24)
Mr. Vinod then assigned us to attempt the axial system first. The Axial System took me some time to figure out a proper layout because it was my first attempt. It is easy to create an imbalance between the body text and title always. After doing research from peers and Pinterest, then I started to play with different styles such as text kerning, bold and italic, graphic elements, and text size.
Font UsedLeft: ITC New Baskerville Std (Roman, Bold, Bold Italic)Middle: Serifa STD (Bold) & Univers LT Std (Light Oblique)Right: ITC New Baskerville Std (Roman, Bold)
Fig. 3.2 Radial - attempt #1, Week 1 (26/4/24)
I was confusing on how to draw a diagonal guide. I searched some tutorials but doesn't work for me. At the end, I just did all of them manually.
Font UsedLeft: Univers LT Std (Condensed, Bold Condensed, Oblique) & ITC New Baskerville Std (Roman)Middle: Futura STD (Book, Bold Condensed Oblique, Bold & Heavy)Right: Futura STD (Book, Heavy, Heavy Oblique, Medium Oblique)
Fig. 3.1 Axial - attempt #1, Week 1 (22-23/4/24)
Mr. Vinod then assigned us to attempt the axial system first. The Axial System took me some time to figure out a proper layout because it was my first attempt. It is easy to create an imbalance between the body text and title always. After doing research from peers and Pinterest, then I started to play with different styles such as text kerning, bold and italic, graphic elements, and text size.
Font Used
Left: ITC New Baskerville Std (Roman, Bold, Bold Italic)
Middle: Serifa STD (Bold) & Univers LT Std (Light Oblique)
Right: ITC New Baskerville Std (Roman, Bold)
Fig. 3.2 Radial - attempt #1, Week 1 (26/4/24)
I was confusing on how to draw a diagonal guide. I searched some tutorials but doesn't work for me. At the end, I just did all of them manually.
Font Used
Left: Univers LT Std (Condensed, Bold Condensed, Oblique) & ITC New Baskerville Std (Roman)
Middle: Futura STD (Book, Bold Condensed Oblique, Bold & Heavy)
Right: Futura STD (Book, Heavy, Heavy Oblique, Medium Oblique)
Fig. 3.3 Dilatational - attempt #1, Week 1 (27/4/24)
I was really confused about Dilatational and Transitional. I used different snails' image as reference to create the circular fashion. And that's it my outcome... The second outcome that makes me confuse is it Transitional or Dilatational, but I will just remain it here and wait for asking Mr. Vinod advice.
Font UsedLeft: Bembo Std (Semi bold, Extra Bold) & Universe LT Std (Roman, Bold Oblique)Middle: Futura STD (Light, Book, Medium Condensed)Right: Universe LT Std (Light, Light Oblique, Black) & Futura STD (Book, Bold)
Fig. 3.3 Dilatational - attempt #1, Week 1 (27/4/24)
I was really confused about Dilatational and Transitional. I used different snails' image as reference to create the circular fashion. And that's it my outcome... The second outcome that makes me confuse is it Transitional or Dilatational, but I will just remain it here and wait for asking Mr. Vinod advice.
Font Used
Left: Bembo Std (Semi bold, Extra Bold) & Universe LT Std (Roman, Bold Oblique)
Middle: Futura STD (Light, Book, Medium Condensed)
Right: Universe LT Std (Light, Light Oblique, Black) & Futura STD (Book, Bold)
Fig. 3.4 Transitional - attempt #1, Week 1 (27/4/24)
Hope they are right... I was literally out of idea so then I play with two styling. One transition direction and the other transition movement. I used mountain as a guide reference for this system.
Font UsedLeft: ITC Garamond Std (Bold, Light, Bold Italic)Middle: Futura STD (Light, Book, Bold, Heavy)Right: Bodoni MT (Regular, Bold, Condensed)
Fig. 3.5 Bilateral - attempt #1, Week 1 (27/4/24)
I've slowly regained the feeling of using InDesign. The bilateral system is quite interesting. I used three different reference objects. Starting from the left, I adopted the style of a fine dining menu. In the middle, there is a window. Personally, I find similarities between the bilateral system with mirroring and balancing. I attempted to create a sense of equality on both sides. For the third reference, I used the model of a high jump template for proportion comparison. Placing one on each side accentuated the sense of balance.
Font UsedLeft: Bodoni MT (Bold, Condensed Bold) & Futura STD (Book Oblique) & ITC Garamond Std (Book)Middle: Futura STD (Light, Bold, Heavy)Right: Futura STD (Light, Heavy, Heavy Oblique)
Fig. 3.4 Transitional - attempt #1, Week 1 (27/4/24)
Hope they are right... I was literally out of idea so then I play with two styling. One transition direction and the other transition movement. I used mountain as a guide reference for this system.
Font Used
Left: ITC Garamond Std (Bold, Light, Bold Italic)
Middle: Futura STD (Light, Book, Bold, Heavy)
Right: Bodoni MT (Regular, Bold, Condensed)
Fig. 3.5 Bilateral - attempt #1, Week 1 (27/4/24)
I've slowly regained the feeling of using InDesign. The bilateral system is quite interesting. I used three different reference objects. Starting from the left, I adopted the style of a fine dining menu. In the middle, there is a window. Personally, I find similarities between the bilateral system with mirroring and balancing. I attempted to create a sense of equality on both sides. For the third reference, I used the model of a high jump template for proportion comparison. Placing one on each side accentuated the sense of balance.
Font Used
Left: Bodoni MT (Bold, Condensed Bold) & Futura STD (Book Oblique) & ITC Garamond Std (Book)
Middle: Futura STD (Light, Bold, Heavy)
Right: Futura STD (Light, Heavy, Heavy Oblique)
Fig. 3.6 Modular - attempt #1, Week 1 (28/4/24)
Having inspiration from the modular desk layout, I didn't invest much time in its design. Instead, I experimented with placement and color. While I believe there's room for improvement, I've decided to leave it as is for the time being.
Font UsedLeft: Futura STD (Light, Heavy, Bold) & Univers LT Std (Thin Ultra Condensed)Middle: Futura STD (Light, Book, Heavy, Bold, Book Oblique)Right: Futura STD (Light, Heavy, Bold) & Univers LT Std (Thin Ultra Condensed)
Fig. 3.6 Modular - attempt #1, Week 1 (28/4/24)
Having inspiration from the modular desk layout, I didn't invest much time in its design. Instead, I experimented with placement and color. While I believe there's room for improvement, I've decided to leave it as is for the time being.
Font Used
Left: Futura STD (Light, Heavy, Bold) & Univers LT Std (Thin Ultra Condensed)
Middle: Futura STD (Light, Book, Heavy, Bold, Book Oblique)
Right: Futura STD (Light, Heavy, Bold) & Univers LT Std (Thin Ultra Condensed)
Fig. 3.7 Grid - attempt #1, Week 1 (28/4/24)
It's Grid time ... Personally, I feel that this is the hardest system for me. I mean it is an easy layout but to creating different design on it is a part of challenges. Everything need to be in "GRID". Neat and Tidy. Hope to get some comments from my classmates and Mr. Vinod in class.
Font UsedLeft: Univers LT Std (Light, Roman, Oblique, Black)Middle: ITC Garamond Std (Book, Book Narrow, Light Condensed)Right: ITC Garamond Std (Light Narrow, Book Narrow, Bold Narrow, Book)
Fig. 3.8 Random - attempt #1, Week 1 (28/4/24)
Randomly Created... I overlap information on top of each other with different font sizes & family to create visual impact.
Week 2 Attempts - Revised and minor edits
Fig. 3.7 Grid - attempt #1, Week 1 (28/4/24)
It's Grid time ... Personally, I feel that this is the hardest system for me. I mean it is an easy layout but to creating different design on it is a part of challenges. Everything need to be in "GRID". Neat and Tidy. Hope to get some comments from my classmates and Mr. Vinod in class.
Font Used
Left: Univers LT Std (Light, Roman, Oblique, Black)
Middle: ITC Garamond Std (Book, Book Narrow, Light Condensed)
Right: ITC Garamond Std (Light Narrow, Book Narrow, Bold Narrow, Book)
Fig. 3.8 Random - attempt #1, Week 1 (28/4/24)
Randomly Created... I overlap information on top of each other with different font sizes & family to create visual impact.
Week 2 Attempts - Revised and minor edits
Fig. 3.9 Axial - Revised, Week 2 (30/4/24)
After listening to Mr. Vinod's comment, I realized that maybe I was doing wrong on this. It should be arranged on a single straight axis.
After listening to Mr. Vinod's comment, I realized that maybe I was doing wrong on this. It should be arranged on a single straight axis.
Fig. 3.10 Grid - Revised, Week 2 (30/4/24)
Devils in the details. While carefully check around with it, it seems like not snap to the grid. I rearrange the spacing between heading and content and move my title a bit to right to align properly and in the GRID!
Devils in the details. While carefully check around with it, it seems like not snap to the grid. I rearrange the spacing between heading and content and move my title a bit to right to align properly and in the GRID!
Fig. 3.11 Modular - Revised, Week 2 (30/4/24)
Since I not getting any feedback in classes, I note down all the points that Mr. Vinod gave to others. Then, I feel like my modular is not enough like a modular. So, I decided to design it again.
Since I not getting any feedback in classes, I note down all the points that Mr. Vinod gave to others. Then, I feel like my modular is not enough like a modular. So, I decided to design it again.
Fig. 3.12 Random - Revised, Week 2 (30/4/24)
The previous design was too empty as it shown in the image that I crossed on it. I try to fulfill the whole blank page and make the title show up even though it is in an overlapping style so called random system design.
Final Task 1 - Exercise 1: Typographic System
Fig. 4.1 Final Axial System - JPEG, Week 2 (30/4/24)
Fig. 4.2 Final Bilateral System - JPEG, Week 2 (30/4/24)
Fig. 4.3 Final Dilatational System - JPEG, Week 2 (30/4/24)
Fig. 4.4 Final Grid System - JPEG, Week 2 (30/4/24)
Fig. 4.5 Final Modular System - JPEG, Week 2 (30/4/24)
Fig. 4.6 Final Radial System - JPEG, Week 2 (30/4/24)
Fig. 4.7 Final Random System - JPEG, Week 2 (30/4/24)
Fig. 4.8 Final Transitional System - JPEG, Week 2 (30/4/24)
Fig. 4.9 Final Task 1 - Exercise 1: Typographic Systems - PDF, Week 2 (30/4/2024)
Fig. 4.10 Final Task 1 - Exercise 1: Grids and Guides - PDF, Week 2 (30/4/2024)
The previous design was too empty as it shown in the image that I crossed on it. I try to fulfill the whole blank page and make the title show up even though it is in an overlapping style so called random system design.
Final Task 1 - Exercise 1: Typographic System
Fig. 4.1 Final Axial System - JPEG, Week 2 (30/4/24)
Fig. 4.3 Final Dilatational System - JPEG, Week 2 (30/4/24)
Fig. 4.4 Final Grid System - JPEG, Week 2 (30/4/24)
Fig. 4.2 Final Bilateral System - JPEG, Week 2 (30/4/24)
Fig. 4.3 Final Dilatational System - JPEG, Week 2 (30/4/24)
Fig. 4.4 Final Grid System - JPEG, Week 2 (30/4/24)
Fig. 4.5 Final Modular System - JPEG, Week 2 (30/4/24)
Fig. 4.6 Final Radial System - JPEG, Week 2 (30/4/24)
Fig. 4.7 Final Random System - JPEG, Week 2 (30/4/24)
Fig. 4.8 Final Transitional System - JPEG, Week 2 (30/4/24)
Fig. 4.9 Final Task 1 - Exercise 1: Typographic Systems - PDF, Week 2 (30/4/2024)
Fig. 4.10 Final Task 1 - Exercise 1: Grids and Guides - PDF, Week 2 (30/4/2024)
Task 1 - Exercise 2: Type and Play
Part 1We are required to analyze, dissect, and identify potential letterforms (only 4 letters) within an image of a chosen subject, whether organic or man-made.
- Choose either uppercase or lowercase.
Chosen Subject
Fig. 5.1 rock wall, Week 2 (2/5/24)
The image on the left was taken at the campus roundabout. When I tried to analyze the image, I found it to be too blurry. Therefore, I decided to use the image on the right, sourced from Unsplash+, taken by Jerome Maas.
Letterform Extraction
Fig. 5.2 letterform extraction, Week 2 (2/5/24)
First, I tone down the color of the image, then convert it to black and white. It is easier to identify the gaps between the rocks this way. I then found some letters: R, C, Y, O, V, on it. I used the lasso tool in Adobe Photoshop to trace the gaps between the rocks.
Digitalization
Fig. 5.3 Process refinement - attempt #1, Week 2 (1-4/5/24)
Here is an overview of the attempts made in Adobe Illustrator. In my first attempt, I deleted many of the unusable anchor points from the original extraction to simplify the shapes of the letters. I straightened the slants and standardized the stroke widths. Even though most of the rounded letters (R, O, C) are present, I want to retain the attributes of the rock, such as sharp edges and irregular patterns. Therefore, I plan to reshape it using the pen and warp tools in Illustrator. To be honest, it took me almost 6 hours to complete this task. Kinda tired at that moment, of course, this is not yet completely perfect, especially the "serifs" of letter Y.
Fig. 5.4 Redo & Process refinement - attempt #2, Week 3 (10/5/24)
In my second attempt, I adjusted the letters to closely match with the font reference and the references vibes. Due to the complexity of the letter 'X,' I decided to first create smooth edges before making further adjustments. I chose a San-serif font this attempt as my reference. And the most important part is I keep those rounded corner carefully this time.
Fig. 5.5 Reference Type, Week 3 (10/5/24)
Fig. 5.6 Extract Letterform with Final Attempt, Week 3 (10/5/24)
<iframe src="https://drive.google.com/file/d/14ze9oe6oipjO-8frV3IKhNv9cTeEk1Iq/preview" width="640" height="480" allow="autoplay"></iframe>
Part 2Upon completing the letterforms, we will integrate them with a image of our choice. The goal is to enhance and support the interaction between the letterforms and the selected visual. We aim to make a poster in this task.
I found a waffle icecream image from Unsplash to use as my background due to its clearness...
Fig. 5.6 Background Image, Week 3 (12/5/24)
Firstly, my idea was to roughly arrange all the elements and layout, so there wasn't much design involved. I simply placed the objects I had in a basic manner. You can refer to my Fig. 5.7 below.
Fig. 5.7 Poster Design Progress, Week 3 (12/5/24)
Starting from the left, my first design utilized simple black-and-white gradients in the font and overall feel. However, I found it didn't quite capture the essence of a waffle and felt a bit cold and grey. I don't want it to be a cold-feeling poster. So, I decided to change the color scheme, resulting in the second image. Additionally, I adjusted the arrangement of the crew members at the top to make better use of the background space, achieving a more balanced and organized look.
For the third design, I made some minor adjustments. After changing the colors in the second image, I realized it didn't convey the MOVIE TITLE effectively. Therefore, I added gradient shadows to the letter shadows and increased its thickness to make it more three-dimensional.
Final Outcome
Fig. 5.8 Final Poster - attempt #1, Week 3 (12/5/24)
Mr. Vinod mention that the image does not match with the letters. It's an ice-cream! Then, I chose another background image and refining my design as the image shown below.
Fig. 5.9 Final Poster - Revised, Week 4 (13/5/24)
In the font section, I made two changes. Firstly, I bolded the lines on the font to make the pattern more three-dimensional. Secondly, I enlarged the pattern to make the details and spacing of the font clearer. As for the background, I replaced it with a picture that is closer to waffles because I received feedback from Mr. Vinod that my previous picture was of ice cream and had nothing to do with my font.
Fig. 5.10 Final Task 1 - Exercise 2: Type and Play - JPEG, Week 4 (13/5/24)
Fig. 5.11 Final Task 1 - Exercise 2: Type and Play - PDF, Week 4 (13/5/24)
Part 1
We are required to analyze, dissect, and identify potential letterforms (only 4 letters) within an image of a chosen subject, whether organic or man-made.
- Choose either uppercase or lowercase.
Chosen Subject
Fig. 5.1 rock wall, Week 2 (2/5/24)
The image on the left was taken at the campus roundabout. When I tried to analyze the image, I found it to be too blurry. Therefore, I decided to use the image on the right, sourced from Unsplash+, taken by Jerome Maas.
Letterform Extraction
Fig. 5.2 letterform extraction, Week 2 (2/5/24)
First, I tone down the color of the image, then convert it to black and white. It is easier to identify the gaps between the rocks this way. I then found some letters: R, C, Y, O, V, on it. I used the lasso tool in Adobe Photoshop to trace the gaps between the rocks.
Digitalization
Fig. 5.3 Process refinement - attempt #1, Week 2 (1-4/5/24)
Fig. 5.3 Process refinement - attempt #1, Week 2 (1-4/5/24)
Here is an overview of the attempts made in Adobe Illustrator. In my first attempt, I deleted many of the unusable anchor points from the original extraction to simplify the shapes of the letters. I straightened the slants and standardized the stroke widths. Even though most of the rounded letters (R, O, C) are present, I want to retain the attributes of the rock, such as sharp edges and irregular patterns. Therefore, I plan to reshape it using the pen and warp tools in Illustrator. To be honest, it took me almost 6 hours to complete this task. Kinda tired at that moment, of course, this is not yet completely perfect, especially the "serifs" of letter Y.
Fig. 5.4 Redo & Process refinement - attempt #2, Week 3 (10/5/24)
In my second attempt, I adjusted the letters to closely match with the font reference and the references vibes. Due to the complexity of the letter 'X,' I decided to first create smooth edges before making further adjustments. I chose a San-serif font this attempt as my reference. And the most important part is I keep those rounded corner carefully this time.
Fig. 5.5 Reference Type, Week 3 (10/5/24)
Fig. 5.6 Extract Letterform with Final Attempt, Week 3 (10/5/24)
<iframe src="https://drive.google.com/file/d/14ze9oe6oipjO-8frV3IKhNv9cTeEk1Iq/preview" width="640" height="480" allow="autoplay"></iframe>
Part 2
Upon completing the letterforms, we will integrate them with a image of our choice. The goal is to enhance and support the interaction between the letterforms and the selected visual. We aim to make a poster in this task.
I found a waffle icecream image from Unsplash to use as my background due to its clearness...
Fig. 5.6 Background Image, Week 3 (12/5/24)
Fig. 5.7 Poster Design Progress, Week 3 (12/5/24)
Firstly, my idea was to roughly arrange all the elements and layout, so there wasn't much design involved. I simply placed the objects I had in a basic manner. You can refer to my Fig. 5.7 below.
Fig. 5.7 Poster Design Progress, Week 3 (12/5/24)
Starting from the left, my first design utilized simple black-and-white gradients in the font and overall feel. However, I found it didn't quite capture the essence of a waffle and felt a bit cold and grey. I don't want it to be a cold-feeling poster. So, I decided to change the color scheme, resulting in the second image. Additionally, I adjusted the arrangement of the crew members at the top to make better use of the background space, achieving a more balanced and organized look.
For the third design, I made some minor adjustments. After changing the colors in the second image, I realized it didn't convey the MOVIE TITLE effectively. Therefore, I added gradient shadows to the letter shadows and increased its thickness to make it more three-dimensional.
Final Outcome
Fig. 5.8 Final Poster - attempt #1, Week 3 (12/5/24)
Mr. Vinod mention that the image does not match with the letters. It's an ice-cream! Then, I chose another background image and refining my design as the image shown below.
Fig. 5.9 Final Poster - Revised, Week 4 (13/5/24)
In the font section, I made two changes. Firstly, I bolded the lines on the font to make the pattern more three-dimensional. Secondly, I enlarged the pattern to make the details and spacing of the font clearer. As for the background, I replaced it with a picture that is closer to waffles because I received feedback from Mr. Vinod that my previous picture was of ice cream and had nothing to do with my font.
Fig. 5.10 Final Task 1 - Exercise 2: Type and Play - JPEG, Week 4 (13/5/24)
Fig. 5.11 Final Task 1 - Exercise 2: Type and Play - PDF, Week 4 (13/5/24)
FEEDBACK
Week 2 - Exercise 1: Typographic Systems
General
- Update further reading weekly. Careful on the random system, take an artistic approach towards. Make the information visible while in an overlapped situation.
General
- Update further reading weekly. Careful on the random system, take an artistic approach towards. Make the information visible while in an overlapped situation.
Specific
- Do compile the pictures into one figure, shorten the post.
Week 3 - Exercise 1: Typographic Systems
General
- Do the arrangements adhere to the prescribed system, make sure hierarchy is correct. Does the composition draw you in?
Week 3 - Exercise 2, Part 1: Finding Type
General
- Are the strokes consistent in style and weight? When refining, ensure the number of stages is appropriate and sufficient. Make sure the form evolves while retaining crucial or core features. Additionally, add further nuances to the outcome. Ensure that diagonal strokes end at the same point.
Specific- The final outcome is good, but the starting point should be different because we need to focus on the rock, not the crack. Create another one and don't delete this.
Week 4 - Exercise 2, Part 1: Finding Type & Poster
General- Integration about letterform and image not strong enough.
Specific- Type letter outcome must only use black and white unless use it for poster design. Image inappropriate. Poster background image overwhelming. Careful on the pattern. Deep of lines should be bigger, not clear at all.
REFLECTION ExperienceFor Exercise 1, to be honest, I've spent a lot of time focusing on how to design it. Perhaps it's because I graduated from a multimedia design program, so I have high aesthetic demands, but at the same time, I still lack some technical skills. Because this type of assignment is not something I usually deal with. It's more like the daily routine of graphic design students. I will carefully inspect my work and repeatedly delete and revise on the artboard. Some systems are interesting and very useful for me, such as Bilateral, Axial, and Grid. Among the many projects I've taken on in the past two years, I've always used these three design principles. It's a very interesting exercise!
Task 2 is an exercise I really dislike. I've failed several times because I feel tired of designing fonts and observing. But giving up is not an option! When I finally complete a somewhat decent font design, I feel a great sense of achievement, and I'm somewhat satisfied with the result.
ObservationsI consider design to be a mysterious profession, akin to being a psychologist. One must learn to observe keenly. In this exercise, one can intuitively feel the importance of observing font spacing, shapes, characteristics, and project requirements. These are all preparatory steps before design. You can't just follow a formula because each project is unique. You must adhere to certain rules to produce a satisfactory outcome for the client. Typography is where a designer's attention to detail shines through most easily. In summary, learning to observe themes and rules and adapt accordingly is the most valuable lesson in this class.
In the second part of Task 2, creating the poster is a lot of fun because I don't need to design something entirely new. I just need to apply the knowledge I've learned to the poster. For example, layout, font size, logo, spacing, and so on.
FindingsThe most direct way to know what findings from Exercise 1 are through the Random System. If you haven't learned about Typographic Systems, it can provide you with answers. As I mentioned earlier, design isn't just about rigid theory. You need to use the principles you've learned to create various interesting works. It could be finding answers from others' works or discovering them through continuous experimentation. Just like how I spent two weeks completing this seemingly simple assignment.
Task 2 effectively trains my ability to observe image features and translate them into fonts. If I need to design certain fonts in future, I can use images as references to create different fonts. It's really interesting.
FURTHER READING
<iframe src="https://drive.google.com/file/d/10qV5fxhrDZm_S7VhjUIqEfQjxlhjBcl9/preview" width="640" height="480" allow="autoplay"></iframe>
Importance of Clear and Effective Design- Emphasizes intellectual elegance, timelessness, and clarity of intent in various publications.
Key Design Elements- Highlights typography, margins, grids, layouts, white space, type sizes, and typeface.
Negative Impact of Desktop PublishingMost typefaces are designed for commercial reasons, to make money or for identity purposes, rather than for quality or purpose.
Guiding Principles for DesignType sizes serve as notes in a melody, with headlines as bold crescendos and body text as a steady rhythm.
Utilizes contrasting type sizes and white space to evoke emotions and convey messages effectively.
Achieving Intellectual Elegance and Visual Power- Encourages clarity and impact in typography to engage, inform, and inspire viewers.
a short bullet points summary from pg. 37 & 47
Terms of letters
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It is a very interesting website to educate newbie on the terms and rules of letters!
https://www.supremo.co.uk/typeterms/
Learning from other's artwork pieces
Finding Type: A Novel Typographic Exercise - + (kreatifbeats.com)
Week 3 - Exercise 1: Typographic Systems
General
General
- Do the arrangements adhere to the prescribed system, make sure hierarchy is correct. Does the composition draw you in?
Week 3 - Exercise 2, Part 1: Finding Type
General
General
- Are the strokes consistent in style and weight? When refining, ensure the number of stages is appropriate and sufficient. Make sure the form evolves while retaining crucial or core features. Additionally, add further nuances to the outcome. Ensure that diagonal strokes end at the same point.
Specific
- The final outcome is good, but the starting point should be different because we need to focus on the rock, not the crack. Create another one and don't delete this.
Week 4 - Exercise 2, Part 1: Finding Type & Poster
General
General
- Integration about letterform and image not strong enough.
Specific
- Type letter outcome must only use black and white unless use it for poster design. Image inappropriate. Poster background image overwhelming. Careful on the pattern. Deep of lines should be bigger, not clear at all.
REFLECTION
For Exercise 1, to be honest, I've spent a lot of time focusing on how to design it. Perhaps it's because I graduated from a multimedia design program, so I have high aesthetic demands, but at the same time, I still lack some technical skills. Because this type of assignment is not something I usually deal with. It's more like the daily routine of graphic design students. I will carefully inspect my work and repeatedly delete and revise on the artboard. Some systems are interesting and very useful for me, such as Bilateral, Axial, and Grid. Among the many projects I've taken on in the past two years, I've always used these three design principles. It's a very interesting exercise!
Task 2 is an exercise I really dislike. I've failed several times because I feel tired of designing fonts and observing. But giving up is not an option! When I finally complete a somewhat decent font design, I feel a great sense of achievement, and I'm somewhat satisfied with the result.
Observations
I consider design to be a mysterious profession, akin to being a psychologist. One must learn to observe keenly. In this exercise, one can intuitively feel the importance of observing font spacing, shapes, characteristics, and project requirements. These are all preparatory steps before design. You can't just follow a formula because each project is unique. You must adhere to certain rules to produce a satisfactory outcome for the client. Typography is where a designer's attention to detail shines through most easily. In summary, learning to observe themes and rules and adapt accordingly is the most valuable lesson in this class.
In the second part of Task 2, creating the poster is a lot of fun because I don't need to design something entirely new. I just need to apply the knowledge I've learned to the poster. For example, layout, font size, logo, spacing, and so on.
In the second part of Task 2, creating the poster is a lot of fun because I don't need to design something entirely new. I just need to apply the knowledge I've learned to the poster. For example, layout, font size, logo, spacing, and so on.
Findings
The most direct way to know what findings from Exercise 1 are through the Random System. If you haven't learned about Typographic Systems, it can provide you with answers. As I mentioned earlier, design isn't just about rigid theory. You need to use the principles you've learned to create various interesting works. It could be finding answers from others' works or discovering them through continuous experimentation. Just like how I spent two weeks completing this seemingly simple assignment.
Task 2 effectively trains my ability to observe image features and translate them into fonts. If I need to design certain fonts in future, I can use images as references to create different fonts. It's really interesting.
Task 2 effectively trains my ability to observe image features and translate them into fonts. If I need to design certain fonts in future, I can use images as references to create different fonts. It's really interesting.
<iframe src="https://drive.google.com/file/d/10qV5fxhrDZm_S7VhjUIqEfQjxlhjBcl9/preview" width="640" height="480" allow="autoplay"></iframe>
Importance of Clear and Effective Design
- Emphasizes intellectual elegance, timelessness, and clarity of intent in various publications.
Key Design Elements
- Highlights typography, margins, grids, layouts, white space, type sizes, and typeface.
Negative Impact of Desktop Publishing
Most typefaces are designed for commercial reasons, to make money or for identity purposes, rather than for quality or purpose.
Guiding Principles for Design
Type sizes serve as notes in a melody, with headlines as bold crescendos and body text as a steady rhythm.
Utilizes contrasting type sizes and white space to evoke emotions and convey messages effectively.
Achieving Intellectual Elegance and Visual Power
- Encourages clarity and impact in typography to engage, inform, and inspire viewers.
a short bullet points summary from pg. 37 & 47
Terms of letters
Learning from other's artwork pieces
Finding Type: A Novel Typographic Exercise - + (kreatifbeats.com)
Terms of letters
.png)
It is a very interesting website to educate newbie on the terms and rules of letters!
https://www.supremo.co.uk/typeterms/
https://www.supremo.co.uk/typeterms/
Learning from other's artwork pieces
Finding Type: A Novel Typographic Exercise - + (kreatifbeats.com)