Advanced Typography Task 1: Exercise - Typographic Systems & Type and Play

22.4.2024 -  / Week1 - Week 4

Angel Tan Xin Kei / 0356117

Interactive Design / Bachelor of Design (Hons) in Creative Media

Task 1/Exercises: Typographic Systems & Type and Play

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⋆ ˚｡⋆୨୧˚ Index ˚୨୧⋆｡˚ ⋆

• Lecture
• Week 1 Advanced Typography : Typographic Systems
• Week 2 Typographic Composition 
• Week 3 Context & Creativity
• Week 4 Context & Creativity
• Week 5 Perception and Organisation

• Instruction
• Practical 
• Exercise 1 : Typographic Systems  
• Exercise 2: Type and Play  

• Feedback
• Further Reading
• Reflection

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⋆ ˚｡⋆୨୧˚ Lecture ˚୨୧⋆｡˚ ⋆

Week 1 Advanced Typography : Typographic Systems

Typographic systems is similar to architects term shape grammars which is a set of rules that is unique and provide sense of purpose that focuses and directs decision making. It allows learners to have an exploration by developing their intuition mature.

Source Link: https://type365.com/2017/02/21/7-typographic-layout-systems/

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

Figure 1.1 Example of Axial System

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

Figure 1.2 Example of Radial System

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

Figure 1.3 Example of Dilatational System

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

Figure 1.4 Example of Random System

Grid System: A system of vertical and horizontal divisions. 

Figure 1.5 Example of Grid System

Transitional System: An informal system of layered banding. 

Figure 1.6 Example of Transitional System

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

Figure 1.7 Example of Modular System

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

Figure 1.8 Example of Bilateral System

Conclusion : The system might be awkward at the beginning but it will emerges creative potential as it develops, break free from rigid horizontal and vertical.

Week 2 Typographic Composition 

Typographic composition is the arrangement of textual information on a given space.Some of the most common composition are emphasis, rule of thirds and grid system.

Principles of Design Composition: Emphasis, isolation, repetition, balance (symmetry/asymmetry), alignment, perspective, rhythm, contrast.

Fig 2.1 Principle of design-emphasis 

The Rule of Thirds : a photographic guide to composition, it basically suggest that a frame (space) can be divided into 3 columns and 3 rows. The intersecting lines are are used as guide to place the points of interest, within the given space.

Fig 2.2 The rule of Thirds

Artists like David Carson, Barnbrook and Paula Scher pushed the boundaries. Incredible amount of planning and intuition were used to create exciting compositions. Below are some examples from the artists. 

Fig 2.3 Examples of Post-Modernist

 

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

Fig 2.4 Form and communication  

Form and Movement: Based on the exploration of an existing Grid Systems. The placement of a form on a page, over many pages creates movement. The forms could represent images, text or colour. 

Week 3 Context & Creativity

Handwriting  

• first mechanically produced letterforms were designed to directly imitate handwriting
• become the basis or standard for form, spacing and conventions mechanical type would try and mimic.  shape and line of hand drawn letterforms are influenced by the tools and materials used to make them. Sharpened bones, charcoal sticks, plant stems, brushes, feather and steel pens all contributed to the unique characteristics of the letterform 
• material upon which the forms were written: clay, papyrus, palm leaf, animal skins (vellum and parchment) and paper

Fig 3.1 Evolution of the Latin Alphabet

• 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 

Fig 3.2 Ancient Egypt Hieroglyphics Chart 

• Early greek (5th C. B.C.E.): Drawn freehand, not constructed with compasses and rules, and they had no serifs. In time the strokes of these letters grew thicker, the aperture lessened, and serifs appeared. 
• Roman Uncials: By the 4th century Roman letters were becoming more rounded, the curved form allowed for fewer strokes and could be written faster. 
• English Half Uncials (8th C.): In England, the uncial evolved into a more slanted and condensed form.  
• Carolingian Minuscule: Capitals at the start of a sentence, spaces between words and punctuation. 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. 
• Black Letter (12-15 C. CE): Characterised by tight spacing and condensed lettering. Evenly spaced verticals dominated the letterform. Condensing line spacing and letter spacing reduced the amount of costly materials in book production.  
• The Italian Renaissance: Newly rediscovered letterforms Antica. The renaissance analysis of form that was being applied to art and architecture was directed toward letterform — resulting in a more perfect or rationalised letter.

Fig 3.3 Letterforms through the ages

Evolution of Middle Eastern Alphabets: 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 3.4 Evolution of Middle Eastern Alphabets

The Evolution of the Chinese script: From the Oracle bone to Seal Script to Clerical Script, Traditional and Simplified scripts.

Fig 3.5 The Evolution of the Chinese script

The Italian Renaissance: Newly rediscovered letterforms Antica. The renaissance analysis of form that was being applied to art and architecture was directed toward letterform — resulting in a more perfect or rationalised letter.

Fig 3.6 ‘Indian’ subcontinent the Indus Valley Civilization (IVC) script 

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 3.7 Brahmi script (450–350 BCE) 

The earliest writing system developed in India after the Indus script.Most influential writing systems; all modern Indian scripts and several hundred scripts found in Southeast and East Asia are derived from Brahmi. 

Fig 3.8 Southeast Asia scripts, scripts of the communities that assimilated into Peninsula Malay communities

Handwriting 

Jawi, the Arabic-based alphabet, was introduced along with Islam

In Modern Malaysia, Jawi is of greater importance because it's the script used for all our famous works of literature. Every hikayat and Malay charm book is written in Jawi. Unlike Indonesia, we don't have a huge wealth of pre-Jawi inscriptions and writings this part of the reason why some tend to ignorantly claim that Jawi is "tulisan asal Melayu", which is of course untrue.

 

Programmers and Type Design  

More vernacular scripts are being produced by software giants (Google): 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.

Fig 3.10 Programmers and Type Design

Week 4 Context & Creativity

Designing Type

Why design another typeface?

Xavier Dupré (2007), in introducing his typeface Malaga, suggested two primary reasons for designing new typefaces: 

• Social Responsibility: Enhancing legibility continuously is essential due to the social responsibility type designers bear.
• Artistic Expression: Typeface design serves as a medium for artistic expression.

Type Design Process:

1. Research:

• Gain an understanding of type history, anatomy, conventions, and terminologies.
• Identify the typeface's intended purpose and potential applications
• Analyze existing fonts for inspiration, ideas, context, and usage patterns.

2. Sketching:

• Traditional Method:Some designers prefer traditional tools (brushes, pens, ink, paper) for sketching, later scanning these sketches for digitization. They find better control and confidence with hand-drawn sketches
• Digital Method: Others use digital tools, like Wacom tablets, to sketch directly into font design software, which is faster and more consistent, though it might limit natural hand movements.

3. Digitization:

• Professional software like FontLab and Glyphs App are commonly used
• Some designers start with Adobe Illustrator before moving to specialized font software, though purists often criticize this approach.

4. Testing:

• Testing helps refine and correct the typeface.
• Prototyping provides valuable feedback.
• For text typefaces, readability and legibility are crucial, while display typefaces prioritize form and expression.

5. Deployment:

• Even after deployment, minor issues may arise that were not identified during prototyping and testing
• Continuous revision is necessary, emphasizing the importance of thorough testing to minimize post-deployment problems.

Fig. 4.1.1 Deploy

Typeface Construction: 

Using grids, particularly with circular forms, can aid in the design and creation of letterforms.

Fig. 4.1.2 Construction grid for Roman capitals (8 x 8 cells)

Construction and Considerations: When designing a new typeface, different forms and constructions must be considered. Visual corrections, such as extending curved and protruding forms slightly past the baseline and cap line (overshoot), are important. This also applies to the vertical alignment between curved and straight forms.

Fitting the Type: Adjustments are necessary to achieve a uniform visual white space between letters, ensuring consistent spacing that appears visually even.

Fig. 4.1.3 Classification according to form and construction

Week 5 Perception and Organisation

Perception: 

• is defined as "the way in which something is regarded, understood, or interpreted."
• This raises the question: is perception based on what you see and understand, or is it influenced by manipulation? 
• In typography, perception involves guiding the reader's visual navigation and interpretation through contrast, form, and organization of content. Content can be textual, visual, graphical, or colorful, with a focus on typography here.

Contrast:

• Size: Contrasting sizes draw the reader's attention to larger elements first, often used to differentiate titles or headings from body text.

Fig. 4.1.4 Size (by Carl Dair)

• Weight: Bold type stands out among lighter type of the same style. Besides bold text, using rules, spots, or squares can create areas of emphasis.

Fig. 4.1.5 Weight

• Form: Contrast of form distinguishes between capital and lowercase letters, roman and italic variants, and condensed versus expanded versions of typefaces.

Fig. 4.1.6 Form

• Structure: Different letterforms of various typefaces, like monoline sans serif versus traditional serif, or italic versus blackletter, create structural contrast.

Fig. 4.1.7 Structure 

• Texture: Combining size, weight, form, and structure contrasts creates texture in a block of text. Texture involves the overall appearance of lines of type both up close and from a distance. 

Fig. 4.1.8 Texture 

• Direction: Contrast of direction involves the interplay between vertical and horizontal elements and the angles between them. Turning a word sideways or mixing different text block orientations can create dramatic effects.

Fig. 4.1.9 Direction 

• Color: Adding a second color can be less striking than black on white. The emphasis should be on which elements to highlight and the tonal values of the colors used.

Fig. 4.1.10 Color

Overall:

  

Fig. 4.1.11 Contrast

• Form: This refers to the visual representation and aesthetic of typographic elements, balancing function and expression. 
• The term originates from the Greek words "typos" (form) and "graphis" (writing), meaning writing in accordance with form. 
• Typography serves to represent concepts visually, showcasing the unique characteristics and abstract presentations of letterforms.

  Fig. 4.1.12 Form

Organisation

Gestalt: Gestalt theory posits that the whole is greater than the sum of its parts, emphasizing unified experiences over individual components. Perceptual organization or grouping in Gestalt theory includes several principles:

• The Law of Similarity: Elements that are similar tend to be perceived as a group, based on features like color, orientation, size, or motion.
• The Law of Proximity: Elements close to each other are perceived as a group, while those further apart are not.
• The Law of Closure: The mind tends to see complete figures even if parts are missing or obscured.
• The Law of Good Continuation: We perceive intersecting objects as distinct and uninterrupted, with alignment playing a crucial role.

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⋆ ˚｡⋆୨୧˚  Instruction ˚୨୧⋆｡˚ ⋆

Module Information Booklet

Exercise 1 : Typographic Systems  (Week 1)

• Understanding how visual elements are organized helps designers gain a deeper insight into the design process 
• Using the 8 systems (Axial, Radial, Dilatational, Random, Grid, Modular, Transitional and Bilateral) to be explored using the following content:

The Design School,

Taylor’s University

All Ripped Up: Punk Influences on Design

or

The ABCs of Bauhaus Design Theory

or

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

• Employ various typographic organization systems to create messages that engage readers in different ways, expanding the possibilities of typographic communication
• Task to be done using Adobe InDesign only (Size 200 x 200 mm).

Exercise 2: Type and Play  (Week 2 & 3)

Instructions for Finding Type Project

• Choose an image of a man-made object (e.g., chair, glass) or structure (e.g., buildings). Alternatively, select an image from nature (e.g., human, landscape, leaf, plant, bush, clouds, hill, river).
• Analyze and dissect the selected image
• Explore the identified letterforms then digitize the letterforms through an iterative process.
• Refine the forms from crude representations to more polished versions, reflecting their origins.
• Combine the refined letterforms with a visual of your choosing.Enhance and support the interplay between the letterforms and the selected visual.
• Ensure the text and image form a symbiotic relationship.

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⋆ ˚｡⋆୨୧˚  Practical ˚୨୧⋆｡˚ ⋆

Task 1 : Exercise 1 - Typographic Systems

Week 1 First Attempt

Throughout this exercise, our task is application of the eight systems that we have learnt —Axial, Radial, Dilatational, Random, Grid, Modular, Transitional, and Bilateral—in InDesign using the provided content from the MIB. Additionally, we've been advised to view the InDesign demonstration videos available in the lecture playlist.

These are my InDesign Progress and my trial and error:

Fig 1.9.1 Axial System Ver.1

Fig 1.9.2 Axial System Ver.2

Fig 1.10 Axial System Ver.2

Fig 1.11 Radial System

Fig 1.12 Random System

Fig 1.13 Modular System

Fig 1.14 Grid System

Fig 1.15 Dilatational System

Fig 1.16 Bilateral System

Week 2 Modification

After online consultation with Mr.Vinod, I have made some changes regarding the feedback

Axial: Mr Vinod commented that he like the third design is good.

Figure 4.2.1 Axial System in jpg

Radial:The second design title could be presented in another font to look more emphasis.

Figure 4.2.2 Radial System in jpg

Dilatational: Both design is okay.

Figure 4.2.3 Dilatational System in jpg

Modular: First design's content should be more align whereas second one is good look like a conetent page.

Figure 4.2.4 Modular System in jpg

Random: First one suits the random theme whereas second one is too organised can be develop more.

Figure 4.2.5 Random System in jpg

Grid: first one refrained from making the word transparent to ensure it doesn't compromise readability.

Figure 4.2.6 Grid System in jpg

 

Transitional: second design is too oragnised can be more curvy but first one can alternate other fonts 

Figure 4.2.7 Transitional System in jpg

 

Bilateral: can add more shapes to enhance the overall visual design

Figure 4.2.8 Bilateral System in jpg

Final Compilation:

Fig. 4.4 Final Compilation without Grid in pdf

Fig. 4.3 Final Compilation with Grid in pdf

Task 1: Exercise 2 - Type and Play  

Part 1: Finding Type

A. Image Selection:

Initially, I opted for cream because I love desserts 🧁 with cream, but Mr. Vinod pointed out that cream's fluid nature just like water, which adapt to the shape of its container, failed to showcase a distinct identity. Consequently, I decided to switch my focus to coral reefs 🪸 . This choice better aligns with the project's objectives, offering a more tangible and recognizable subject that can be explored effectively for its unique characteristics and visual appeal.The reason why I chose coral is that I love diving. When diving underwater, the lively and colourful coral reefs make create a thriving and vibrant ecosystem for marine life.

Source Link: Coral Reefs from Pinterest

Fig. 2.2.1 Pink Corals (week 2,  29/4/2024)

B. Analysis and Dissection:

Currently engaged in a letterform extraction process inspired by the observing the vibrant colors, diverse shapes, and organic textures found within these reefs. Specifically, I am tracing out the letters L-O-V-E-Y, drawing upon the curves, patterns, and visual harmony reminiscent of coral formations. 

Fig. 2.2.1 From Extraction (week 2,  29/4/2024)

C. Exploration and Digitization:

Throughout the exploration of letterforms from the coral reefs, I extracted these forms and embark on a journey of digitization characterized by iterative refinement. 

Gradually, I transformed them from rough representations into more polished versions, drawing parallels to the elegance of Futura italic. This evolution not only captures the essence of coral movements, reminiscent of their gentle swaying in the ocean, but also ensures that the original inspiration from coral reefs remains vividly preserved in the final typographic designs.

Fig. 2.2.2 Refer to Futura Italic (week 2,  29/4/2024)

Fig. 2.2.3 Futura Italic as Background (week 2,  29/4/2024)

Then, I made some refinement as in stroke heights, angle adjustment, font width, stroke adjustment, stroke detailed. Then, I realised we are re-utilising the skills we have learnt in Typography class like tracking and kerning the typeface to narrow down the width.

Fig. 2.2.3 Process of Adjustment (week 2,  29/4/2024)

First Finalised Letterform, it has become more simplified and harmony in term of same typeface but at the meantime conserve the characteristic of coral reefs.

Fig. 2.2.3 Comparison of Before and After Adjustment (week 2,  29/4/2024)

D. Reference and Refinement:

After Mr. Vinod told me to observe the intricate details of coral reefs more closely, I noticed tiny spots on the branches that I hadn't initially noticed. He then guided me to incorporate these small spots into my letterforms, emphasizing the importance of capturing such small details. 

Fig. 3.2.1 Small Spots of Coral Reefs (week 3, 2/5/2024)

This process involved meticulously imitating these features and integrating them into the design, enriching my letterforms with the subtle yet impactful elements found in coral reef structures. 

By auditing these details, my typographic creations now reflect a deeper appreciation for the beauty and complexity of coral reefs, guided by Mr. Vinod's insightful advice to observe and emulate nature's smallest details.

Fig. 3.2.2 Adding Intricate details (week 3, 2/5/2024)

Fig. 3.2.2 Final of My Type in JPG (week 3, 2/5/2024)

Final of Finding Type in PDF Format:

Fig. 3.2.3 Final of My Type in PDF (week 3, 2/5/2024)

Part 2: Type Showcase

Combination with Visuals:

After finalizing our letterforms, we were tasked with creating a mock movie poster using these designs. The primary goal was to enhance both the letters and the chosen image, ensuring they complemented each other seamlessly.I opted to incorporate the original photo of the coral reefs. Then, I realised the letterform are too odd and bland to be white colour so I made it more vibrant and feel more like a realm life of real coral.

Fig. 3.2.3 Process of Exploration (week 3, 2/5/2024)

In Illustrator, I added a 3D effect extrude to the letterforms so it looks more outstanding.

Fig. 3.2.4 Process of 3D and Extrude the Wording (week 3, 2/5/2024)

Fig. 3.2.4 First Attempt of Movie Poster (week 3, 2/5/2024)

However, Mr.Vinod recommended that it should not be too bloated looks more like balloon so it changed to texture effects and apply ocean ripples effect that more correspond to coral reefs appearance in ocean with the small poka dots more seamless like reefs effect.But also guided by Mr.Vinod that I need to reduce the white space.

Fig. 4.2.1 After some Improvised (week 4, 7/5/2024)

Then I used photoshopped to intertwine the coral branches with the letterform to make it more interesting and compelling like movie poster or documentaries.This step was crucial in harmonizing the typographic elements with the edited image, ensuring they integrated effectively within the poster design.

Fig. 4.2.2 Final Outcome of my Movie Poster (week 4, 7/5/2024)

 

Fig. 4.2.3 Final Outcome of my Movie Poster (week 4, 7/5/2024)

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⋆ ˚｡⋆୨୧˚  Feedback ˚୨୧⋆｡˚ ⋆ 

Week 4 

General Feedback: 

To create a more visualise movie poster, ensure the title is large enough to immediately catch the audience's attention.Keep other elements like logos and content smaller to avoid distracting the audience. Use a background picture that corresponds to our reference image to integrate seamlessly with the title. 

Specific Feedback: 

Position the wording centrally to ensure balanced composition.Use subtle 3D effects sparingly to emphasize the words and poster. Minimize empty space around the words to maximize visual impact. 

Week 3 

General Feedback:

Examine the stroke width of each letter to ensure that the shape is the same. Fonts must maintain the qualities and showcased the characteristic of the image that we have picked. Beyond that, designed typefaces should be the star of the show when you move on to the poster. Just be careful with the size and arrangement of the text to prevent them from taking over the entire piece.

Specific Feedback:

I should avoid using cream as my inspiration because it is too fluid like water and easily adapts to the shape of its container. Instead, I decided to focus on coral reefs or bamboo. Mr. Vinod suggested that coral reefs are a better choice, as the shape of bamboo, being always straight, is more challenging to trace. Additionally, I should provide more detail in the coral design by incorporating some beads to enhance its appearance.

Week 2 

General Feedback:

It's important to consider the hierarchy and order of information to ensure readability. Avoid using red or any dark colour text on a black background.Please keep the angle of text within 45° for better readability. 

 

Specific Feedback:

Axial: Third design is good Radial: The second design title could be presented in another font to look more emphasis Dilatational: Both design is okay Modular: FIrst design's content should be more align whereas second one is good look like a conetent page Random: First one suits the random theme whereas second one is too oragnised can be develop more Grid:first one refrained from making the word transparent to ensure it doesn't compromise readability. Transitional: second design is too oragnised can be more curvy but irst one can alternate other fonts

Bilateral: can add more shapes to enhance the overall visual design

Week 1 

General Feedback:

Mr.Vinod started briefing for overall modules and lecture, then he also assigned task 1.

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⋆ ˚｡⋆୨୧˚  Further Reading ˚୨୧⋆｡˚ ⋆

"Butterick’s Practical Typography" by Matthew Butterick

Source Link : https://practicaltypography.com

What is Typography?

Typography is the visual component of the written word. It involves the art and technique of arranging type to make written language legible, readable, and visually appealing. Typography is present in all text that is visually displayed, whether it’s on paper, a computer screen, or a billboard.

The Nature of Text and Typography

Text Consistency: A text, such as the sentence "I like pizza," remains the same irrespective of how it's rendered. It can be printed on paper, read aloud, or saved digitally, and it will still be the same sequence of words.

Typography's Role: When text like "I like pizza" is visually displayed, typography comes into play. This includes everything from the choice of font to the arrangement of text on a page or screen.

Examples and Considerations: 

Signage: The difference between two signs lies not in the text but in the typography. Typography encompasses the choice of typeface, size, spacing, and layout that makes the text visually distinct.

Art vs. Utility: Typography, much like photography, can be considered an art form when executed with a high level of skill and creativity. However, both have a fundamental utilitarian function. Effective typography is more about possessing good skills than merely having good taste.

Common Misconceptions

Typography vs. Fonts: Typography should not be conflated with fonts. While fonts are a component of typography, the field encompasses a wider range of considerations about the visual appearance of text, such as spacing, alignment, and overall layout.

By mastering the technical and aesthetic aspects of typography, one can significantly enhance the readability and visual appeal of written communication.

What is Good Typography?

Good typography enhances the meaning of the text it presents. It supports the message by making the text more effective in communicating its intended points, instructions, or warnings. 

Key Principles of Good Typography:

1.Reinforces Meaning:

- Typography should enhance the message of the text, making it clearer and more impactful.

- Example: A speed limit sign uses a font that is legible from a distance and under various conditions, ensuring the message is conveyed quickly and clearly.

2.Context-Dependent:

   - Typographic choices should be tailored to the specific text and its purpose.

   - Different texts require different typographic treatments to best support their messages.

3. Utilitarian Focus:

   - Typography is primarily about utility rather than aesthetics.

   - Effective typography is judged on how well it serves the text’s purpose, not on its visual appeal alone.

   - For instance, highway signage needs to be clear and legible, even if it appears less aesthetically pleasing than other fonts.

4. Flexibility:

   - There are multiple typographic solutions for any given text, and many can be equally effective.

   - Good typographers avoid relying on one-size-fits-all solutions and instead adapt their approach to suit the specific text and context.

Examples:

  - The most effective speed limit sign emphasizes the number 75 and the words "speed limit" to ensure the message is clear at a glance.

  - Poor typographic choices can obscure the message, reducing the sign’s effectiveness.

Common Misconceptions:

Invisibility of Typography:

  - Some argue that the best typography is “invisible,” meaning it doesn’t draw attention to itself but rather lets the message shine through.

  - This idea, popularized by Beatrice Warde's essay "The Crystal Goblet," suggests that good typography should be unobtrusive.

  - However, typography is not just about being invisible; it should actively support and enhance the text’s message.

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⋆ ˚｡⋆୨୧˚  Reflection ˚୨୧⋆｡˚ ⋆

Experience:

Engaging with the Typographic Systems exercise was an enlightening experience that deepened my understanding of how visual elements can be organized to convey messages effectively. Using the 8 typographic systems required a thorough exploration of each approach's unique characteristics. For instance, the Axial system's linear arrangement provided clarity and structure, which I like the most.As for task 2, I get to trace out the letterform weirdly but yet still readable then make it into a movie poster was quite engaging.I just faced some issued when refine the detailed of letterform as it shouldn't be totally simplify but need to conserve the pattern and characteristic was quite challenging.

Observation:

Observing the impact of each typographic system on the overall design revealed significant insights. The Random system, despite its inherent lack of structure, successfully captured the chaotic energy of "All Ripped Up: Punk Influences on Design," challenging me to balance readability.For Task 2, the thing I realised is that everywhere or everything in life can be traced out as typographical elements, when we seek for those things, it allowed for flexibility within a structured framework, such as fluid movement of rack, bamboo shoots, breaking glass elements, reflecting the evolving nature of design concepts.

Findings:

Through the Typographic Systems exercise, I discovered that each typographic system offers unique strengths and challenges that significantly impact the design outcome. Each system's structured are proved to have designated communication ways such as Radial and Dilatational systems introduced dynamic and visually engaging layouts. However, the Random system, despite its initial chaotic appearance, provided a unique way to convey energy and spontaneity, perfect for themes like punk influences in design. Lastly, I learnt that movie poster font size should always be the main focus for audience to remember their name and create a long-lasting impact also for enhancing the dual themes in content. These findings highlighted the importance of selecting the appropriate system to enhance message delivery and engagement in design.

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⋆ ˚｡⋆୨୧˚ Quick Links ˚୨୧⋆｡˚ ⋆

• Advanced Typography Task 2 
• Advanced Typography Final Project
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