Advanced Typography Task 1 - Exercises: Typographic Systems & Type & Play

29/08/2022 - 05/10/2022 (Week 1 - Week 5)

WONG JUN ZHE / 0353613

Advanced Typography / B' Creative Media / Taylor's University

Task 1 / Exercises

LECTURES

Week 1 - AdTypo 1: Typographic Systems

1. Typographic Systems

Typographical organization is complex because the elements are dependent on communication in order to function + other criteria such as hierarchy, order of reading, legibility, and contrast.

The typographic systems are related to what architects term shape grammars. The typographic systems are similar that the systems has a set of rules that is unique and provides a sense of purpose that focuses and directs the decision making.

Shape grammar - a set of shape rules that apply in a step-by-step way to generate a set, or language, of designs

Eight major variations with an infinite number of permutations:

Fig. 1.1.1.1 Axial System, Week 1 (31/08/2022)

Axial System: All elements are organised to the left or right of a single axis.

Fig. 1.1.1.2 Radial System, Week 1 (31/08/2022)

Radial System: All elements are extended from a point of focus.

Fig. 1.1.1.3 Dilatational System, Week 1 (31/08/2022)

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

Fig. 1.1.1.4 Random System, Week 1 (31/08/2022)

Random System: Elements appear to have no specific pattern or relationship.

Fig. 1.1.1.5 Grid System, Week 1 (31/08/2022)

Grid System: A system of vertical and horizontal divisions.

Fig. 1.1.1.6 Transitional System, Week 1 (31/08/2022)

Transitional System: An informal system of layered banding.

Fig. 1.1.1.7 Modular System, Week 1 (31/08/2022)

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

Fig. 1.1.1.8 Bilateral System, Week 1 (31/08/2022)

Bilateral System: All text is arranged symmetrically on a single axis.

Week 2 - AdTypo 2: Typograhic Composition

1. Principles of Design Composition

Fig. 1.2.1.1 Use of Emphasis in Type

Dominant principles underpinning design composition: emphasis, isolation, repetition, symmetry and asymmetry, alignment, perspective, etc.

Said principles can be ambiguous when it comes to translating it into typographic layouts or composition.

2. The Rule of Thirds

Fig. 1.2.2.1 Rule of Thirds in Type

A photographic guide to composition taht suggests the division of a frame (space) into 3 columns and 3 rows.

Intersecting lines are used as guides to place the points of interest.

However in type, no one would realistically ever use the rule of thirds when there are better options.

3. Typograpic Systems

Fig. 1.2.3.1 Grid System "How to"

Among the 8 systems the most pragmatic and the most used system is the Grid System.

Although the Grid System may seem to be old or rigid, what stands out is its versatility and its (to some extent) modular nature, which allow an infinite number of adaptations.

Fig. 1.2.3.2 Examples of Chaos/Randomness in Typography Compositions

On the other hand, a group of younger designers began to question and challenge the 'order' element in type. Therefore, post-modernist era in Typographical systems arose, where chaos, randomness and asymmetry were explored. Legibility and readability took a step bac, but the real challenge is to combine both approaches seamlessly.

4. Other models / Systems

i. Environmental Grid

Fig. 1.2.4.1 Examples of Environmental Grid

Based on the exploration of an existing structure or numerous structures combined.

An extraction is first being carried out. Then, the designer organizes the collected information around this super-structure, which includes non-objective elements to create a unique and exciting mixture of texture and visual stimuli.

It provides context to the forms developed in the designs—context why?

That's because the system/structures were developed around key features of an environment associated to the communicators of the message.

ii. Form and Movement

Fig. 1.2.4.2 Form and Movement

Based on the exploration of an existing Grid System.

This system is developed to explore; the multitude of options the grid offer; to dispel the seriousness surrounding the application of the grid system; and to see the turning of pages in a book as a slowed-down animation in the form that constitutes the placement of image, text and color.

The placement of a form (irrespective of what it is) on a page, over many pages creates movement.

"There is a fine line between genius and insanity, just as there is a fine line between legibility-readability & memorability." — 1st point came Oscar from Levant, second from Mr Vinod.

Week 3 - AdTypo 3: Context & Creativity

1. Handwritting (Latin Alphabet)

Handwriting is the basis or standard for form, spacing and conventions mechanical type would try and mimic.

The shape and line of hand drawn letterforms are influenced by the tools and materials used to make them, such as sharpened bones, charcoal sticks, brushes, etc; as well as the material upon the forms are written, such as paper, clay, animal skin, etc.

Fig. 1.3.1.1 Evolution of the Latin Alphabet

i. Cuneiform // c. 3000 B.C.E.

Fig. 1.3.1.1 Cuneiform

Cuneiform is known as the earliest system of actual writing. It was used in a number of languages between the 34C. B.C.E. through the 1st century C.E

ii. Hieroglyphics // 2613–2160 B.C.E.

The Egyptian writing system is fused with the art of relief carving. The Egyptian writing system is fused with the art of relief carving.

Hieroglyphic images have the potential to be used in three different ways:

As ideograms, to represent the things they actually depict.
As determinatives to show that the signs preceding are meant as phonograms and to indicate the general idea of the word.
As phonograms to represent sounds that "spell out" individual words.

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

The Phoenicians developed a phonetic alphabet consisting of 22 letters. The Greeks adopted the Phoenicians system and added the necessary vowels.

iv. Roman Uncials

By the 4th century Roman letters were becoming more rounded, the curved form allowed for less strokes and could be written faster.

v. English Half Uncials // 8th C.

The uncial evolved into a more slanted and condensed form in England.

vi. Carolingian Minuscule

The Carolingian minuscule was used for all legal and literary works to unify communication between the various regions of the expanding European empire.

It was as important a development as the standard Roman capital—for it was this style that became the pattern for the Humanistic writing of the fifteenth century; this latter, in turn was the basis of our lower-case roman type.

vii. Black Letter // 12-15 C. CE

Gothic was the culminating artistic expression of the middle ages, occurring roughly from 1200—1500.

The term Gothic originated with the Italians who used it to refer to rude or barbaric cultures north of the Italian Alps.

viii. Movable Type 11 C.—14 C.

The introduction of moveable type was introduced in the 1000-1100 CE. This innovation was pioneered in China but achieved in Korea (Diamond Sutra).

In the late 1300-1399 CE, several decades before the earliest printing in Europe (Guttenberg’s bible 1439), the Koreans establish a foundry to cast movable type in bronze.

2. Eastern Developments in Handwriting

With the digital revolution, the west would begin to digitize many of its historical creations and type foundries would create, market and sell or license them. The recognition of the importance of these historical letterforms is something to be admired and learned from.

Fig. 1.3.2.1 Evolution of Middle Eastern Alphabets

It is also important to note that while the Phoenician letter marks a turning point in written language—use of sound represented in letters—the script itself has been possibly influenced by the Egyptian Hieroglyphics and Hieratic Scripts.

Fig. 1.3.2.2 Evolution of the Chinese Script

From the Oracle bone to Seal Script to Clerical Script, Traditional and Simplified scripts.

Fig. 1.3.2.3 ‘Indian’ subcontinent the Indus Valley Civilization (IVC) script (3500-2000 BCE)

The oldest writing found in the ‘Indian’ subcontinent the Indus Valley Civilization (IVC) script (3500-2000 BCE), is as yet undeciphered and seems to have been somewhat logo-syllabic in nature.

Fig. 1.3.2.4 Brahmi script (450–350 BCE)

The Brahmi script (450–350 BCE) is the earliest writing system developed in India after the Indus script. It is one of the most influential writing systems; all modern Indian scripts and several hundred scripts found in Southeast and East Asia are derived from Brahmi.

*Refer to lecture slides for SEA handwrittings.*

So, why is handwriting important in the study of type/typography?

Basically, it is because the first mechanically produced letterforms were designed to directly imitate handwriting. Handwriting would become the basis or standard that for form, spacing and conventions mechanical type would try and mimic.

2. Programmers and Type Design

More vernacular scripts are being produced by software giants (Google): in their employment a great many Asian programmers and designers.

More and more vernacular and “multi-script” typefaces —a term coined by Muthu Nedumaran—are being produced to cater to situations where the written matter is communicated in the vernacular script or vernacular and Latin scripts.

3. Local Movements and Individuals

In Malaysia, murasu.com spear-headed by programmer and typographer Muthu Nedumaran, the man who cracked the programming language needed to encode the different types of vernacular writing systems. The system is now used in mobile phones and desktops.

Huruf, a local group of graphic designers interested in the localized lettering of latin and vernacular letters painted or inscribed on walls and signages are amongst the more prominent organizations digitizing and revitalizing typefaces in Malaysia.

Ek Type and Indian Type Foundry (India).

Creativity and originality are properties that are most often intertwined. It is important for young designers to look inward and examine their histories, civilization, culture and communities to bring these past developments into the future and develop on them instead of blindly appropriating cultures and developments that have no context, relatability or relevance.

Creativity and inspiration should begin by observing our surroundings and exploration of our collective histories.

Week 4 - AdTypo 4

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.

1. Adrian Frutiger

Adrian Frutiger is a renowned twentieth century Swiss graphic designer. His valued contribution to typography includes the typefaces Univers and Frutiger.

The goal of this new typeface (Frutiger) was create a clean, distinctive and legible typeface that is easy to see from both close up and far away. Extremely functional.

Considerations/Limitations: letterforms needed to be recognized even in poor light conditions or when the reader was moving quickly past the sign.

2. Matthew Carter

Fig. 1.4.2.1 Georgia and Verdana

Many of Carter's fonts were created to address specific technical challenges, for example those posed by early computers. A good example is his creation of Verdana (1996) for Microsoft.

Fig. 1.4.2.2 Bell Centennial

In 1976, AT&T commissioned the design of a new typeface whose sole purpose would be for use in their telephone directories. The design had to solve multiple technical and visual problems related with the existing phonebook typeface, Bell Gothic. The solution, named in honour of the company's 100th anniversary, was Bell Centennial.

3. Edward Johnston

Fig. 1.4.3.1 “Underground” typeface

Edward Johnston is the creator of the hugely influential London “Underground” typeface, which would later come to be knows as “Johnston Sans” (1916).

Purpose: London's Underground railway ordered a new typeface for its posters and signage from the calligrapher Edward Johnston. He handed over details and examples of letter shapes that would set the tone for printed text until the present day.

4. General Process of Type Design:

i. Research

When creating type, we should understand type history, type anatomy and type conventions. It is then important to determine the type’s purpose or what it would be used for, and what different applications it will be used in. We should also examine existing fonts that are presently being used for inspiration / ideas / reference / context / usage pattern / etc.

2. Sketching

Some designers sketch their typeface using the traditional tool set (brushes/ pens, ink and paper), and some prefer to sketch digitally.

Both methods have their positives and negatives.

3. Digitization

The two leading softwares for font digitization are FontLab and Glyphs App. There are designers that also use Adobe Illustrator to design or craft the letterforms and then introduce it into the specialized font apps.

4. Testing

The results of the testing is part of the process of refining and correcting aspects of the typeface. Depending on the typeface category (display type/text typ) the readability and legibility of the the typeface becomes an important consideration.

5. Deploy

Even after deploying a completed typeface there are always teething problems that did not come to the fore during the prototyping and testing phases. Thus, the task of revision doesn’t end upon deployment.

The rigour of the testing is important in so that the teething issue remain minor.

5. Typeface Construction

Fig. 1.4.5.1 Roman Capital Grids

Roman Capital: The grid consists of a square, and inside it a circle that just touches the lines of the square in four places. Within the square, there is also a rectangle. This rectangle is three quarters the size of the square and is positioned in the centre of the square.

Thus, using grids (with circular forms) can facilitate the construction of a letterforms and is a possible method to build/create/design your letterform.

6. Construction and considerations:

An important visual correction is the extrusion of curved (and protruding) forms past the baseline and cap line. This also applies to vertical alignment between curved and straight forms.

The letters must be altered to a uniform ‘visual’ white space. This means that the white space between the letters should appear the same. This is called ‘fitting’ the type.

The consideration when creating a typeface cannot be covered in its entirety in a single lecture or in a couple of slides.

Most typefaces come about due to a need or demand. The need/motivation can be intrinsic and extrinsic:

Intrinsic basically means that the designer has an inexplicable need driven by interest to design a typeface, and seeks out a form that comes close to fulfilling a desire.

Extrinsic can be summed up in this way the designer has been commissioned or the student-designer has a task to complete that involves designing a typeface.

Designing a typeface is a labour of love. Only the brave and foolish walk this path for the reward pale in comparison to the work.

Week 5 - AdTypo 5

Perception - the way in which something is regarded, understood, or interpreted.

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.)

1. Contrast

Fig. 1.5.1.1 Contrast in Typography

i. Size

Fig. 1.5.1.2 Contrast / Size

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 or heading noticeably bigger than the body text.

ii. Weight

Fig. 1.5.1.3 Contrast / Weight

Weight describes how bold type can stand out in the middle of lighter type of the same style. Other than then using bold, using rules, spot, squares is also provide a “heavy area” for a powerful point of visual attraction or emphasis, therefore not only types of varying weight.

iii. Form

Fig. 1.5.1.4Contrast / Form

Contrast of form is the distinction between a capital letter and its lowercase equivalent, or a roman letter and its italic variant, condensed and expanded versions of typeface are also included under the contrast of form.

iv. Structure

Fig. 1.5.1.5 Contrast / Structure

Structure means the different letterforms of different kinds of typefaces.

v. Texture

Fig. 1.5.1.6 Contrast / Texture

By putting together the contrasts of size, weight, form, and structure, and applying them to a block of text on a page, you come to the contrast of texture.

Texture refers to the way the lines of type look as a whole up close and from a distance.

vi. Direction

Fig. 1.5.1.7 Contrast / Direction

Contrast of direction is the opposition between vertical and horizontal, and the angles in between. Turning one word on its side can have a dramatic effect on a layout. Mixing wide blocks of long lines with tall columns of short line can also create a contrast.

vii. Colour

Fig. 1.5.1.8 Contrast / Colour

The use of color is suggested that a second color is often less emphatic in values than plain black on white.

2. Form

Form refers to the overall look and feel of the elements that make up the typographic composition. It is the part that plays a role in visual impact and first impressions.

A good form in typography tends to be visually intriguing to the eye; it leads the eye from point to point, it entertains the mind and is most often memorable.

Fig. 1.5.2.1 Form

Typography can be seen as having two functions: First, to represent a concept; second, to do so in a visual form. Displaying type as a form provides a sense of letterforms’ unique characteristics and abstract presentation.

Fig. 1.5.2.2 Example of Form in Posters

When a typeface is perceived as a form, it no longer reads as a letter because it has been manipulated by distortion, texture, enlargement, and has been extruded into a space.

3. Organisation / Gestalt

Gestalt is a german word meaning the way a thing has been “placed” or “put together”. Gestalt Psychology is an attempt to understand the laws behind the ability to acquire and maintain meaningful perceptions.

*A designer should understand visual perception. This would apply to every aspect of design, including typography.

Perceptual Organisation / Groupings:

1. Law of Similarity - elements that are similar to each other tend to be perceived as a unified group.

2. Law of Proximity - elements that are close together tend to be perceived as a unified group.

3. Law of Closure - 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. Law of Continuation - humans tend to perceive each of two or more objects as different, singular, and uninterrupted object even when they intersect.

5. Law of Symmetry -

6. Law of Simplicity (Praganz)

7. ...

INSTRUCTIONS

MIB:

Task 1 - Exercises: Typographic Systems

0. Introduction

In this task, we are assigned to produce designs according to the 8 typographical systems. I wanted to create visually appealing designs.

Requirements:

- Size 200 x 200 mm

- Colours: Black and additional colour

- Minor graphical elements

All body texts are 9 pt to 12 pt, with a 14 pt leading.

1. Axial system

The information are arranged in a way that is left-side heavy. However, it is well balanced out using graphical elements at the right side.

Fonts used:

Univers LT Std 75 Black

ITC New Baskerville Std Roman, Bold

Initial Design

Fig. 2.1.1.1 Axial system, Initial design, Week 1 (31/08/2022)

Post-Feedback Design

Fig. 2.1.1.2 Axial system, Amendments, Week 2 (07/08/2022)

2. Radial system

For this system, I want to crate a system with a degree of 'tidiness' but not too tidy. When a design becomes too balanced/tidy, it will look boring and not as artistic.

Fonts used:

Adobe Caslon Pro Bold // Futura Std Bold, Medium, Light, Light Oblique.

Final Design

Fig. 2.1.2.1 Radial system, Final design, Week 1 (31/08/2022)

3. Dilatational system

For the dilatational system, I tried to come up with.a unique shape. The design I settled for last kind of looks like a raindrop, which is quite interesting. However, the bottom looks slightly too heavy.

Fonts used:

Univers LT Std 67 Bold Condensed, 57 Condensed // Futura Std Heavy, Medium // Bembo Std Regular

Initial Design

Fig. 2.1.3.1 Dilatational system, Initial design, Week 1 (31/08/2022)

Post-Feedback Design

Fig. 2.1.3.2 Dilatational system, Amendments, Week 2 (07/08/2022)

4. Random system

At first, I was having struggling to create a messy and random composition. In addition, I did a mistake of using outlines for texts of smaller sizes. After making some changes, I think the final design looks pretty decent, as it is random, but still maintain some amount of readability.

Fonts used:

Futura Std Extra Bold Oblique, Light Oblique, Light Condensed, Book // Janson Text LT Std 75 Bold // Gill Sans Semi Bold // Univers LT Std 93 Extra Black Extended, 75 Black, 55 Roman // Adobe Caslon Pro Regular // Bembo Std Regular // ITC New Baskerville Std Italic, Bold // Bodoni 72 Book Italic

Initial Design

Fig. 2.1.4.1 Random system, Initial design, Week 1 (31/08/2022)

Post-Feedback Design

Fig. 2.1.4.2 Random system, Amendments, Week 2 (07/08/2022)

5. Grids system

This system requires us to arrange information in vertical and horizontal grids. The first attempt looks too unbalanced and looked unappealing overall. I fixed the proportions and weight of the left and right side of the page and it looks alright now.

Fonts used:

Serifa Std 55 Roman // ITC New Baskerville Std Bold Italic, Bold, Roman

Initial Design

Fig. 2.1.5.1 Grids system, Initial design, Week 1 (31/08/2022)

Post-Feedback Design

Fig. 2.1.5.2 Grids system, Amendments, Week 2 (07/08/2022)

6. Transitional system

I emphasised on the title by using a bold font. The other information are arranged according to their importance.

Fonts used:

Futura Std Extra Bold Condenses, Bold Condensed, Medium Condensed, Light Condensed

Initial Design

Fig. 2.1.6.1 Transitional system, Initial design, Week 1 (31/08/2022)

Post-Feedback Design

Fig. 2.1.6.2 Transitional system, Amendments, Week 2 (07/08/2022)

7. Modular system

Number of columns: 4

Number of rows: 7

Fonts used:

Adobe Caslon Pro Bold Italic // ITC New Baskerville Std Bold // Futura Std Medium Condensed, Book

Initial Design

Fig. 2.1.7.1 Modular system, Initial design, Week 1 (31/08/2022)

Post-Feedback Design

Fig. 2.1.7.2 Modular system, Amendments, Week 2 (07/08/2022)

8. Bilateral system

The two boxes at the two corners are to balance out the page. I also made sure all the information are aligned to the baseline grids.

Fonts used:

Serifa Std 65 Bold // ITC New Baskerville Std Bold // Gill Sans Light, Regular

Initial Design

Fig. 2.1.8.1 Bilateral system, Initial design, Week 1 (31/08/2022)

Post-Feedback Design

Fig. 2.1.8.2 Bilateral system, Amendments, Week 2 (07/08/2022)

Final Outcome

Fig. 2.1.9.1 Final axial system design, Week 2 (07/08/2022)

Fig. 2.1.9.2 Final radial system design, Week 2 (07/08/2022)

Fig. 2.1.9.3 Final dilatational system design, Week 2 (07/08/2022)

Fig. 2.1.9.4 Final Random system design, Week 2 (07/08/2022)

Fig. 2.1.9.5 Final Grids system design, Week 2 (07/08/2022)

Fig. 2.1.9.6 Final transitional system design, Week 2 (07/08/2022)

Fig. 2.1.9.7 Final modular system design, Week 2 (07/08/2022)

Fig. 2.1.9.8 Final bilateral system design, Week 2 (07/08/2022)

PDF Files

Task 1 - Exercises: Type & Play (Part 1)

0. Introduction

In this exercise, We are tasked to design five letters that are inspired from an image. The final design must reflect on the image's identity. The first step is to extract the letters from the image itself with precision. Then, continuous refinement is neccesary to produce consistent and visually appealing designs.

0. Extraction

Fig. 2.2.0.1 Original reference image, Week 3 (14/09/2022)

Fig. 2.2.0.2 Extraction / Trace, Week 3 (14/09/2022)

I thought about what kinds of pictures I can find letterforms in. It does not have to be exact leers, just letter look-alike.

Ideas I have thought about are:

- Spider web

- Pipes

- Butterfly wing patterns

Ultimately, I decided to go for the chrome, bronze pipes. I traced the letter-like shapes out using the pen tool according to my observation.

1. Refinement

Fig. 2.2.1.1 Reference font, Week 3 (14/09/2022)

I chose Gill Sans Std Bold Condensed as my reference font as it resembles the look that I am going for.

Fig. 2.2.1.2 Extracted shapes, Week 3 (14/09/2022)

Step 1: Resized extracted shapes into a more consistent size.

Fig. 2.2.1.3 Refinement 1, Week 3 (14/09/2022)

Step 2: Filled in colour. (Tools used: pen tool, pathfinder)

Fig. 2.2.1.4 Refinement 2, Week 3 (14/09/2022)

Step 3: Simplified shapes and removed the 'tail' on letter 'E'.

Fig. 2.2.1.5 Refinement 3, Week 3 (14/09/2022)

Step 4: Cut out red areas using pathfinder to create a highlight effect.

Fig. 2.2.1.6 Refinement 4, Week 3 (14/09/2022)

Step 5: Changed the shapes of letters 'E' and 'T'.

Fig. 2.2.1.7 Refinement + Reconstruction, Week 4 (21/09/2022)

Step 6: Redesigned letters 'S' and 'E' to fit the style of the other letters. This promotes consistency.

Fig. 2.2.1.8 Final refinement, Week 4 (21/09/2022)

Step 7: Further simplification and removing unnecessary parts to make it look consistent as a whole. I left a unique spot in only letter 'L'.

Final Letters and Showcase

Fig. 2.2.2.1 Final letter L, Week 4 (21/09/2022)

Fig. 2.2.2.2 Final letter J, Week 4 (21/09/2022)

Fig. 2.2.2.3 Final letter S, Week 4 (21/09/2022)

Fig. 2.2.2.4 Final letter E, Week 4 (21/09/2022)

Fig. 2.2.2.5 Final letter T, Week 4 (21/09/2022)

Fig. 2.2.2.6 All letters, Week 4 (21/09/2022)

Fig. 2.2.2.7 Type showcase, Week 4 (21/09/2022)

PDF Files

Task 1 - Exercises: Type & Play (Part 2)

0. Introduction

In this exercise, we are required to create a wallpaper-like design, either with the theme of 'Cultural Prosperity' or 'Renewal of Life'. The design has to include both typography and graphics/photography.

1. Idea Development

Initially, I have 2 ideas, one for 'Cultural Prosperity' and one for 'Renewal of Life'.The first thing that comes to my mind when I hear about 'Cultural Prosperity' is the Koi fish. On the other hand, as I was looking through older photos, I found a a photograph of the fiddlehead sprout taken for a previous project. Ultimately, I chose the first idea.

Fig. 2.3.1.1 Fiddlehead sprout photograph

Koi fish has always been a symbol of appreciation to the Asian culture. Spiritually, the Koi fish symbolises luck, fortune, wealth, family harmony, and positivity. In Feng Shui, the precence of Koi is the welcoming of auspicious abundance and prosperity.

Through my artwork, I aim to create a piece that is aestetically pleasing and meaningful at the same time, with the idea of desktop wallpaper design in mind. That said, the design must not be too complicated as functionality should also exist to compliment the aesthetics.

Thus, the idea is to seamlessly combine two major aspects together: Graphic and Typography, so that they seem to be united, in a rather minimalistic style.

2. Sketches

Fig. 2.3.2.1 Sketch 1, Week 4 (22/09/2022)

Fig. 2.3.2.2 Sketch 2, Week 4 (22/09/2022)

Before I head right into creating the vector wallpaper, I made rough sketches of how I want it to look like in Photoshop first.

3. Digitization

Fig. 2.3.3.1 Initial Digitization 1, Week 4 (24/09/2022)

Fig. 2.3.3.2 Initial Digitization 2, Week 4 (24/09/2022)

Fig. 2.3.3.3 Water-like effect, Week 4 (24/09/2022)

Firstly, I used the pen tool to draw the Koi fishes, each with a different pattern. I looked up for reference images on the Internet to see the colour and pattern variations of the Koi fish.

Then, I inserted a rectangle as the solid background colour, almost like a quill grey with a yellow hue. This is inspired by the colour of the antique papers that are used in Chinese ink painting (水墨画),

On top of the Koi fishes and solid background, I added a water-like effect made using Liquify in Photoshop.

Fig. 2.3.3.4 Post 1st Feedback, Week 5 (28/09/2022)

This is the design after I got my first feedback from Mr Vinod. However, he suggested me to explore more placements of the wordings. Instead of arranging them in the same baseline, try arranging them according to the contour of the background. Also, I should look at some of the work by William Herald-Wong as references.

Fig. 2.3.3.5 Final Option 1, Week 5 (30/09/2022)

Fig. 2.3.3.6 (Selected to proceed) Final Option 2, Week 5 (30/09/2022)

Fig. 2.3.3.7 Final Option 3, Week 5 (30/09/2022)

After doing some more research and a lot more thinking, I finally came out with 3 options to move on with.

The second one was the best among the three, but further refinement was needed: increase the size of the word 'CULTURE' by at least 200%.

After amendments, here is the end result.

Final Wallpaper Design

Fig. 2.3.4.1 Final Option 3, Week 5 (30/09/2022)

PDF Files

FEEDBACK

Week 2

General Feedback: Mr Vinod commented on each of the typographic system.

Specific Feedback:

Axial: blue too saturated, decrease tone.

Dialatational: bottom heavy.

Random: title does not need words with outline (only use outlines on LARGE texts

Grids: Looks a bit off, could be positional issue.

Modular: kerning of title a bit too tight, be careful of spacing between words

Week 3

General Feedback: It is clear that I am going for the flat plane + highlight theme.

Specific Feedback: However, the shape and style of each letter is inconsistent. Mr Vinod commented that I can try to base my letters off one of the letters. For example my design of "j", I would try and make all the letters look consistent to the style of letter j's.

Week 4

General Feedback: The bulky parts at the ends of letters 'J' and 'E' might not be necessary.

Specific Feedback: For the highlights, they look quite inconsistent. The thiner highlight lines are not necessary, as well as the little protruding parts. This is becuase it won't be seen when the leters are used at small szes anyways.

Week 5

General Feedback: The wording is too simply done.

Specific Feedback: Try seperating letter by letter on different baselines. I may also try warping it so that it blends better in the entire image.

REFLECTION

Experience

In this task, I was introduced to different types of typographical systems (Exercise 1), creating a font that is inspired by the theme of an image (Exercise 2 pt. 1), and creating a wallpaper with typography + graphic (Exercise 2 pt. 2). Throughout exercise 1, the experience was quite smooth as I managed to arrange the information according to different typographical systems without much obstacles. So, in exercise 2 pt. 1, I decided to do something more challenging. I know pipes would be hard to turn into a font but I gave it a go still. The experience was a little tedious for me, as a lot of refinement and repeating steps were needed to be taken. As for exercise 2 pt. 2, It was really fun as I am finally able to use more graphical in a typography subject (Yes!). The experience was mostly positive as I learn my way through.

Observation

Overall, I think I have benefitted from these exercises. Besides, I somehow find myself in certain situations where I am unable to come up with more creative ideas. I tend to stay at my safe spot more often than usual. Luckily, I decided to put in more effort in visualizing and experimented more to create the design in the final exercise.

Findings

I discovered many new knowledge related to typography. One of the major ones being the importance of how we explain our designs as designers. Non-artistic people think rationally and logically and are 'visually illiterate', according to Mr Vinod. Hence, it is up to us on how we want to explain our artwork to our non-artistic clients to make them make a better choice.