LIANG LIWEN | 0369625 | Bachelors of
Design (Honours) in Creative Media
25/9/2024-11/10/2024(Week 01-Week
03)
LECTURES
Week 1: Advanced Typography_Typographic Systems
"All design is based on a structural system".
According to Elam, 2007, there are eight major variations with an infinite
number of permutations. These are the eight major variations:
- Axial
- Radial
- Dilatational
- Random
- Grid
- Modular
- Transitional
- Bilateral
1. Axial
- Definition: All elements are aligned around a single axis, usually
vertical or horizontal lines.
2. Radial
- Definition: All layout elements radiate outward from a common central
point.
3. Dilatational
- Definition: Text and figures are arranged along a spiral or circular
path, extending outward from the central point.
4. Random
- Definition: Elements do not follow any particular law or pattern in
terms of location, size, and orientation.
5. Grid
- Definition: Using a predefined grid system as the basis for the layout,
elements are arranged within intersections or cells of the grid.
6. Modular
- Definition: The layout consists of multiple identical or similar
rectangular modules, each of which can be arranged and combined
independently.
7. Transitional
- Definition: Elements make a gradual transition from one area to another,
often using color, size, or position changes to guide reading.
8. Bilateral
- Definition: Page elements are arranged symmetrically along a central
line, with content on both sides symmetrical or complementary.
WEEK2 : TYPOGRAPHY COMPOSITION
Some of the principles of design composition
-emphasis
-isolation
-repetition
-symmetry
-asymmetry
-alignment
-perspective
The rule of the third
WEEK 3: CONTEXT & CREATIVITY
The Phoenicians developed a phonetic alphabet of 22 letters
based on the Egyptian consonant system. This innovative
writing system was later adopted by the Greeks, and the
necessary vowels were added to complete it. Although words
were originally arranged line by line, the reading direction
was not fixed. Therefore, the Greeks introduced boustrophedon
(writing), where one line is read from left to right and the
next line switches from right to left.
Over time, the Greek alphabet and the way it is written
evolved further. By the 4th century, the Roman alphabet had
become more rounded, with curvy forms of letters with fewer
strokes, making writing faster and more concise. In Britain,
the Roman alphabet also evolved into a more oblique and
compact form.
However, with the change of English and Irish capital letters,
the continental writing style gradually became irregular. At
the same time, the practice of printing began in East Asia.
China, Korea and Japan not only used woodcut printing, but
also experimented with movable type printing in different
ways.
WEEK 4 : DESIGNING TYPE
1. Adrian Frutiger
- Main works: Univers font, Frutiger font
- Design goal: To create a clear, unique, easy-to-read font that
can be clearly seen at a distance as well as at close range.
- Famous fonts:
Univers: A versatile sans-serif font widely used in
publications, advertising and signage systems.
- Frutiger: Designed for airports and road signs, emphasizing
readability in a variety of conditions.
2. Matthew Carter
- Main works: Verdana (commissioned by Microsoft), Georgia font
- Verdana's purpose: clear and easy to read in small sizes,
especially for screen displays.
Limitations of Verdana: Due to its pixel font design, it is
often confused with some lowercase letters (such as 'i' and
'l').
3. Edward Johnson
- Main work: Johnston Sans font
- Designed to provide London Underground with a new font for its
signal and poster system, ensuring that passengers can clearly
identify information in a fast-moving environment.
Font design process
1. Research phase
- Historical background: Study the design principles and
applications of classic typefaces in history.
- Anatomy: Understand the type anatomy and recognize the various
parts of the letter.
- Type conventions and terminology: Familiar with the technical
terms and industry standards of typeface design.
- Side bearings, measurements and hints: Master spacing, size
and shape between letters.
- Type purpose: Specify the purpose for which the font is
designed (e.g. for display, printing, or identification).
- Existing Font Check: Analyze existing font designs to identify
strengths and weaknesses.
2. Sketch stage
- Make a preliminary sketch on paper or a digital tablet to
capture the basic form and style of the font.
3. Digital phase
- Use professional font design software such as FontLab or
Glyphs to convert sketches into digital format.
- Further refinement and adjustment to ensure the consistency
and coordination of each letter and symbol.
4. Test phase
Prototyping: Create a preliminary digital prototype of the font.
- Test and improve: Test fonts under various conditions to
improve their readability and legibility.
- For example, adjusting character spacing and optimizing font
design to suit different display media.
5. Deployment phase
- Publish and deploy the final version of the font for use in
real-world applications such as web design, printing and signage
systems.
INSTRUTIONS
Task 1/ Exercises 1: Typographic System
• Axial, Radial, Dilatational, Random, Grid, Modular,Transitional and
Bilateral
Export each system 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).Please note, when designing the systems in InDesign the document size
is 200mm x 200mm
Final Submission ：
Final Random system
Final Axial
system
Final Grid system
Final Transitional system
Final Dilatational system
Final radial
system
Final Bilateral system
Task 1/ Exercises 2: Type Play
For Task 1, Exercise 2, "Type & Play" exercise, which involves
selecting an image of a simple man-made object or natural element.
The objective is to dissect these images to identify and extract
potential letterforms. These letterforms will then be analysed,
refined, and ultimately digitised in Adobe Illustrator . This
iterative process aims to evolve the forms from basic
representations to more sophisticated designs that reflect their
origins.
Final Submission should consist of:
- Image
- Extracted Letterforms on baseline (illustrator)
- Reference font
- Final letterforms on baseline
- Original extraction and final letterforms next to
each other
Evolutionary process :
Letterforms :
letterforms on baseline :
Exercise 2 Part 1 PDF Compilation
EXERCISE 2: Finding Type ( Type & Play )
1. Complete Exercise 1 and 2;
rework, refine, review, re-look, re-do whatever is
needed in the two exercise and
complete it before week 4's class. Use the time judiciously.
2.Size of poster is 1024px x 1024px (Export JPG 300ppi)
Final Outcome of the Poster in PDF
Feedback:
WEEK1:
In the first week, the teacher mainly introduced the content and
requirements of this semester's courses to us. We have a detailed
understanding of the learning objectives and focus of each module, and
have clarified the structure and timing of the course. In addition, the
teacher explained the grading criteria for assignments and tests, and
the importance of class participation.
WEEK2:
General Feedback :The teacher also checked our work, carefully reviewed
each person's layout, and gave specific feedback and suggestions.
Specific Feedback :It helps us to realise our shortcomings in
typesetting and formatting, and also provides the direction for our
future work to improve.
WEEK3:
General Feedback :The teacher made a detailed assessment of my work in
this course and pointed out some areas for improvement. The teacher
specifically mentioned that my font was not consistent in some parts,
and the line spacing was somewhat uneven.
Specific Feedback :Based on the teacher's feedback, I double-checked
every letter in the assignment to make sure they were the same size and
style. At the same time, I adjusted the line spacing to make the overall
layout more tidy and beautiful.
WEEK4:
General Feedback :We successfully completed Task 1 of the course and started the next
project.
Specific Feedback :The second edition of the poster was finally selected and its layout
was optimize and adjusted. Through this adjustment, I discovered that
detail processing is crucial in visual communication.
REFLECTION
EXPERIENCE : In the
course of advanced typography, I continue to explore innovative and free
design methods. Different from previous courses, this time I came into contact
with eight different typesetting systems, which are not only practical, but
also full of fun, inspiring my creativity and design inspiration. Through
these systems, I began to look at design from a whole new perspective.
OBSERVATION :Mr. Vinod's feedback
played a key role in my advancement. After four weeks of learning, I became
more proficient in Adobe Illustrator and InDesign, and my efficiency was
greatly improved. In the class discussion, I benefited a lot from observing
the creative works of my classmates, and the critical communication session
stimulated my thinking and improvement motivation. I realized that typography
is not only the arrangement of elements, but also the art of how to convey
information and emotions.
FINDINGS :In the past few weeks, I have realized that only through constant
observation, practice and practice can I make my work more refined and
attractive. Continuous efforts and meticulous preparation together promote me
to achieve better results in the creative process.
FUTHER READING
Historical typeface designer
In the history of typeface design, key figures such as John Baskerville,
Pierre Simon Fournier and William Caslon made significant contributions to
printing in the 18th century.
Baskerville developed a more refined and elegant typeface style whose
design not only had aesthetic value, but also had a profound impact on
printing and typography during the Industrial Revolution. His typeface was
widely praised for its clear lines and good readability, becoming the font
of choice for many publications.
Pierre Simon Fournier is a distinguished typeface designer whose work in
typeface classification and design laid the foundation for modern typeface
design. Fournier's work emphasized the readability and applicability of
typeface, making it unique in the printing industry at the time.
Giambattista Bodoni was also an important figure in this period, and his
designs evolved from the old style to become the hallmark of modern
printing. Bodoni's typefaces are known for their contrasting lines and
classic beauty and are still revered by designers today.
Type history timeline
The timeline covers the development of typefaces, from the ancient Greek
gemstone typefaces of the 5th century BC to the formalization of Roman
capital letters, showing the evolution of typeface design. This timeline
continued into the Carolingian lowercase letters of the 8th to 11th
centuries, whose design laid the foundation for modern lowercase letters.
The advent of the Carolingian lowercase alphabet marked a major change in
writing style and provided an important reference for later typographic
design.
评论
发表评论