ADVANCED TYPOGRAPHY TASK 1: EXERCISES

22.04.2024 - 13.05.2024 / Week 1-Week 4

Emily Goh Jin Yee / 0357722 / Bachelor of Design (Honours) in Creative Media

Advanced Typography / GCD61004 / Section 03

Task 1: Exercises-Typographic Systems & Type & Play

TABLE OF CONTENTS

1. LECTURES

2. INSTRUCTIONS

3. TASKS

4. FEEDBACK

5. REFLECTION

6. FURTHER READING

LECTURES

LECTURE 1: AdTypo_1_Typographic Systems

Typographic Systems

Major variations with an infinite number of permutations:

Axial
Radial
Dilatational
Random
Grid
Modular
Transitional
Bilateral

"Typographical organization becomes intricate because the elements depend on communication in order to function. Additional criteria such as hierarchy, order of reading, legibility, and contrast contribute to its overall effectiveness.

The relationship between typographic systems and what architects refer to as shape grammars is significant. Both involve a unique set of rules that serve a sense of purpose that focuses and directs the decision making."— Elam,2007

*shape grammars: a set of shape rules applied step by step for creating various designs.

Axial System: all elements are organized to the left/right of a single axis

sample student designer Julius Teoh Hoong Boon

Fig 1.1 examples of Axial System, Week 1 (22/04/2024)

Radial System: all elements are extended from a point of focus

sample student designer Tamara Audrey

Fig 1.2 examples of Radial System, Week 1 (22/04/2024)

Dilatational System: all elements expand from a central point in a circular fashion

sample student designer Julius Teoh Hoong Boon ; far right: Vedha Vania

Fig 1.3 examples of Dilatational System, Week 1 (22/04/2024)

Random System: elements appear to have no specific pattern or relationship

sample student designer Tamara Audrey ; far right: Vedha Vania

Fig 1.4 examples of Random System, Week 1 (22/04/2024)

Grid System: a system of vertical & horizontal divisions

sample student designer Tamara Audrey

Fig 1.5 examples of Grid System, Week 1 (22/04/2024)

Transitional System: an informal system of layered banding

sample student designer Julius Teoh Hoong Boon ; far right top: Vedha Vania ; far right bottom: Tamara Audrey

Fig 1.6 examples of Transitional System, Week 1 (22/04/2024)

Modular System: a series of non-subjective elements that are constructed in as a standardised units

sample student designer Tamara Audrey ; far right: Julius Teoh Hoong Boon

Fig 1.7 examples of Modular System, Week 1 (22/04/2024)

Bilateral System: all text is arranged symmetrically on a single axis

sample student designer Tamara Audrey ; far right top: Tamara Audrey ; far right top and below: Vedha Vania

Fig 1.8 examples of Bilateral System, Week 1 (22/04/2024)

InDesign shortcut keys:

enlarge size of text= ctrl + shirt + >

adjust leading= option + bottom arrow key

align to right= ctrl + shift + R

moving a text below= shift + enter

LECTURE 2: AdTypo_2_Typographic Composition

Typographic Composition

Typography involves two key aspects: crafting individual letterforms and organizing extensive text within a defined area. In this context, 'composition' refers to organizing textual content, whether it's precise print typography or tangible lettering embellishing diverse environments.

Principles of Design Composition

Dominant principles underpinning design composition includes:

Emphasis
Isolation
Repetition
Symmetry
Asymmetry
Alignment
Perspective

Yet, when extended to typographic design, these abstract principles can feel unclear, seeming better suited to imagery than to arranging complex informational elements.

Implementing these concepts into real-life content (images, textual information, and colors) on a page or screen may occasionally evoke a sense of desperation.

Emphasis

Fig Fig 1.9 example of Emphasis in a layout

The rule of Thirds: a photographic guide to composition, divided into 3 columns and 3 rows

Realistically, no one would use this rule when there are more favourable options.

Fig 1.10 The rule of Thirds

Typographic Systems

Grid System remains popular due to the versatility of system and its modular nature allows an infinite number of adaptions.

Fig 1.11 Grid System "how to"

Fig 1.12 Works from left to right: Paula Scher, Jonathan Barnbrook & David Carson

Environmental Grid: based on the exploration of an existing structure or numerous structures combined. an extraction of crucial lines(both curved and straight) are formed.

Fig 1.13 examples of the environmental grid by Brenda McMannus

Form and Movement: this system is based on the exploration of an existing Grid System.

LECTURE 3: AdTypo_3_Context&Creativity

Context & Creativity

Handwriting is important in typography because it inspired the first mechanically produced letterforms, which were designed to directly imitate handwriting. These letterforms set the standard for form, spacing, and conventions that mechanical type would strive to mimic.

Cuneiform

the earliest system of actual writing
pressing the blunt end of stylus into wet clay tablets
written left to right, evolved from pictograms

Hieroglyphics

Egyptian writing system integrated with relief carving art
combined rebus and phonetic characters
earliest link to future alphabetic systems

Early Greek / 5th C. B.C.E.

based on Egyptian consonantal system
phonetic alphabet with 22 letters
drawn handfree
not constructed with compasses and rule and had no serifs

Roman Uncials

letters became more rounded by the 4th century
fewer strokes due to curved forms, enabling faster writing

English Half Uncials, 8th C.

in England, the unicial evolved into a more slanted and condensed form

Carolingian Minuscule

capitals at sentence beginnings
spaces between words and punctuation
used for all legal and literary works to unify communication
inspired Humanistic writing of the 15th century
basis for lowercase Roman font

Black Letter

Gothic art expression represented the middle ages(1200-1500) artistically
the term "Gothic" is originated with Italians, referring to barbaric cultures north of the Alps

The Italian Renaissance

Humanist scholars in Italy revived the culture of antiquity
embrace of ancient Greek and Roman culture spurred creativity in Italian art, architecture, literature, and letterform design

Movable Type 11C. -14 C.

woodblock printing practiced in China, Korea, and Japan
Diamond Sutra (AD 868) is the earliest known printed book with the first printed illustration
movable type was introduced in the 1000-1100 CE.
innovation was pioneered in China but achieved in Korea

Indus Valley Civilisation (IVC) script (3500-2000BCE)

oldest writing found in the Indian subcontinent
undeciphered, appears to be somewhat logo-syllabic

Brahmi script (450-350 BCE)

earliest writing system in India after the Indus Script
highly influential, leading to modern Indian Scripts and hundreds of scripts in Southeast and East Asia

Fig 1.14 Writing systems and scripts

LECTURE 4: AdTypo_4_Designing Type

Designing Type

1. Xavier Dupré (2007) suggested two reasons for designing a typeface:

type design carries a social responsibility, necessitating continual improvement in legibility.
typeface design serves as a form of artistic expression.

2. Adrian Futiger, a twentieth century Swiss graphic designer

forte was typeface designing and he is considered responsible for the advancement of typography into digital typography
valued contributions to typography includes: Univers and Frutiger
Frutiger is a sans-serif font designed in 1968 specifically for the newly built Charles de Gaulle International Airport in France
purpose: create a clean, distinctive, legible typeface visible up close and far away
considerations/limitations: easily recognized when readers moving quickly or in poor light condition

Fig 1.15 Univers(left) & Frutiger(right)

3. Matthew Carter

son of Harry Carter, Royal Designer for Industry
contemporary British type designer and ultimate craftsman
trained as a punchcutter at Enchedé by Paul Rädisch
responsible for Crosfield's typographic program in the early 1960s
Mergenthaler Linotype's house designer (1965-1981)
many of his fonts were created to address specific technical challenges
purpose: fonts were tuned for extreme legibility at very small sizes on screens due to the rise of the internet and electronic devices
considerations/limitations: Verdana fonts exhibit characteristics derived from pixels rather than traditional tools like the pen, brush, or chisel
which can lead to confusion with characters like lowercase i, j, and l

Fig 1.16 Verdana

in 1976, AT&T commissioned a new typeface, Bell Centennial, for use in their telephone directories

4. Edward Johnston

created Johnston Sans (1916)
tasked with creating a typeface with bold simplicity that was modern yet rooted in tradition
combined classical Roman proportions with humanist warmth
purpose: London's Underground railway commissioned a new typeface for its posters and signage from calligrapher Edward Johnston

Fig 1.17 Earlier version of Johnston Sans

General Process of Type Design

1. Research

understand the type history, type anatomy and type conventions
determine the type's purpose
examine current fonts for inspiration, ideas, reference, context, and usage patterns

2. Sketching

sketch using traditional/digital
both methods have positives and negatives

3. Digitization

professional software for digitizing typefaces: FontLab and Glyphs

4. Testing

an important component in the design thinking process
process of refining and correcting aspects of the typeface
the readability and legibility of the typeface becomes an important consideration

5. Deploy

even after a typeface is deployed, initial issues may occur, requiring continuous revisions and thorough testing to address and minimize these problems

INSTRUCTIONS

TASKS

EXERCISE 1: TYPOGRAPHIC SYSTEMS

For this exercise, our objective is to delve into eight design systems—Axial, Radial, Dilatational, Random, Grid, Modular, Transitional, and Bilateral—using InDesign as our primary tool. The necessary content for this task has been provided in the MIB booklet. Furthermore, we've been advised to watch the InDesign tutorial videos available in the lecture playlist for additional guidance.

size: 200 x 200 mm
colours: Black and one additional colour
limited graphical elements(lines, dots, etc.)

Given Content: (choose 1 tittle)

The Design School, Taylor's University

All Ripped Up: Punk Influences on Design

The ABCs of Bauhaus Design Theory

Russian Constructivism and Graphic Design

Open Public Lectures: June 24, 2021

Lew Pik Svonn, 9AM-10AM

Ezrena Mohd., 10AM-11AM

Suzy Sulaiman, 11AM-12PM

June 25, 2021

Lim Whay Yin, 9AM-10AM

Fahmi Reza, 10AM-11AM

Manish Acharia, 11AM-12PM

Lecture Theatre 12

Export final outcomes as JPEG @300ppi (1024 px); PDF with guides and without guides (turn on/off guides when saving PDF). Compile all 8 systems together for PDF presentation (turn off spreads).

Axial

While watching the tutorial video, we followed the steps to position the text on the left. I adjusted the size, leading, and kerning of the text, especially on the date, to ensure alignment and neatness.

Fig E1.1 Process, Week 1 (22/04/2024)

During the process, we could check how the design looks like by clicking on preview.

Fig E1.2 Process, Week 1 (22/04/2024)

I kept the design simple and clean since this was my first attempt at the system. The second design was positioned diagonally, while still maintaining alignment with the axial system.

Fig E1.3 Axial System attempt 1, Week 1 (22/04/2024)

Since Mr. Vinod preferred the left-side design of the two, I decided to use it for my final layout without further editing.

Fig E1.4 Axial System, Week 2 (29/04/2024)

Radial

In the radial system, I experimented with elements like lines and shapes such as circles and squares to introduce a more dynamic outcome, steering away from a dull appearance.

Fig E1.5 Process, Week 1 (22/04/2024)

Fig E1.6 Radial System attempt 1, Week 1 (22/04/2024)

Based on the feedback received, the second design was preferred over the first. However, there seemed to be something lacking, perhaps due to excessive negative space. Therefore, I made adjustments by resizing the text and incorporating a different background color. The overall appearance now feels more balanced compared to the initial attempt.

Fig E1.7 Radial System (refined) , Week 2 (29/04/2024)

Dilatational

For the dilatational system, I experimented with placing multiple circles and incorporating curves to generate curvilinear text elements. I explored different arrangements by integrating the curved texts within the circles.

Fig E1.8 Dilatational System attempt 1, Week 1 (22/04/2024)

For the 1st and 3rd arrangements, they were essentially identical, except for the positioning of the bottom words. Consequently, in my final layout, I opted for the 3rd one but made minor adjustments. I also corrected the placement of the circle for 'Open Public Lectures' to ensure symmetry.

Fig E1.9 Dilatational System (refined), Week 2 (29/04/2024)

Random
In the random system, my goal was to create something messy yet still readable. In the first design, I utilized various fonts, including both bold and regular typefaces, and randomly selected different sizes. Additionally, I incorporated colored elements. For the next iteration, I positioned the texts at different angles to evoke a less tidy aesthetic. However, I believe that the designs could still be even better by making them even more messier.

Fig E1.10 Random System attempt 1, Week 1 (22/04/2024)

Fig E1.11Random System, Week 2 (29/04/2024)

Grid

For the Grid System, my first attempt (left) involved placing the title in the top left and the time in the bottom right, with coloured background. Additional details like the venue and info were placed vertically alongside both boxes. However, after receiving feedback from Mr. Vinod, who questioned the system used, I realized it needed improvement. To enhance the design, I added lines and changed the title's typeface (right). Despite these adjustments, I felt it was still lacking something. Consequently, I decided to overhaul the layout entirely(middle), ultimately creating a centered design that led to my final version.

Fig E1.12 Grid System attempt 1, Week 1 (22/04/2024)

I chose the middle layout for my design. For enhancement, I changed the color of the date's numbers and added a black background to emphasize them. Additionally, I placed 'Lecture Theatre 12' on the same line as 'Open Public Lecture' to create balance in the overall design.

Fig E1.13 Grid System (refined), Week 2 (29/04/2024)

Modular
I followed the instructions about placing the text within the margin boxes (guidelines). In my second attempt, I changed the placement of the text in different boxes, which made the design look less boring compared to the first attempt. Although I personally liked both versions, I chose the second one because it had slightly less negative space and the size of the date numbers was larger than the month and year, resulting in a more appealing design.

Fig E1.14 Modular System attempt 1, Week 1 (22/04/2024)

Fig E1.15 Modular System, Week 2 (29/04/2024)

Transitional

I was initially confused with this system and spent the most time creating a design for it. After many attempts, I decided to use curvy lines to create a flowing effect.

Fig E1.16 Transitional System attempt 1, Week 1 (22/04/2024)

Fig E1.17 Transitional System, Week 2 (29/04/2024)

Bilateral

For the Bilateral System, I aimed for a straightforward and simple design by centering the text. To ensure proper alignment, I adjusted the text sizes, balancing normal and italic styles of the same font. Kerning adjustments were also crucial to achieve a cohesive and polished look.

Fig E1.18 Bilateral System attempt 1, Week 1 (22/04/2024)

Fig E1.19 Bilateral System, Week 2 (29/04/2024)

Fig E1.20 Final outcome of Typographic Systems exercise with grids in PDF, Week 2 (29/04/2024)

Fig E1.21 Final outcome of Typographic Systems exercise without grids in PDF, Week 2 (29/04/2024)

EXERCISE 2: TYPE & PLAY

Part One: Finding Type

In this exercise, our goal is to choose an image of either a man-made object (like a chair or glass), a structure (buildings), or something from nature (human, landscape, leaf, plant, or cloud). We'll analyze, dissect, and identify potential letterforms within the image. Then, we'll explore and digitize these forms. Through an iterative process, we aim to refine the representations, celebrating their origins to some extent.

Week 2: watch the second lecture and summarize its content in ePortfolio. Additionally, review previous student ePortfolio examples to understand how they documented Ex.2: "Finding Type" (Type & Play).

For the final submission should consist of:

the chosen image
extracted letterforms on the baseline (created in Illustrator)
reference font
final letterforms on the baseline
the original extraction and final letterforms placed side by side for comparison.

1. SELECTION AND EXPLORATION OF IMAGES

Fig E2.1 Images explored— moon texture, sea foam, sea water texture, Week 2 (04/05/2024)

I sought images that resonate with nature, intending to incorporate elements from them into my dissected letters. Before using the pen tool to draw out the letters on Adobe Illustrator, I experimented with drawing letters on my iPad because it seemed easier. However, locating clear letters within these images proved challenging, prompting me to search for clearer images that might better reveal the letters. Therefore, I decided to work on the image of bubbles.

IMAGE CHOSEN:

Fig E2.2 Chosen image—Bubbles, Week 2 (04/05/2024)

2. DISSECTION OF IMAGE AND FINDING LETTERFORMS

Fig E2.3 Extracted letterforms 'L' 'E' 'A' 'O' 'Y' from image, Week 2 (04/05/2024)

Fig E2.4 Extracted letterforms 'L' 'E' 'A' 'O' 'Y' in corrected position, Week 2 (04/05/2024)

3. DIGITISATION/PROCESS OF REFINING TEXT

I've selected Gill Sans Std (Light) out of the 10 fonts for its elegant and minimalist design. I've noticed that the extracted letterforms exhibit a thin and light appearance, which complements the font's delicate yet readable characteristics. The balanced proportions of Gill Sans contribute to a refined aesthetic, aligning perfectly with my project's objectives of subtle sophistication and visual consistency.

Fig E2.5 Font Reference: Gill Sans Std (Light), Week 2 (04/05/2024)

Fig E2.6 Minor Adjustments to fit the chosen font, Week 2 (04/05/2024)

I utilized the warp tool and pen to enhance the similarity of the letterforms to the reference font. As a result, the thickness naturally increased, leading to greater visibility. Additionally, I eliminated extraneous details protruding from the left stem of the letter 'A'. Although I achieved straighter placement for other letters, the curves of all letterforms remained untidy.

Fig E2.7 Minor Adjustments to fit the chosen font, more thickness, Week 2 (04/05/2024)

Mr. Vinod suggested that I either eliminate the small, uneven circles (patterns from the bubbles) or incorporate them into other letters to create a cohesive family appearance. Additionally, due to the untidy and uneven curves, I smoothed out and straightened the letterforms' stems. However, these adjustments made the letterforms appear too uniform and similar to the reference font, causing them to lose their individual characteristics. Particularly in letters 'A' and 'Y', there was minimal distinction aside from small pattern elements.

Fig E2.8 Straightened(too much) letterforms, Week 3 (06/05/2024)

In addition to addressing the issue of overly straight and thin letterforms, I added thickness to the stems and tips to achieve better balance. I increased the thickness of the tail of the 'A' to improve its overall stability, while also ensuring it appears less sharp. Similarly, I enhanced the thickness of the branch of the 'Y' with a natural curve, maintaining consistency with the extracted letter.

Fig E2.9 More curves and thickness, Week 3 (07/05/2024)

For the final refinement, I made the terminals(endpoints) of the letterforms straighter with fewer curves but remaining a bit of curves to ensure similarity to the bubbles, which feature both straight and curved parts. I applied thinning to the middle sections of the letters, gradually increasing thickness towards the edges, creating a sense of depth and dimensionality, mimicking the appearance of bubbles that may appear thinner in the middle and thicker towards the edges.

Fig E2.10 Final refinement, Week 3 (09/05/2024)

Fig E2.11 Original extracted letterforms compared to the final type design, Week 3 (09/05/2024)

4. FINAL TYPE DESIGN

Fig E2.12 Process Compilation, Week 3 (12/05/2024)

Fig E2.13 Final Exercise 2: Type & Play (Finding Type), Week 3 (12/05/2024)

Fig E2.14 Final Letter 'L', Week 3 (12/05/2024)

Fig E2.15 Final Letter 'E', Week 3 (12/05/2024)

Fig E2.16 Final Letter 'A', Week 3 (12/05/2024)

Fig E2.17 Final Letter 'O', Week 3 (12/05/2024)

Fig E2.18 Final Letter 'Y', Week 3 (12/05/2024)

Fig E2.19 Final Exercise 2: Type & Play (Finding Type) PDF, Week 3 (12/05/2024)

Part Two: Poster Design

Moving on to the second part, we were tasked to create a movie poster in the dimension of 1024pt x1024pt, using the designed Type on Exercise 1.

1. IMAGE SELECTION

Fig E2.20 Images explored— bath bomb, starfish 1, starfish 2, Week 3 (10/05/2024)

For the selection of images for the movie poster, I found these images related to my type design:

The first image, a bath bomb, was initially used as the background, but it didn't work well. The type design wasn't clear, even after adjusting the colors, so I decided to eliminate it.
The second image featured two starfish, but they appeared too large and drew too much attention.
The third image was perfect for the selection. When I applied the type design to it, the text was visible, and the overall look conveyed a storytelling feel.

2. PROCESS OF FIRST MOVIE POSTER

The tagline was created based on the starfish, adding a sense of storytelling that complements the 'movie' feel.

Fig E2.21 attempt 1, Week 3 (10/05/2024)

Instead of keeping the title in 2D, I decided to add some 3D effects. This choice complements the theme of bubbles by giving the title a bubbly, dynamic look.

Fig E2.22 attempt 2, Week 3 (10/05/2024)

I found that the title didn't stand out enough, even though the overall look was quite good. So, I used the color picker to match the color of the orange starfish. Now, the title stands out and grabs the viewers' attention while maintaining the color theme.

Fig E2.23 attempt 3, Week 3 (10/05/2024)

2. PROCESS OF SECOND MOVIE POSTER

After the feedback session, it was noted that the movie poster was good overall in terms of color selection and meeting the task requirements, just that the tagline could be less closer to the title and smaller, lesser shadow on title. However, the selected image drew attention to the starfish instead of the bubbles. Therefore, I need to select another image that focuses solely on bubbles.

Initially, the title was white and didn't stand out because the seashore foam was also white. So, I decided to use a different color from the image, choosing the blue from the edge of the seashore. To enhance the color, I applied a gradient that combined both colors. Surprisingly, the gradient effect resembled the colors of the seashore, enhancing the overall look.

Fig E2.24 adding gradient, Week 4 (13/05/2024)

Fig E2.25 applying inner glow— soft light, Week 4 (13/05/2024)

Fig E2.26 Final Exercise 2: Type & Play (Type and Image) JPEG, Week 4 (13/05/2024)

Fig E2.27 Final Exercise 2: Type & Play (Type and Image) PDF, Week 4 (13/05/2024)

FEEDBACK

WEEK 1

General Feedback

refer to the lecture playlist for tutorials
complete e-portfolio nicely(must include process, very important!)
take the tasks seriously and put in effort
familiarize with the 10 typefaces provided
refer to best practices in exemplary works

Specific Feedback

no feedback given

WEEK 2

General Feedback

place lecture images all together
complete all assigned task by week 3
must do further reading
focus on designing the layout applying too much elements (make sure without the elements, the design can still stand out)

Specific Feedback

Axial System: left layout looks great
Radial System: right layout is better but lacks something(minimize space)
Random System: acceptable, could be better
Grid, Modular: correct
Bilateral: choose which is preferred

WEEK 3

General Feedback

evaluate your work for exercise 1 and 2
complete all the exercises and lecture notes

Specific Feedback

add weight to letters
make sure letters are consistent, height and width
decide if want to keep the round patterns in letter, if yes, add them into the other letters to maintain a whole
consider making the end of the letters appear more balanced? but in this case its not that important. however it would be good to practice this now, for future tasks

WEEK 4

General Feedback

focus on the learning process
chase learning not marks
in advance typography, think by yourself on what's good or bad in your design
have your own ideas and good statements to support your own design

Specific Feedback

(because i used foam image) retained bubble elements in the letterform, as a result, there is the elements
starfish in the image is very strong in the center, good decision that the colours of starfish was used in the letterform
but by doing so, two things happen:
1: made as prominent 2: unfortunately, looking like the focus is shifted to the starfish(not related the foam)
suggestion: its fine the way it is, but the shadows could be lighter, to maintain same colour as poster; good integration doesn't make it too different from the poster
alternatively, change an image that focuses more on just bubbles
tagline might be too close
texts can be smaller

REFLECTION

Experience

Engaging with eight design systems in InDesign—Axial, Radial, Dilatational, Random, Grid, Modular, Transitional, and Bilateral—was challenging for me. I realized that I need more practice and reading to fully understand how to design within certain systems. For Type & Play, extracting and refining letterforms from images of bubbles involved a meticulous process, from initial sketches on my iPad to digitizing in Illustrator, aiming for a balance between elegance and readability. I initially disliked the process and was close to changing the image, but as I patiently adjusted the types, I began to see potential in the design. Creating the movie poster involved selecting and refining images to enhance the type design, iterating on feedback to ensure the type stood out while maintaining visual harmony. The second attempt indeed looked better, and I was pleased with the outcome, especially how the gradient and effect of the title matched the seashore's color, making it look visually appealing.

Observations

Through the task, I learnt that different typographic systems uniquely affect visual hierarchy and readability. Structured systems like Axial and Grid provide clarity, while Random and Radial offer creative freedom. Extracting letterforms from natural images required precision and patience, emphasizing the value of iterative refinement. Creating the movie poster highlighted the impact of color choices and the importance of visual harmony. Feedback played a crucial role in improving the design.

Findings

Each typographic system serves distinct design purposes, with structured systems ensuring clarity and fluid systems encouraging creativity. Natural elements can inspire type design but need careful refinement for readability. Custom typefaces enhance thematic expression and visual identity. The movie poster project demonstrated the power of color and gradients in creating visual appeal. Overall, adaptability, attention to detail, and iterative design are key to effective outcomes.

FURTHER READING

Week 1:

Fig FR1 Typographic Systems by Kimberly Elam

Typographic Systems by Kimberly Elam is a book that offers a wonderful insight into typographic systems. By reading it, readers can gain a deeper understanding of the meaning, design, and purposes of the eight typographic systems. The book provides excellent images and samples, and it discusses the composition and placement of content to create visually appealing outcomes. Students, as readers, can both acquire knowledge and apply it in their own work.

Week 2:

Article

The article delves into the creation of the typographic task called Type & Play. It outlines the steps involved, such as finding an image with distinct features, deconstructing it, identifying letterforms, extracting them, establishing a reference, refining shapes, ensuring consistency, deliberating on characteristic retention, and simplifying as needed. The article also showcases samples of student work, providing readers with inspiring examples to reference.

Week 3:

Fig FR3 I.D.E.A.S Computer Typography Basics

"I.D.E.A.S Computer Typography Basics" teaches the fundamentals of typography, including type anatomy, classification, history, and the evolution of digital typography. It covers the type design process, practical advice for using typefaces, and addresses legibility, readability, and typographic impact. Contemporary issues like accessibility are explored, with examples and case studies. Ideal for beginners and advanced users, it helps enhance typographic skills.

QUICK LINKS

TASK 1: EXERCISES

TASK 2: KEY FRAME & COLLATERAL

TASK 3: EXPLORATION & APPLICATION

FINAL COMPILATION & REFLECTION