30.08.22 - 10.10.22 (Week 1 - Week 7)
Janaan Ahmed (0353333)
Advanced Typography / BDCM
Task 1: Exercises 1 & 2
Lectures
Instructions
As the most symmetrical and most prone to be visually-boring system, I wanted to challenge myself to make something fun. My first attempt (left of fig 3.9) explores axes that are asymmetrical, which I suppose is an easier route of creating visual interest. In my 2nd attempt (right of fig 3.9) I used a central axis, but experimented with tone and nonobjective elements to create asymmetry within the composition. I later chose to slightly rotate my composition to pay homage to diagonal Russian Constructivist posters.
Extracting letterforms & Selecting a Reference Typeface:
Before proceeding to the next phase, we were then required to select a typeface (from the 10 typefaces provided earlier last semester) to get an idea of the direction we want in developing the extraction. I selected ITC Garamond Std (Book Narrow).
Refinement
My plan was to simplify the forms from here onwards, but I didn't exactly know how to do that while preserving the features of the reference image.
Having a clearer idea of the defining features of the coral I moved onto the second refinement. From here onwards, I tried to standardise the stroke widths so that the letterforms complemented each other more.
I then added some key details that I observed from the coral onto the letterforms. Keeping Mr. Vinod's feedback in mind, I tried not to make the details (especially any white space) so tiny that they became illegible at small sizes.
The overall progression of developing the letterforms is shown below:
Attempt 1
After doing so, I played around with adjustments layers to make everything more cohesive. I took into mind the feedback from Mr. Vinod to my classmate about reducing the contrast.
Attempt 2
I decided to stick with Univers, but used the Univers 59 Ultra Condensed variation this time. Unfortunately my .psd file went missing and I wasn't able to document my process while working. But to summarise, this is how it went:
Feedback
WEEK 1 (30.08.22)
Introduction
Mr. Vinod walked us through the module and the resources on the
facebook group, and briefed us on out 1st task (due next week).
This week we're expected to
- Enter label link into feedback sheet
- Watch lecture video 1 & the 2 tutorials
- Work on ex 1: typographic systems
- Upload progress on blog
AdTypo #1: Typographic Systems
All design in based on a structural system, According to Kimberly Elam,
there are 8 major variations, with infinite permutations within each
system:
- Axial
- Radial
- Dilatational
- Random
- Grid
- Modular
- Transitional
- Bilateral
Typographic systems provide a solid framework for us to understand
the nuances of typographic composition, and helps guide our
exploration while our intuition develops and matures.
1. Axial System: All elements are aligned to the left or right
of a single axis.
The axis does not necessarily need to be straight, i.e it can also be
bent.
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| Fig 1.1: Axial System |
2. Radial Systems: All elements extend from a point of focus.
There can be multiple points of focus.
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| Fig 1.2: Radial System |
3. Dilatational System: All elements expand from a central point
in a circular fashion.
Can have multiple rings with information placed in a
hierarchical manner, or according to determined reading rhythm. Info
can also be divided into clubs.
|
| Fig 1.3: Dilatational System |
4. Random System: Elements appear to have no specific pattern or
relationship.
However a method is often created within the chaos.
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| Fig 1.4: Random System |
5. Grid System: A system of vertical and horizontal divisions.
Info structured according to different grids within page (e.g.
different weights, size to create emphasis + hierarchy).
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| Fig 1.5: Grid System |
6. Transitional System: An informal system of layered banding
Info is segregated within different bands e.g headlines in one band,
points to a venue in another band. Weight, colour, size can contribute
to readability +excitability of design
|
| Fig 1.6: Transitional System |
7. Modular System: A series of non-objective elements that
construed as standardized units. Double unit structures can be replaced with other double unit
structures; single unit structures can be replaced with other single
unit structures
|
| Fig 1.7: Modular System |
8. Bilateral System: All text is arranged symmetrically on a
single axis.
Axis can be bent. There can be more than one axis in a page. Can be a
combo of horizontal and vertical axes.
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| Fig 1.8: Bilateral System |
WEEK 2 (07.09.22)
AdTypo #2: Typographic Composition
Typography pertains to the:
- creation of letters
- arrangement of textual info within a given space
Principles of Design Composition
Abstract notions such as isolation, repetition, symmetry, and
perspective, to name a few, are generally more applicable in visual
imagery than textual info.
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Some principles are more easily translatable than others, such as
emphasis.
The Rule of Thirds
A photographic guide to composition that suggests a frame can divided
into 3 columns and 3 rows. The intersections are a guide to place points
of interest within a given space.
|
| Fig 2.2: The Rule of Thirds applied to textual information |
Typographic Systems
The 8 systems covered in the previous lecture. The Grid System (or the
German Raster System) is the most pragmatic and used system (derived
from Letter Press printing).
Though seemingly old and rigid, its versatility allows an infinite
number of adaptations. It complements our inherent need for order when
reading.
|
| Fig 2.3: Compositions using the Grid Systems |
Postmodernist typographic systems incorporated randomness, chaos,
and asymmetry at the cost of legibility and readability, to bring visual
excitement. The best designs involve a good balance of legibility and
visual excitement.
|
| Fig 2.4: Example artworks of Postmodernist Typography |
Other Systems
1. Environmental Grid:
This system is based on the exploration of an existing structure or
numerous structures combined.
Structure here can mean architectural, paintings, interior
(basically anything that creates structure).
An extraction of crucial lines (both curved and straight) are formed.
The designer organises his info around this super-structure (which
includes non-objective elements).
A manner of exploration which provides context to the forms developed
in the design i.e. the system/structures were developed around key
features of an environment associated to the communicators of the
message.
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| Fig 2.5: Developing compositional framework using other structures |
A reductionist approach is taken where the info is then placed within
the reduced framework. Framework is informational and has
non-objective elements of that particular space.
2. Form and Movement
A system developed by Mr. Vinod himself which is based on the
exploration of existing Grid Systems. The placement of a form (irrespective of what it is) on a page, over
many pages creates movement.
Whether page is paper or screen is irrelevant.
Variation is required to keep readers/viewers engaged as
predictability becomes boring. Static versions of the form are placed in the spread. A connection
is maintained between one spread and the next. Forms could represent
images, text or colour. As long as there is a sequence to the viewing of a
particular page, a sense of excitement is created.
|
| Fig 2.6: Sequential compositions using the Grid System (follows from one spread to the next) |
The level of complexity increases as newer elements are introduced in an
incremental fashion: addition of one colour, then image,, the dummy
text, and so on.
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| Fig 2.7: Progressive addition of elements into sequence |
Start by using dummy forms, then eventually replace with real elements
that you intend to use.
Instructions
TASK 1 - EX 1: TYPOGRAPHIC SYSTEMS
Task Info
We are required to select a piece of content provided in the MIB and
create 8 designs that correlate to each typographic system (axial,
radial, dilatational, random, grid, transitional, modular,
bilateral).
Requirements:
- Software: Adobe InDesign
- 200 x 200 mm
- Black + 1 colour (same colour must be used throughout all systems)
- Minor graphical elements allowed (lines, dots, circles...etc)
The content is shown below:
 |
| Fig 3.0: Selected content |
Process:
Seeing as how Russian Constructivists utilised red in their designs, I decided to use it in my designs as well. I also opted for sans serif fonts throughout all the systems, as it suits the hallmark geometrical and modern essence of Russian Constructivism.
 |
| Fig 3.1: Axial system attempts (08.09.22) |
Jumping into each system proved to be quite difficult at first, and I initially explored the simpler versions to get the hang of each system (following through Elam's book).
 |
| Fig 3.2: Radial system attempts (05.10.22) |
The radial and dilatational systems also proved to be quite challenging in terms of alignment and of establishing structure. I found that adding nonobjective elements really helped emphasise hierarchy and order. I opted mainly for circles as they are quite 'commanding' even at small sizes.
 |
| Fig 3.3: Workspace for dilatational system (14.09.22) |
 |
| Fig 3.4: Dilatational system attempts (16.09.22) |
The transitional and random systems were quite fun to work with as it involved layering lots of extra text to create texture along the canvas. It was at this stage where I began to experiment with tone to differentiate levels of information.
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| Fig 3.5: Transitional system attempts (06.10.22) |
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| Fig 3.6: Random system attempts (07.09.22) |
As I felt my grid systems were quite lacking, I tried to incorporate nonobjective elements to guide the eye along the composition.
 |
| Fig 3.7: Grid system attempts (07.10.22) |
As the most symmetrical and most prone to be visually-boring system, I wanted to challenge myself to make something fun. My first attempt (left of fig 3.9) explores axes that are asymmetrical, which I suppose is an easier route of creating visual interest. In my 2nd attempt (right of fig 3.9) I used a central axis, but experimented with tone and nonobjective elements to create asymmetry within the composition. I later chose to slightly rotate my composition to pay homage to diagonal Russian Constructivist posters.
 |
| Fig 3.8: Workspace for bilateral system (08.10.22) |
 |
| Fig 3.9: Bilateral system attempts (08.10.22) |
For the modular systems I tried to arrange the textual information in a way that gave shape to the negative space surrounding it. Added tone as way to differentiate hierarchy.
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| Fig 3.10: Modular system attempts (08.10.22) |
Final Outcome:
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| Fig 3.11: Final Axial System - (10.09.22) |
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| Fig 3.12: Final Radial System [JPEG] - (06.10.22) |
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| Fig 3.13: Final Dilatational System [JPEG] - (17.09.22) |
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| Fig 3.14: Final Transitional System [JPEG] - (06.10.22) |
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| Fig 3.15: Final Random System [JPEG] - (07.10.22) |
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| Fig 3.16: Final Bilateral System [JPEG] - (08.10.22) |
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| Fig 3.17: Final Grid System [JPEG] - (07.10.22) |
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| Fig 3.18: Final Modular System [JPEG] - (08.10.22) |
Fig 3.19: Final Outcome [PDF] - (08.10.22)
Fig 3.20: Final Outcome with guides [PDF] - (08.10.22)
––––
TASK 1 - EX 2: TYPE & PLAY: PART 1: FINDING TYPE
Task Info:
We are required to select an image from man-made objects or structures
or nature. We are to dissect and identify potential letterforms within
the image and go on to iterate these forms into what is a refined
celebration (that to a degree reflects its origins).
Selecting an Image:
My initial idea was to look for an image of soft-serve ice cream as I
liked the flowy shapes it forms. However extracting letterforms proved
to be quite limiting, and so I browsed Unsplash some more till I landed
on the image below:
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| Fig 4.1: Reference image from Unsplash |
Extracting letterforms & Selecting a Reference Typeface:
I used the pen tool on Illustrator to trace out the forms I identified.
The resulting forms are placed on a baseline as shown below:
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| Fig 4.2: Letterform extraction |
Before proceeding to the next phase, we were then required to select a typeface (from the 10 typefaces provided earlier last semester) to get an idea of the direction we want in developing the extraction. I selected ITC Garamond Std (Book Narrow).
|
| Fig 4.3: Reference Typeface 'ITC Garamond Std (Book Narrow) on baseline |
Refinement
The first order of business was to fix the width and height of
the extracted forms so that they may be more consistent. I had a
template layer of the Garamond letterforms throughout every stage of the
refinement.
|
| Fig 4.4: Result of 1st refinement |
My plan was to simplify the forms from here onwards, but I didn't exactly know how to do that while preserving the features of the reference image.
From the feedback sessions we had in class, Mr. Vinod showed us an
example of how a letterform could be derived from a bean sprout. I noted
how he took 1 or 2 characteristics of the sprouts and integrated them
into the letterforms. I realised
I needed to pinpoint the defining features of the coral.
|
| Fig 4.5: Notes from studying reference image |
Having a clearer idea of the defining features of the coral I moved onto the second refinement. From here onwards, I tried to standardise the stroke widths so that the letterforms complemented each other more.
|
| Fig 4.6: Workspace & Process |
I then added some key details that I observed from the coral onto the letterforms. Keeping Mr. Vinod's feedback in mind, I tried not to make the details (especially any white space) so tiny that they became illegible at small sizes.
Overall Process
The figures below shows the development of the letter 'T' which
highlights my overall approach to all the other letterforms.
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| Fig 4.7: Process of refining the letterform 'T' |
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| Fig 4.8: Overall development of 'T' |
The overall progression of developing the letterforms is shown below:
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| Fig 4.9: Overall progression from extraction to final refinement |
Showcase
We are to select a relevant image that complements our letterforms. I
looked for an underwater image on Unsplash, and played around with the
blending modes on Photoshop:
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| Fig 4.10: Process on Photoshop |
Final Outcome:
|
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Fig 4.11: Final Outcome of Letterform Showcase [JPEG] |
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| Fig 4.12: Final Letterforms [JPEG] |
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| Fig 4.13: Final 'A' [JPEG] |
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| Fig 4.14: Final 'C' [JPEG] |
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| Fig 4.15: Final 'G' [JPEG] |
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| Fig 4.16: Final 'T' [JPEG] |
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| Fig 4.17: Final 'K' [JPEG] |
Fig 4.18: Final Outcome of Letterforms [PDF]
Fig 4.19: Final Outcome of Letterform Showcase [PDF]
––––––––
TASK 1 - EX 2: PART 2: TYPE IN IMAGE
Task Info:
This task requires us to combine a visual with a letter/word/sentence
to support and enhance the interplay between them. The text must be
woven into a symbiotic relationship with the image. We are encouraged to
use our work from this task for the HONOR x TDS Design
Awards.
The themes for this year are:
- Cultural Prosperity + Celebration: A Totem of Renewing Festive Culture
- Renewal of life + Return: Contemplate human beings' relationship with all things
I decided to select Renewal. The final submission is to be 6000 x 3000 px and below-or-equal-to
20M.
Selecting an Image
This was funnily enough the most challenging part of this task. I
looked through my photo gallery and compiled a selection of images
that I could potentially use as a wallpaper. It had to reflect the
theme of 'renewal' AND be something I could integrate text
into.
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| Fig 5.1: Selection of potential images to use |
Attempt 1
I selected the image below as I felt it could represent something
akin to 'the washing away of sins'. (Tidal waves are in motion which
in contrast to stagnant water means that the body of water is in a
constant state of renewal).
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| Fig 5.2: Selected Image 1 |
On Photoshop I typed out 'Renewal' in different typefaces to see
which one suited the essence of the message. The typeface I decided to
use was: Univers (49 Light Ultra Condensed). I then
individually retyped each letter so that I could freely place them
where I needed. I then rasterised and masked them to erase parts of
the bottom to essentially 'embed' each letterform into the
water.
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| Fig 5.3: Editing masking layer - (06.10.22) |
After doing so, I played around with adjustments layers to make everything more cohesive. I took into mind the feedback from Mr. Vinod to my classmate about reducing the contrast.
Outcome of attempt 1:
|
| Fig 5.4: Final Outcome of Attempt 1 - (06.10.22) |
Unfortunately, I felt that the outcome was too tacky for a wallpaper
and scrapped the piece.
Attempt 2
The image I selected this time was shot on a DSLR and definitely had
way better depth and 'wallpaper crispness' (for lack of a better word)
in terms of image quality.
|
| Fig 5.5: Selected Image 2 |
I decided to stick with Univers, but used the Univers 59 Ultra Condensed variation this time. Unfortunately my .psd file went missing and I wasn't able to document my process while working. But to summarise, this is how it went:
- I individually typed the letters and rasterised each one of them.
- This allowed me to transform the perspective of each form, which I did according to where along the picture I placed each of them.
- I then masked each of the letters, and used the brush tool to erase parts where I wanted the leaves to protrude. Reducing the opacity helped me see where I needed to erase.
- I then merged the layers, and clipped a solid background colour (a dark green).
- I added a gradient layer (black to transparent) on top and used the multiply blending option. This was done so the letters blended into the image more seamlessly.
- I then blurred some of the letters towards the centre of the image to add field of depth.
- Finished it off by adjusting the colour balance, levels, and exposure adjustment layers.
Final Outcome:
|
|
Fig 5.6: Final Outcome 'Around.' [JPEG] - (06.10.22) |
Fig 5.7: Final Outcome 'Around.' [JPEG] - (06.10.22)
Fig 5.8: Design Elaboration of 'Around.' [PDF] - (06.10.22)
Feedback
WEEK 2
General feedback:
Info within a composition should be interrelated. There are several
ways to differentiate information according to a hierarchy, such as:
varying the type size, using a different font (of the same typeface),
colour
Specific feedback:
(Dilatational) Utilise and optimise space better; increase font
size.
WEEK 3
General feedback:
Try to establish a consistent weight for the letterforms before
refining their shape.
Specific feedback:
When extracting letterforms from a complex image, stick to one
element, (for e.g. if subject image is a flower plant, choose from
either leaf texture OR flower OR stem... etc)
WEEK 4
General feedback:
- As developing designers, our eye for irregularities need to be critical (unless the type of work we're doing calls for it) so that we may craft our work better.
- We need to develop our attention to detail by fostering out observation skills regardless of our specialisation. (attention to detail=more critical=better crafting)
Specific feedback:
- Stroke width should be consistent
- If capital K, stroke on top needs to hit ascender line for letterform to have have an overall consistent feel.
- Inconsistency of stem stroke, needs more refinement.
WEEK 5
General feedback:
- Think about how your wallpaper can adapted for phone
- Everything that you use should come from you/ be your own work
- Read and do more research before starting on your work; try not to go only by things that come into your head
Specific feedback:
- The wallpaper shouldn't be so strong that the files sitting on desktop aren't visible. Consider reducing the contrast to slightly 'fade' it.
- Rethink interaction between image and text. More thought is needed in how the text could be embedded into image.
Reflection
Experience
Having a better grasp of some the softwares we learned last semester has
definitely made everything less daunting. However, this task is not without
its challenges. While the fast pace of this task has been designed in a way
that makes the final project approachable, I ironically found it difficult
to work on the first exercise itself: typographic systems. I do however love
the creative freedom we are offered, and the finding type exercise was
thoroughly enjoyable.
Observation
While I definitely struggled to apply what I read, I believe learning about
the typographic systems has opened my mind to a wider horizon of
compositional arrangements. I observed that I progressively developed a better sensitivity to white space and texture with each typographic system. It
was a fun challenge incorporating type into an image because of
the different ways that the design principles apply to each.
Findings
The series of exercises in this task makes me believe that type in practice
isn't as boring as I made it out to be. I still have a long way to go, and
while I enjoy reading, I should've been smarter about filtering the
information I absolutely needed for the typographic system task, because it
is impossible to digest everything at once. I also learned from the the
finding type exercise that we need to be deliberate in the design choices we
make, and that to do that, we need to be more critical and
observational.
Further Reading
ELAM, K. (2007). TYPOGRAPHICAL SYSTEMS. PRINCETON ARCHITECTURAL
PRESS
Nonobjective elements
When used alongside typography, nonobjective elements enhance the functions
of emphasis, organisation, and balance, and thus can serve to strengthen the
message being communicated i.e by directing the viewer's eye and enhancing
hierarchical order.
Elam includes 3 types of nonobjective elements:
- rectangular/ rule series
- circle series
- tone series
She also goes on to illustrate examples for each, where the message itself doesn't change, but the way that it is read does.
|
| Fig: Page 12, examples of nonobjective elements in the same body of text |
However, care must be taken in using them so as to not overwhelm the
actual message being communicated. Be cautious of the
complexity of the shape being used, and their
volume of colour.
Random System
It is valuable in this system to make the composition abstract by
regarding the lines of text as texture only. As texture the
lines of text become important compositionally in terms of
shapes and negative space they create.
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