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Advanced Typography - Task 1/ Exercises

21/04/25 - 14/05/25 (Week 1 - Week 4)
Anggia Tsani Rachmadiyanti, (0368487)
Advanced Typography GCD61004 / Bachelor in Design (Hons) in Creative Media / Taylor's University
Task 1 / Exercises : Typographic Systems & Type Play (20%)


 LECTURE NOTES 


 Lecture 1: AdTypo_1_Typographic System 

In the first lecture, Mr.Vinod introduced us to 8 variations of Typography System:
  • Axial System - Text on the left or right of the axis/Multiple axis can be used in real-life
  • Radial System - Elements are extended from a point of focus (can be multiple points)
  • Dilational System - Elements are expanded from the center in a circular manner
  • Random System - No specific pattern or relationship between elements
  • Grid System - A vertical and horizontal division of grids
  • Modular System - Series of non-objective elements that are constructed in a standardized unit
  • Transitional System - Informal system of layered banding
  • Bilateral System - All text are arranged symmetrically
(Fig. 1) 8 Major Typographical Elements


Typographical organisation are dependent on communication, and it is critical that designers prioritise communication over the form's other requirements, such as hierarchy, order of reading, readability, and contrast.

It is important to know that typography not only plays a reading role, but also a visual role.


 Lecture 2: AdTypo_2_Typographic Composition 

  • Here sir talked about how most design principles are better in imagery. They are harder to translate to text, but some are easier to translate to text than others. 
Principles of Design Composition:
  • Emphasis
  • Isolation
  • Repetition
  • Symmetry & Asymmetry
  • Alignment
  • Perspective
Rule of Thirds:
  • Suggests that a frame/ space can be divided into 3 columns and 3 rows in which the intersecting lines are used to guide where the interesting point should be placed.
  • We can choose one point to become the main focal point of the layout.
(Fig. 2.1) Example of Rule of Thirds from Week 2 Lecture

(Fig. 2.2) from https://images.app.goo.gl/JMqNkTSUPTwVKt2JA

Typographic Systems:
  • Out of all 8 systems, the grid system is mostly used which is derived from the grided compositional structure of letterpress. The most used is the grid system because it is extremely versatile. It is also known as the Swiss (Modernist) style typography in modern days.
  • But in the modernist era, asymmetry, dilatational, radial, and repetition began to get popular
(Fig. 2.3) Example of  random and modular typo poster - Paula Scher

Other Models / Systems:

Environmental Grid: Exploration of an existing structure and numerous structures combined. For example, arranging our text layout based on real-life structures like buildings.

(Fig. 2.4) Example of using real-life image for text layout - Brenda McMannus


Form and Movement: Exploration of existing Grid systems to create something unique— by dispelling the serious surroundings of the application of grid systems and to see the turning pages in a book as a slowed-down animation. The placement of a form on a page over many pages creates movement.

(Fig. 2.5) Grid Systems example from lecture week 2



 Lecture 3: AdTypo_3_Context&Creativity 

Handwriting:
  • First mechanically produced letterforms were designed to directly imitate handwriting. The shape and line of hand-drawn letterforms are influenced by the tools and materials used to make them.
  • Materials to make them are sharpened bones, charcoal, sticks, plant stems, brushes, feather and steel pens
(Fig. 3.1) Evolution of the Latin Alphabet, Week 3


(Fig. 3.2) Brahmi Script, week 3


(Fig. 3.3) Chinese Script Evolution, week 3


(Fig. 3.4) Middle Eastern Evolution, week 3


Why is handwriting important? 
  • Important to learn because all digitized handwriting is derived from actual handwriting
  • Programmers and type Designers
  • More software giants(google) are producing vernacular script
  • More vanacular and ‘multi-script’ typeface are being produced to cater to situation where written matter is communicated in vernacular script or vernacular and Latin script.
  • Multiscript is a script that combines English (Latin) letters and Vernacular letters.

(Fig. 3.5) Baloo font with a blend of latin and vernacular fonts

Local Movement and Individuals 
  • Creativity and inspiration should begin by observing our surroundings and exploring of our collective histories.
  • It's important for designers to look inward and examine the histories, civilizations, and cultural communities and bring these past developments into the future.
  • "Looking behind gives you context. Looking forward gives you opportunities." — Mr Vinod


 Lecture 4: AdTypo_4_Designing_Type 

  • 2 reasons for designing a typeface by Xavier Dupre (2007): 
    • Type design carries a social responsibility so one must continue to improve its legibility
    • Type design is a form of artistic expression 
  • Mr Vinod also recommended us to read the book '21 Century Type Remake' for further understanding of type designs.

1) Frutiger by Adrian Frutiger


(Fig. 4.1) Frutiger
  • Designed by Adrian Frutiger in 1968 (Swiss type designer), specifically for use in the French airport.
  • His Type includes Univers and Frutiger
  • The purpose is to create a clean, distinctive and legible typeface that is easy to see from both close up and far away.
  • Consideration / Limitations: Letterforms needed to be recognized even in poor lightings, or when the reader was moving quickly past the sign.

2) Verdana by Matthew Carter

(Fig. 4.2) Verdana

  • Designed by Matthew Carter to address specific technical challenges.
  • Verdana was created by him and was made with Pixels
  • The purpose is to be extremely legible even at very small sizes on the screen due in part to the popularity of the internet and electronic devices.
  • Consideration / Limitations: Verdana exhibits characteristics derived from the pixel rather than the pen, the brush or the chisel.

3) Johnston Sans by Edward Johnston

(Fig. 4.3) Johnston Sans

  • Designed by Edward Johnston in 1916 with a request for bold simplicity.
  • The purpose is to be used as a new typeface in posters and signage on London's Underground Railway.
  • Used Roman capitals which had a lot of history in traditional calligraphy but was also simple and mordent enough for that time
  • He got rid of the serifs in the Roman capitals and refined it to the current underground typeface.
General Process of Type Design:

1. Research
2. Sketching 
3. Digitization
4. Testing
5. Deploy

1. Research
  • To understand type history, type anatomy, type conventions, terminologies, sidebearing, metrics, hinting, etc
  • It is important to determine the type's purpose or what it would be used for
  • We should examine existing fonts that are presently being used for inspiration/ ideas/ reference/ context/ usage patterns and more.
2. Sketching
  • Some designers sketch traditionally (brushes, pens, ink and paper) and proceed to digitization by scanning.
  • Some use digital tool sets, however this can impede the natural movement of hand strokes at some times.
3. Digitization
  • In most times, FontLab and Glyphs software are used.
  • Some also used Adobe Illustrator to craft the letterforms.
  • Counter form should also be given great attention in this stage as the readability of the typeface is heavily dependent on it and is important.
4. Testing
  • An important component in the design thinking process.
  • The results of the testing are part of the process of refining and correcting. Prototyping is one of them. 
  • Readability and legibility of the typeface become an important consideration depending on the typeface category ( display type/text type)
5. Deploy
  • There are always teething problems that do not come to the fore during the prototype and testing stages.
  • The rigour of the testing is important so that teething problems remain small and minor.

Typeface Construction:

(Fig. 4.4) Construction of grid for the Roman Capital using 8*8 cells, Week 4

Roman Capital
  • The grid consists of a square with a circle inside that touches the lines of the square in four places. 
  • A rectangle with 3 quarters the size of the square is also included within the centre of the square.
  • Using grids with circular forms can facilitate the construction of letterforms and is also a possible method to build/ design your letterform.

Construction and considerations:

(Fig. 4.5) Classification according to form and construction, Week 4

  • The 26 characters of the alphabet can be arranged into groups depending on their form and construction, whereby a distinction is made between a group for the capitals and a group for lowercase letters. 
  • A lot of different forms and constructions must be taken into account when designing a new type. Important visual correction is the extrusion of curved forms past the baseline and cap line, which also applies to vertical alignment between curved and straight forms.

(Fig. 4.6) Example of fitting, Week 4

  • Visual correction is used to correct the distance between letters. It is not possible to place letters next to each other with equal spacing between times, and they must be altered into a uniform visual white space; also known as 'fitting' the type.

Context & Creativity:
  • Designers need / motivation of most typefaces can be intrinsic and extrinsic.
Intrinsic - The designer seeks out a form that comes close to fulfilling a desire. The designer may also identifies a gap/ problem and endeavours to solve it through the design of the typeface. 

Extrinsic - When the designer has been commissioned or the student-designer was given a task to complete that involves designing a typeface.

  • For a designer to be successful, we need to be invested in the idea and understand the requirements, limitations, use, and stakeholders.

 Lecture 5: AdTypo_5_Preception And Organization 

  • Perception in typography
    • deals with the visual navigation and interpretation of the reader via contrast, form and organisation of the content. Content can be textual, visual, graphical or in the form of colour. However, our focus today is on typography.
(Fig. 5.1) Methods of Contrast by Rudi Ruegg, Week 5

It is important to create contrast to create distinction or differentiation between information.


7 Types of Contrast by Carl Dair:

(Fig. 5.2) Methods of Contrast by Carl Dair Week 5


1. Contrast / Size

(Fig. 5.3) Contrast in Size, Week 5
  • A contrast of size provides a point to which the reader's attention is drawn.
  • The most common use of size is in making a title/ heading noticeably bigger compared to the body text.

2. Contrast / Weight

(Fig. 5.4) Contrast in Weight, Week 5
  • Describes how bold type can stand out in the middle of the lighter type of the same style.
  • Using rules/spots/ squares also provides a heavy area for an emphasized point of visual attraction.

3. Contrast / Form

(Fig. 5.5) Contrast in Form, Week 5
    • Using the different weights to create contrast is an important factor when dealing with information.
    • A distinction between a capital letter and its lowercase equivalent, or a Roman letter and its italic variant, condensed/ expanded versions.

    4. Contrast / Structure

    (Fig. 5.6) Contrast in Structure, Week 5
    • The different letterforms of different kinds of typefaces; monoline sans serif and traditional serif/ italic and blackletter.

    5. Contrast / Texture

    (Fig. 5.7) Contrast in Texture, Week 5

    (Fig. 5.8) Example of Contrast in Texture, Week 5

    • Created by putting the contrasts of size, weight, form, and structure together.
    • Texture refers to the way the lines of type look as a whole up close and from a distance.

    6. Contrast / Direction

    (Fig. 5.9) Contrast in Direction, Week 5
    • Opposition between vertical and horizontal, and the angles in between. 
    • Turning one word on its side can create a dramatic effect, text blocks also have their vertical/ horizontal aspects of direction.
    • Mixing wide blocks of long lines with tail columns of short lines can also create a contrast.

    7. Contrast / Colour

    (Fig. 5.10) Contrast in Colour, Week 5
      (Fig. 5.11) Example poster of contrast in colour, Week 5

      • The use of colour suggests that a second colour is often less emphatic in values compared to plain black on white.
      • It is crucial to give thought to which element needs to be emphasized and to pay attention to the tonal values of colours that are used.
       Form 

      (Fig. 5.12) Form, week 5 lecture

      • Form refers to the overall look and feel of the elements that make up the typographic composition.
      • It plays a role in visual impact and first impressions.
      • A good form of typography tends to be visually intriguing to the eye which leads the eye from point to point, entertaining the mind and often memorable.
      The word typography originated from the Greek words 'typos' (form) and 'graphis' (writing), which means to write in accordance with the form.

      Typography can be seen as having 2 functions: 
      • To represent a concept
      • To represent a concept in a visual form
      Displaying type as a form provides a sense of letterforms' unique characteristics and abstract presentation. Below are some examples of great combinations of typographical forms:

      (Fig. 5.13) Example^ from Week 5 lecture

      The interplay of meaning and form brings a balanced harmony both in terms of function and expression. When a typeface is perceived as a form, it no longer reads as a letter due to the manipulation of its letterform by distortion, texture, enlargement, and being extruded into a space. 

      Here are some examples of how form and communication come together:

      (Fig. 5.14) Example of form & communication, week 5 Lecture

      Organization / Gestalt
      • Gestalt is a German word meaning the way a thing has been "placed" or "put together".
      • An attempt to understand the laws behind the ability to acquire and maintain meaningful perceptions.
      • A Gestalt psychologist, Max Wertheimer developed a number of laws that predict how perceptual grouping occurs under a variety of circumstances.
      • Emphasizes that the whole of anything is greater than its parts—based on the idea that the things we experience are a unified whole.
      Perceptual Organization / Groupings

      (Fig. 5.15) Gestalt Laws, week 5 Lecture

      1. Laws of Similarity
        • States that elements that are similar to each other tend to be perceived as a unified group. Similarity can refer to any number of features, including colour, orientation, size, or indeed motion.
      2. Laws of Proximity
        • State elements that are close together tend to be perceived as a unified group. Items close to each other tend to be grouped together, whereas items further apart are less likely to be grouped together.
      3. Laws of Closure
        • Refers to the mind’s tendency to see complete figures or forms even if a picture is incomplete, partially hidden by other objects, or if part of the information needed to make a complete picture in our minds is missing.
      4. Laws or Continuation
        • Holds that humans tend to perceive each of two or more objects as a different, singular, and uninterrupted object even when they intersect. The alignment of the objects or forms plays a major role in this principle.
      5. Laws of Symmetry
        • The mind naturally perceives objects as symmetrical, creating a balanced and pleasing visual structure.
      6. Laws of Simplicity (Praganz)
        • core concept in Gestalt psychology
        • human mind tends to simplify complex information into the most basic and recognizable forms.
        • This principle is about our preference for clarity, order, and ease of understanding when perceiving visual or conceptual information.

       INSTRUCTIONS 



      Task 1: Exercises (20%)

      The exercises are as follows: 

      (Part 1) - 8 Typographic Systems (1 Week) 

      • Axial, Radial, Dilatational, Random, Grid, Modular, Transitional and Bilateral (Square Poster done on InDesign)

      (Part 2) - Type & Play Part 1 & 2 (2 Week) 

      • We had to extract at least 5 letterforms from a chosen photo of an object of our choice. Then, we have to dissect and trace rough letterforms we find on the image and then refine those letterforms to a proper consistent structure, using a reference font as our guide. Making sure that the letterforms has characteristics related to the object we chose.
      • After that, we had to come up with a square movie poster showcasing our finished letterforms. This exercise is to help us enhance and support the interplay between the letterforms together with our chosen object/image.

      (Week 1)

      Task 1 / Exercise 1: Typographic Systems:


      - This task, we had to design 8 typographic systems poster layout (200 x 200 mm) using only Adobe InDesign square formats using the text Mr.Vinod told us to edit. We were allowed to use 1 more colour than black and white and we were only allowed to add very minimal graphical elements (line, dot, etc.). We were told to explore at least 3 layout for each system so we could get used to it.

      For the content, we were told to choose one headline out of the 3 given: 

      • All Ripped Up: Punk Influences on Design (I chose this one for mine)
      • The ABCs of Bauhaus Design Theory
      • Russian Constructivism and Graphic Design 

      Content Details: 

          The Design School,
          Taylor’s University 

          All Ripped Up: Punk Influences on 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

      SKETCHES:

      (Fig. 6.1) Week 1 rough sketches ideas - (23/4/2025)

      (Fig. 6.2) Week 1 rough sketches ideas - (23/4/2025)



      #1 Axial System Progress & Exploration :

      (Fig. 7.1) Axial system progress screenshot - Week 1 (23/4/2025)

      Here for the Axial system I tried several different positions and orientation of the axis line & I put texts on both sides of the line. I tried doing a diagonal axis with text placed along it diagonally to make it look neat and interesting. I also tested doing straight vertical axis, adding a line in the spreads. For the title, I put a big and bold font since it is the first thing you will read.

      Here are my testing spreads for axial system:


      (Fig. 7.2) 4 Axial system spread draft attempts - Week 1 (23/4/2025)




      #2 Radial System Progress & Exploration:

      (Fig. 7.3) Radial System progress screenshot - Week 1 (23/4/2025)

      For the radial system, I faced difficulties since the text has to be placed neatly along the sides of the circle's curve, following the path of the circle round shape. I tried doing several different positions and drafts for radial.

      (Fig. 7.4) Radial System progress screenshot - Week 1 (23/4/2025)

      (Fig. 7.5) 4 Radial system spread draft attempts - Week 1 (23/4/2025)

      (Fig. 7.6) EXTRA Radial system spread attempt - Week 1 (23/4/2025)




      #3 Dilatational System Progress & Exploration:

      (Fig. 7.7) Dilatational System progress screenshot - Week 1 (23/4/2025)

      I found doing the dilatational system hardest in this task as we have to play around with circles, and making sure the viewers can read the text in a curved circular motion. I used the Text on Path tool on InDesign to help me achieve the curved text.

      (Fig. 7.8) 4 Dilatational System spread draft attempts - Week 1 (23/4/2025)



      #4 Random System Progress & Exploration:

      In doing the random system design, I had fun doing this as I got to play around with various different font, orientations, free placements of the text, & more. It makes the design seem more fun and playful.

      (Fig. 7.9) 4 Random System spread draft attempts - Week 1 (23/4/2025)



      #5 Grid System Progress & Exploration:


      (Fig. 7.10) 4 Grid System spread draft attempts - Week 1 (23/4/2025)

      (Fig. 7.11) 2 Grid System spread draft attempts - Week 1 (23/4/2025)



      #6 Modular System Progress & Exploration:

      (Fig. 7.12) Modular System grid screenshot - Week 1 (23/4/2025)

      (Fig. 7.13) Modular System progress screenshot - Week 1 (23/4/2025)

      The modular system was quite interesting to do as we have to firstly make sure to divide the square grid guides equally across the spread. I added some square boxes with red/black colours as it is the colour for Taylor's Uni.


      (Fig. 7.14) 4 Modular System spread draft attempts - Week 1 (23/4/2025)



      #7 Transitional System Progress & Exploration:

      As a person who really loves visual hierarchy in texts, I had fun doing the transitional system as it was quite easy for me. Visual hierarchy in design is important so here I placed the most important text on top first such as the Title "All Ripped Up" and only then followed by the details and dates, names & timings. I tried playing around with straight texts and curvy flowy styles.

      (Fig. 7.15) 4 Transitional System spread draft attempts - Week 1 (23/4/2025)



      #8 Bilateral System Progress & Exploration:

      (Fig. 7.16) Bilateral System progress screenshot - Week 1 (23/4/2025)

      Here, I placed a guide vertically in the middle of the page to create balanced proportions for the text. I fully used centre alignment for all the texts here as it must look formal and balanced...

      (Fig. 7.17) 4 Bilateral System spread draft attempts - Week 1 (23/4/2025)



       FINAL TYPOGRAPHIC SYSTEM TASK 1 / EXCERCISE 1:  


      (Fig. 8.1) Final Axial System - JPEG, Week 1 (26/4/2025)


      (Fig. 8.2) Final Radial System - JPEG, Week 1 (26/4/2025)


      (Fig. 8.3) Final Dilatational System - JPEG, Week 1 (26/4/2025)


      (Fig. 8.4) Final Random System - JPEG, Week 1 (26/4/2025)


      (Fig. 8.5) Final Grid System - JPEG, Week 1 (26/4/2025)


      (Fig. 8.6) Final Modular System - JPEG, Week 1 (26/4/2025)


      (Fig. 8.7) Final Transitional System - JPEG, Week 1 (26/4/2025)


      (Fig. 8.8) Final Bilateral System - JPEG, Week 1 (26/4/2025)


      (Fig. 8.9) Final 8 Bilateral System - JPEG compiled, Week 1 (26/4/2025)


      TYPEFACES USED IN THIS TASK:
      • Univers LT Std
      • Bembo Std
      • Bodoni Std
      • Serifa Std
      • Janson Text LT Std
      • Futura Std

      (Fig. 9.1) Final Task 1 - Exercise 1: 8 Typographic Systems - PDF, Week 1 (26/4/2025)


       (Fig. 9.2) Final Task 1 - Exercise 1: Typographic Systems Grids & Guides - PDF, Week 1 (26/4/2025)



      (Week 2)

      Task 1 / Exercise 2: Type & Play: Finding type


      - For this task, we had to select an image of a man-made object or something from nature (Human, landscape, leaf, plant, bush, clouds, hill, river, etc).

      - After that, we had to analyse, dissect and identify potential letterforms within the image. The forms would be explored and ultimately digitized. We had to minimum create 5 different letterforms extracted from the image.

      REFERENCE IMAGE:

      (Fig. 10.1) Reference Picture of Braided River Tributary, Week 2 (30/4/2025)
      Click to view Pic Source


      - I decided to choose this photograph of a top view of a river braided tributary as I thought they have a really interesting flow of lines and branches connecting to each other.


      Tracing & Extracting Letters:

      (Fig. 10.2) Tracing letterforms screenshot, Week 2 (30/4/2025)


      (Fig. 10.3) Tracing letterforms screenshot, Week 2 (30/4/2025)

      I used the pen tool here and curve pen to do the tracing. I lowered the opacity on the actual image for a better view.


      Reference Font:

      (Fig. 10.4) Gaythri Reference font, Week 2 (30/4/2025)


      (Fig. 10.5) Extracting letterforms screenshot, Week 2 (30/4/2025)



      EVOLUTION & REFINING PROCESS:


      (Fig. 11.1) Pen tool process screenshot, Week 2 (30/4/2025)


      (Fig. 11.2) placing the letters on the baselines, Week 2 (30/4/2025)

      (Fig. 11.3) Letter F, Week 2 (30/4/2025)

      (Fig. 11.4) Letter L, Week 2 (30/4/2025)

      (Fig. 11.5) Letter O, Week 2 (30/4/2025)


      (Fig. 11.6) Letter W, Week 2 (30/4/2025)



      (Fig. 11.7) Letter A process, Week 2 (30/4/2025)


      (Fig. 11.8) Letter A, Week 2 (30/4/2025)


      (Fig. 11.9) Letter E, Week 2 (30/4/2025)


      (Fig. 11.10) Letter Y, Week 2 (30/4/2025)


      (Fig. 11.11) Letterforms evolution process and aligning with reference font, Week 2 (30/4/2025)


      (Fig. 11.12) FLOWAEY Letterforms aligning with reference font, Week 2 (30/4/2025)


      (Fig. 11.13) FLOWAEY Letterforms Full Evolution, Week 2 (2/4/2025)





       FINAL COMPILATION 

      TYPE & PLAY: EXERCISE 2 / PART 1:  

      (Fig. 12.1) Image extraction, Week 3 (8/5/2025)


      (Fig. 12.2) overall refining process (baseline), Week 3 (8/5/2025)


      (Fig. 12.3) Final JPEG Letterforms, Week 3 (8/5/2025)


      (Fig. 12.4) Extracted Letterforms (baseline), Week 3 (8/5/2025)


      (Fig. 12.5) Reference font (baseline), Week 3 (8/5/2025)


      (Fig. 12.6) Final Letterform (baseline), Week 3 (8/5/2025)


      (Fig. 12.7) Original extraction (top) and final letterform (bottom) comparison, Week 3 (8/5/2025)


      (Fig. 12.8) Compiled Process board, Week 3 (8/5/2025)


      (Fig. 12.9) Exercise 2 Part 1 PDF Compilation, Week 3 (8/5/2025)




      (Week 3 - Movie Poster)

      For this task, we had to make a movie poster showcasing our final letterforms with the background image as the object we chose for reference. 

      Here were some of my inspirations for the movie poster:

      (Fig. 13.1) Movie Poster Inspirations/Research, Week 3 (7/5/2025)

      (Fig. 13.2) Chosen background image for poster, Week 3 (7/5/2025)
      credits: https://pin.it/5lesFZTa1


      (Fig. 13.3) process of poster design in Illustrator, Week 3 (8/5/2025)

      Here I tried positioning the texts in different ways to see which fits more better and I made sure that the FLOWY title is big enough for the poster. I used image trace to put the PNG of the logos and credits/producer texts at the bottom from the internet.


      (Fig. 13.4) Overlapping process in Illustrator, Week 3 (8/5/2025)

      (Fig. 13.5) Overlapping process in Illustrator, Week 3 (8/5/2025)

      I wanted the title to blend and interact with the river background abit so I decided to overlap some of the river branches on top of the letter. 

       
      (Fig. 13.6) 3D stylize effects in Illustrator, Week 3 (8/5/2025)

      I used the 3d stylize effect on Illustrator to create a reflection effect on the letterforms to give a "watery" shiny reflection effect since it's about the river



       FINAL MOVIE POSTER:

      (Fig. 13.7) FINAL Movie Poster,  JPEG, Week 3 (8/5/2025)


      (Fig. 13.8) FINAL Movie Poster,  PDF, Week 3 (8/5/2025)




      FEEDBACKS


      Week 1:
      - General Feedback: Mr Vinod introduced us to the module information booklet, rules and instructions. He also briefed us our exercises task which is to start doing the 8 typographic systems in InDesign by week2. We also watched the lecture in class.
      - Specific Feedback: No specific feedback yet.


      Week 2:
      - General Feedback: Margins are the most important first thing to do when we make a layout of a design. Sir told us that that the body text size range should be 8-12 pts. Make sure every text and elements is inside the margin except random system.
      - Specific Feedback: For my task 1 exercise 1 work on typography systems, mr Vinod told me that my transitional system needs to be more balanced and my random system needs to be more messy and random. He told me to minimise the amount of shapes and graphics too.


      Week 3:
      - General Feedback: Look for repetitive/similar features and patterns in the object we are looking at. Don't put a point that never ends in the letterforms, makesure there's a cut so it looks more refined. Using geometric shapes at first makes a good consistent letterform.
      - Specific Feedback: Mr. Vinod said my work was good and I could move on doing the poster. He told me to make the title blend a bit with the background image if possible.


      Week 4:
      - General Feedback: When doing text on a poster, try to not make the text colour flat white or plain, makesure it's abit blended or have some depth/shadows and feels complete together with the background we are trying to convey. Mr. Vinod ended week 4 class by giving us a mentimeter to fill up, reflecting on what we feel after all these 4 weeks. Towards the end, he briefed us on the next task, which is to create a wordmark based on our own self and our name. He explained the difference between wordmark and monogram. For the one we have to make (wordmark), it must include at least 4 letterforms. Wordmarks must look unique but reflects who you are.
      - Specific Feedback: Mr. Vinod said my final movie poster work was good and ok.


      OVERALL TASK 1 REFLECTIONS:


      1) Experience 
      • As for a start to this module, these exercises 1 and 2 was a lot of fun as I had a lot of time exploring many new things. I gained a lot of knowledge from the lectures as well as, firstly, creating the 8 different typographic systems styles which I didn’t know of before. Secondly, I found it really interesting doing the letterforms extraction from a specific object photo. I got to learn more on how to implement and put personalities & characteristics to a letterforms so that it relates to what message we are delivering. By comprehending the inherent qualities of its shape, Exercise 2 assisted me in concentrating on the link and interaction between the letterform and the image rather than initially examining the visually appealing part. Overall, these exercises have definitely increased my knowledge in typography. It was a really enjoyable process, especially when I got to further improve on my process through the feedback in class as we got to learn from each other’s mistakes as well. However, I still need to explore and practise more on improving my outcomes and be more creative in my work. I could’ve done more experiments, drafts and attempts to improve on my work quality. Having done these tasks, I hope to include everything I've learned here on the upcoming tasks later on.
      2) Observations - 
      • There were many things I’ve observed throughout these first exercises. In class, I learnt new things especially during feedback sessions which were very helpful. I was able to further improve my work and realize my small mistakes by learning from my other classmates' mistakes as well. Something I learned from the first exercise was that margins are the most important thing in typography when we first start a layout. From the 2nd exercise I learned that when making letterforms, it’s good to try and look for repetitive/similar features and patterns in the object we are looking at. Using geometric shapes at first stage also makes a good consistent letterform. I learned that we can give personalities to letterforms by studying the characteristics/shapes of an object/image.
      • Furthermore, I realise that I need to stay out of my comfort zone and be brave to try doing new things, not being scared whether im doing it wrong or not because in the end we are all learning. I remembered a very important and meaningful things sir said to us which was regarding feedbacks: he said that we must always utilise the knowledge we have and exercising our own judgement when developing our works, and NOT to rely on what the teacher likes or not. I have to be more confident and independent in creating and correcting my work. Creativity is a leap of faith and we have to learn to take risks when making corrections in our works.
        3) Findings - 
        • I gained wider perspective, understadning and expertise about the exercises' subjects, including new material and terminology, from Mr. Vinod's lecture videos.  I discovered that it's beneficial to have this information in mind when coming up with ideas because it gives me a clearer sense of what I need to do for a particular topic.




        FURTHER READING...

        1) Typographic Systems by Kimberly Elam

        (Fig. 14.1) 'Typographic Systems' by Kimberly Elam (2007), Week 1

        - I read Kimberly Elam's Typographic Systems throughout the first week of this module to learn more about this week's subject. 

        I've included some notes I made while reading: 
        • A reasonably straightforward visual arrangement with increased visual attraction is the outcome of the application of asymmetry.
        • Utilising asymmetrical structures improves viewers' visual interest since radial structures are highly symmetrical.
        • Through the composition's internal axes, alignment can be used to establish order.  Compositions can be made simpler by grouping text arcs.
        - Overall, this book was extremely educational and thorough. It was simple and concise and it touched on great points of type on the page (or layout).


        2) Kreatif Beats Article:  https://kreatifbeats.com/2023/08/06/finding-type-a-novel-typographic-exercise/

        (Fig. 14.2) "Finding Type" by Mr. Vinod Nair (2023), Week 2


        Here in Mr.Vinod's blog I learnt that during our refining process, we must makesure to not make the new letterforms very different than the reference font. It must be related to the reference font we chose as well as changing some parts of it using the shape of the object/image we chose, so it should be just in the middle. 

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